مقام المنصوري - الحاج حامد السعدي

Maqam Mansuri
Hamed al-Sa‘adi and al-Chalghi al-Baghdadi
Baghdad, Iraq
c. 1995



The sung poem is a takhmis by an unknown author derived from a qasida attributed to Ibn Nubata al-Sa'di (938-1115):

مقام المنصوري من اداء قارئ المقام الحاج حامد السعدي وفرقه الچالغي البغدادي (الجوزه: صهيب هاشم الرجب، السنطور: غازي محسوب العزاوي، الدمبك: فاضل السعدي) وتسجيل من منتصف التسعينات. التسجيل الاصلي من مجموعه الاستاذ نجم العيداني / منتدى سماعي للطرب العربي الاصيل. الشعر تخميس لشاعر مجهول لقصيدة منسوبه لابن نباتة السعدي

ومورد الخدين لف ببرده * غصنا وزر عليه طرة بنده

ناديته لما استبد بعهده * يا من حوى ورد الرياض بخده

وحكى قضيب الخيزران بقده

لك يا امير الحسن أمر مبرم * تنهي بأرباب الغرام وتحكم

وانا لأمرك طائع ومسلم * ان شئت تعذيبي فأنت محكم

من ذا يعارض سيدا في عبده

لك بيض أجفان وقد اغمدت * لكن على قتل النفوس تعودت

قتلت ومن اجفانها ما ان بدت * كل السيوف قواطع ان جردت

وحسام لحظك قاطع في غمده

قلبي بحبك لايزال متيما * دنفا على كيد االوشاة تعلما

رحماك يا حلو الشمائل واللمى * لا تستمع قول الوشاة فربما

نقلوا الحديث الى الحبيب بضده

- measured instrumental introduction (muqaddima) in mansuri mode to a 36/4 samah rhythm
- tahrir in mansuri mode (saba on g) sung to the words "ay, janem, ay, baba" (1:05)
- instrumental refrain in mansuri mode. (1:50)
- a verse of the poem sung in mansuri mode. (2:20)
- unmeasured improvisation on the joza in mansuri mode. (3:00)
- a verse starting in bayat mode and ending in mansuri. (3:20)
- unmeasured interlude on the joza starting in bayat and ending in mansuri. (4:42)
- instrumental refrain in mansuri mode. (5:23)
- verses preceded by the interjection "ay" in bayat and mansuri modes. (5:50)
- unmeasured improvisation on the santur in mansuri mode. (7:20)
- instrumental refrain in mansuri mode. (7:43)
- a piece of bayat called Abbush sung to the words "ay, bidadey, yaba". (8:08)
- unmeasured interlude on the joza in mansuri mode. (8:36)
- instrumental refrain in mansuri mode. (8:57)
- sung verses in bayat and mansuri modes. (9:25)



- unmeasured improvisation on the joza in bayat and mansuri modes. (3:00)
- verses sung in mansuri and bayat modes. (0:28)
- a piece of rast called Nahuft (1:35)
- jalsa in mansuri mode sung to the words "aman aman, dad, bidadem". (1:40)
- music changes to bayat mode and 12/4 yugrug rhythm in preparation for the meyana. (2:00)
- first meyana in husayni mode sung to the words "way way, ya dost".
- a verse using the melody of the meyana ending in a return to mansuri mode by way of the busalik. (2:45)
- music changes to hijaz mode and 12/4 yugrug rhythm. (3:40)
- a piece of hijaz called Mathnawi starting with the words "aryar yar yar". (3:55)
- unmeasured improvisation on the joza in hijaz mode. (4:20)
- several verses sung in mathnawi mode separated by the words "ya yaba" and a measured interlude in hijaz mode. (4:54)
- return to mansuri mode. (6:39)
- measured interlude in bayat mode in preparation for the second meyana. (6:53)
- second meyana in husayni mode sung to the words "way way, ya dost" followed by a verse using the melody of the meyana. (7:17)
- a piece of husayni called Arwah. (7:55)
- a rhythmic piece called Mthaltha in three parts (bayat, hijaz and mansuri) with the 12/4 yugrug rhythm, sung to the words "aman amaney, burdem jur, layli baba, babay, awlim, aman aman, burdem jun, pasham jun, babay, layli babay, pasham jun, agham jun, efendim". (8:00)
- taslim in mansuri mode sung to the words "aman amaney, ali mawla janemen".

The rose complexionated beauty's head-ornament hides a branch,

Which she has covered with dew and which shines like silver,

I questioned her before she could abuse her power.

And you, whose cheeks are like the poppy and the waist like the reed,

O you, princess of beauty who gives firm commands,

You dictate your law to the gods of love and rule over them.

I submit myself to you and yield to your commands.

If you wish to torture me, you alone are judge.

Who can stand against a master who commands his slave?

Your lashes are swords that shine, even in the scabbard,

And which are accustomed to beheading souls.

Lashes that kill as soon as they are revealed.

All swords cut once they are unsheathed,

But your lashes wound, even in the sheath.

My heart, always, is eager for your love,

And remains insensitive to blows by informers.

For pity's sake, O you, whose lips are so beautiful,

Listen no more to lying spies,

They may tell the beloved the opposite of what has been said.

Vocals: Hamed ‘Ashur al-Sa‘di
Joza: Suhayb Hashim al-Rajab
Santur: Ghazi Mahsub al-‘Azzawi
Dumbuk: Fadhil ‘Ashur al-Sa‘di