Another piece from the Cantemir Collection, transposed from Owen Wright's book, Demetrius Cantemir Vol 1.
Maqam Nishabour (Nisabur) is very rare these days, basically extinct, particularly in current East Arab art music.
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Here is another version with the second khana an octave lower.
(It gets high, reaching the highest note possible on the nay (tiz Huseyni - a).
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Bezmara recording of the piece (in same key as above, 'Arabic' key).
Rudolphe D'Erlanger has the maqam in his 'La Musique Arabe, Tome 5, List of Maqams''.
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[file]27404[/file]Jono Oud N.Z - 8-9-2013 at 01:30 AM
(Edit)
(Just removed a repeat bar, khana 2)
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[file]27408[/file]Erg - 8-9-2013 at 02:29 AM
Thanx Jono, it's very interesting.
Do you think many maqams of Tome 5 of "La musique arabe" are extinct?. I've never heard of some maqams of the list.
Jody Stecher - 8-9-2013 at 06:45 AM
Where in India would a piece of music with this structure be played? And by whom? Jono Oud N.Z - 8-9-2013 at 01:44 PM
Hi.
Quote:
Do you think many maqams of Tome 5 of "La musique arabe" are extinct?. I've never heard of some maqams of the list
It seems that quite a few are out of use,
although quite a few are still in use in Turkish art music; Awj Ara (Evc Ara) and Kardani (Gerdanye) for example.
Still these are still rarely heard today.
Said Chraibi has a nice Samai in Awj Ara,
and some taqasim.
It would be good to bring back into use many of these forgotten treasures.
Maqam Nisahbour has a very unique quality.
Quote:
Where in India would a piece of music with this structure be played? And by whom?
Sultan's Selim I (1512-1520), and Suleyman (d.1566),captured many musicians and artists in their military conquests in Persia and Central Asia and
brought them into the court in Constantinople.
This piece has the title 'Hindiler', - the Indian's.
In my opinion, these 'Indian' musicians were most probably actually Timurid's from Herat, but possibly from the Mughal (Timurid) court (Babur's
possibly). Jody Stecher - 8-9-2013 at 02:21 PM
Timurids from Herat or Delhi etc makes sense, thanks.
.