مقام منصوري - رشيد القندرجي Maqam Mansuri - Rashid al-Qundarchi

http://iraqimaqam.blogspot.com

Iraqi Maqam المقام العراقي
Maqam Mansuri
Rashid al-Qundarchi and al-Chalghi al-Baghdadi
78 rpm recording for a German label in 1930.

مقام المنصوري مقام عراقي متفرع من مقام الصبا ( يتآلف من جنسي صبا و بيات على درجه النوى) وهو المقام الثاني في فصل الرست. تدخل في اداءه قطع الناهفت (رست)، العبوش، المثنوي (حجاز) والارواح (حسيني). من اداء القارئ رشيد القندرجي و فرقة الجالغي البغدادي (يوسف بتو، صالح شميل، يهودا شماس) تسجيل قديم على الاسطوانة من عام ١٩٣٠. القصيدة للشاعر ابو نؤاس يصاحب غناءها ايقاع السماح ٤/٣٦ حتى الميانه ثم ايقاع اليكَركَ ٤/١٢ حتى النهايه

ألا فاسقِني خمراً وقل لي هيَ الخمرُ * ولا تسقني سرّاً إذا أمكن الجهرُ
و ماالغَبْنُ إلاّ أن ترَانيَ صاحـيا * و ما الغُنْـمُ إلا أن يتعتعني السكرُ
فبتنا يرانا الله شرَّ عِصابة ٍ * نجرّرُ أذْيالَ الفسوقِ ولا فخرُ
و خمارَة نبهْتها بعد هـجعة * و قد غـابت الجوزاءُ ، وارتفعَ النسرُ

Maqam Mansuri:* qasida by Abu Nuwas "Ala fa-isqini khamran wa-qulli hiya l-khamru wa-la tasqini sirran idha amkana l-jahru" ("Yes, pour me some wine and tell me that it is really wine! Do not serve me in secret if it is possible to do so openly!"). According to oral tradition, this mode was name in honor of the Muslim mystic Mansur ibn al-Hallaj (crucified in 922). Another version refers to the long reed ney flute called mansur.

This is the second in the suite in Rast and seems to have been introduced around the seventeenth century. This is sung on verses in classical Arabic. It is on a 36/4 samah rhythm at the beginning until the first meyana, then goes into the 12/4 yugrug rhythm until the end. Its tonic is in nawa and its melody forumula includes the bayat and the saba. Its tahrir begins with the tchahargah and continues in nawa (interjections "awih" and "oyéh"), the dukah, nim mahur, the 'ajam, the tek hisar (interjection "way, way") (0:14). The recitor then modulates in bayat, then returns to mansuri before commencing the 'abbush by means of the kurdan and nawa (0:55). He uses the Nahuft (aman, dad, bidadey, bidadem,in Persian meaning "grace, pity, pity on me") in which the hijaz gharib, with the return to the low notes called jalsa (1:32). The rhythm moves into yugrug. The first meyana (1:55) departs from the sahm degree to conclude in the muhayyar and the nawa with a brief passage in the nawa (aman, amaney, "grace, grace"). The Mathnawi in rast (2:45), originally belonging to the music of the whirling dervishes, is then connected. The second meyana (3:46) resembles the first but as it moves down the scale makes a brief passage in 'abbush which is in the muhayyar degree and in the Arwah (or rahat al-arwah) which uses the kurdan, Mahuran and muhayyar degrees. From the 'ajam, the recitor then moves up to the sahm (aman, amaney), then goes back down to the muhayyar (4:18). The Muthallatha piece (4:25) that follows is divided into three parts, moving down from muhayyar to nawa, through the Persian words in yugrug rhythm (aman, aman, burdem jur, babay, bay, babay, babay) then uses the hijaz mode in the nawa degree (aman, aman, burdem jur, bashem jur, babah, leyli, babah, babah). The third part, called murabba' (5:10), begins with the husayni degree and descends towards the nawa, then the tchahargah (ya bah, ya bah, burdem jur, bashem jur, afandim). The song ends by moving back up to nawa ('ali janemen), in Persian (Ali is my soul).

The large number of modulations, of melody phrases and changes from high to low notes make this a highly complex mode to interpret. It is considered as one of the masterpieces of the Baghdad school of song and Qundarchî gives a magnificent interpretation. It is important to note that the words are still taken from the great classical poems and express thoughts on love, nature, the human condition and on women.

* Commentary by Bernard Moussali

Vocals: Rashid Ali al-Qundarchi (1887-1945)
Santur: Yusuf Hugi Pataw (1886-1976)
Joza: Salih Shummel Shmuli (1890-1960)
Tabla: Yehouda Moshe Shammas (1884-1972)

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Music

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[saharsweden141999]

الله يرحمة ويرحم كل بغدادي اصيل

[INOC80]

هنا ايضا يلاحظ صوته الطبيعي قبل الاصابه بتشوه الحبال الصوتيه مما سببت تلك الاصابه بشلل نبرة صوته الشجي للاسف .. ايا كان فهو من سادة القراء وذلك الرعيل انتهى وانتهت معهم عصور النور والموده بين البغاده .