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baseelo
Oud Addict
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Registered: 11-13-2012
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What is it about Nahat?!!
Hi everybody,
I know this might sound real naive.
But what is it about Nahat ouds that makes them so attractive and interesting for every oudist?
Is it just the historical value, or is it that oudists of today find a magic quality of sound in them that they can't find in othere makers' ouds?
And if it is the sound quality, haven't makers who always try to make new Nahat-like ouds been able to reach the same quality with all the technology
that we have today that definitely make things easier on them?
And why aren't oudist as attracted to products of a maker like Jameel Kandalaft , for example, who made the famous MOP loaded oud of Farid AlAtrache.
All of these interesting discussions about Nahat products make me so curious.
Thank you.
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Brian Prunka
Oud Junkie
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It is mainly the sound. There are other great old makers, like Onnik Karibyan, Gamil Georges, Leon Istanbuli, and others, but since the Nahat family
had a couple of generations of luthiers, they produced comparatively more instruments, so they are easier to focus on.
I'm sure many oudis would like a Kandalaft oud, but one never sees them for sale, so there is less discussion.
I could tell you that Shukri al-Mulki made great ouds in Syria around the same time period, but good luck finding one, since there are only a handful
surviving.
Technology isn't nearly as useful as trial-and-error when it comes to unlocking the secrets of great instrument sound. Why do Stradivarius violins
sell for millions of dollars?
Not all Nahats are great (as noted in the other thread, some in the family made better ouds than others, and there was a range of ouds produced even
by the same maker), but on average, they are fairly reliable in having a superior sound.
The makers living today that are most often getting closest to that sound, IMO, are Najib Shaheen and John Vergara (Bulerias on the forum). Faruk
Turunz, and some others, make great-sounding ouds but they have their own distinct character.
I'm sure that history and appearance have something to do with it (they definitely affect the price), but the general interest is because of the
predictably good sound.
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Alfaraby
Oud Junkie
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Why Nahat ?
Nahat's name has been associated with Syrian oud making over a century, and has become a synonymous of excellence, perfection and brilliance, that
have been imitated by both contemporary and subsequent makers.
There is no doubt that there are numerous reasons to explain the supremacy of the Nahat oud over a whole century; but the most important reasons, from
my own point of view, are:
First: Nahat was not just a person, but an ancestry of luthiers, who had transferred their workmanship secrets from fathers to sons
&/or brothers for at least a century : since the establishment of the Nahat Brothers Partnership – "Ikhwan Nahat" - of Abdo & Rofan in
Damascus back in 1880, through their brothers Hanna & Antoine, through Hanna's sons George & Tawfiq until the last of the Nahats, Elias Abdo
Nahat, who had made his last oud in Sao Paulo, Brazil in 1984. No one has ever succeeded to break this nasty circle of those seven luthiers. Thus the
secrets died along with the owners' death. What a pity !
Second: Nahat family was not solely devoted to luthiery, as they had a very busy carpentry shop and were the manufactures of custom
luxurious oriental traditional furniture, as been indicated in Abdo's famous label. Nothing on the label insinuates they make ouds ! Therefore they
just had no need to make ouds to insure their living, at least until the liquidation of the business by Abdo and his whole family's immigration to
Brazil in 1937.
Third: They started making ouds in Damascus in the late nineteenth century, with the absence of serious competition. They were, in
this concept, the pioneers, who had set the rules and the measurements of the modern oud, of which we've seen the first copies. Earlier, it has
seemingly been a different instrument, either larger or smaller, primitive kind of oud. It is true though that oud is not a Nahats' invention, since
it has always been an integral part of the Arabic musical civilization, but the Nahat ouds were just perfect, as evidenced by the immortal pieces
preserved since then, with some specifications that were not common in the industry at the time, and by the absence of others' ouds, which disappeared
or have crumbled or collapsed since then. This proves they were structurally fragile and weak, or they never existed.
Fourth: Nahat ouds proved over time that once they survived accidents, they'd live long, due to a special process of making and the
adoption of the best raw materials of wood and glues. These preserved instruments prove that these makers have known exactly what formula resists time
and shocks. Thus the name "Nahat" has become a superlative, often associated with excellence; to be called "the Nahat" of any field is to be deemed
the finest there is, just as Stradivarius did with his great violins.
Fifth: The durability of Nahat ouds also contributed to prolonging its life, which has had the greatest impact on their current
sound; since no newly built oud is capable of producing old sounds, regardless of the quality and mastery of its making. I tend to believe that Nahat
ouds weren't of this sound quality when they were first built, and that this well- known sound of the Nahat ouds is a production or contribution of
time. Some others' ouds that has exceptionally withstood time had similar to some degree sound, suggesting that the passing of time and the drying of
wood over the years would have impacted the formation of resonance that comes out of an old Oud.
Sixth: Nahat may have known exactly what sound they want from their ouds, so they just created this kind of sound, just like a
jeweler molding a golden jewlery. We scarcely find a Nahat's oud (and I mean a very good authentic Nahat, mostly Abdo's) that does not give us this
special timbre we all cherish. This kind of sound was inculcated in the ears of performers and listeners, and became dialectically linked: this sound
of this kind of oud comes from this oud which produces this kind of sound. Nonetheless, it is only natural that there would be some fiascos in the
industry, but those were only the exception, not the rule.
Seventh: The makers took advantage of their know-how and trained skills in the industry of manufacturing oriental furniture,
decorations and interleave wood-wood and wood-ivory &/or mother of pearl, etc. in their ouds, so it turned to be, along with its durability and
tonal qualities, a distinctive artwork of beauty, precision and good taste. They have spared no effort in wood carving, decorations, stylization and
interlock, indifferent to the time they'd spend on such works, provided that their product turns to be a piece of art, just like their other oriental
artifacts.
They also made use of motifs that were originally prepared for manufacturing their oriental crafts, such as tables, chairs, side-lamps, etc. - in the
oud, which spared them a lot of effort required to make such motifs specifically for ouds, as these units were manufactured in the form of rods,
sliced cross and inlayed in their products. These sophisticated oriental motifs were needed for both, oud or other artifact, supplementing each
other.
Eighth: Nahat invested lot of effort in planning and implementation of the rosettes, so that they became no longer just covers of the
soundboard holes, but a masterpiece for itself, in which time, effort and expertise were invested, indifferent to the time they'd spend in. They made
more than one great rosette, each of which is a masterpiece per se, so that an oud which looses its rose, looses from its value. Nahat also hired
their knowledge in carpentry to make a combination of wood-bone roses, that made many contemporary makers goggle speechless.
More to come … well, maybe !
Yours indeed
Alfaraby
alfarabymusic@gmail.com
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baseelo
Oud Addict
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Registered: 11-13-2012
Location: Michigan, U.S.A.
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Thank you Brian and AlFaraby for your highly appreciated replies.
Brian, what you mentioned regarding the sound being the main reason makes a lot of sense. It is interesting that you mentioned Shukri AlMulki as a
great oud maker. I happen to be an American who comes from a Syrian family. I was born in Damascus and grew up there. I did hear the name of Shukri
AlMulki a couple of times from some of the musicians that I learned from or met in Damascus like Nizar Moraly , Zaki Mohamed and my teacher the great
music historian Sameem Shareef who passed away about 2 weeks ago…… But most of the enthusiastic discussions were about the Nahats, especially
Abdo. I didn’t pay much attention then to all of these conversations, but now I understand more what they meant. It is interesting, AlFaraby, that
you mentioned Salka as a commercial oud maker. This was where I would go to buy my oud strings those days. He had a small shop in Souk AlHamidiyyeh
full of “ tourist” ouds. You can’t imagine the nostalgia all of these memories bring to me.
Dear AlFaraby, you never fail to amaze me with the plethora of information that you have about the Nahat family. I really think that you should write
an extensive article about it. It will be an important historical text. I really mean it.
I appreciate the eight points that you mentioned. Particularly interesting to me is what you said in the third point: (They were, in this concept,
the pioneers, who had set the rules and the measurements of the modern oud, of which we've seen the first copies ) This per se, is a point
important enough to make them of the most important makers of oud in the history.
Lucky is the person who gets a chance to get his hands on one of those masterpieces.
Thank you so much guys for your time and the great info.
Sincerely,
Basel
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THE GUY FROM THE PAST
Oud Lover
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Registered: 11-20-2012
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To tell you the truth I do not believe the legend of Nahat- who is Nahat? it is a full pedigree of at least 13+ makers stretched over almost a century
till the late sixties. Out of these thousands of ouds produced over the years the likelihood of survivors over the years is greater than any other
maker. I have come across many nahat ouds, only few have been appealing to me, only those by abdu the great.
The real Stradivarius of ouds in my humble view are 2:
Abdul AZIZ AL-LETHY OF Egypt
&
Manole of Istanbul
Among the living luthiers who are closest to the Nahat style and twaninig are 2
Kamil moais: all his ouds are Nahat style
&
Michael Moussa`s replica of abdu Nahat in rosewood
The guy from the past
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Adel Salameh
Oud Junkie
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Al Faraby and Brian... both you are right... very well Said...
when we talk about legend oud makers, as became known as a Stradivarius of oud making... I came a cross only 2 makers that can achieve this which
are
Manolis and Abdo Nahat...
we had many good makers ...but the 2 has combined the sound and workmanship ... their instruments are simply perfect...
Good luck, Adel
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Brian Prunka
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Yes, Manol, of course. And Kamil Mouais/Mwez does make great sounding ouds, I forgot to mention him.
Thanks to AlFaraby for the great detail.
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Alfaraby
Oud Junkie
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Thanks fellows. I'm flattered 
Basel: u2u me if you please about your suggestion.
It was all about Nahat, not others, neither comparison nor discussing who makes what, where or when nowadays. Nahat "style" is not the semblance nor
the shape of the oud; otherwise, no one like Zaher Khalifah in Damascus or Ahmad Abd Aljaleel in Kuwait are capable in these days to make an exact
copy of a Nahat. See here:
http://www.mikeouds.com/messageboard/viewthread.php?tid=13284
http://www.mikeouds.com/messageboard/viewthread.php?tid=13424#pid91...
Nahat oud is not "copyable" - if I may so - no matter what luthiers do to copy the exact bowl, braces, soundboard .. whatever. Not even the great
luthiers' sons who were literally born into their father's workshops were capable of making a single copy of their father's; not Abdo's, not Hanna's,
not Fadel's, just like Antonio Stradivari's sons who caught up the business weren't able to make what their father had taught them or what they have
seen it done in front of their wide open eyes. This is the secret of making that the maker can't pass to his sons, nor to his apprentices. Manol
passed all his secrets to his fellow makers who once used to work for him, but none of them (maybe except for Carribyan) was another Manol.
Yours indeed
Alfaraby
alfarabymusic@gmail.com
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baseelo
Oud Addict
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Hi Alfaraby,
I just sent you a u2u.
Thank you
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Alfaraby
Oud Junkie
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Got it Basel & replied. Pls. contact me through my email.
Yours indeed
Alfaraby
alfarabymusic@gmail.com
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Alfaraby
Oud Junkie
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Quote: Originally posted by Alfaraby  |
The makers took advantage of their know-how and trained skills in the industry of manufacturing oriental furniture, decorations and
interleave wood-wood and wood-ivory &/or mother of pearl, etc. in their ouds, so it turned to be, along with its durability and tonal qualities, a
distinctive artwork of beauty, precision and good taste. They have spared no effort in wood carving, decorations, stylization and interlock,
indifferent to the time they'd spend on such works, provided that their product turns to be a piece of art, just like their other oriental artifacts.
They also made use of motifs that were originally prepared for manufacturing their oriental crafts, such as tables, chairs,
side-lamps, etc. - in the oud, which spared them a lot of effort required to make such motifs specifically for ouds, as these units were
manufactured in the form of rods, sliced cross and inlaid in their products. These sophisticated oriental motifs were needed for both, oud or other
artifact, supplementing each other. |
Hello friends
This quote has been written several times in the past, but we haven't really seen any of these crafts in person. First, because they were a century
old furniture; and second, because The Holy Land knew a lot of trouble that might have ruined what was left from such furniture.
Now all of a sudden, I came across two of these magnificent products of the legendary Abdo Nahhat whose grandson Abdo Nahhat Jr. (probably Elias's son
in Brazil) has published lately. He pointed out on a foot-note (in Portogese): "Oriental style chair made by my grandfather Abdo in 1910" !
I spent hours looking at these marvellous works of art and I'm sure you would do also. Wherever you'd look, you'd see a motif that you have already
seen on Abdo's ouds. What a great unbelievable work of art. What I didn't really know is the fact they made beautiful embroidery as well. I tried to
read what is embroidered there, but couldn't. Maybe you may !
ENJOY
I'm sure you will
Yours indeed
Alfaraby
[file]36110[/file] [file]36112[/file]
alfarabymusic@gmail.com
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Dr. Oud
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Alfaraby pretty much nailed the reasons for the fame of Nahhat ouds. While Abdo and Elias emigrated to Brazil in 1937, George Hanna continued to make
ouds in Damascus until the mi 1960's. The quality undeniably suffered without the supervision of the master, and George Hanna' output was prolific,
possibly indicating a mass production operation. There are some ouds left by Elias in Brazil, and the workmanship is superb, but his granddaughter has
them and doesn't seem interested in selling them, probably because their value isn't similar to violins or even fine guitars. I believe that Adel
Salameh went to Brazil but returned without one of these ouds. Market forces determine prices and ouds just don't receive the value of violins or even
guitars. I've seen electric guitars from the 1950's selling for $25,000! Fine handmade guitars today sell for over $20,000 from the best makers,
violins start around $40,000, so why are ouds so cheap?
The loss of knowledge and skill due to the lack of an apprentice system in the Arabic and Persian cultures (outside the family) is an unfortunate
factor. Turkish oud making has benefited from an open apprentice system resulting in ouds today being built with the same design, detail and quality
as the old Manols, with only the age missing to develop the distinctive tone quality. This aging process is the only thing that can't be replicated,
so in 25 years or so, some of the ouds made today may rival the sound of Nahhat ouds.
Some more information about Nahhat ouds:
http://www.droud.com/Nahhat.html
Nahhat ouds available:
http://www.droud.com/for_sale.html
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suz_i_dil
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You're right Jameel...enjoyable !
what an amazing work of art on those furnitures !
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SamirCanada
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Wow... just wow.
@samiroud Instagram
samiroudmaker@gmail.com
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mercm525i
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Also found this drawn by Elias Nahat. Photo was commented "Desenho das 12 cordas musicais do Alaúde feito pelo meu pai Elias Abdo Nahat"
Translated: Design of 12 musical strings of the oud done by my father elijah abdo nahat
[file]36114[/file]
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SamirCanada
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nice, so it looks like Elias Abdo Nahat recommends the following tuning: DEAdgc
@samiroud Instagram
samiroudmaker@gmail.com
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Alfaraby
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| Quote: Originally posted by Dr. Oud | George Hanna continued to make ouds in Damascus until the late 1050's.
Jamil probably knows the exact date |
I'm sure you meant 1950's Dr.
I have had a GHN oud from 1965 . He might have passed away right afterwards (RIP) late in 1965.
Thanks Philip for the sketch, but it's not readable nor printable. This who manages to make more read/printable version, would be named as a high
ranking nominee for the coming Nahat Prize.
Take my word for it
I highly recommend to get back to Nahat In Brazil thread. It has some samples of the Nahat artifacts and motifs:
http://www.mikeouds.com/messageboard/viewthread.php?tid=9897
Yours indeed
Alfaraby
alfarabymusic@gmail.com
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Dr. Oud
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I contacted Livia Jacob, a journalist who has written extensively about the Arab music culture in Brazil. The website is no longer online, but she
published a Youtube documentary about "The Last of the Nahat"
https://www.youtube.com/watch?v=hvmVFi68EdE
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Alfaraby
Oud Junkie
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And here's the clip with Elias Nahat's ouds:
https://www.youtube.com/watch?v=NkLX_VG6dew
Yours indeed
Alfaraby
alfarabymusic@gmail.com
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alchemy
Oud Maniac
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| Quote: Originally posted by mercm525i | Also found this drawn by Elias Nahat. Photo was commented "Desenho das 12 cordas musicais do Alaúde feito pelo meu pai Elias Abdo Nahat"
Translated: Design of 12 musical strings of the oud done by my father elijah abdo nahat
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Could you please post a higher resolution picture of that page?
Thanks
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mercm525i
Oud Junkie
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| Quote: Originally posted by alchemy | | Quote: Originally posted by mercm525i | Also found this drawn by Elias Nahat. Photo was commented "Desenho das 12 cordas musicais do Alaúde feito pelo meu pai Elias Abdo Nahat"
Translated: Design of 12 musical strings of the oud done by my father elijah abdo nahat
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Could you please post a higher resolution picture of that page?
Thanks |
I wish I could but that's the resolution that I found that page unfortunately...maybe some post processing with adobe or similar will help. I'll give
it a shot.
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Dr. Oud
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I was watching an old movie, "Mary, Queen of Scots" starring Katherine Hepburn. In one scene she was serenaded by her aide playing a Nahhat (with
frets added)! OMG!
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jdowning
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Screen shots taken from the film 'Mary of Scotland' posted on YouTube (part 6) so not the best resolution.
Hollywood in 1936 did not make the most historically accurate films so the oud 'prop' must have been as close as they could get to a lute (the modern
lute revival did not really 'take off' until the 1960's). Unfortunately those frets do not appear to be tied on so there must have been some
consequential damage to the original fingerboard?
How can you tell it is a Nahat Richard?
[file]36197[/file] [file]36199[/file]
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Dr. Oud
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The shape, size, back, rose configuration, bridge, pegbox and pegs are all typical of an Ikwan or Abdo George Nahhat in my opinion anyway. The shams
with the center bone inset was used ofter and in the original movie the eyun are the typical tree motif. The frets appear to be guitar type frets
hammered into the fingerboard. I've seen worse. I don't understand why Hollywood didn't make a little more effort to find an Elizabethan lute,
they're no rarer than a Nahhat. This same oud has appeared in another vintage movies, "Robin of Sherwood Forrest" with Errol Flynn.
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Brian Prunka
Oud Junkie
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This thing is probably still sitting in a prop room in hollywood somewhere.
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