# Riad Al Sunbati: An Introduction



## Majed Al Shamsi

Hope I'm posting this thread in the right place.
I feel like my favourite composer deserves his own thread!

If you'd like to read his biography, you can look up his page on Wikipedia here.

He has written timeless pieces for Umm Kulthum (another Arab legend musician/singer,) such as Al-Atlal and Salu Qalbi, which are still listened to among the Arab world.

I will share a few links to some of the pieces that I think would be great for introducing him.

Some warnings, though:

1. In some Eastern musical scales (maqams,) you will find intervals that are three-quarter steps long. These result from the employment of half flats and half sharps, and might sound... wrong? It takes time to get accustomed to them, if you've never heard them before. (Bonus fact: In some Indian classical pieces, they even use quarter-step intervals... Yeah.)

2. Most of Umm Kulthum's pieces were recorded live. You will discover that Arab audiences are not as well-behaved as western audiences. It's commonplace for the audience to cheer halfway through the performance. Think of it as mob-mentality: If the audience hears something they like, they will applaud and cheer until the orchestra and the singer repeat that specific part. You might find that annoying when listening to such songs, but it's really just a cultural difference. It's great for the audience, as they get what they want, and it's great for the performers, as it's a form of flattery; the equivalent of your encore, I suppose.

3. In pieces which involve singing, you will notice plenty of repetitions. The reason for them is to give the singer as many chances as he/she needs to fully express the meaning behind the lyrics. Also, if the singer does not repeat any parts, the mob will take care of it! :lol:

With that in mind, here are links to some of Riad Al Sunbati's pieces, followed by whatever interesting facts I know about them.

Longa Riad

Skip to 1:13 for what Riad Al Sunbati actually wrote. The beginning is an Eastern/Arab performance tradition, where the musicians play what we call a "taqsim." It is supposed to be an improvisation, played to represent what is to follow, and also to show that the musicians are skilled enough to play the piece.

A Longa is a musical form, usually written by composers for the instruments they play. It's a very personal thing, as composers usually write them with the intent of showing off their technique. It was therefore not originally not written for a group of musicians; rather, for a single oud (or lute, if you like.)

The Longa musical form is usually compared to another musical form, called Sama'y. The Longa sounds like dance music, and is symbolised by the devil, in philosophical, metaphysical terms, where as Sama'y is a more spiritual form, symbolised by angels.

Ha'ablu Bukra

Skip to 1:03 for the actual piece.

Originally a lyrical piece written for film, this version of it has solo instruments playing the parts intended for vocals. Ha'ablu Bukra translates to "I will meet him tomorrow," and speaks of a woman in love with a man, whom she's got a date with the next day.

And finally...

Lesa Faker

For a side by side translation of the lyrics, click here.

Sung by Umm Kulthum, arguably, the greatest Arab singer to have ever lived, it is one of Riad Al Sunbati's most memorable pieces. Lesa Faker literally translates to "Do you still remember," but it can also mean "Do you still think," or "Do you really believe," said sarcastically.

I will share more links soon, along with whatever it is I know about the pieces, and hopefully, this thread can grow with more Riad Al Sunbati new fans! :devil:

Enjoy!


----------



## Majed Al Shamsi

Next up!

Salo Qalbi

For a side by side translation of the lyrics, click here.

Now, then! Some facts about the song!

Salo Qalbi literally translates to "ask my heart," which is a poem written by Ahmad Shawqi, nicknamed the Prince of Poets.

The poem praises Islam's prophet, Muhammad. Sometimes I ask myself how I, an atheist, can enjoy listening to this song, but then I find solace in the fact that Ahmad Shawqi himself was well-known for his drinking habits (which are forbidden in Islam.) If he could have written the poem, I think I can listen to it! :lol:

The song was banned in Egypt for a while, by the British, as the lyrics were perceived to be rebellious. The most famous line from the poem (so famous, that it is now an Arabic idiom,) roughly translates to "achievements never come by wishes, but to get the victory, the world must bend."

The poem is written in a style called Qaseeda, which adheres to a strict poetic meter, and a fixed tail rhyme, throughout the entire poem. Riad Al Sunbati is said to have been the only Arab composer who has managed to convincingly fit music to the Qaseeda, even by his competitors' admissions. It hasn't been done convincing before him, and hasn't been done convincingly ever since. Unfortunately, Arabic (as well as eastern) music theory is not as well-developed as western music theory, and so, it's difficult to recreate what Riad Al Sunbati has started.

Until next time!


----------



## Majed Al Shamsi

And now:

Aqolak Eh An El Shouq

Literally translates to, "what can I tell you about longing?" or "what can I tell you about love?"
You can find the rough translation of the lyrics here.

Riad Al Sunbati composed this piece for the same singer, Umm Kulthum, and the same poet, Abd Elfattah Mustafa, whom he worked with on the previously shared work on this thread, Lesa Faker.

Hope you enjoy it.


----------

