Damascus-SANA
Syria called on the original Arab singer Sabah Fakhri, who sang for the money of the Levant, the Qudood of Aleppo and the Muwashahat of Andalusia, to make his absence desolate the shadows of Jasmine.
The late Al-Kabeer was distinguished by his unique voice and performance, as well as his adherence to the classic Arabic character, while the flexibility and beauty of his voice brought warmth and originality to his songs, as the listener of this voice cannot but listen to it without getting bored.
In terms of performance, Sabah Fakhri would enter into a state of Sufism, and his voice and body would become in harmony, beginning with dancing and solemn swaying, to become a distinctive feature of his concerts on stage.
He had a great credit for preserving the Arab musical heritage, which he drew from, and took from him and gave him a lot.
The great fans of the late great musicians and those interested in Syrian art had testimonies for what he presented to authentic art. Until his death, pointing out that it was a rare case in the current era.
The musician Amin Al-Khayyat said that with the departure of the artist Sabah Fakhri, Arab and Syrian singing lost a great artistic stature that did not and will not be repeated, indicating that since 1964 he began on Syrian Arab TV his journey in perpetuating the Aleppo musical identity of muwashahat, poems, and poems that no one before him knew, and he maintained his singing style. until his death.
The musician Hadi Parsley described Fakhri as a professor of music and the owner of the school, stressing that his impact exceeded all those who came before and after him on the Arab level because he established a line that derives its art from the ancient Arab heritage and was to a large extent a creditor of the Arab artistic identity.
Dean of the Higher Institute of Music and leader of the Syrian National Ensemble for Arab Music, Maestro Adnan Fathallah, explained that the late great was one of the Syrian lyrical figures on the Arab level and provided the lyrical library with important works and faithfully documented it so that it would remain a valuable legacy for us and for generations after us. During which exceptionally on theaters and cultural forums.
Maestro Andre Maalouli, General Director of Dar Al-Assad for Culture and Arts, confirmed that Sabah Fakhri is one of the pillars of Syrian art, who has taken upon himself the dissemination, preservation and delivery of Syrian Aleppo art to the far corners of the world. Fakhri has been on her stage several times, in addition to honoring him last year as a Syrian artistic figure. She also gave a party in whose presence the singers attended his immortal school.
Musical researcher Ahmed Boubus, who wrote about the late many articles and research, pointed out that Fakhri is not only a singer, but an integrated musical system. Except the great late Umm Kulthum.
Maestro Kamal Skiker, leader of the Qased Ensemble, indicated that the great late is a history of the Syrian song, as he documented the muwashahat, rhythms, qadud, and musical maqadm that the audience knew when the vocals of Sabah Fakhri sounded in it.
As for the artist Khaled Abu Samra, who sang for the late, he considered Fakhri one of the most important figures of music in the Arab world and a great artistic stature who was able to convey the Aleppo Qudoud and the authentic Syrian heritage to all parts of the world.
The Aleppo artist, Omar Sarmini, expressed his great sadness at the loss of the giant of Tarab, who rose to the throne of singing for the famous Aleppines, until he became an ancient artistic stature for authentic Tarab.
As for Sabah Fakhri on the human level, the lyric poet Abdul Rahman al-Halabi, who brought them together with the most beautiful artistic memories, described him with high morals, loyal to his colleagues, humble with his friends, and with a strong and exceptional personality in terms of voice that exceeded the absolute space, as well as his large stock of muwashahat, qadud and tarab songs that he is unable to About her performance a lot of singers today.
Qanoon player Adnan Jarour, who worked with the late artist for a decade, explained that Sabah was a human being as much as he was an artist and innovator with generous and generous morals.
As for the Syrian Trust for Development, it published, on its official Facebook page, a statement mourning the great late, which said: When death disappears those whose lives and giving do not stop by moving to the side of their Lord, the deceased is an icon from the history of ancient Syrian art and a morning of our pride.
The statement pointed out that in October of 2018, the secretariat began to nominate the Aleppian Qudoud element on the lists of human heritage at UNESCO, and Sabah, with his moral and scientific support, had an essential participation because he spread the authentic Aleppian music globally.
The statement concluded by saying, “Today, as we mourn you with these words, we remember your description of the Aleppian Qodd as a bouquet of roses from every flower garden. Although Al-Maliha wore her black veil, we promise you that the year of your departure will be a milestone in the history of Al-Qudud Aleppine and its Syrian identity globally by presenting Al-Qudud Aleppine for its registration.” As part of UNESCO's World Heritage 2021.
