Maroc :Musique Classique Andalou-Maghrébine

Given the long and complex nature of Moroccan classical music, or the Andalou-Mahgrebine, the compilers of this volume on the state of the tradition since 822, have centered themselves on one form of music, the nawbat, which is ostensibly a suite of songs in five movements with differing time signatures. Each movement comprises a series of poems (each one being a san'a of two, five, or seven lines) sung over different melodies. A single movement of the nawbat may contain over 40 san'a! There are purely instrumental passages as well, which serve as preludes or interludes, and in some cases even etudes. The center of each nawba is a melodic mode, which influences from the start all other melodies, harmonic restrictions, and architectures, etc. Modes can be introduced that differ, but they must contain the root of the original within them. Other rules governing the nawbat are occasions and the hours of the day when they are to be performed. In antiquity, there were 24 full nawbat. There remain only four complete ones and seven fragmentary. The full nawbat are rarely performed, as several hours is required to complete the cycle. What this disc features is a fragmentary nawbat as conceived by Morocco's authority and producer of such performances al-Haj'abd al-Krim al-Rayis, entitled "min wahi al-rabab." The poems tell stories of love, passion, and devotion to the prophet Mohammed and the desire for Divine Union. Interestingly, unlike in other Moslem societies, physical love is not left out of the cycle and in the singer's voices along with the oud, tar, violin, viola, cello, qanun. Rabab and other instruments, the singers' voices are intoxicated with their texts in the face of the music, and become enrapt, their voices cracking and groaning in pleasure and devotion as they whir and whirl around their instrumental counterparts. Though there are no translations in the booklet of the poems, it's just as well; the poetry and wondrous mystery is in the sound itself. ~ Thom Jurek, All Music Guide

TRACK LISTINGS

[01]. Nûba - Al-Hijâz Al-Kabîr

[02]. Nûba - Al-'Istihlâl

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Oriental - Choir Of The Faculty Of Music - Kaslik University

Conductor: Aida Chalhoub Ziade Producer: Louis Hage. A collection of traditional, classical and andalousian music and songs .

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Oriental I /
Oriental II /
Oriental III /
Oriental IV /
OrientalV

Pedro Aledo & Ensemble Méditerranéen - D'ile en ile

Ensemble Méditerranéen
Pedro Aledo

From island to island

The Mediterranean Ensemble launched themselves out the challenge to appear entirely on the record marks but, also and especially to exist concretly through concerts and cultural events, which aims besides the sound and musical attraction, do bear on the creation of a humanistic trend. As a matter of fact, more than a "fusion", the Mediterranean and worldwide cultural generally speaking, is a universal patrimony which deserve all the interest of the human wills, in order to soundly build the grounds for a revival of the cultural and educative values. A momentum towards the surpassing of oneself, needs some courage and efforts. Some actions untiringly repeated. By bringing together some musicians friends from different extractions, I would like to take part in the creation of trend of tolerance and joy of living shared freely.
The support and the confidence of France-Télécom allowed me to under-take this artistic step. I do quote this sponsorship with a heartfelt gratitude.

My sincere thanks, also, to Regine and J.P. Déméry (Souleiado) as to the persons that brought their help to the realization of this record.

Pedro Aledo~

1. THE WEDDING SONG
A very popular song in Algeria and in the maghrebian communities living abroad the country. This song do accompany the festivities during the marriages.
Spanish text and arrangements : P. Aledo,
Spanish song : M. Fernandez,
Text and provencal song : M. Bramerie,
Algerian song : T. Bestendji,
Violin solo : C. Zagaria.

2. DULCE MELONAR
Andalusian popular song : "I sell very mild melons, and watermelons are very coloured".
On this theme, P. Aledo built a woof, half sung, evoking the "Tanguillo", musical form from Cadix.
Spanish text : A. Fernandez, P. Aledo,

3.TLM
Music composed by P. Aledo during a recent stay at Tlemcen (Algeria).
J.C. Latil (Oboe),
T. Bestendji (Quanoun),
M. Montanaro (Flute),
H. Hamadouche (Mandolute).

4. SERENATA SICILIANA
In the origin, this song was accompanied by a jew's harp. P. Aledo disclosed oriental-andalusian feature on the melody and coloured it with a "taqsim" and some answers in the quanoun

5. FROM ISLAND TO ISLAND
Inspired from the SERENATA SICILIANA, composition of P. Aledo, by inserting in it some verses in corsican, french, catalan and spanish. The quest of the beauty : "of she", the woman, the mother, the sea, the light...
This theme gave it's title to the record Soloist, guitar and singing : P. Aledo.

6. COMO QUIERES
From the north-west of Spain, region of Sanabria, repetitive musical theme on which Equidad Bares, the Performer, has improvised and fixed this loving plaintive ballad with a musical arrangement of P. Aledo
Soloists : M. Montanaro (double flutes),
Ch. Zagaria (violin).

7. FAGGIANELLA
At the time of the practice for recording of this record, Jacques DAU made explode this "Lamentu" of the south of Corsica. Song of the mountains, which seems inspired by some "Volcanic sigh" of the corsican soul.

8. CHAOUI
Berber wedding music played by T. Bestendji in the Zurna (close to the brton bombard, both are ancestors of the oboe).
Davoul and Bendir by S. River and Hamadouche.

9. FROM CADIZ TO MARSEILLE
In the first CD of the Mediterranean Ensemble, P. Aledo had superposed an Algeria Flamenco rhythm and a corsican terzetti.
It's the meeting here, still astonishing, of the Petenera, archaic flamenco mode (dreaded by the singers, so much it was apparently loaded of "maldicion") and an Occitan song which text quite as much tinged with sadness and loneliness.
Soloists guitar : Juan Santiago and Antonio Fernandez,
Song : Felix Santiago and Miquela Bramerie.

10. GASPARD DE VILANOVA
A song from a musical under "Le siege de Mons" (Words),
Michel Montanaro (Music).

11. SEPHARABE
Contraction between two cultures since centuries neighbourhood.
Dialogue between a part of a "cantigua" sepharade and an "arabo-andalous"evocation.
Vocal : Pedro Aledo, Taoufik Bestendji.

12. YO NO SE QUE ES EL AMOR
Rumba Flamenco, far from the common spectacular screams to this musical style. The young Manuel Fernandez, his brother, his cousin and parts of the Ensemble, offer this song with vitality and moderation.

13. SEPARATION
Cenem Diyici offered this song, from the east of Turkey, to the Mediterranean Ensemble.Ballade of an evening of January the 30th 1992, coming to settle on this record, such as a present coming from the heart of voice and the soul of Cenem friendship.
Accompanied by Alain Blesing (Ac.Guitar).

Raga Marwa
01. Chant de noces (Traditional Algerian)
02. Dulce melonar (Traditional Andalusian)
03. TLM (Pedro Aledo)
04. Serenata siciliana (Traditional Sicilian)
05. D'île en île (Pedro Aledo)
06. Como quieres (Traditional Of Sanabria)
07. Faggianella (Traditional Corsican)
08. Chaoui (Traditional Berber)
09. De Cadiz à Marseilla (Traditional Andalusian/Provencal)
10. Gaspard de Vilanova (A. Neyton & M. Montanaro)
11. Sepharabe (Traditional Sephardic/Algerian)
12. Yo no se que es el amor (Traditional)
13. Separation (Traditional Turkish)

Michel Montanaro - accordeon, flute, galoubet, tamburin, alto sax
Guy Suanez - spanish lute
Equidad Bares - vocals
Pierre Bonnet - flamenco guitar
Taoufik Bestandji - kanun
Zurna - vocals
Felix Santiago - flamenco guitar, vocals
Juan Santiago - flamenco guitar
Antonio Fernandez - flamenco guitar, vocals
Manuel Fernandez - vocals
Sandy Rivera - vibraphone, percussion
Keyvan Chemirani - zarb, percussion
Mustafa Toumi - darbouka
Christian Brazier - double bass
Andre Carboulet - clarinet
Christian Zagaria - violin, mandolin
Hakin Hamadouche - vocals, mando-lute
Miquela Bramiere - vocals
Jean-Luc Latil - oboe
Pedro Aledo - vocals, guitar, director
Jacques Dau - vocals
special guests:
Francoise Atlan - vocals
Cenem Diyici - vocals
Alain Blesing - guitar


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Al Andaluz Project - Deus et Diabolus

The bewitching Deus et Diabolus (God and the Devil) threads together the voices of three women: Mara Aranda, from Valencia's L'Ham de Foc; Sigrid Hausen, from Munich's medieval music group Estampie; and Iman al Kandoussi. They are accompanied by a lively ensemble of flutes, qanun, ud, saz, rabab, fiddle, nyckelharpa, hurdy-gurdy, pandera tambourines and percussion. It's an inspiring encounter between the talented musicians of L'Ham de Foc and Estampie recorded in the old Cartuja Monastery, Cazalla de la Sierra, Seville. This is sprightly music, fusing Mediterranean, Oriental and medieval moods. The ethos underpinning their reinterpretations of Arab, Jewish and Christian cantigas to the Virgin Mary, their reimaginings of sensual dances and Arabic songs, is expressed by a line from poet Ibn al-Arabi, 'Wherever the caravan may bend its steps/Love is my religion'. While each exquisite piece speaks for itself, they flow together like a song cycle embedded in a utopian view of the past as one of dialogue and peaceful co-existence between religious cultures. The 13th-century 'Cantiga de Santa Marнa' is just one breathtaking moment, transporting in the way the timbres and textures of voices and instruments interweave. The arrangements for each of the 12 songs are stunningly varied, each 'voice' jewel like, distinctly within the fabric of pieces. -- SongLines

[01]. Morena [02]. A Virgen Mui Groriosa [03]. Nassam Alaina Lhawa [04]. Pandero [05]. De Santa Maria [06]. Chamsse Lachia [07]. La Galana y el Mar [08]. Gran Dereit [09]. Atiny Naya - Solo Iman [10]. Lluna [11]. Arrachia Lfatan [12]. Las Suegras De Ahora .

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Kol Oud Tof Trio - Gazelle

The 'voice ud drum' trio brings together distinct Moroccan Jewish repertoires: Spanish women's songs from northern Morocco, Haketia, the Ladino of the Jews of Northern Morocco; songs in the Jewish Moroccan Arabic dialect; Moroccan Jewish liturgical music; and classic Andalusian songs in Hebrew. Singer Esti Kenan-Ofri is accompanied by Armand Sabach (oud) and Oren Fried (percussion)

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Legends Of Syrian Music

• Ahmad Al-Qabbani (1836-1902): Commonly known as Abu Khalil al-Qabbani. A pioneer of modern Arab theatre. Born in Damascus. He revived the art of Mouwashahat and the traditional Samah dance. His first play Naker Al-Jameel was performed in Khan Assaad Pasha in Damascus, and was criticized by the city's conservatives. He moved to Cairo, Egypt in 1883 and stayed there for 17 years, during which he performed many musicals. In 1900, he returned to Damascus to perform more plays. This year is considered the date of birth of the Syrian theatre.
• Omar Naqichbendi:Very little is known about 'Omar Naqichbendi, and this was his only full-length recording, made when he was quite elderly. Although he was self-taught, and neither studied nor taught at a conservatory or academy, he was widely regarded as an absolute master of traditional Arab maqamat and modulation, and was frequently consulted by other leading artists who sought to perfect their art. Such was his status that he was often called the Prince of 'ud in Damascus, and the Patriarch of Syrian music. His art was the product of rigorous and precise self-education with the aim, as he modestly expressed himself, only to become a connoisseur himself. He was the premier soloist for Syrian television and performed often for t.v. His style is remarkable for sustaining the ancient musical tradition of Damascus, which had been for many centuries the center of Islamic artistic culture.
• Abd Elsalam Safar: The Master of Syrian Nai
• Sobhi Jaroor: First Violinist of Syria

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Ahmad Al-Qabbani | Omar Naqichbendi | Abd Elsalam Safar | Sobhi Jaroor