The “Masterpieces of Muhammad Abdel Wahhab” concert during the “Riyadh Season” achieved great resonance, whether among the audience o
The “Masterpieces of Muhammad Abdel Wahhab” concert during the “Riyadh Season” achieved great resonance, whether among the audience or the singers of the concert, and perhaps the happiest of them was the Egyptian singer Mohamed Tharwat, not because of his love and appreciation for Abdel Wahhab’s art, but because he is also a true student of the slow musician for whom he composed 12 songs. Tharwat got very close to him, so this concert was considered a tribute to the spirit of Abdul Wahab, who was devoted to his art and left a wealthy artistic legacy with his melodies and songs that inhabited the hearts of the Arab public.
Tharwat is preparing to film a recent song composed by Muhammad Rahim and directed by his son Ahmed Tharwat ({Asharq Al-Awsat})
During the ceremony held at the Abu Bakr Salem Theater, Mohamed Tharwat performed two songs; The first was a “medley” for some of his songs, such as “When will time permit, O Beautiful” and “I am afraid to say what is in my heart,” and he lit up the party with it, and the second was the song “I Love You” by Nightingale Abdel Halim Hafez and composed by Abdel Wahab.
In his interview with Asharq Al-Awsat, Tharwat revealed that he presented this singing cocktail during the life of the slow musician who admired him, and asked him to sing it on every occasion.
Tharwat says: “I presented this cocktail in the life of the musician Muhammad Abdel Wahhab, and he liked the idea. I started with the song (Ashki Lamin al-Hawa wa al-Kul Ezali), and after it, from the same musical position, I entered the first couplet of the song (When you intend to disappear along), and from there on The song (When will time permit, O Beautiful), then (I am afraid to say what is in my heart), and I deliberately changed the rhythmic form of the melodies to achieve a state of joy for the listener by the connection of the medley with the mawal, and I was pleased with the audience’s response to this choice.”
Regarding his choice of the song “Ahwak” to perform at the ceremony, Tharwat says: “To be right, it was Chancellor Turki Al-Sheikh who chose this song for me to sing, and I was looking forward to presenting it in a way that would make people happy, and Maestro Walid Fayed helped me in that, and it was produced in the musical form that we saw and the interaction The audience was with her and asked for her return.”
It was clear that there was a great understanding between Maestro Walid Fayed, who led the orchestra, and the artist Mohamed Tharwat, who said about this: “The understanding between me and Walid Fayed began decades ago, and he was with me in my concerts and travels. He is a distinguished artist and the son of an artist. He is interested in work, and this is what appeared in this The party and all its parties.”
His happiness with this concert seems greater than any other concert, as he confirms: “The ceremony honoring the great musician Muhammad Abdel-Wahab brought people back to a wonderful stage of melodies and distinguished artistic songs and generosity, so I extend my thanks to Counselor Turki Al-Sheikh, Chairman of the Board of Directors of the General Entertainment Authority in Saudi Arabia, for his The concert received great interest, and the echoes were loud, and I felt that the audience was longing for the time of authentic singing.”
According to Tharwat, Abdel-Wahab deserves to be honored for his extensive creativity. Although he remained at the top for about a hundred years, he was not honored in a way that is appropriate for his giving.
Tharwat is enthusiastic about the importance of presenting Abdel Wahab’s biography dramatically, stressing that his life is a period wealthy in political, artistic and personal events, and that it is presented through a writer who expresses every stage of the slow musician’s life and reviews the journey of melodies from the 1920s until the 1990s.
Mohamed Tharwat recalls the memory of his meeting with the “musician of generations” Mohamed Abdel Wahab, saying: “I met the professor and he listened to my singing and asked me to be in contact with him, and our meetings were many. Every meeting with him brought an addition, a touch, a vision, knowledge, and things that I benefit from even today, until the tune The operetta (The Good Land) and he chose me to participate in singing in it with Muhammad Al-Helou, Tawfiq Farid, Iman Al-Toukhi, Suzanne Attia, and Zainab Younis. Then he chose me to sing (Our Egypt, May God Protect Her), which achieved great success and still has an impact in developing the national spirit among Egyptians.”
Muhammad Tharwat feels very grateful for Abdel Wahab’s embrace of him at an early stage in his life, as he says: “I owe the late musician a lot. I was honored that he presented me with several melodies, including (Our Egypt) (His Watchful Eyes), (Long Live Our Country), (Oh My Life), ( “Oh my moon, my precious one,” and we had a sturdy relationship until he surprised me by attending my wedding, even though he had never attended such occasions in his entire life.
Tharwat stops at some of Abdel Wahab’s artistic glimpses, stressing that he has his own musical touch. He presented the song “Masryna” with almost no musical introduction, after jumping on the melodies with greater modernity, using miniature musical phrases with the emotional national melody, indicating that there are two melodies that did not come to featherlight, as The slow musician recommended them to his family as Mohamed Tharwat.
Mohamed Tharwat remembers the advice of Professor Abdel Wahab, which he in turn presented to the recent generations of singers, stressing that the first of them is “respect for the art that you present, and respect for the mind of the audience, and that the artist must be advanced, not for his desire to attract attention, but rather for development that carries value,” pointing out New generations of singers must know that art requires seriousness, perseverance, and awareness of the value of the artistic message that reaches society so that it can change it for the better.
Tharwat is preparing to film a recent song composed by Muhammad Rahim, directed by his son Ahmed Tharwat, who had previously directed the song “Ya Mustajil Faraki” for him. Every meeting with the “musician of generations” had an addition, touch, vision, knowledge, and things that I benefit from to this day
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