Watch the following extract from one of her live performances in 1968.
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The experienced orchestra behind her is professional and masterful enough to keep up with her improvisations, although she might often give certain hand cues to direct them, as a composer would. Oum Kalthoum’s songs can often go on for hours, exemplifying the improvisatory nature of tarab by repeating certain, impactful lines (sometimes by audience request, which was done by calling out to her as she sang) in different ways, emphasizing different words & holding different notes in order to provide a different experience. One of the most famous singing voices in the world, Oum Kalthoum is lauded for keeping the style of tarab alive, in which the singer is in conversation with the audience, and they exchange energy in order to keep the performance alive, active, and unique. Oum Kalthoum’s songs are a testament to this. However, the traditional style would never truly die, and the composers of the Nahda would try to keep it alive through this experimentation.They would never stop composing in the traditional styles as well. Take, for example, Asmahan’s hit song from 1935, Ya Habibi Ta’al Elha’any (My Love, Come Quickly) Many performers like Saqr, Ronza, and others would find their peak in certain decades and then struggle to maintain their fame, having to compete against contemporaries, up-and-comers, and established names.Ībdelwahab was one of many composers to incorporate new & experimental styles of music with Arabic music, as his song for this week demonstrated.īritish influence on Egypt can be observed through their incorporation of Western and world styles that could only have become accessible through British networks. This allowed Saqr to perform in the only recorded version of this play to exist. However, the Civil War in Lebanon forced many, including Sabah, to move to safety elsewhere. Initially, Sabah was meant to be the main star of this play, with Pascale Saqr as her understudy. Pascale Saqr singing Wa’adouni w Nattarouni (They Promised Me & Stalled Me) or From Sayda to Jounieh - 1983įrom the play Wadi Shamsein (Shamsein Valley), scenario and song by Elias Rahbani. But also, both Elias and Ziad were looking to create distinct brands separate from the original Brothers, Assi and Mansour. The Rahbani Franchise’s (which now included Ziad, Fairouz’s son, and Elias, the Brothers’ younger brother) hallmark was evolution and experimentation, so to uplift and discover new voices is entirely within the norms for them.
Ronza is one of many artists who collaborated with the Rahbani Brothers in the 1970′s and 1980′s as they gained nationwide popularity in Lebanon alongside Fairouz. The newer generation would try to create their own way, while also paying homage to the living legends that they sometimes called colleagues.
While giants like Sabah and Fairouz still dominated the scene, they were growing older, which made it harder for them to tour, or perform to the caliber that their audience was used to. This paved the way for a new generation of artists who had an incredibly tough act to follow. Many others, like Layla Mourad, Mohammed Abdelwahab and Shadia, were retired or on their way to retirement. The 1970′s took from the Arab world Oum Kalthoum, Farid Al-Atrash, and Abdelhalim Hafez, and more more. Harramt Ahebbak (I’ve Denied Loving You) released around the same time as Batwannes Beek, was also a phenomenal hit for Warda.īy the 1980′s, many of the original voices that had defined Arabic music were either very ill, or had died. (warning for a lot of flashing lights in this video) Her hit song, Batwannes Beek (I Find Comfort In You), released in 1993, is closer to 13 minutes in length, but lucky for you, the music video is closer to 8 minutes. If you really like it then go ahead and listen to the other one as well!
She hearkened back to the age of tarab, with all the intricacies of improvisation that icons like Oum Kalthoum defined, while the composition behind her brought in new and experimental instruments and sounds.įor this week, you don’t have to listen to both of these songs since they’re very long (I wonder why!) Pick one and enjoy it. Her work in the 1990′s remains her most iconic, producing many great songs which refined Arabic music to an unprecedented level. Known by her stage name Warda El-Jazairiya (literally Warda the Algerian) had been active briefly in the 1950′s and 60′s, but revived her career in the 70′s.
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More new artists, while the giants continued to dominate, old and new voices alike covered the radio stations, theatres, and TV screens. If the 1980′s was a time of change for music, then the 1990′s was certainly an expected time in that regard.
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