Sharjah – Gulf
On Tuesday, one of the leading singers in Syria and the Arab world, the legendary Muwassad legend and legendary Aleppo Qutb, talented artist Sabah Fakhri, passed away at the age of 88. Pleasant art heritage and pleasant sharing that evokes emotions and embraces the soul.
Sabah Fakhri, whose real name is Sabah Abu Qawz, was born in mid-1933 in Aleppo. He ascended the throne of traditional Arabic song for more than half a century, in which he performed 347 songs. 110 works of Old Tarab.
At the age of ten, Fakhri received everything from his father, Bakhri al-Kurti, Mustafa al-Tarab, Omar al-Badsh and Sufi al-Harir, all related to the science of ton and weight.
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Fakhri began working with Ali al-Darwish and his two sons, Ibrahim and Nadim, who composed some songs for them and taught him to read the ode, along with violinist Sami al-Shawa at his concerts in Aleppo and other Syrian cities. He learned the basics of Umar al-Badsh, Majdi al-Akili and Aziz Chin, characters, musical principles, Soulfage, Mohammed and the modes of exchange between them, as well as the fundamental art of rhythms, muwashshah, sama dance and singing. Poems, to be received by composers upon completion of his graduation, and the journey of a young but excellent singer begins, whose name is Sabah, Fakhri, nicknamed Fakhri al-Barudi after his adoption, who placed him at the beginning of the path to artistic glory. .
His return intensified and his involvement in magic and sound increased as he sat down with the lead singers of the real Tarab. He mastered the difficult song choices in the hands of “Samia”, who invariably enjoys the ears, reveals the original sound and conducts experiments. Even for the great voices like Muhammad Abdul Wahhab and Umm Kultum who came to sing in the theaters of Aleppo in the thirties of the last century.
One of the social customs of the women of Aleppo was that each woman set a one-month date each month to get the one she wanted from home, from the people she knew, and the women of that time contributed to the rise of the boy star. He was open to singing, playing, and dancing, which was called “acceptance,” and during these times women began to ask him to sing.
He attended Hamdania Government School in Aleppo, where he excelled as a student who participated in the school’s annual festivities.
Biography and Legacy
Syrian author Shata Nasser’s book (Saba Fakhri, A Biography and Tradition) describes the most important stages of Fakhri’s life over the decades.
Shortly after Muhammad Sabah was twelve years old, during a visit to Aleppo in 1946, he saw him singing in the presence of then-Syrian President Shukri al-Quadli, which was considered a rite of passage for the boy. Muwasshahad outside the borders of Aleppo.
Muhammad Sabah turned down the opportunity to travel to Egypt at that time to hone his skills and chose to stay in Damascus and sing on its official radio. Senior politician, M.P. Writer Shada Nasser says that Fakhri al-Barudi founded a music company in Damascus and praised the unique nature of Mohammed Sabah’s voice and foresaw a bright future for him.
The author adds: “In a live radio concert hosted by broadcaster Sabah al-Kabbani, the brother of poet Nisar Kabbani, MP Fakhri al-Barudi wanted to adopt singer Mohammad Sabah and give him a nickname.
With the help of music by artist Omar al-Badsh, Sabah Fakhri set up his first experience in composing music at the age of 14 with a slogan (oh, we go to the house of God / goodbye and a thousand peace / greetings to you, oh Abdullah / Qasid Kaaba of Islam).
Fakhri’s first old characters came from the melodies of Sri al-Tanburji, who lived in Damascus and worked as a shoe salesman, and the song reads: Attached to the name, and after he added his soul to the melody and word.
But the fact that Fakhri’s throat became younger from a young age surprised its owner and shocked the singing experts, the book says, as the hormones of masculinity changed the nature of his voice and the composition of his throat, which sounded like mabuh.
Nasser says, “Saba’s psychological state played its negative role. Whenever he tried to raise his voice, another person singing from his throat surprised him. It’s not my voice. It’s not me. What happened?” He is the Creator. “
To break
At the age of fifteen, Sabah Fakhri closed his voice and retired from compulsive singing, so he traveled between the rural villages of Aleppo in search of a life until he joined the military when he was young.
The author says: “When his manhood was over, his throat crystallized and its creation was able to restore the brilliance of the buried treasure, the voice of Sabah Fakhri returned, and the man carved a place for himself in his teenage memories. Many years in and around Aleppo. “
Fakhri returned to the light of fame from the gates of Radio Aleppo and the evenings of Radio Damascus, known as the Tent of Hammad, in which he sang with the Lebanese singer Sabah, where he sang with Aleppo Qutb as a gift of money. (Malik, My Sweet Malik) and (Oh, Levant Money, Oh My God, My Money. Come on).
Sabah Fakhri (Yesterday’s Dragon) sang with Rafiq Subai and Sabah Al-Jazeri, where he recorded nearly 160 songs, including poems, Dor, Muwassah and Maval, and he has preserved Aleppo’s unique and popular Arabic musical tradition. .
Fakhri recorded the radio series (Zariab). Ibn Zaydun, Ibn Zahr al-Andalusi and Lisan al-Din al-Qadib. In 1974, he stood in front of Algerian artist Warda as the hero of a series (al-Wadi al-Kabeer) filmed in Lebanon.
Medals and decorations
In 2007 he was awarded the Order of the Best Class, “in recognition of his efforts in preserving his art and authentic Arabic art and in raising the banner of the continuity of the original Arab art tradition”, the honorary publication said. Amman won the Tunisian Cultural Medal, the Cairo International Song Festival Award and the Arab Organization’s Appreciation Award for Education, Culture and Science, and in 1997 his fans in Egypt founded an art club named after him.
In 1968, he performed on stage for more than ten hours without a break in the Venezuelan city of Caracas, and held several sessions in Syria, including several positions, including the Syndicate of Artists.
The Path of the Late Sabah Fakhri summarizes a rich tradition in ancient times in which the mighty artist collected notes on the spirit of Andalusia and the heart of Aleppo, its borders and the divisions of its Muwasshas. Of these, 110 songs are old songs unknown to any composer, and 66 songs were composed and sung by Saba.