VA - Le Stikhbar Chanté (En Algerie)
Les Préludes dans la Musique Arabo-Andalou
Club du Disque Arabe [AAA 093] 1994
01 Nabiyatou elhosni 4:24 Dahmane Ben Achour
02 Bohormat elahdi 3:56 Dahmane Ben Achour
03 Qateltani bighaïri char'ine 4:12 Mohamed Khaznadji
04 Ouine ana ouine hbabi 3:04 Cheika Tetma
05 Qalbi oula men alem bih 1:24 Abdelkrim Dali
06 Masaâb haml elfraq 3:02 H.Mahfoud
07 Elhob yaatik qahra 1:14 Dahmane Ben Achour
08 Fraq elhayat 2:52 Fadhila Dziriya
09 Baâd elhajr elassir 2:37 H.M. Elanka
10 Ana laou achtkit lesma 3:10 Guerouabi
11 Assalat ala ennabi 1:46 B. Elankis
12 Osnor assa tnal 4:31 A. Chaou
13 Aqbal fasl arrabi 2:12 Hsissen
14 Elli habkoum 1:29 D. El Harachi
15 Haj sbabi maa elli 2:29 H. Saïd
16 Elqalb chahik 3:10 Salim Halali
17 Ya froukh ammis nelhor 2:40 A. Zerrouki
18 Athine youren 4:04 Cherife Kheddam
19 Ya fares 4:43 Driassa
20 Mada teddi ya trab 4:49 Abdelhamid Ababsa
ALGERIAN PRELUDES IN ARABO-ANDALUSIAN MUSIC
VOCAL ISTIKHBAR
All Algerian nawbahs begin with a piece called istikhbar [prelude]. Our CD AAA 007 gives an idea of the "instrumental istikhbar-s " as they are played on the various instruments traditionally used in classical Andalusian music. On this release you will get an opportunity to listen to 'vocal istikhbars', which are improvised vocal pieces.
In theory as well as in musical practice, Arab music is monodic but characterized by an untiring quest of all possible vocal abilities and all imaginable refinements in the area of modal diversity and basic intervals.
In performance everything is related to the refinement of the melodic line ornamented by fiorituras which may be compared to arabesques. The sophistication of the ornamentation tests the singer. Usually his interpretation of a poem is improvised in the mode of the next piece. Traditionally a vocal istikhbar is sung by the hed singer of the nawbah, enabling him to display all his vocal virtuosity from the start - we must not forget that personal achievements have always been considered of major importance in music.
Algerian istikhbars are known to be very rich musical pieces. Nowadays more and more istikhbar-s are compositions in spite of their seeming improvised. Here poetry and music blend into one and the refined sonorities of the various instruments respond to the human voice.
There are seven classical Algerian istikhbars, one for every basic mode, the others deriving from those seven ones. There are also istikhbar-s the origin of which is to be looked for in the East, not in Andalusian music. The interpretations by Mustapha Skandrani on his 'Stikhbar' LP from 1965 were recorded in the following order : "raml maya", "mawal", "sika", "iraq", "mezmûm", "ghrib" and "zidane" ; "dhil", "rasd-dhil" and "maya" derive from "mawal"; "hsine" and "ghrib" from Iraq and are usually found in folk music as far as it derives from classical music, which is the case with hawzi, arûbi and Chaâbi
The word "zidane" brings to mind the French words "Gitane" (Spanish Gipsy) and Tzigane (Hungarian Gipsy). Actually "zidane" is a mode characterized by sonorities reminding of genres that have but little to do with Arab music. From "zidane" two modes derive : "raml" and "mûjennaba". Three modes have but recently become part of classical Algerian music : "sahli" (from sahel i.e. beach, strand) - a genre close to "sika" -, the previously mentioned "hsine" and "kûrdi". From its name, it's easy to infer the third one originated in the Kurdish mountains. Hardly influenced by Algerian music, it has actually kept most of its Eastern charateristics. This list would not be exhaustive if we did not mention a very seldom used mode, of Eastern origin too, and not much influenced by Algerian music either : "djaharka"
Modern songs as well as folk songs use the same genres. Even songs considered as "folklore" and going back to the mists of time have nevertheless been somewhat influenced by classical music, for instance in their structure, their instrumental and non-metric vocal preludes, their refrains separating the verses etc.
On this collection we present you a number of istikhbars in the following order :
1- istikhbars as they are sung in classical nawbah-s either as preludes, or between two m'saddarat to achieve more diversity.
2- istikhbars in songs deriving from classical music ("hawzi", "arûbi", and "shaâbi".
3- istikhbars in modern songs that are quite similar in structure.
There are differences of course particularly in the type of accompaniment ; qanûn, kûweitra, lute and kamanja to accompany classical istikhbars; banjo, guitar and mandole to accompany folk songs. As to modern songs, they are often accompanied on the piano, organ or flute.
4- To illustrate an istikhbar of the folklore, we have chosen a Kabylian " ashwiq ". It reminds one of both a classical istikhbar and a Saharan "Aï !Aï ! " It could even be compared with the Spanish "Canto Flamenco" were it not for the rugged singing typical of the mountain dwellers' and that specific portamento which resounds from one mountain top to another as a heart-rending call for help - outstandingly modulated though! An "ashwiq" song does follow rules just as any istikhbar does but its rhythm is "free". Typical for such a song is that it always tells a tale of woe, laments over solitude, lorn lovers faithful to their love in spite of being forsaken... The words of these songs are unpretentious, they are not an experienced poet's verses, they are words sprung from the heart of a modest girl spinning wool or that of a shepherd, both being anonymous people but transitorily favoured by inspiration.
The example given here, "Athin yûren", is a vocal duet by Cherif Kheddam. It is a delicate, well-structured piece, rich in oriental sonorities and fiorituras . Here he sings it together with Nouara, all the while accompanying their duet on the lute. Of course, such a refined accompaniment brooks no comparison with the thin accompaniment provided by the flute, a regular instrument with the Kabyles.
5 - Our last istikhbar is a very odd one. It serves as an introduction to a song of the Saharan genre 'Aï ! Aï !', a genre the repertory of which consists of nothing else than istikhbars.
Some of the finest musique ever wax'd, but this collection of preludes leaves me starving to hear more, which is the only downside to this otherwise encroyable compilation of 'overtures' from renowned singers of the golden age of Algérie Arabo-Andalusian musique. In terms of broadening my scope regarding the very rich artistry, tradition & vocal virtuosity from this region, the depths of which was hitherto unknown to me, this compilation surely stands alone as the best i've personally ever had the good fortune to come across. If listening to this one leaves your ears as thirsty as it does mine, thankfully there is more just a few cliques away. Le Chargé d'affaires et Ministre de la Culture et des relations internationelles Luobanienne has recently posted another diamond, this thyme from Dahmane Ben Achour [featured on several traques hear] at the wildly inspirational & educational Anthems for the Nation of Luobaniya 罗巴尼亚国歌. spread the love around. sharon is karen! would also love to hear more from H. Mahfoud, A. Chaou & Abdelhamid Ababsa so kindly keep yr ears to the ground.
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