البحث:

Another copy of this extraordinary rendition, from the Anani collection. The sound will be slightly better than Muhammad al-Baz's copy, although the record was quite worn out. The 4th side is mawwāl...

Although Muhammad al-Baz already uploaded it in this same thread, this is my own copy of the Odeon bayyati rendition of this mawwal, which I believe to be of slightly better quality, or rather better...

A mistake while writing too fast, the original name of Zaydān's book is indeed
Majmūʾat al-aghānī al-sharqiyya al-qadīma wa-l-ḥadītha

Abu Alaa is right in both his remarks concerning (1) the always uncertain attributions on a dor to a composer or another one and (2) on the interpret's genius being the true value of a piece. But...

I would tend to side with Abu Alaa on this one, I also feel a 4th side is missing. But then again, this could be the reason for which the record was not issued : either it was not recorded, or it was...

Sample records are always a great treat, thank you for this rare recording, and the excellent sound quality.
I wonder if Vogel (was it still Vogel or was Manṣūr ‘Awaḍ already on board at that...

I think the transfers I have are better quality, they were made at Pathé France, from the collection of the late Ahmed Hachlef. Unfiltered and filtered versions provided here.
These two bayyati...

This is the Zonophone version of this piece, which is bayyāti from beginning to end. It is erroneously signaled as a dōr in maqām ṣabā in my discography of Ḥilmī, since this is the maqām mentioned in...

The quality is amazing. Different dulab, typically Zaki Murad layālī (we will have, some day, to work on what makes him immediately recognizable in layālī). I name this maqām bayyati tahir, i.e. same...

Interesting to see how Ḥilmī can perfectly "do the job" (the Odeon version), and propose a rendition of this dōr that is (almost) as interesting as Salāma Ḥigāzī's utterly pyrotechnic interpretation...

This recording is absolutely divine. Ya 3admi, as the metayyabati says at the end of it ! I will listen to it a few dozen times and come back to it. The filtering is perfectly fine for me, Abu Alaa,...

Merci merci !
Yes, the great return is planned for September as soon as I am back in Abu Dhabi :-)

My turn to apologize for a long time off. This is the coming back present : the Zonophone version of the classic dōr sīkāh-huzām / Fel-bo‘d-e yāmā, sung by ‘Abd al-Ḥayy Ḥilmī on 4 sides for...

This is a new filtering of this record, much more satisfactory, slightly slowed down + addition of the 4th side, mawwāl Qūm fe dugā l-lēl in huzām version, different from the Gramophone rast...

الشيخ سيد الصفتي
موشح/ غضي جفونك
موال/ لا تحسب إن البعاد يفرقنا إذا طول
مقام صبا

Shaykh Sayyid al-Ṣaftī
muwashshaḥ / Ghoḍḍī gefūnik (maqām ṣabā, cycle awfar)
mawwāl a‘rag / Lā teḥseb enn...

Just a quick addition :
- coming back to Sulaymān Abū Dāwūd's rendition, I realize we failed to note on the SAD thread that his rendition is not only ṣabā but also offers dōr 1 and dōr 2 of the...

Also known as badadadanology

عبد الحي افندي حلمي
دور / لا يا عين
لحن عبده الحامولي

‘Abd al-Ḥayy eff. Ḥilmī
dōr / Lā yā ‘ēn
maqām bayyātī
comp. ‘Abdūh al-Ḥāmūlī

The famous piece sung by Ḥāmūlī to deplore the demise of...

Sami al-Shawa's work in this electric recording is fantastic. I like the repeat of wa-‘ish khāliyan at the end. Very little shurī, only for a concluding second.
This sounds very close to Polyphon's...

Puzzling how Muḥammad Anwar can be so nice in ṭaqāṭīq and so unconvincing in dōr. The piece itself isn't bad, there are many nice sentences in it, all the kān zamān variations could be great, but...

What still needs to be studied in the qasida ‘alā l-waḥda are the details of "qismat al-kalām" on the cycle, taf‘ila by taf‘ila. I am wondering to which extent singers (unconsciously) follow a same...

علي افندي عبد الباري
دور/ يا هلترى تيه دلالك
مقام راست
لحن منسوب إلى عبد الرحيم المسلوب
مجهول الناظم


‘Alī eff. ‘Abd al-Bārī
dōr / Yā haltarā tīh dalālak
maqām rāst

I don't think we disagree on this. What I meant is that a dor higazkar can go on for ten minutes, and could go on for the double of this, and never hint at bayyati, rast or sikah or saba, and still...

This piece is an interesting example of the ability to produce ṭarab without even using "neutral intervals" (3/4 tone), for the only use of gins bayyāti in this recording is in the layālī in a...

This is what I manage to do with el-ward fel-rod (which is a fantastic piece, by all criteria)
I don't know where to begin with the thousand wonders of this rendition, and ana mutayyam indeed