Zaki Effendi Mourad Sway of Love is Cruel 2 Disc Rare Victor 73427 Arabic Egypt

$

125

Disc 1: A:  Zaki Effendi Mourad  B:  Zaki Effendi Mourad
Disc 1: A: El Hob soltanoh assi (The Sway of Love is Cruel) 1 B: El Hob soltanoh assi (The Sway to Love is Cruel) 2
Disc 2: A: El Hob soltanoh assi (The Sway of Love is Cruel) 3 B: El Hob soltanoh assi (The Sway to Love is Cruel)4
Disc 2: A:  Zaki Effendi Mourad B: Zaki Effendi Mourad


There is a famous story concerning “El-?ubb sul??nu ?s?” composed by D?w?d ?usn?: It is said that most mu?rib refused the concept of this dawr because it was the first long dawr composed to the ‘ajam maq?m that scared them because they considered it to be linked to western music. While the treatment of the ‘ajam in this dawr is in no way close to the “major”: It was actually an Arabic ‘ajam in the true sense.
 
At first, Zak? Mur?d refused the concept of this dawr saying: “Will we sing with occidental hats?”.

He was finally convinced with this dawr and performed it marvellously, among others who sang “El-?ubb sul??nu ?s?”.
 
Let us listen to it in the voice of Zak? Mur?d who interpreted it marvellously, didn’t he?
Of course… It is one of Zak? Mur?d’s best tunes.

There is evidence that the noble competition between D?w?d ?usn? and Ibr?h?m al-Qabb?n? was coupled with mutual admiration: Indeed, D?w?d ?usn? recorded “El-bulbul g?n? we-all?” composed by Al-Qabb?n?…
  … And Ibr?h?m al-Qabb?n? composed for D?w?d ?usn? dawr “a?ibb el-?usn kh?li?”, didn’t he?
Exactly…
Something we lack nowadays… And we shed crocodile tears over the state of music…
What does the expression “an extension of Mu?ammad ‘Uthm?n” mean?
First, there is an obvious influence of a specific type of Mu?ammad ‘Uthm?n’s melodies, i.e. his later long dawr including “Lis?n el-dam‘ af?a? min bay?n?” or “K?dn? el-hawa”… or ‘Abduh al-??m?l?’s melodies.
The performance by a mu?rib or a mu?riba of almost all D?w?d ?usn?’s dawr may necessitate four record-sides.
The structure of his dawr is clear and solid, and includes some fixed melodic elements such as some l?zima –especially the transitional l?zima, when the maq?m shifts from a section to another– in almost all the recordings of this specific dawr, as well as the ?h?t whose composition does not go against the freedom in their interpretation.
 
The composition of dawr by Ibr?h?m al-Qabb?n?’s and D?w?d ?usn?’s generation took into account the place where the disc will be turned.
I agree, since part of D?w?d ?usn?’s and Ibr?h?m al-Qabb?n?’s production was done before the arrival of record companies, and the other part starting their arrival. They were under contract with the companies who paid them a fee: so they composed their dawr with a view to record them.

The dawr were maybe recorded before being performed on stage with the takht by the mu?rib or the mu?riba. So their recorded performance may have already been famous before their live performance with takht.
 
There is a difference between both recordings by D?w?d ?usn? and by Zak? Mur?d of beautiful dawr “Bi-el-‘ish’ an? alb? h?n?” to the jah?rk?h in the tafr?d, the wa??yid, and the ?h?t: the sections where D?w?d ?usn? intends the disc to be turned are very obvious.
Shall we listen to him?
 
Ok…

This setting/fixing of melodic elements is ensured by trustworthy performers such as Sayyid al-Saf?? and Zak? Mur?d.
Moreover, D?w?d ?usn? who is among the first composers who invented a special way to write music, lacked any knowledge of the western notes, so he sought the help of his friend Mu?ammad ??li?, and maybe of some European musicians residing in Egypt in the early 20th century.
Concerning this issue, I wonder if D?w?d ?usn? also had the notes of his dawr written, besides those of his theatre tunes.
What do you think?
 
I think that a source, probably in “Raw?at al-bal?bil”, mentioned that Ibr?h?m al-Qabb?n? and D?w?d ?usn? only wrote for reference purposes: they recorded a short version of the dawr on their cylinder record phonograph they had at home, and only had the notes written for the gentlemen who played the piano during plays. I am not sure if they also had the notes of their dawr written.
This information was related by both Rizq, and A?mad al-Jund? who added that D?w?d ?usn?’s memory was so good he could compose the beginning of a dawr during a certain month, then leave it aside and resume it six months or a year later, remembering the general idea of this dawr exactly, and resuming it from right where he had stopped it. This proves that he did not need to write down the notes.
  
As for more modern musicians such as Sayyid Darw?sh for example, their theatre tunes are indeed written in full, but not the dawr.
Probably because they believed that the spirit of the dawr and the spirit of theatre tunes were very different, and that their paths were totally divergent.
  The dawr school ended around the late 1920’s and the early 30’s.
Dawr composed up to the 1950’s and even the 1960’s are considered as “digressions”, and are not necessarily the most beautiful.
The dawr died with the death of the Khedivial school or the school of Literary Arabic Music –to avoid a terminology that might link this musical repertoire to specific political circumstances.
The most beautiful and most famous voices who performed these very late dawr include Umm Kulth?m for whom D?w?d ?usn? composed many dawr the most famous of which is “Y?m el-han?”. But there are other dawr: “?usn el-?ab‘ ill? fatann?”, “Sharraf ?ab?b el-alb”, “El-bu‘d ‘allimn? el-sahar”, and “R??? we-r??ak f? imtiz?g” that includes a passing glimpse to the first encounter between Alma? and ‘Abduh al-??m?l?.

It is obvious.
“R??? we-r??ak” undoubtedly includes an intrinsic allusion whose riddle can only be solved by Egyptian Music History experts.

D?w?d ?usn? (1870- 1937) Daoud Hosni Khodr had been working in a printing press binding books when he met Shaykh Mohammad Abdo, who listened to his singing and encouraged him. He learned to play the ? ud in Mansoura, with Muhammad Sha? ban, the same teacher of the famous Abdu Al-Hamuli. He started singing adwar composed by ?Abdel Rahim al Masloub, Al-Hamuli and Muhammad ? Uthmân. He was twenty years old when he started composing adwar, with “Asir el Echq”. Soon, he became a full fledged composer of adwar. Along with Ibrahîm Al-qabbâni, he was the worthy successor of Hamûli and ‘Uthmân.
For half a century, Daoud Hosmi diffused in the ears of millions nationwide the thrill of his melodies. He introduced new styles in the art of music by innovating new tunes and introducing “Maqams” of Turkish and Persian blending. With his compositions he matched the music of both his predecessors and contemporaries. He gave so many compositions to the most famous singers of the early twentieth century such as Sayyed al-Safti and Zaki Murâd, but also to several singers of the younger generations such as Fathiyya Ahmad , Umm Kulthum, Saleh ?Abd al-Hay, Nagât °Ali, Layla Murâd and Asmahan whom he discovered In the mid-thirties.
Daoud Hosni was the first in the Arab world to compose music for an entire opera in Arabic: “Samson and Delilah”. The critics considered it “A unique event in the history of Arab music”. In 1906, he was granted the first prize at the Musical Congress in Paris, for the composition of his famous hit “Asir El’ Eshq”. During the Convention of Music held in Cairo in 1932, he was hailed as the composer of an immortal heritage of Egyptian music art.