The
Moderns
The rise of the popular movement which ensued in
environment which encouraged previously frowned upon musical forms. The resultant new wave would
find its main artistic figures, as well as champions, in the urban streets café scene. Young composers such
as Kamal Al-Tawil (1922-2003), Mohammad Al-Mogy and Baligh Hamdy would exert a major influence on
the future direction of Egyptian music. Primarily through their close association with Abdel Halim Hafez,
they would account for over 150 of his songs, these three innovators helped guide Egyptian music
throughout the 1950’s and afterwards.
The youngest of the three, Baligh Hamdy (1931 - 1993) was the last to
arrive to that illustrious collaborative effort and would benefit greatly
from the works of the two other composers as well as other notable
composers of that time such as
Mohammad Fawzy (1918-1966)
He would become one of the
most prolific composers in
the history of Arabic music.
In addition to his long
association with Abdel Halim
he was the first of that younger
generation of composers to be recognized by Umm Kulthum for whom he
would eventually compose eleven critically acclaimed and highly popular
works. He also composed for virtually all major singers of his time.
Shadia, Nagat,
recipients and avid admirers of his art. Of the younger and current
generation of singers, Samira Said, Mayyada Al-Hennawi, Magda Al-
Roumi as well as Hani Shaker all would acknowledge their beginnings and
ultimate successes to his compositions.
I have found Baligh Hamdy’s music to be incredibly personal. One is
almost compelled to respond to such baring of the soul. As if I want to
express my solidarity with the man; to share his emotion. Offering a
choreography to a Baligh Hamdy composition is invariably a most
delicate endeavor. It’s always difficult to bare one’s soul in public. Not
surprisingly therefore, his is the music I dance to the most when I’m with
my students or in seclusion.
The rise of Shaabi
In the late 1950’s, along with Al-Mogi (1923-1995), Hamdy became
particularly interested in Egyptian Folklore music. Frequent trips to
rural
appreciation of that musical form which,
of note, is closely associated with Raqs
Sharqi.This renewed interest would lead
him to what is perhaps the most famous
collaborative efforts in the history of
popular, or "Shaabi" as it came to be
known, Egyptian music.
In 1960, Hamdy met the young Egyptian Poet, Abdel Rahman Al-
Abnoudi (1938 - ). Growing up poor in
young Al-Abnoudi’s edgy, street-wise, yet deeply romantic lyrics
proved the tipping point Hamdy had needed.
Shortly after, the two would meet the young singer, Mohammad
Roshdi (1928-2005) who, fresh from his recent success on Egyptian
Radio, provided the precise kind of tone Hamdy had been looking
for. The trio would collaborate on several extremely influential
works.
The first and most famous of these
has to be one of my favorite Shaabi
songs. “Adaweyya”, Generally
considered the antecedent of all
current Shaabi (popular) music, was
an immediate phenomenon. The
song starts with a more edgy Mawwal
from, popular on village streets but previously not heard in recorded
Egyptian music. The song then progresses through a beautiful
standard borrowed from early twentieth century Egyptian folklore and
into a highly energetic but exquisite chorus. Al Abnoudi’s earthy
lyrics proved deeply popular on the streets of
coiled, almost impatient delivery was such a revelation that it gave rise
to a whole generation of popular singers. On all levels, the song is a
seminal milestone in all Egyptian Folklore.