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عرض النتائج 11 إلى 20 من 25

الموضوع: Izak Algazi Efendi

  1. #11
    Hakem Guest

    إفتراضي

    For those who are interested, those two pieces are also on the album I mentioned above. It is amazing how this man was able to sing beautifully in Turkish, Hebrew and Ladino! Makes me lament Istanbul, the City of Cities!

  2. #12
    تاريخ التسجيل
    Jul 2005
    الإقامة
    London
    المشاركات
    96

    إفتراضي Hi

    Paul,

    Yes there are comon ones with the Kalan one, but please please, put everything!

    He is unbelievable.

    Thanks
    Najib

  3. #13
    AmbroseBierce Guest

    إفتراضي

    Najib, I will. Just give me another day - I'm busy tonight at work. But hopefully I'll find some time tomorrow.

  4. #14
    تاريخ التسجيل
    Jul 2005
    الإقامة
    London
    المشاركات
    96

    إفتراضي Hi

    take your time, no rush at all.

  5. #15
    AmbroseBierce Guest

    إفتراضي

    Can't let you wait for this: Here's the first (or rather second) installment of Isaac Algazi's album.

    No.1-11 are songs (selichot and piyyutim) for the high holidays.

    No.1 is "Kamti be-ashmoret" ("I rise at dawn"):
    "Selichah by Moshe Ibn Ezra (b. spain ca. 1055, d. after 1135). This song serves as an opening to the singing of selichot in all the Sephardi communities of the Ottoman Empire. Selichot are penitential poems associated with fast days and, in particular, the ten days between Rosh Hashanah (New Year's) and Yom Kippur (Day of Atonement)."

    No.2 "Anna ke'av zedoni" ("Like a cloud, my wickedness"):
    "One of the most popular selichot by Moshe Ibn Ezra is in a form similar to the Arabic muwashshach, a strophic song in which the rhyme of the opening stanza returns in the last verse of each of the following stanzas. The text draws on verses from Psalms 25.11 among other sources."

    No.3 "Im afes rova' ha-ken"
    "An 'akedah (religious poem about the sacrifice of Isaac; subgroup of the selichot) by Rabbi Ephraim Bar Isaac of Regensburg (1110-1175), one of the greatest liturgical poets in medieval Germany. This is the only piyyut by an Ashkenazi poet included by the Sephardim in their selichot and is one of the most widespread Sephardi tunes for the high holidays."

    No.4 "Avinu malkenu" ("Our Father, our King")
    "A litany consisting of a series of short petitions to God which has a fixed format and the set opening formula, avinu malkenu, recited during the high holidays. Algazi's recording in makam Hüseynî is one of his most well-known compositions."

    No.5 "Yedei rashim" ("The hands of your poor nation")
    "A piyyut by Yehudah Halevy (b. Spain ca. 1075, d. Palestine? 1141) sung in Sephardi synagogues during the morning prayers of Rosh Hashanah. The melody is unique to the Sephardi Jews of Izmir."


    Enjoy. More will come tomorrow.
    الملفات المرفقة الملفات المرفقة

  6. #16
    تاريخ التسجيل
    Jul 2005
    الإقامة
    London
    المشاركات
    96

    إفتراضي Thanks

    Thanks a lot Paul.

  7. #17
    AmbroseBierce Guest

    إفتراضي

    Here is next next couple of songs:

    No.6 "Le-britekha shokhen zevul u-shevu'a" ("When the gates of favor are about to be opened")
    "Closing stanza of the famous 'akedah Et sha'arei ratzon by Yehudah ben Shmuel Abbas of Fez (d. 1167) sung in Sephardi communities during the Rosh Hashanah services before the blowing of the shofar (ram's horn) or after the opening of the Ark. Algazi's recording is in makam Saba."

    No.7 "Adonay shan'ati shim'akha yareti" ("O Lord, I have heard your speech and was afraid")
    "Rechut (a type of poem in which the chazzan asks for "permission" to pray on behalf of the congregation) for the mussaf (additional services on Sabbaths and holidays) of the high holidays in makam Hüseynî. Algazi sings the most common version of this poem attributed to David ben Yaacov Pardo (1718-1790)."

    No.8 "Ochila la-el"
    "An ancient rechut usually sung by the chazzan during the mussaf services of Rosh Hashanah and Yom Kippur. This is one of the most complex cantorial compositions recorded by Algazi."

    No.9 is there already

    No.10 "Ha-yom harat 'olam"
    "A cantorial composition in the à la Franca ("modern", "European") style, set to the same text as track 9. The influence of the Eastern European cantorial art is noticeable in this piece, for example in the repetition of words used to stress their meaning and to attain a dramatic effect (such as the opening word ha-yom, "today") and the gradual building-up of melodical climaxes around the key words in the text such as rachamenu ("have mercy on us")."

    No.11 "Yetzav ha-el" ("God will order")
    "Selichah by Yehudah Halevy, usually printed in Sephardi prayer books as a reshut for the Yom Kippur mincha (afternoon) service or as a pizmon (paraliturgical hymn) for singing between the mussaf and mincha services on the same holiday. The poetic and musical structure of this song is similar to the Muslim religious hymns from Turkey called ilahi."
    الملفات المرفقة الملفات المرفقة

  8. #18
    AmbroseBierce Guest

    إفتراضي

    No 12-13 are Sabbath songs, No.14-17 are songs for festivals.

    No.12 "Kiddush" ("Sanctification of the Sabbath")
    "This kiddush in makam Mahûr is a piece by Algazi known to many Turkish chazzanim through oral tradition."

    No.13 "Be motza'ei yom mechunah" ("At the conclusion of the day of rest")
    "Piyyut for havdalah (a ceremony marking the ending of the Sabbath) by Yaacov Menu, sung in makam Hüseynî."

    No.14 is already here

    No.15 "Teromem bat ramah" and "Tzame'a nafshi" ("My soul is thirsty")
    "Two piyyutim for the festival Simchat torah (the "Rejoicing of the Torah") and Shemini 'atzeret (the "Eighth Holy Day" of Sukkoth) in makam Ussak. The two prayers Teromem bat ramah and Tzame'a nafshi (a piyyut by Abraham Ibn Ezra, Spain, d. 1164) are tightly linked, because together they form the melodic progression of the makam, starting from the lower tetrachord (Teromem bat ramah) to the higher one (Tzame'a nafshi)."

    No.16 "Ahallelah shem elohim" ("I shall praise the name of god")
    "Two biblical verses (Psalms 69.31 and Judges 5.3, known as Deborah's song) which served as the opening to all the Maftirim choir meetings. The role of these verses was to "tune" the participants to the characteristics of the makam used for that week's songs."

    No.17 "Yshlach mi-shamayyim" ("He shall send from heaven")
    "A recording of great historical importance, as choral performances with instrumental accompaniment are an exception in algazi's recordings. They exemplify the close links of the Maftirim Jewish choir with the singing of the sufi dervishes. The refrain imitates Turkish words, pointing to the possibility that the poet based his song on an existing Turkish composition. The song opens with a rhapsodic introduction in which Algazi presents the motifs characteristic of makam Beyâti."
    الملفات المرفقة الملفات المرفقة

  9. #19
    Hakem Guest

    إفتراضي

    Brilliant! And I thank you for taking the time to give all the details, this is very helpful. Will listen to them very soon.
    H.

  10. #20
    AmbroseBierce Guest

    إفتراضي

    Most welcome, Hakem. I like infos on music, so if possible, I give infos myself.

    Anyway, here are more songs of Isaac Algazi's album:. No.18-19 are religious songs in Judeo-Spanish, 20-24 are folk songs in Judeo-Spanish.

    No.18 "Al Dio alto" ("To God the Almighty")
    "Song for havdalah in makam Hüseynî, widespread in the Ottoman Empire. The text is attributed to Rabbi Abraham toledo, a poet belonging to the circle of Ottoman Jewish intellectuals of the late 17th and early 18th centuries."

    No.19 "Es razón de alabar" ("There is a reason to praise")
    "A ketubbah (allegorical marriage contract between God and the People of Israel) for Shavu'ot, first printed in 1753. The author of the poem is Yehudah bar Leon Qala'i of Saloniki. The melody is in makam Segâh."

    No.20 "Ay mancebo, ay mancebo" (already uploaded by Hakem)
    "A version of the Judeo-Spanish romance from Izmir, The Return of the Husband."

    No.21 "Quién conoció mi mancevez" ("Who knew my youth")
    "A love cantica in the sarki style, a semi-classical song form which used to be performed in Turkish cafés."

    No.22 "Malana tripa de madre"
    "Fragment from a romance, in which the youngest daughter of a father with no male children announces to him that she is ready to leave for war."
    الملفات المرفقة الملفات المرفقة
    آخر تعديل بواسطة AmbroseBierce ، 19-03-2006 الساعة 13:59

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