This is yet another example of Ḥabushah’s deep acquaintance with, and superb performance of the repertoire of Arabic classical music. Mosheh Ḥabushah Performs The Muwashshaḥ Malā al Kāsāt [Fill up the Goblets] By Dr Merav Rosenfeld-Hadad, Musicologist, Cambridge, UK (July 2018) This is yet another example of Ḥabushah’s deep acquaintance with, and superb performance of the repertoire of Arabic classical music. Here, he demonstrates his talent through an iconic and extremely popular Muwashshaḥ. Muwashshaḥ is a type of song that is considered a classical Arabic poetic genre and was probably developed around the eleventh century in Muslim Spain. The music for this particular Muwashshaḥ was composed in maqām Rāst, by the great Egyptian composer and singer Muḥammad ‘Uthmān (Cairo, 1855 - 1900). The song was performed by many of the most renowned singers in the Arab world. Relatively recent examples are by artists such as the Syrian Ṣabāḥ Fakhrī (b. 1933) and the Tunisian Lutfi Bouchnak (b. 1954). Inspired by the version of this song that was performed in 1923 by the prominent Egyptian composer and singer Muḥammad ‘Abd al-Wahhāb (1902 - 1991), Ḥabushah’s innovative rendition stands out for its minimalist yet sophisticated approach. His performance relies chiefly on his grand voice with its nuanced and multi-coloured twists. Additionally, he presents an interesting combination of two rhythmical patterns, the Ottoman Aksak (limping) and the Arabic Samā’ī. Aksak is a sophisticated rhythm that comprises a group of nine pulses with the following pattern: 2+2+2+3. This alternation of binary and ternary quantities is quite complex. Ḥabushah skilfully and smoothly uses Aksak in the opening part of his performance, that is, in the Mawwāl section, which is a vocal opening performed with short words such as ya leil (o night) and ya ’ein (o my eyes). To my knowledge, he is one of the rare artists who uses this rhythm in general, and particularly in this Muwashshaḥ. Followed by this impressive opening, Ḥabushah gracefully moves to the Muwashshaḥ itself, which is performed in Samā'ī. Ḥabushah’s vocal and instrumental interpretation of both the text and the melody creates a new and refreshing flavour of intimacy and sophistication for this wonderful Muwashshaḥ. His performance exhibits, yet again, a talented Arab-Jewish artist who loves and celebrates Arabic music at its best.
اللهههههههههههههههههه مااحلى مااسمع يارب
Amazing
איזה יופי! להחזיר עטרה ליושנה. אמנים מוכשרים!!! תבורכו!
👍👍👍👍
This is yet another example of Ḥabushah’s deep acquaintance with, and superb performance of the repertoire of Arabic classical music.
Mosheh Ḥabushah Performs
The Muwashshaḥ Malā al Kāsāt [Fill up the Goblets]
By
Dr Merav Rosenfeld-Hadad, Musicologist, Cambridge, UK
(July 2018)
This is yet another example of Ḥabushah’s deep acquaintance with, and superb performance of the repertoire of Arabic classical music.
Here, he demonstrates his talent through an iconic and extremely popular Muwashshaḥ. Muwashshaḥ is a type of song that is considered a classical Arabic poetic genre and was probably developed around the eleventh century in Muslim Spain. The music for this particular Muwashshaḥ was composed in maqām Rāst, by the great Egyptian composer and singer Muḥammad ‘Uthmān (Cairo, 1855 - 1900).
The song was performed by many of the most renowned singers in the Arab world. Relatively recent examples are by artists such as the Syrian Ṣabāḥ Fakhrī (b. 1933) and the Tunisian Lutfi Bouchnak (b. 1954).
Inspired by the version of this song that was performed in 1923 by the prominent Egyptian composer and singer Muḥammad ‘Abd al-Wahhāb (1902 - 1991), Ḥabushah’s innovative rendition stands out for its minimalist yet sophisticated approach. His performance relies chiefly on his grand voice with its nuanced and multi-coloured twists. Additionally, he presents an interesting combination of two rhythmical patterns, the Ottoman Aksak (limping) and the Arabic Samā’ī.
Aksak is a sophisticated rhythm that comprises a group of nine pulses with the following pattern: 2+2+2+3. This alternation of binary and ternary quantities is quite complex. Ḥabushah skilfully and smoothly uses Aksak in the opening part of his performance, that is, in the Mawwāl section, which is a vocal opening performed with short words such as ya leil (o night) and ya ’ein (o my eyes). To my knowledge, he is one of the rare artists who uses this rhythm in general, and particularly in this Muwashshaḥ. Followed by this impressive opening, Ḥabushah gracefully moves to the Muwashshaḥ itself, which is performed in Samā'ī.
Ḥabushah’s vocal and instrumental interpretation of both the text and the melody creates a new and refreshing flavour of intimacy and sophistication for this wonderful Muwashshaḥ. His performance exhibits, yet again, a talented Arab-Jewish artist who loves and celebrates Arabic music at its best.
פשוט ביצוע נדיר ביותר
פשוט מעולה!
שיר ראסט מאוד חשוב. גירסא מקצועית
ياريت الدولاب أطول
Quelle belle mélodie ça porte les larmes dans mes yeux.