The Music of Islam
1. Al Qāhira. Classical Music of Cairo, Egypt



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Celestial Harmonies 13140-2
1998
Coronet Digital Studios, El Cairo








01 - khatwet habibi      [4:08]
Footsteps of my love

02 - el helwa dayer shebbak      [6:14]
The beautiful girl at the window

03 - ºūd solo      [4:20]

04 - ana fi entizarak khalet      [13:11]
I got tired of waiting for you

05 - nāy solo      [2:47]

06 - samra ya samra      [5:41]
Oh you, brown girl

07 - qānūn solo      [2:56]

08 - bint al-balad      [4:32]
Daughter of the country

09 - ṭabalah solo      [3:50]

10 - samāºi bayati (al-aryan)      [6:28]

11 - riqq solo      [3:03]

12 - habibi wa enaya      [6:47]
My darling, my dear





THE MUSICIANS AND RECORDING

This first volume of the Music of Islām series is a studio recording of the classical music of Cairo, or Al-Qāhirah as it was called in ancient times. Today, Egypt is home to the most contemporary Arabic music.

Recorded at the Coronet Digital Studios in the suburb of Mohandesseen, located across the Nile River from the main city, producer David Parsons was surprised to find the studio was housed in an apartment building. "Upon arriving at the studio I had many misgivings. I thought it must be a 'home studio'", tells Parsons. But once through the door, he discovered it was actually one of the top fully digital studios in Cairo.

The musicians featured on this volume are some of the best and most sought-after studio musicians in all of Egypt. They are masters of classical, folk and popular music. The instruments featured are traditional Arabic instruments.

Mamdouh El Gbaly, ºūd
Mostafa Abd El Khalek, qānūn
Mohammed Foda, nāy
Khaled Gomaa, ṭabalah
Ibrahim Gomaa, duff
Hesham El Araby, riqq

PRODUCED AND RECORDED BY DAVID AND KAY PARSONS
CO-PRODUCED BY HESHAM WAHBY
EXECUTIVE PRODUCER: ECKART RAHN
RECORDED AT CORONET DIGITAL STUDIOS (CAIRO, EGYPT)
ENGINEERED BY HESHAM WAHBY
DIGITALLY MASTERED BY DON BARTLEY, STUDIOS 301 (SYDNEY, AUSTRALIA)
MUSIC ANNOTATION BY DR. PROF. JÜRGEN ELSNER




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AL-QĀHIRAH:
A REFLECTION ON THE EVOLUTION OF ARABIC MUSIC


Nearly all traditions of Arabic music, including Egyptian, are strongly defined by rhythm. This fact seduces the uninitiated into believing that all oriental music comes from the harem and is scarcely more than belly dance. This misconception is reinforced by the commercial media. On the contrary, a glance at the history and structure of Arabic music, the most modern of which is based in Egypt, imparts an insight into an unheard of multifaceted aspect of traditions and functions; styles and repertoires, genres and instruments, forms and structural principles. No less important and meaningful, Arabic music shows a dynamic and changing historical evolution.

The selections in this first volume of The Music of Islām series clearly show this. On the one hand they belong to something like the Samāºi, now considered qadīm (old), Turkish, aristocratic art music, which lasted until the First World War and which was generally defined as oriental music. On the other hand, in the next decades and especially during the 1350s/1930s and 1360s/1940s, not least under the influence of theater, film and radio, a gadīd (new), socially more inclusive music developed. The music allowed for a continuation of traditional strands, but at the same time offered important innovations.

The composers created new forms in part using, until this time, unfamiliar dimensions—instrumental music, coined under the term al-musīqā which took over in popularity from the ghinā' (singing). This in particular helped the taqsīm, the instrumental improvisations, and a new, expanded instrumental introduction to the newly developed great long songs to come into their own.

The once small ensembles, based on the effect of chamber music, multiplied in size. New instruments from the European orchestra were absorbed and an interest in Occidental musical development altered the traditional musical melody structure with previously unfamiliar triad arpeggios, chromatic passages, parallels of thirds and attempts at harmonization. However, since the 1380s/1960s, a counter movement developed against the unfettered modernization, which based itself on older Arab traditions. In repertoire and performance the music in this recording reflects the new Egyptic style while the orchestration follows the older Arab practices.

The soloists play with melodic instruments such as the ºūd, the Arabic lute, or an alternative thereof—the kamanjā (originally a calabash spike fiddle, which was replaced by the European violin during the second half of the XIII/19th century), then the qānūn, a one-sided oblique plucked box zither, the oblique rim-blown flute nāy and the riqq, a tambourine with small cymbals fitted along the frame. These correspond to the traditional ensemble that was common at the turn of the century and described by the English Orientalist, Edward William Lane more than 150 years ago. The goblet drum, darabukka, a percussion instrument which here appears under the general category for drums ṭabla, and the relatively large duff; a framedrum, have found their way into the ensemble relatively late. Up until the XIII/19th century the darabukka was primarily considered a woman's instrument, and the duff, to this day, belongs to the sphere of folk music.

What is so special about this volume lies in the fact that it incorporates only instrumental recordings. This is unusual. But this one sidedness is toned down as all other instrumental pieces are determined thematically—except the pure musically bound solo taqsīm and the samāºi—be it through renowned texts of the songs performed by the instruments or through programmed indications, which are characteristic for many new Egyptian instrumental compositions.

Prof. Dr. Jürgen Elsner

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A note about spellings: as with such previous Celestial Harmonies projects as The Music of Vietnam, The Music of Armenia, and The Music of Cambodia, where alphabetical/transliterative questions arose, the titles and names are spelled here using the common Latin alphabet. (nota del copista: y con cierta inconsistencia en el uso de diacríticos)


1. KHATWET HABIBI
(Footsteps of my love)]
Rhythm
: Maṣmūdi kabīr

The thematic determination is apparent in this first piece, which revolves around an instrumental composition by the famous singer and composer Muhammad ºAbd al-Wahhāb (1320/1902-1412/1991), created in 1373/1953. To this day, it is common for love songs in Arabia to refer indirectly to a person and only rarely is reference made to the female gender—in text and fact (see tracks 6 and 8).

The ma'zufa (the expression used for this type of piece, first created in the 1360s/1940s) Khatwet habibi, like all compositions of Arabic art music, is subject in its melodic formation to the maqām principle. This principle incorporates a multitude of relatively concrete tonal melodic features.

Khatwet habibi stands in the Hijaz maqām, whose main tone group Hijaz is characterized through a one-and-a-half tone step and emphasizes melodically the fourth and the fifth over the basic tone. In variance to the original compositional input, the musicians perform the first couplet immediately after a brief improvised prelude on the ºūd. By this the tone group Hijaz appears first on the fifth' position in a modified form, before revealing its true characteristic as a main tone group in the refrain as the taslīm. The composer originally placed the refrain at the beginning of the piece as usual for the traditional tahmīla, a roundel form, with soloistic improvised couplets called khānas. However different the traditional tahmīla is, the improvised pieces are nevertheless fixed even if the performance takes advantage of a certain latitude, in relation to the instruments and also the performance of the given melody. Therein lies an important aspect of Arabic music making. Like the Turkish roundel forms, the bashraf, and the samā'i, the single couplets are structured differently as regards to the tonal melodic features. The second couplet following the above described first couplet is bound to the Rāst tone group with its characteristic medium third, but transposed a fourth above the central note. The third couplet depends on Ajam. Finally, the fourth couplet is considerably broader than its predecessors. Its melody follows the tone group Kurd, initially in the upper octave register and then reaches over to the main tone group. In closing it repeats the first couplet followed by the taslīm.

Rhythmically the performance of this composition is diverse. Its basic configuration is formed by the rhythmical period Maṣmūdi kabīr which is marked through six different strokes within eight time units.

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Nevertheless, in the following sections it is replaced by different, shorter patterns such as the rhythmical period Maṣmūdi saghīr, at double the tempo which among other things marks the refrain:

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2. EL HELWA DAYER SHEBBAK
(The beautiful girl at the window)
Rhythm
: Malfuof

This piece represents the instrumental conveyance of a song. The idea of a lookout offering the aim of the common yearning by the accidental glimpse of a woman, traditionally secluded from public scrutiny, is a favorite topic for Arabic poetry. The melody is developing in maqām Bayati whose expression is bound by vitality, joy and femininity. Its fine deviations and foreign tone groups carry the piece well beyond the traditional features of this maqām. The rhythmical periods, which come into play here, support the liveliness and joyfulness. It is the Maṣmūdi saghīr which supports the whole group throughout, and the similar Malfuof which differs in number and sequence of the strokes and accompanies the solo parts of the ºūd, the nāy and the qānūn.

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Both rhythmical periods, which in Egypt are widely marked by īqā' or wazn, are considered nimble, fast and maneuverable—khafīf—to use the traditional Arabic term.


3. ºŪD SOLO
(An improvisation)

The taqsīms, based on soloistic improvisation, are originally performed to join in the following cycle of vocal and instrumental pieces with the ensuing maqām. The taqsīms have changed considerably in this century, becoming increasingly independent and distancing themselves from their original function. They have not only expanded in their role or capacity as a solo virtuoso, but have increasingly become an experimental field for artistic musical innovation. Both aspects are wonderfully served in the ºūd solo. Actually only in the taqsīms, which are generally not bound by period rhythms, could the finesse of the lute player, namely the multiple strike technique and the 'dumb' fingering, be appreciated. They answer for rich articulation and ornamentation. But here there is a place for subtle enrichment and expansion of the melodic formation on the maqām concerned which in allusion to other maqāmāt (Arabic, plural for maqām) and modulations may be enormously extended. All of this, combined with great finesse and balance, can result in an experience of ultimate pleasure, which may be said to be true of the taqsīm recorded.

The basis for this taqsīm is the maqām Suznak which is composed of Rāst as the main tone group and the Hijaz tone group a fifth above. In this wonderful melodic structure, the soloist inserts above the main tone group an extensive part based on the maqāmāt Bayati and Shūri, which in turn stands close to it, but is distinguished by a Hijaz tone group. This allows a delightful interplay of different intonations of the same degree and of different melodic courses. But other maqāmāt crop up and even a tinge of European melody is apparent without altering the stylistic integrity of the taqsīm.


4. ANA FI ENTIZARAK KHALET
(I got tired of waiting for you)
Rhythm
: Wahda kabira

An expansive instrumental piece, Ana fi entizarak stems from the repertoire of the renowned Egyptian singer Umm Kulthum (d. 1395/1975), who premiered this "long song" (ughniya tawwila) on radio in 1362/1943. She thus ensured that it, and numerous other songs, reached a wide audience. The original text, written by Bairam al-Tunisi, was put to music by the great composer Zakariya Ahmad (1314/1896-1381/1961) who has contributed considerably to the revival of Egyptian music during the XIV/20th century. The transcription of the song relayed here follows the original model which by development and form represents a mixture of expansive taqtuqa with the musical munulug (monologue) tied to theater and film. The group begins with an introduction which at first runs on the quiet, sentimental wazn Wanda kabira but which when repeated is transformed into the playful and lively Maṣmūdi saghīr. The use of the duff with its deep "dum" when struck,

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even lends it a bit of upper Egypt (Sa'idi). This repetition appears throughout as an interlude, or a sort of refrain, which joins and contrasts the solo parts of the qānūn, the nāy and the ºūd until the nāy returns to the Wahda kabira. The final section is performed by all melodic instruments without the use of the refrain.

Tunefully the piece is based on the maqām Hijaz, as described above, associating remoteness, separateness, and yearning for being together. The choice of the maqām equates with the text, which articulates the restlessness of waiting and expectation and the anxiety about the ups and downs of loved ones.


5. NĀY SOLO
(An improvisation on flute)

The nāy, which takes off on a short taqsīm, has been a component of the stock of oriental instruments since time immemorial. Although the term is also used generally as a category for wind instruments, esteemed highly for their proximity to the human voice, nāy refers in our context to a special instrument—a rim-blown flute with seven holes. Its construction is strictly regulated and standardized. It has to be constructed from a single bamboo reed with nine knots. The six finger holes in the front and the one in the back follow rigid measurements. This allows for a very subtle tonal gradation. The diapason (range) is relatively broad, as the reed tapers downward and the instrument is easily overblown.

Musically, the nay player sticks to melodic constellations like the four-tone group Hijaz and the five-tone group Nauºathar, which contain the one-and-a-half tone interval so important to the Western perception of Oriental music. Set at various degrees of the system and linked with other tone groups, one can hear in this improvisation a variety of maqāmāt such as Nakriz, Nahawand, Shahnaz, Hijaz, Saba and Bayati closing the taqsīm.


6. SAMRA YA SAMRA
(Oh you brown girl)
Rhythm
: Maqsum

This instrumental piece, taken from the song Samra ya samra, whose title does not translate well, offers another favorite topic for Arabic poetry. In 1377/1957 ºAbd al-Wahhāb created an instrumental piece entitled Habibi al-asmar, meaning "My dearest brown" (which also refers to this topic). Yet he expresses it in the traditional masculine form. The reference to pale brown skin is a metaphoric Arabic reference to beauty and is also used in folk poetry.

The piece is rhythmically led by the wazn Maqsum (halved), which has the same basic structure as the Maṣmūdi saghīr, and although not quite halved, is faster. This becomes especially apparent where the rhythmic course switches over to the calmer Maṣmūdi saghīr. Tunefully, the composition is linked to the maqām Nahawand, which in its tone stock may be compared with the harmonic minor. The introduction, which is carried by all instruments and returns after each of the solo couplets as a form of refrain, is tied to it. But the couplets are drawn out by the Rāst with its clearly defined medium third.


7. QĀNŪN SOLO
(An improvisation on the Egyptian box zither)

The equally limited improvisation on the qānūn is almost infinitely bound by the maqām Rāst. Only a short switch to the related maqām Suznak, with its Hijaz characteristics over the fifth, allows for a brief break. Otherwise, the piece closely follows the traditional rules of the maqām Rāst.


8. BINT AL-BALAD
(Daughter of the country)
Rhythm
: Maṣmūdi kabīr

The instrumental piece Bint al-balad, composed by Muhammad ºAbd al-Wahhāb in 1371/1951, takes up another favorite theme of the Egyptian way of thinking. In 1365/1944, Zakariya Ahmad composed a song with the same title for his film "Land on the Nile", and in the 1380s/1960s the qānūn player ºAbd al-Fattah Mansi made a recording, again using the same title. In his violin-sonata, first and successfully performed in Europe, Gamal ºAbd al-Rahim (1343/1924-1409/1988), a renowned European-trained composer, headed the last movement with Baladi. In Arabic, "Balad" is the summary for country, the community and the home.

This piece is closely bound to the popular maqām Bayati, except for minor deviations in the second to the last section, denoted by a medium second over the central tone. By primarily changing the rhythmic periods, a mounting intensity of expression is achieved. The first section which follows the short solo on the darabukka, and also ends the composition, is marked by the Maṣmūdi kabīr. With the second section, the Maṣmūdi saghīr sets a faster pace, which continues into the third section while the fourth accelerates once more with the onset of the Maqsum. In the fifth
section according to traditional models, there is a turn to a ternary rhythm, which corresponds to the Samā'i Dārij. With the repetition of the first section, the Maṣmūdi kabīr is reintroduced.


9. ṬABALAH SOLO
(An improvised drum solo)
Rhythm
: Mixed

In contrast to the fixed rhythmic periods which are based on determined, always recurring patterns, this improvisation on the darubukka shows the drum from another side. The piece lines up a variety of different configurations, side by side, which only occasionally remind of a rhythmic period. The rhythmic structure of the solo is established by the interval or distance, the tone and the intensity of the beats involved and by the varied nuances of the placement of the strokes on the skin, the varying skin tension, the velocity of the beats and their timing.


10. SAMĀºI BAYATI
(AL-ARYAN)
(Referring to an Egyptian scale)
Rhythm
: Smaiea

An older Arabic tradition is introduced here with the beloved Samāºi Bayati of the Egyptian composer Ibrahim al-Aryan (1267/1850-1339/1920). The samāºi, like the bashraf, deals with roundel forms, which were developed in the Persian-Turkish region. To this day one can hear the different phases of development in various traditions (e.g. Central Asia and Maghreb). The Egyptian bashraf and samāºi represent the newest phase of this development. They comprise various couplets (khānas) and one repetitious, refraining section (taslīm). As the term indicates, the Samāºi Bayati follows the maqām Bayati, which is displayed in the first and fourth khānas and in the taslīm. The two middle khānas are characterized by the neighboring maqāms, predominantly through the Rāst and in the third khāna also through the Ajam, which brings it back to the Bayati. Rhythmically the samāºi is carried by an īqā', which has the same name and is called Samāºi thaqīl. The term "thaqīl" (heavy, slow) which is opposed to khafīf (light, swift) characterizes the inner tempo of the īqā'. The Samāº'i thaqīl is constructed from five strokes, which are distributed along 10 time units by the sequence 3+4+3:

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In the fourth khāna, the Samāº'i thaqīl is replaced by the Samāºi Dārij which is nimbler (♩ = 126 MM).


11. RIQQ SOLO
(An improvised solo on tambourine)
Rhythm
: Mixed

The riqq is the original rhythmic instrument of the classical Arabic musical tradition as described by Lane and is still relevant in this century. The essential feature of this percussion instrument is a pair of twin cymbals that are set in the frame. Other than marking the distinct rhythm, they also permit jingling effects which not only structure and stimulate the quick movements but also enhance the sensitivity and affectations of the musicians and the audience. Many cultures are familiar with this and put it to use. The cymbals are activated by either striking the skin of the riqq, or striking individual cymbals or the shaking of the riqq. These various possibilities are especially easy to follow in the closing ascent of the riqq improvisation.

12. HABIBI WA ENAYA
(My darling my dear)
Rhythm
: Maqsum

The last piece of this selection is again a transcription of a song. Like previous examples, it is set up as a form of refrain and soloistic couplets. A short Abgesang of four rhythmic periods cuts the piece after the last refrain. As a wazn, the Maqsum controls the whole piece, the melodic expression of which is strongly akin to the maqam Hijaz. The tonal melodic expansions lead into the sphere of the maqamat Bayati, Kurd and Rāst.