Damascus-SANA
In the spirit of authentic tarab and with the melodies of melodies that lived in the minds of Syrians, the Nagham band for Arabic music, led by the musician Qanun player Abdel Wahab Al-Atma, played at the Azem Palace in Damascus a bouquet of songs and plays by six of the greatest Syrian composers.
The evening's program varied, which included about ten songs by great composers from the sixties and fifties of the last century, such as Rafik Shukri, Muhammad Mohsen, Suhail Arafa and others.
Singer Ramya Bishara, with her beautiful voice, began the ceremony with the song “A’ Al-Basata” by the late composer Suhail Arafa and the song “Ghabi Ya Shams Ghibi” by Rafik Shukri, who reminded the audience of Al-Azm Palace in the songs of the beautiful time.
The young singer, Fahd Al-Najjar, also performed the song "Larkab Hadak Ya Almotoor" by the late Fahd Ballan, in addition to various old songs that enthralled the audience and their luggage, to conclude the evening with the song "Ah Ya Qalybi" by Fahd Ballan, which was presented by the duo Ramia Bishara and Majd Al-Hajjar.
Musician and qanun player Abdel Wahab Al-Atma said in a statement to SANA reporter that this concert focuses on great singers and composers from the beautiful time and traditional songs that have long lived with the Syrian audience and have an imprint in the history of the traditional song, pointing to the mixing of the young musical generations with great musicians and composers as an opportunity to benefit from their experiences.
Young singer Ramia Bishara, who grew up in a family that loves authentic art, expressed her love for the songs of the beautiful time.
In turn, the young singer Majd Al-Hajjar stressed the need to preserve old and traditional songs by providing opportunities for the young generation to present the best image of the Syrian heritage through their throats.
The supervisor of the evening, music researcher Ahmed Boubus, indicated that the Nagham Group for Arabic music directs its works to the great Syrian composers, stressing the need to revive such songs on a permanent basis, especially when the concert program with the audience goes back to the 1950s and 1960s.
Hadi Omran
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