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  1. #1
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    25

    إفتراضي Abd al-Laṭīf al-Bannā-TV interview circa 1962 + ṭaqṭūqa Ana sebt en-negūm (Baidaphon)

    منذ بضعة أيّام كانت لي محادثة هاتفيّة مع المصطفى وفجأة قال لي : ليتني أحصل على اللقاء التلفزيونيّ الذي أجرته أماني ناشد مع عبد اللطيف البنّا، ولم أكن قد سمعت عن ذاك اللقاء قبلئذ وما كنت أتصوّر إمكان وجود مثله مع أحد أعلام عصر الأسطوانة عدا الحوار مع منيرة المهديّة في سنّ متقدّمة وتسجيل صالح عبد الحي الذي غنّى فيه ليه يا بنفسج ولم يكد يتضمّن أيّ حوار يذكر، وأذكر أنّي قلت له إنّ الاحتمال الأغلب أن تكون تلك المقابلة موجودة لدى قناة ماسبيرو زمان، فقال لي : ومن لي بالوصول إليهم...
    ومن عجائب الصدف أنّي تلقّيت اليوم رسالة من أبي مروان بعد المحادثة بأقلّ من أسبوعين بها رابط لملفّ فيديو أنزله من صفحة القناة المذورة بموقع يوتيوب وبه جزء من الحوار المذكور، ومن الواضح أنّ الحوار كان أطول من القسم المنشور بكثير، إلاّ أنّ هذا القسم يظلّ مع ذلك وثيقة نادرة وطريفة وشهادة حيّة وإن كانت منقوصة عن عهد مضى لا سيّما أنّ البنّا بدا خلال الحوار كامل العافية واليقظة رغم تقدّم سنّه ورغم أنّ كلامه لم يتضمّن أيّة معلومات جديدة أو إنارات فنّيّة هامّ تنفع الدارس والناقد، وهو أمر بات معتادا من جلّ الفنّانين من مطربين وماحّنين بمن فيهم أهمّهم وأشهرهم كما لمسنا من خلال مثال زكريا أحمد، فهؤلاء إنّما شأنهم الإبداع لحنا أو غناء وليس شأنهم النظر والتحليل والنقد المفيد أو حتّى التأريخ الجادّ الذي يمكن التعويل عليه.
    لأهمّيّة الموضوع رأيت رفعه ضمن هذا القسم بدل قسم الموادّ المرئيّة على أن أضع رابطا ضمن ذاك القسم يحيل إليه أو أنقله إليه لاحقا.
    الملفات المرفقة الملفات المرفقة
    آخر تعديل بواسطة fredlag@noos.fr ، 03-11-2018 الساعة 23:26
    أبو علاء

  2. #2
    تاريخ التسجيل
    Mar 2006
    الإقامة
    Paris, France
    المشاركات
    1

    إفتراضي

    As usual (I am referring to previous interviews of Munīra al-Mahdiyya and Ṣāliḥ ‘Abd al-Ḥayy aired by Maspero channel), the first instinct while watching this is to take one 's shebsheb and throw it violently at the interviewer for underexploiting the fantastic opportunity she had. But she was a young woman and couldn't possibly understand who she had in front of her. So we will have to forgive her insistance on al-Bannā's opinion of modern Umm Kulthūm and such waste of time, and patiently take notes of the few tidbits of info we can gather. I'll do the job and come back with a list of historical information that can be added to or help amend this bio+discography (in French).
    The very first impression confirms his art : a simple and naïve man, ghalbān we-‘alā niyyāto, with a beautiful voice, and limited understanding of what was going around. I wonder if he had this fallāḥi accent when he was a Cairo celebrity in the 1920s or if he got it back in his village...
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  3. #3
    تاريخ التسجيل
    Jan 2008
    الإقامة
    Netherlands
    المشاركات
    0

    إفتراضي

    إقتباس المشاركة الأصلية بواسطة fredlag@noos.fr مشاهدة مشاركة
    the first instinct while watching this is to take one 's shebsheb and throw it violently at the interviewer for underexploiting the fantastic opportunity she had.
    Unfortunately, one's shebsheb is quite busy with too much these days. Al-Ahram published today a horrifying interview with Sonbaty by none other than slime-king Anis Mansour.

    Al-Banna is quite sober and aware of what he's saying, unlike Mounira and Salih, who were both painfully senile in their respective interviews.

  4. #4
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    25

    إفتراضي

    إقتباس المشاركة الأصلية بواسطة AmrB مشاهدة مشاركة
    Al-Banna is quite sober and aware of what he's saying, unlike Mounira and Salih, who were both painfully senile in their respective interviews.
    This is what I liked most about his interview. I also noticed his mananimity towards the "how do you like" question type did not extend to the one about 'abdi-l-halim so as to say: "Oh yes, he's great!". His understatement did the trick much better than Laure Daccache's answer to a similar question about Sabah: "Ce n'est pas une chanteuse ; c'est une diseuse."
    آخر تعديل بواسطة أبو علاء ، 02-11-2018 الساعة 14:20
    أبو علاء

  5. #5
    تاريخ التسجيل
    Oct 2005
    المشاركات
    4

    إفتراضي

    إقتباس المشاركة الأصلية بواسطة AmrB مشاهدة مشاركة
    Unfortunately, one's shebsheb is quite busy with too much these days. Al-Ahram published today a horrifying interview with Sonbaty by none other than slime-king Anis Mansour.
    According to the Al-Ahram alleged interview with Sonbaty, the song that took him the longest to make was W Marret El Ayyam!!!!! This tells you about the quality of these so-called newspapers.

    Luay

  6. #6
    تاريخ التسجيل
    Mar 2006
    الإقامة
    Paris, France
    المشاركات
    1

    إفتراضي

    Bits of information gathered from the interview
    - the interview probably took place in 1962 : Egyptian TV started June, 1960 and Ansak, alluded to as a "new song" was first sung in December, 1961.
    - confirmation of a "roaring twenties" atmosphere in Cairo : "kān el-gaww etkahrab"
    - main singers in the early 20s are him and Ṣāliḥ ‘Abd al-Ḥayy, and Munīra before she married Maḥmūd Gabr. No allusion to Zakī Murād (abroad?) or Ṣaftī (end of carreer?)
    - he did not choose lyrics and songs, they were chosen for him by Baidaphon, according to the "el-gamhūr (notice the fatḥa) ‘āyez keda" commercial logic.
    - he met Sayyid Darwīsh in Alexandria, the latter came to Cairo in the late war years, circa 1917. He met with Abū l-‘Ila Muḥammad and Muṣṭafā Riḍā at the Nādī al-mūsīqā al-sharqiyya. [first mention I hear of a connexion between Abū l-‘Ila and the Nādī]
    - Qānūnist Muḥammad ‘Umar was close to al-Bannā. They both took Darwīsh to Baidaphon in these late war years (believable? how could matrix be shipped to Germany in 1917? I would tend to date this a bit later, maybe 1919]
    - Bannā pays lip-service to the national narrative Ḥāmūlī > Sayyid Darwīsh > ‘Abd al-Wahhāb, but does he believe in it ? His mention of individuals betrays other hierarchies in the early 1920s : Ḥusnī and Qabbānī are the main composers of the post-war era and the 1920s.
    - He and Zakariyyā were fo'aha (sing. fi'i), the technical term "munshid" is not used by Bannā. The fi'i motafa''ih is the one who can distinguish maqāmāt. Zakariyyā was a member of his beṭāna. Erkhi l-setāra was his first piece as a composer.
    - Ana sebt en-nogūm composed by Dawūd Ḥusnī
    - He met ‘Abd al-Wahhāb circa 1920-1921 at Ibrāhīm al-Qabbānī's place, Qabbānī being ustāz el-moghanniyīn, a central figure in the world of music.
    - He sang for the radio, before quitting in 1940. [so the hope of finding a marconi wire recording of a waṣla by Bannā is scarce but not impossible?]
    - he quit the azharī costume in 1912-1913, much before his ṭaqāṭīq khalī‘a era at Baidaphon, feeling it was not compatible with being a singer and the general atmosphere : this shows the ‘imma vs. ṭarbūsh battle raging was being won by ṭarbūsh around these years.
    - met Umm Kulthūm circa 1923 before her move to Cairo with Muḥammad ‘Umar, she was singing for local notabilities, such as a cotton dealer.
    - secular urban singing is referred to as maghnā.
    آخر تعديل بواسطة fredlag@noos.fr ، 03-11-2018 الساعة 23:28

  7. #7
    تاريخ التسجيل
    Mar 2006
    الإقامة
    Paris, France
    المشاركات
    1

    إفتراضي

    And this is the ṭaqṭūqa the interview graciously presents for a few seconds
    maqām sīkāh huzām, music Dawūd Ḥusni
    I suspect the "Sī ‘Abduh" Bannā hails at the end of side 1 is qānūnist ‘Abd al-Ḥamīd al-Quḍḍābī.
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    آخر تعديل بواسطة fredlag@noos.fr ، 02-11-2018 الساعة 17:29

  8. #8
    تاريخ التسجيل
    Mar 2006
    الإقامة
    Paris, France
    المشاركات
    1

    إفتراضي

    إقتباس المشاركة الأصلية بواسطة AmrB مشاهدة مشاركة
    Unfortunately, one's shebsheb is quite busy with too much these days. Al-Ahram published today a horrifying interview with Sonbaty by none other than slime-king Anis Mansour.
    I was fearing worse. Much of it is useless, and as Luay pointed out, the Daret el-Ayyam thing is hilarious/horrifying, but there are still a few elements in it.
    I had the chance to meet Abd al-Wahhab and Warda when I was 21 or 22, and I only asked totally useless questions.I would very much like to smash my 21-year-old airhead in the wall now, but Andam wa-atūb we-‘alā l-maktūb ma yefidsh-e nadam...
    آخر تعديل بواسطة fredlag@noos.fr ، 03-11-2018 الساعة 12:24

  9. #9
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    25

    إفتراضي

    إقتباس المشاركة الأصلية بواسطة fredlag@noos.fr مشاهدة مشاركة
    I was fearing worse. Much of it is useless, and as Luay pointed out, the Daret el-Ayyam thing is hilarious/horrifying, but there are still a few elements in it.
    I had the chance to meet Abd al-Wahhab and Warda when I was 21 or 22, and I only asked totally useless questions.I would very much like to smash my 21-year-old airhead in the wall now, but Andam wa-atūb we-‘alā l-maktūb ma yefidsh-e nadam...
    حسرتك في هذه الحال غير مبرّرة، فما الذي كان عساك أن تسأل عنه عبد الوهاب أو وردة ويكون في جوابهما عنه ما ينفع ؟!
    أبو علاء

  10. #10
    تاريخ التسجيل
    Mar 2006
    الإقامة
    Paris, France
    المشاركات
    1

    إفتراضي

    Oh, so many questions.
    I would have asked ABW about his very beginnings, his father's teachings, his brother, the way he learned Salama Higazi's pieces, the way he was approached by Mansur Awad, his relation to Abu l-Ila Muhammad, the gradual suppression of lazimat al-3awazel in the qasida, the reasons why he was unsatisfied with takht music as it was, his concerts, when he stopped and why, etc.
    As for Warda, I would have asked how the French / French raised girl became an Arab singer in Paris, the way Egyptian music came to Paris in the 1950s, the history of Club Tam-Tam and the Ftouki family, the extent of her technical/theoretical knowledge in Arabic music, the extent of her suggestions and personal additions to Baligh's compositions, the reason of the 1990 shift to Arabpop, and many other stuff...

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