أسطوانة أغانى مقاهى القاهره فى العشرينات

[أبوعلى]

إليكم إخوانى إسطوانه كامله وبجودة صوت رائعه
من مقاهى القاهره فى العشرينيات
ومن رفعى الخاص
وهم

منيره المهديه
حبك يا سيدى
أسمر ملك روحى
يا عينك يا جبايرك
بعد العشا
شكوت فقالت

نعيمه المصريه
تعالى يا شاطر
كله إلا كده
أهلا وسهلا بالحبيب الزائر

رتيبه أحمد
وانا لسه نونو
أنا حاسه وانا لسه
يا نا يا امك
قولوا لى بالذمه يا افنديه

تم نقل كل ملف الى مثبت صاحبه .. أنس

[د أنس البن]

شكرا كبيرا يا ابو على على رفعك لهذه الإسطوانه المتكامله القيمه , وبالرغم من وجود كل محتوياتها بالمنتدى لكن أعتقد ان جودة المرفوعات فى هذه الإسطوانه أعلى وأتم ,
لنا رجاء من سعادتك أن تعطينا مزيد من المعلومات وتلقى الضوء أكثر على هذه الإسطوانه ويا ريت لو موجوده عند سيادتك ترفع لنا صوره لها
ونتمنى منك المزيد من تلك التسجيلات القيمه مع خالص الشكر مقدما يا سيدنا

[أبوعلى]

السلام عليكم ورحمة الله وبركاته دكتور أنس اسعدنى جدا ردكم الكريم جزاكم كل خير على مجهوداتكم الظاهره فى المنتدى٠
أمابالنسبه للمعلومات عن هذه الاسطوانه فلم أملك اى شئ عنها لأنى حصلت عليها من مكتبةفى باريس وكل المكتوب على الاسطوانه أسطوانة أغانى مقاهى القاهره فى العشرينات ومن تحت اسماء المطربات منيره المهديه
رتيبه احمد
نعيمه المصريه
بارك الله فيك يادكتور :emrose:

[د أنس البن]

عزيزى أبو على
أشكرك على التعقيب الفورى منكم وعلى الإفاده الوارده بخصوص الإسطوانه , وهذا يدفعنى لأن أطمع منكم فى التكرم إن امكنكم بالحصول على مزيد من هذه الإسطوانات النقيه جدا حيث الصوت فيها أكثر من رائع , لأنى كما فهمت من خلال البيانات المدونه على الألبوم
Cafes Chantants du Caire - Vol. 2

أنه توجد أسطوانات أخرى لروادنا العظام ومنها اسطوانات للسيده أم كلثوم , أرجو المعذره على طلبى هذا والشكر لكم مقدما على جهدكم .

[ben arfa]

السلام عليكم ورحمة الله وبركاته
دكتور أنس هذه الاسطوانة من انتاج نادى الاسطوانات العربية باريس .1994 ومعها كتبب باللغة الفرنسية وانقلزية من اعداد صديقنا فريديريك لا غرانج . وجميع الاغانى الموجدة فى أسطوانة أغانى مقاهى القاهره فى العشرينات الجزء الاول والثانى من ارشيف صديقنا فريديريك لا غرانج .
اما الأسطوانة أغانى مقاهى القاهره فى العشرينات الجزء الاول عبد للطيف البنا و صالح عبد الحى و زكى مراد و الشيخ امين حسنين سالم .
هذا الجزء الاول من الكتب.
MUNIRA AL-MAHDIYYA (circa 1884 - The March 1965)

Zakiyya Mansûr Ghânim, said Munira al-Mahdiyya, was for two decades indétrônable "Sultane chant." Without doubt Zaqâzîq born in the Nile Delta, she sang and danced on the boards of
Azbakiyya of cabarets in the early years of this century and recorded her first records in 1906 under the name Sett (Mrs) Munira, the way in which she imitated almées then tics: laughs
provocative and self-congratulations. His musical training took place at the turn of 10 years: the leap is impressive start almée between the vulgar tone that is heard in the first engravings Odeon and Zonophone, and experienced singer that we discover in 1923 to Baidaphon . She triumphed on the eve of the war on Eldorado and casino Nuzhat al-Nufûs, singing a repertoire of traditional taqâtîq or bitches, but mastered the directory
scholar when she was invited for concerts private dôr-s-s and qasîda for men, taqâtîq for women ... Some attribute to the imposition of curfew by the English during the war,
closed rooms singing, and the decision to Munira to try his luck on the boards of theatres, in 1914. The immediate postwar period is a good period: the first Egyptian Muslim to
embark on the adventure of the scene, she said the role of Shaykh Salâma Higâzî in its great tragedies sung, and was composer of operettas tailor by Dawûd Husnî, Kâmil al-Khula'î or Zakariyyâ
Ahmad. The posters then ensured that the 'winds of freedom blowing through the room Munira al Mahdiyya. "Marital troubles of the force, however, to flee to Lebanon, which it does
that in 20 years. She then experienced a second golden age in his records as on the stage, culminating with "Cleopatra and Marc Antoine" in January 1927, operetta in which it offered the composition and the first actor to rising star Muhammad 'Abd al Wahhâb. Dissatisfied by her partner, she licencia, s'octroya the male role and offered the role of Cleopatra in its competitor singer Fathiyya Ahmad. Do not neglect the music takht, she continued to occur in parallel in coffee shops singing. Independent Woman, she was in her living room apontée barge along the Nile,
and a Cabinet meeting held even there to escape the supervision of English ... The year 1927 saw peak rivalry between the three queens of tarab, Munira, Fathiyya Ahmad and the young Umm Kulthûm who then began his career. Each had his court, and the press was an echo of their plots. A journalist, editor of the magazine "Le Theatre," left to die of love for Munira, entâchant the reputation of the diva. Déclinante in his voice, worn by years of daily performances, it was no longer part of the singer regularly invited by the new national radio in 1935. She retired from the entertainment world, trying nevertheless come back in May 1948, which ended in a pathetic failure. Umm Kulthûm, who attended the concert to encourage its former sworn enemy, however, went to congratulate her, shocked by this cruel illustration of sic transit. Munira lived his last years withdrawn, not without having made seven pilgrimages to Mecca. It gave few interviews to journalists, received the visit of the new glories of singing Arabic (and 'Abd al-Halîm Hâfiz), and died worthy but forgotten after the Sultane of his time.
الجزء الثانى
1 / Hobbak are sîdi ghatta 'ai-koll (Your love erases everything else)
Taqtûqa mode bastanîkar, circa 1925, Muhammad al composition
Qasabgi.
The composition of young lutenist al Qasabgî (1892-1966) uses to
the first time in the light music mode bastanîkâr imported from
Turkey and operated by pre-war composers Ibrâhîm
al-Qabbâr) î and Dawûd Husnî in parts scholarly type dawr.
Munira seized simple melodic phrases to embroider melismas
complex and multiply an ornament typical of his song, tightening
glottis of a cascade resulting in an interruption of, issue. this
"speciality" of the singer made his reputation, and we talked so
the bahha (stamp) special Munîra al Mahdiyya.

2 / Asmar Malak râbi
(A beautiful brown owned my soul)
Taqtûqa mode râst, circa 1925,
composition of Muhammad Ali Le'ba.
This very simple taqtûqa was already pre-war great success
Munira, and remains today his most famous piece. Easy
refrain from beloved, it succeeds in 20 years to transform
by a series of revolutions forces voice and a sense of improvisation
ornementative entering, we note in the second part of disc
cutting its particular phrase "ta'âla beI-agal" (make haste me
join), it cuts in the middle to resume breathing and
repeats without a break. It seems then pronounced "alata", which has no
meaning. This reversal gave the text incomprehensible deliciously
for generations, who did this taqtûqa a symbol of
fantasy and singing techniques in vogue in 20 years ...
3 / Ya 'ênak are gabâyerak (You have a sacred cap!)
Taqtûqa mode bayyâtî, circa 1927.
The complaint of an abandoned lover denounced the "dirty tricks" of his
lover, who acts against it "as a pharaoh", feigning love and
deceiving.
4 / Ba'd el-'esha
(After dinner)
Taqtûqa mode huzâm, circa 1925.
Munîra interpreter here one of these texts "lestes" (for Egypt of
20 years ... ), Which provoked the anger of reformists and
intellectuals, call in their press campaigns to clean up
texts of popular songs, foreshadowing the generation of Umm Kulthûm,
triumphant from the next decade, "After dinner, he
good fun. Come spend the night at home, I waiting Wednesday evening
after dinner (...) approach your hand on a lot fun, I know
although your hand likes to tickle me ...
5 / Shakawtu fa-qâlat
(I complained and she told me)
Qasîda measured bayyâtî mode, circa 1925.
One of the few singers of taqtûqa-s to try his luck in the field
scholar, Munira is rarely risked the dawr and mawwâl, but
recorded its occasions of major arias Salâma Higâzî and
some classical poems sung on the cycle wahda, like
hymnodes past the profane chant. This is the case with this piece. It is
Ahmad Zakariyyâ likely that ensured the compliance of these
subtle interpretations of the rules of singing scholar and read 'proposed
melodic journey from which the singer could add its
own inspiration. The stamp almost gouailleur of singer
causing a striking contrast with the pseudo-Bedouin poetry
interprets it, without much melodic invention but with a
ornamentation and a remarkable conviction.
RATIBA AHMAD
Having pursued a career that coincided with the infancy of the
Press artistic Ratîba Ahmad knows the fate of its counterparts
20 years: it ignores almost all of his life and his training. Sister
the great Fathiyya Ahmad (1898-1976), which specializes in the register
scholar, and the actress and singer Mufîda Ahmad, daughter of a
Shaykh respectable and niece of the legendary almée Bamba Kashshar,
Ratîba Ahmad led a career as a singer taqtûqa-s, dialogues
comic actress and lyrical. Two themes reflected the
reading catalogs Baidaphon company, for which it
serious most of his records: the young dévergondée immoral
Westernized and brimée wife, the wife of vindictive people. the
first extols its charms the putative engaged and fixed its own
dowry, inexhaustible source of comedy. The second makes fun of a husband
fickle, alcoholic (This is the drop of water, you awakened me in the middle
of the night), drugged, denies polygamy (Deliver me from the fire
co-wife) or tradition that live in the shadow of a stepmother
unbearable, announcing a watermark upheavals of a society
less and less traditional. The use of slang,
popular proverbs, allows civil society to sing and
to express the discussions that would later found their expression
that protesters in chants and neglected by the industry
entertainment, such as Shaykh Imâm in 70 years.
Frederic Lagrange, in May 1994

[عازف الليل 2009]

أخي الفاضل
شكرا جزيلا على هاته المجموعة النادرة من أغانينا العتيقة الله يخلليك يا أبو علي
حقا هدية لا تقدر بثمن ونا سعيد جدا لأنتمائي أليكم يا رب تقدرني على المساهمة
في ا ثراء مثل هاته الأعمال الرائعة
:emrose:

[Hala Sherif]

احمله ازااي لو سمحتم ؟؟ الرابط مش موجود :/