Rod
Oud Admirer
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Registered: 12-27-2006
Location: Sydney, Australia
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Nabil Khalidi - Romances Judeo-espagnoles
CD
Romances Judeo-espagnoles: Sefardic romances from Spain
Ensemble Lyrique Iberique.
Dominique Thibaudat, chant
Nabil Ibn Khalidi, oud
Pierre Rigopoulos, zarb et bendir
Harmonia mundi, Production COPSI, l'empreinte digitale ED 13107
Chapelle de Ste Philomene Puget Ville 26-28 janiver 1992.
1 Lavava i suspirava [Hispano-Christian "Romance" tradition]
2 Nani, nani [berceuse, Judeo-Spanish tradition; 2min oud intro]
3 Ir me kyero (Jerusalem)
4 Kuando el rey Nimrod [40secs drum solo, joined by oud, then voice after 60secs]
5 Notches buenas [Islamic-Andalusian tradition of the Jarch'yas and women's songs; chanson d'amour d'avant 1492;
6 Durne durme mi alma donzeya [melody close to Cancionero musical de Palacio de la fin du XVeme siecle]
7 Mi suegra {chanson de femme; short, sharp, dramatic 'escape-from-mother-in-law' song]
8 Morenika a mi e yaman [chanson de femme; 5minutes drum intro]
9 A la una nasi yo [late 18th century "voix de ville"?; solo unaccompanied voice, followed by oud and drum 'Flamenco-jazz']
10 Skalerika de oro [Balkan marriage song dans le style des seguedilles andalouses primitives a la mode des la fin du XVI siecle]
11 Ven kerida, ven amada [women's songs]
12 La serena [19thcentury cabaret/drawing room type Romance based on poetic themes from the Andalauisan "copla" of the same period; last verse
omitted]
13 O ke mueve mezes (Smyrne) [chante des accouchees et des nouveaux-nes]
14 Porke yorach blanka ninya (version de Salonique) ["Romance" tradition]
Why oud and zarb? To reinforce the integration of Spanish song (scattered throughout Mediterranean communities) with melodic form (the descending
chromatic tetrachord A G# F E) found in the songs of Islamic Andalusia originating in Syriac influence, Zyriab from the Damascus caliphate, and
instruments at the court of Alphonso X the Wise in the 13th century.
Here equal weight is given to oud and zarb, as much as to the voice. Oud in unison with voice, imitating it, decorating it. The oud accompaniment
pulls back dramatically at those points when the voice is most poignant or dramatic (e.g. sudden changes in key or rhythm). Some songs feature
30-40second instrumental introductions before the vocal begins.
I am used to these songs being sung without accompaniment or with minimal accompaniment, e.g. Lauren Pomerantz's recordings "Jewels of the Sephardim"
(Songbird AEACD 1401, 1983 - "Nani, Nani" sung without accompaniment) and "Wings of time" (Songbird AEACD 1405, 1994 - Morena m e llaman" with rebec
and recorder) so the oud playing, so active a presence here, was a revelation. The word "bouleversant" comes to mind.
Comprehensive liner notes in French and English. Lyrics translated. English-only speakers will miss out on the extraordinarily useful structural
analysis of the music provided in the French.
Available http://www.cdroots.com
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