The history, art and performance of Mp3 Qawwali
The penultimate tune, Aaja Moray Nainon Mein Saajna, is a super plaintive composition continuing the tone of yearning expressed within the establishing piece.
The general tenor of this Mehfil is of vintage fashion classicism, the kalaam is Ariana (Sufiyana / Devotional). The pace of every piece is moderate, measured and regular, permitting the poetry and the recitation to be the focal point of attention. The raga of each piece is maintained at some stage in and the most effective elaborations are the alaaps/taans of the singers, which even as effective, do not detract from the primary drift of the kalaam and recitation, alternatively they deviate as a rivulet does from the mainstream, only to rejoin it after following its route.
Apparently, when I first heard this recording, some 40 years ago, I felt it be austere if now not stupid. The years of revisiting this have more suitable the appreciation of its splendor. It has grown on me due precisely to its moderation, the area exercised inside the recitation and the softness of its universal effect.
The uniqueness of the performance is due, in no small measure, to the idea that Munshi Raziuddin injected into his divulge and the care and subject exercised over his disciples/accompanists. It’s far a testimony of the wealth of information that he conveyed, in addition to their difficult efforts, that the two accompanists of this consultation were treated kindly by the passage of time. Ustaad Naseeruddin Sami is today certainly one of Pakistan’s most reputable Khyaaal singers, and Ustaad Fareed Ayaz, collectively together with his brother Abu Mohammad, lead Pakistan’s leading residing Qawwali organization.
May additionally Razi Mian’s blessings defend them and can they lengthy flourish inside the pursuit of the beauty of their art. —Asif Mamu
Qawwali is the traditional form of song discovered in sub-continent associated to the Sufi traditions. The word qawwali is derived from the Arabic phrase ‘Qaol’ which means that ‘axiom’ or ‘quote’. Sufism is a school of Islamic thought that is based on the craving to reap reality and divine love. The Sufi believes that it’s miles viable to attain God thru Zikr (the remembrance) of Almighty. Zikr can be silent or vocal. The qawwali can be viewed as an extension of the vocal form of the zikr or remembrance.
Qawali has evolved from the Persian and principal Asian subculture of Samah or hadrah(hazrah in urdu) in Arabs. A set zikr (dhikr in Arabic) rite in Arab international locations is called the Harrah. The everyday hadrah is most often hung on Thursday evenings after night time prayer or on Fridays after Juma prayers. In Turkey the group rite is referred to as Zikr-i Kiyam. First of all no devices had been used; afterward, Daf (A percussion tool) became a commonplace tool. Samah protected vocalist and instrumentalists and happened underneath the direction of a spiritual guide or sheikh. For more information, you can visit the given link below: Qawwali mp3.
Imam Al-Ghazali(1085-1111) discussed the spiritual outcomes of song and its ideas in the Islamic context. These concepts were later on increased by the Chisti faculty of Sufism. It is this Sufi-order which followed qawwali for the propagation of the message in sub-continent.
- Ay Daiya Kahan Gaey Veh Log (اے دایَہ کہاں گائے وے لوگ)
- Lagi Ri Mein Tau Charan Teharay (لاگی ری میں تو چرن تہارے)
- Nami Danam Che Manzil Bood ( نمی دانم چہ منزل بود)
- Ta Soorat-e-Paiwand Jahan Bood Ali Bood (تا صورت پیوند جهان بود علی بود)
- Sajda Kar Ke Qadam-e-Yaar Pe Qurban Hona (سجده کرکے قدمِ یار پہ قرباں)
- Khwaja Piya Piya / Chundri botay daar (خواجہ پیا پیا — چندری بوٹے دار)
- Baro Ghee Ke Diyena (بارو گہی کے دیے نا)
- Aaja Moray Nainon Mein Saajna (آج مورے نینوں میں ساجن)
- Khwaja Aan Pari Darbaar (خواجہ آن پڑی دربار)