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Maqam Rast and Peste
al-Chalghi al-Baghdadi
Baghdad, Iraq
c. 1950
Instrumental performance of Maqam Rast followed by an ...
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Maqam Rast and Peste
al-Chalghi al-Baghdadi
Baghdad, Iraq
c. 1950
Instrumental performance of Maqam Rast followed by an ancient Baghdadi peste "Fattah Ward il-Bagilla" (author unknown) in rast mode and 6/4 sengin sama'i rhythm.
مقام الرست و بسته فتح ورد الباگله (ايقاع سنگين سماعي ٤/٦) من اداء فرقه الجالغي البغدادي، جوق يوسف بتو (السنطور: يوسف حوكي بتو، الجوزه: صالح شميل شمولي، الطبله: يهودا موشي شماس). تسجيل اذاعي من عقد الخمسينات في القرن الماضي
- Taqsim on the santur presenting the rast mode.
- Mansuri piece (saba on G). (1:48)
- Return to rast and taslim by way of the negriz. (2:31)
- Taqsim on the joza in rast mode. (3:38)
- Mansuri piece. (4:50)
- Ibrahimi piece (bayat on G). (5:50)
- Return to rast. (6:23)
- Meyana called Segah Balaban (rast on C'). (6:42)
- Mathnawi piece (hijaz on G). (7:22)
- Return to rast and taslim by the way of the negriz. (8:24)
- Traditional peste in rast mode and 6/4 sengin sama'i rhythm. (8:42)
فتح ورد الباگله * عيشة فرح اي والله
يجي المحبوب شگله * بابه ليش عيني ليش
بوسة و عضة من شفايفه
يعجبني و اگعد يمك * بدال الورد و اشتمك
و الصوچ كله من امك * بابه ليش عيني ليش
بوسه و عضه من خديده
Santur: Yusuf Hugi Pataw (1886-1976)
Joza: Salih Shemayyil Shmuli (1890-1960)
Tabla: Yehouda Moshe Shammas (1884-1972)
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IraqiMaqam uploaded a new video
(3 weeks ago)
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Maqam Rast (part 2)
Hasan Khaiwka and Jamil Bashir's orchestra
Recorded for Iraqi Radio (c. 1940s)
Baghdad, Iraq
Maqam R...
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Maqam Rast (part 2)
Hasan Khaiwka and Jamil Bashir's orchestra
Recorded for Iraqi Radio (c. 1940s)
Baghdad, Iraq
Maqam Rast by Hasan Khaiwka and Jamil Bashir's orchestra (Jamil Bashir, Munir Bashir, Khidhr Elias, Khudhair al-Shibli, Hussein Abdallah). The poetry sung here in classical Arabic is attributed to the medieval Egyptian Sufi poet Ibn al-Faridh (13th century).
مقام الرست من اداء الاستاذ حسن خيوكه مع فرقه جميل بشيرالموسيقيه (الكمان: جميل بشير، القانون: خضير الشبلي، الناي: خضر الياس، العود: منير بشير، الطبله: حسين عبد الله). القصيده للشاعر الصوفي عمر ابن الفارض (القرن الثالث عشر)
نَـشَرْتُ في موكِب العشّاقِ أعلامي * وكـان قَبلي بُلي في الحُبّ أعلامي
وسِـرْتُ فـيه ولـم أبْـرَحْ بدَوْلتِه * حـتى وجَدْتُ مُلُوكَ العِشْقِ خُدّامي
وقـد رَمـاني هواكُمْ في الغرامِ إلى * مَـقامِ حُـبٍّ شـريفٍ شـامخٍ سامِ
قَضَيْتُ فيه إلى حينِ انقِضى أجَلي * شهري ودهري وساعاتي وأعوامي
يـا سائقاً عِيسَ أحبابي عسى مَهَلا * وسِـرْ رُوَيْـداً فـقَلْبي بـينَ أنْعام
سَـلَكْتُ كُـلّ مَـقامٍ فـي مَحَبّتِكُمْ * ومـا تـرَكْتُ مـقاماً قـطُّ قُدّامي
إنْ كـان مَـنزِلَتي في الحبّ عندكُمُ * مـا قـد رأيـتُ فقد ضيّعْتُ أيّامي
The Maqam Rast in the Baghdad school of music is a primary maqam based on the rast mode with its tonic on C. It is sung to classical Arabic verses without rhythmic accompaniment except for a brief musical interlude between the second and third meyanas. It typically includes the modulating pieces: Negriz, Mansuri, Ibrahimi, Hijaz Shaytani, Balaban, Khalili, Sharqi Rast, Hijaz Madani, and Mathnawi.
-Continued from part 1.
- Dulab in sharqi rast mode on a 4/4 wahda rhythm.
- Second meyana (climax) called Khalili (chahargah mode) to the words "nazenine men" (Persian, my honey) followed by a verse in the same mode. (0:14)
- A piece called Sharqi Rast (in sharqi rast mode) sung to the words "ya lali, ya lali, ya ya ya mahbubi" (Iraqi-Arabic, o my beloved). (0:48)
- Third meyana called Madani (in hijaz mode) sung to the words "yademen, ya dust, meded, aman" (Persian, Iraqi-Arabic and Turkish). (1:09)
- Musical interlude in hijaz mode. (1:25)
- Improvisation on the violin in mathnawi (hijaz) mode. (1:40)
- A piece called Mathnawi (hijaz on G). (2:00)
- Improvisation on the qanun in mathnawi mode. (2:40)
- A sung verse in mathnawi mode followed by a return to rast. (2:54)
- Taslim, conclusion of the maqam, to the word "yar", progressively descending back to the tonic. (3:53)
Vocals: Hasan Muhammad Ali Khaiwka (1905-1962)
Violin: Jamil Bashir Aziz (1921-1977)
Qanun: Khudhair al-Shibli (192?-200?)
Ney: Khidhr Elias (1928-1998)
Oud: Munir Bashir Aziz (1928-1997)
Tabla: Hussein Abdullah (1905-1982)
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IraqiMaqam uploaded a new video
(3 weeks ago)
http://iraqimaqam.blogspot.com
Maqam Rast (part 1)
Hasan Khaiwka and Jamil Bashir's orchestra
Recorded for Iraqi Radio (c. 1940s)
Baghdad, Iraq
Maqam R...
more
http://iraqimaqam.blogspot.com
Maqam Rast (part 1)
Hasan Khaiwka and Jamil Bashir's orchestra
Recorded for Iraqi Radio (c. 1940s)
Baghdad, Iraq
Maqam Rast by Hasan Khaiwka and Jamil Bashir's orchestra (Jamil Bashir, Munir Bashir, Khidhr Elias, Khudhair al-Shibli, Hussein Abdallah). The poetry sung here in classical Arabic is attributed to the medieval Egyptian Sufi poet Ibn al-Faridh (13th century).
مقام الرست من اداء الاستاذ حسن خيوكه مع فرقه جميل بشيرالموسيقيه (الكمان: جميل بشير، القانون: خضير الشبلي، الناي: خضر الياس، العود: منير بشير، الطبله: حسين عبد الله). القصيده للشاعر الصوفي عمر ابن الفارض (القرن الثالث عشر
نَـشَرْتُ في موكِب العشّاقِ أعلامي * وكـان قَبلي بُلي في الحُبّ أعلامي
وسِـرْتُ فـيه ولـم أبْـرَحْ بدَوْلتِه * حـتى وجَدْتُ مُلُوكَ العِشْقِ خُدّامي
وقـد رَمـاني هواكُمْ في الغرامِ إلى * مَـقامِ حُـبٍّ شـريفٍ شـامخٍ سامِ
قَضَيْتُ فيه إلى حينِ انقِضى أجَلي * شهري ودهري وساعاتي وأعوامي
يـا سائقاً عِيسَ أحبابي عسى مَهَلا * وسِـرْ رُوَيْـداً فـقَلْبي بـينَ أنْعام
سَـلَكْتُ كُـلّ مَـقامٍ فـي مَحَبّتِكُمْ * ومـا تـرَكْتُ مـقاماً قـطُّ قُدّامي
إنْ كـان مَـنزِلَتي في الحبّ عندكُمُ * مـا قـد رأيـتُ فقد ضيّعْتُ أيّامي
The Maqam Rast in the Baghdad school of music is a primary maqam based on the rast mode with its tonic on C. It is sung to classical Arabic verses without rhythmic accompaniment except for a brief musical interlude between the second and third meyanas. It typically includes the modulating pieces: Negriz, Mansuri, Ibrahimi, Hijaz Shaytani, Balaban, Khalili, Sharqi Rast, Hijaz Madani, and Mathnawi.
- Unmeasured instrumental introduction in rast mode.
- Unmeasured introduction on the qanun in rast mode presenting the melody of the tahrir. (0:49)
- Tahrir, unmeasured vocal introduction, in rast mode sung to the word "yar" (love, Turkish and Persian), descending from the rast (C) to the 'ushayran (A) degree, then up to the rast, dukah, segah, chahargah and nawa (G), gradually descending back to rast, then up to the kardan (C') through the 'arabat hijaz (F#) and nawa. This version of the tahrir is called the Rast Hindi. (1:09)
- Improvisation on the qanun in rast mode. (2:05)
- A verse of the qasida in rast mode. (2:18)
- Music changes to mansuri mode. (2:58)
- A piece called Mansuri (saba on G) consisting of a sung verse followed by a return to rast. (3:28)
- Improvisation on the ney in ibrahimi mode. (4:03)
- A piece called Ibrahimi (bayat on G) consisting of a verse ending with the command "aman, 'elet ya m'awwad, aman" (Turkish and Iraqi-Arabic) (4:27)
- Jalsa, cadenza called Hijaz Shaytani (hijaz on G) to the words "ah ya leil" (Arabic, o night) with a gradual descent to rast to the word "yar", ending the first half of the maqam. (5:32)
- First meyana (climax) called Balaban (in rast mode) sung in high register to the words "ya dust" (Persian and Iraqi-Arabic, oh my friend) followed by a fragment of a verse in the same mode and a return to the tonic on the words "aman aman, meded, aman". (6:26)
- Continued in part 2.
Vocals: Hasan Muhammad Ali Khaiwka (1905-1962)
Violin: Jamil Bashir Aziz (1921-1977)
Qanun: Khudhair al-Shibli (192?-200?)
Ney: Khidhr Elias (1928-1998)
Oud: Munir Bashir Aziz (1928-1997)
Tabla: Hussein Abdullah (1905-1982)
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IraqiMaqam uploaded a new video
(3 weeks ago)
http://iraqimaqam.blogspot.com
Maqam Rast
Hajj Abbas Kambir al-Sheikhli (1883-1971)
Baghdad, Iraq. 78rpm recording.
c. 1928
مقام الرست من اداء القارئ ا...
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Maqam Rast
Hajj Abbas Kambir al-Sheikhli (1883-1971)
Baghdad, Iraq. 78rpm recording.
c. 1928
مقام الرست من اداء القارئ الحاج عباس محمد (ابن كمبير) الشيخلي (١٨٨٣-١٩٧١) مع التخت الشرقي وعازف الجوزه ناحوم يونا درزي. تسجيل اسطوانه قديم من عشرينات القرن الماضي. القصيده بالفارسيه للشاعر حافظ الشيرازي (القرن الرابع عشر
The Maqam Rast is a primary maqam based on the rast mode. It is sung to classical Arabic verses (formerly Persian or Turkish) without rhythmic accompaniment except for two brief rhythmic interludes between the second and third meyanas. It typically includes the modulating pieces: Negriz, Mansuri, Ibrahimi, Hijaz Shaytani, Segah Balaban, Khalili, Sharqi Rast, Hijaz Madani, and Mathnawi. The poem sung here is in classical Persian and is attributed to Hafez Shirazi (14th century): "Tu bareh khatirah hudan" (You carry the weight of my thoughts).
- Tahrir, unmeasured vocal introduction, presenting the rast mode to the word "yar" (love, Turkish and Persian).
- Instrumental piece on the qanun in rast mode representing the melody of the tahrir. (0:35)
- A verse in rast mode ending with a modulation on the 'arabat hijaz degree called Negriz. (0:47)
- Music changes to mansuri mode. (1:16)
- A piece called Mansuri (saba on G), consisting of a verse in mansuri mode preceded by the interjection "Ay", followed by a return to rast. (1:20)
- Jalsa, cadenza characterized by a gradual descent to the tonic sung to the word "yar" in rast mode, ending the first part of the maqam. (1:55)
Second part:
- First meyana called Balaban (in rast mode) sung in high register to the words "ya dost" (Arabic-Persian, my friend) followed by a verse in the same mode and a return to the tonic. (2:27)
- Dulab in sharqi rast mode and a 4/4 wahda rhythm. (3:30)
- Second meyana called Khalili (chahargah mode) to the words "nazenine men" (Persian, my honey) followed by a fragment of a verse in the same mode. (4:07)
- A piece called Sharqi Rast (in sharqi rast mode) sung to the words "ya lali, ya lali, ya ya ya dayim" (Iraqi-Arabic, oh eternal one). (4:32)
- Instrumental piece on the qanun in sharqi rast mode. (4:50)
- Third meyana called Madani (hijaz mode) to the words "yademen". (5:00)
- A piece called Mathnawi (hijaz mode) consisting of a sung verse followed by the command "aziz men" and a return to rast with a brief modulation in negriz mode. (5:27)
- Taslim, conclusion of the maqam in rast mode, sung to the words "ya lail, yar", gradually descending to the tonic by way of the Negriz. (6:38)
Vocals: Abbas Muhammad al-Sheikhli (1883-1971)
Joza: Nahum Yonah Ben-Yonah Darzi (1878-1955)
Qanun: (?)
Tabla: (?)
*
Hajj Abbas Muhammed Ali Abdul Karim al-Sheikhli (nicknamed Ibn Kimbir) was born in the Bab al-Sheikh district of old Baghdad in 1883, in an environment that was rife with colorful maqam performances at cafes, mosques and private parties. He learned the maqam al-'Iraqi at the hands of Khattab Omar and the great Ahmed Zaydan, and he recorded several maqams for local and foreign companies. Al-Sheikhi was widely renowned in Iraq for his powerful voice and his performance of the Bayat and Taher maqams. He died in 1971.
الحاج عباس الشيخلي بن محمد علي بن عبد الكريم و كنيته (ابن كٍمبير): من رواد المدرسه الزيدانية للمقام العراقي. ولد في محله باب الشيخ في بغداد سنة ١٨٨٣ و اخذ المقام مبدئيا من خطاب عمر و اتقنه و اتمه على يد احمد زيدان. قرأ عشرة مقامات في الاسطوانات و هي الحسيني، البيات، الطاهر، الناري، المحمودي، السيكَاه، الرست، المنصوري، الخنبات و النوى. و هو من المغنين الجيدين المعروفين بالضبط و القوة. لم يسمع من يجيد تحارير المقامات مثله لا سيما تحرير مقام الطاهر. و البيات الذي قرأه في الأسطوانة يضرب به المثل بين المغنين. اخذ منه احمد الملا رحيم الشيخلي و آخرون. توفي سنة ١٩٧١. (الشيخ جلال الحنفي - المقام العراقي)
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IraqiMaqam uploaded a new video
(1 month ago)
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Maqam Rast
Najm al-Din al-Sheikhli (1893 - 1938)
Baghdad, Iraq. 78rpm recording.
c. 1928
مقام الرست من اداء القارئ نجم ا...
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Maqam Rast
Najm al-Din al-Sheikhli (1893 - 1938)
Baghdad, Iraq. 78rpm recording.
c. 1928
مقام الرست من اداء القارئ نجم الدين الشيخلي ممجد الحضرة القادرية مع التخت الشرقي. تسجيل اسطوانه قديم من عشرينات القرن الماضي. القصيده للشاعر المصري ابراهيم حسني ميرزا
كم بعثنا مع النسيم سلاما * للحبيب الجميل حيث أقاما
وسمعنا الطيور في الروض تشدو * فنقلنا عن الطيور كلاما
نحن قوم مخلدون وإن كنا * خلقنا لكي نموت غراما
The Maqam Rast in the Baghdad school of music is a primary maqam based on the rast mode with its tonic on C and the first of the Rast suite. It is sung to classical Arabic verses (formerly Persian or Turkish) without rhythmic accompaniment except for two brief rhythmic interludes between the second and third meyanas. It typically includes the modulating pieces: Negriz, Mansuri, Ibrahimi, Hijaz Shaytani, Segah Balaban, Khalili, Sharqi Rast, Hijaz Madani, and Mathnawi. The poetry sung here is by the Egyptian poet Ibrahim Husni Mirza.
- Unmeasured introduction on the qanun in rast mode.
- Tahrir, unmeasured vocal introduction, presenting the rast mode to the word "yar" (love, Turkish and Persian). (0:10).
- A fragment of a verse in rast mode ending with a modulation on the 'arabat hijaz degree called Negriz. (1:00)
- A piece called Mansuri (saba on G), abbreviated here, followed by a return to rast. (1:15)
- A piece called Ibrahimi (bayat on G) consisting of a fragment of a verse repeated twice. (1:25)
- Jalsa, cadenza characterized by a gradual descent to the tonic sung to the word "yar", ending the first part of the maqam. (1:55)
Second part:
- First meyana called Balaban (in rast mode) sung in high register to the words "ya dost" (Arabic-Persian, my friend) followed by a verse in the same mode and a return to the tonic. (2:25)
- Dulab in sharqi rast mode and a 4/4 wahda rhythm. (3:25)
- Second meyana called Khalili (chahargah mode) to the words "nazenine men" (Persian, my honey) followed by a fragment of a verse in the same mode. (3:43)
- A piece called Sharqi Rast (in sharqi rast mode) sung to the words "ya lali, ya lali, ya ya ya dayim" (Iraqi-Arabic, oh eternal one). (4:05)
- Third meyana called Madani (hijaz mode) to the words "yademen, ya dust, meded, aman". (4:31)
- A piece called Mathnawi (hijaz mode) consisting of a sung verse followed by the command "aziz men" ('aziz, buya 'azizi, used here instead) and a return to rast. (5:02)
- Taslim, conclusion of the maqam in rast mode, sung to the words "ya lail, yar", gradually descending to the tonic by way of the Negriz. (6:08)
*
نجم الدين بن عبدالله بن صفاء الدين الشيخلي ولد في بغداد في ١٨٩٣ في محلة باب الشيخ و توفي يوم الاربعاء ١٦ شباط ١٩٣٨ و دفن في مقبرة الغزالي. يعد من اساطير الغناء العراقي الديني و الدنيوي، أخذ المقام من الملا عثمان الموصلي و رحمين بن نفطار افندي و أخذ اشغال المولد النبوي من مختلف اصحاب هذه الصناعة و مجَد بصوته الشجي على مآذن الحضرة الكَيلانية و حتى وفاته كما اشتغل مع اجواق الموالد النبوية و قرأ في الذكر كثيرا. كان الناس يترددون ليلا الى مقهى عزاوي الشهير في بغداد ليستمعوا الى قرائته للمقام. و قد سجل جملة من المقامات العراقية لصالح شركات الاسطوانات الاجنبية في عشرينات القرن الماضي منها الاوج والمنصوري و الحجاز ديوان و الحجاز آجغ و الرست و المدمي و الجبوري و البهيرزاوي و المحمودي و النوى و الحويزاوي و المخالف و العجم و الطاهر و الصبا و الابراهيمي و الشرقي دوكاه و اللامي و الخنبات.
Najm Abdullah al-Sheikhli was born in the Bab al-Sheikh district of Baghdad in 1893. He learned the art of maqam from the renowned Mulla 'Uthman al-Mosuli and Rahmain bin Niftar Efendi; he also took up the religious maqam by performing heavily in Sufi dhikr and mawlid ceremonies. Older Baghdadis still remember him for his tamjid (glorification of God from minarets) during the nights of Ramadan from the Gaylani Mosque in Bab al-Sheikh. He was also famous as a pigeon-breeder and a qari' of the profane maqam music at 'Azzawi's cafe, and he recorded many maqams for both European and local record companies during the 1920s. He died in 1938 and was buried at the Ghazali cemetery of Baghdad.
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my pleasure
تحياتي وحبي لكم ولعراقنا الحبيب من أقصى شماله لأقصى جنوبه وكل عام وأنتم بألف خير
أحمد الجوادي