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WeLove-music
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Abdel Halim Hafez - Bahlam Bik
Abdel Halim Hafez
Al Andalib Al Asmar "The Dusky Nightingale". was the nickname of the most idolized Arabic artist-singer of the second half of the 20th century: Abdel Halim Hafez. His life resembles a true mosaic where all of his songs put together make up a fresco of love, patriotism, glory and grief. He was the idol of the young generations of the sixties and seventies, and remained so for the generations that followed. So much so that today, grand mothers compete with their grand children in their idolatry for the "Dusky Nightingale". Today, fully matured middle aged men are still overwhelmed by him as their prime youth was deeply marked by his unique and unmatched voice. He was practically born an orphan. It was in 1929 and the beginning of a grief stricken life III health and disease continuously dogged the artist until he died prematurely at the age of 48 in a London clinic. Sixteen movies and some hundred songs cannot possible, be enough to sum up and explain the Abdel Halim Hafez phenomenon. Halim, as his close friends used to call him was endowed with a rare charisma boosted by an outstanding intelligence and an amazing sensitivity and compassion which permeated the way he sang or played as an actor with prestigious stars such as Shadia, Faten Hamama, Maryam Fakhreddine, Sabah etc... Although a talented musician himself, he never composed the melodies of his songs. However, he enriched the work of his early collaborators namely kamal El Taweel, Mohamed El Mougui and later on Mohamed Abdel Wahab who was his close friend and his "accomplice" as well as Baligh Hamdi to name a few. He happened to sing songs whose lyrics sounded more like a trade-union manifesto but which turned into fiery passion through the magic of his voice...Imagine when he crooned love songs...

1. Bahlam Bik
2. Okbalak Yom Miladak
3. Safini Marra
4. Machghoul Wehyatik
5. Tekhounouh
6. Eh Zanbi Eh
7. Halefni
8. Bi Qalbak

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SPAIN: SOULFUL FLAMENCO
SUENOS DREAMS
SPAIN: SOULFUL FLAMENCO

A compelete view of the latest trends to the greatest classics. Soulful Flamenco is definitely the best flamenco collection sung by artists.

[01]. O Que Trago E O Que Trazes
[02]. Digue I' Amat A I'Aimador
[03]. Mientras Tanto
[04]. Rosa Sem Espinhos
[05]. Hablas De Mi
[06]. Amor Mais Perfeito
[07]. Balada Da Neve
[08]. Zapateado
[09]. Con Los Anos Lue Me Luedan
[10]. Testamento
[11]. Nacimiento
[12]. Alegrias
[13]. Dichose Hora

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Corée Musique Instrumentale De La Tradition Classique
Corée Musique Instrumentale De La Tradition Classique
Ensemble Jong Nong Ak Ohô

This is very refined music, possibly too refined for the non-specialist. It consists of three pieces. The first, "Gomungo San-Jo," is a 13-minute improvisation for six-string zither and hourglass drum. It has a huge dynamic range and goes from very slow at the outset to fairly fast by the conclusion. It sounds like a very thoughtful blues guitar solo. The second piece, "Ryong San Ho-Sang," is a long (53 minutes) work for the whole eight-piece ensemble (zither, flute, drum, and something that sounds suspiciously like a kazoo). The piece consists of a theme and eight variations, and while it is somewhat static in its melody, the pounding of the drum and the sharp plucking of the zither add real drama. The final piece, "Congsonggok," is a four-minute work for solo flute. The Korean flute sounds somewhat like the typical breathy Japanese flute, except that it can produce high, sharp sounds like a clarinet at the top of its range. This album is interesting, but probably for people with background or training in Korean classical music. ~ Kurt Keefner, All Music Guide

1. Gomungo San-Jo (Improvisation À La Cithare Gomungo)
Geomungo [Kömun'go] - Kim Sön-han
Janggu [Changgo] - Yang Yön-söp

2. Ryong San Hö-Sang
Daegeum [Taegüm] - Kim Song-jin
Dulcimer [Yanggum] - Yang Yön-söp*
Erfu [Heagum] - Kang Sa-jun
Gayageum [Kayagüm] - Kim Chöng-ja
Geomungo [Kömun'go] - Kim Sön-han
Janggu [Changgo] - Kim Tae-sop
Recorder [Tanso] - Hong Chong-jin*
Reeds [Se-p'iri] - Pak In-gi*

3. Congsönggok (Solo De Flûte Taëgun)
Daegeum [Taegüm] - Kim Song-jin

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Eric Montbel & Jean Blanchard - Bagpipes France
Jean Blanchard, French folk musician and composer of tunes. An influential bagpiper, singer and collector of folk songs and tunes, particularly in the Centre of France.In the 1980s Eric Montbel became one of the best specialists of the bagpipes in France, after many of the last players Collected from the Center: Limousin and Auvergne. He repeated in 1984 78trs master Antoine Bouscatel Auvergne (1887-1945) and develops the game chabrette limousine forgotten bagpipes and bagpipe Central France. He recorded many albums and giving concerts throughout Europe in the group The Big Red, then Lo Jai.

01. Par Un Beau Clair De Lune/Dessur Le Pont Du Rhone
02. Bourree De Benoit/La Coulemelle/La Giatte Du Coualhon
03. Le Retour Du Jardinier
04. Laderitituo/Polka Du Lac
05. N'aven Tan Dansa/Bourree De Mauconten
06. Sur Le Pont D'Auron
07. Le Juif Errant/Reveillons Reveillez
08. Briolage
09. Marche De Gavinet/Les Hussards De La Gare
10. Sur Le Bord D'Une Fontaine/La Joliesse
11. MDELEY:Les Gateaux/Le Roi De Torelore
12. Chretiens Reveillez-Vous/Jardin D'Amour
13. Bourree De Thiers Polka/De Fort-Marais
14. La Corneille/Le Virelou
15. Le Chariot D'or/Bourree Du Lac/Marijean/La Vieux Canal
16. Adieu Les Filles De Mon Pays/Mazurka
17. La Tricotada
18. Sainte Marthe/Allez-Y Et Dites-Lui
19. Saint Leon-Sur-L'Isle/Souvenir De Chaumeil

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Abdel Halim Hafez - Arabian Greats
Track Listing
-------------
1. Bahlam Beek
2. Okbalak Yom Miladak
3. Safini
4. Masghoul
5. Takhonouh
6. Eh Zanbi Eh
7. Halefni
8. Beeh Albak

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Yarkin Turk Ritim Grubu - Ten / Skin
Founded in 1994, by Fahrettin and Ferry Yarkin "Yarkin Turks Rhythm Society," contained in the forefront of Turkish music rhythm phenomenon through the ages, a icrayla today aims to introduce high-fidelity. Far East, Latin America and India, alongside music of rhythm patterns and rhythm melody sazlarının rich use their wealth because of the group expressed the appreciation of the gathering, Turkish rhythms and rhythm sazlarının also works at home and abroad to take place they deserve.

[01]. Bulmaca
[02]. Ringala
[03]. Ister 1
[04]. Kayip Kimlik Vakasi
[05]. Zeybek
[06]. Hi-Ha
[07]. Hu
[08]. Ister 2
[09]. Giz
[10]. Görüsmeyelim
[11]. Sis

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Buena Vista Social Club Presents - Manuel El Guajiro Mirabal
Cuban trumpeter Manuel "Guajiro" Mirabel was among the first musicians recruited by British producer Nick Gold for the now legendary sessions at Havana's Egrem Studio that yielded the multi-platinum Buena Vista Social Club album and Wim Wenders' groundbreaking concert documentary. But the veteran player already had enjoyed a rich musical history, having performed for more than 40 years in some of the most celebrated Cuban nightclub orchestras. With this lively set of '40s-era conjunto classics, he pays tribute to pioneering Cuban composer-bandleader Arsenio Rodriguez, whose trumpet arrangements inspired Mirabel as a boy.

For his first solo album, 71-year-old trumpeter Mirabal has created a tribute to the seminal bandleader Arsenio Rodriguez. The latter was a tres-wielding maverick who reveled in Cuba's African heritage and gave new opportunities to the piano and brass. With three trumpeters on board, it is not surprising that the tracks often explode into blaring, festive, sloppy--precise fanfares, but Papi Oviedo on tres and pianist Roberto Fonseca more than hold their own. The singers also get a workout, notably on Me Bote De Guano, with its humming opening chorus and robust tenor lead vocal. The late Rubén González, who was Rodriguez's original keyboard man, is heard on Dombe Dombe, a tune he suggested for the set list. The sessions were recorded in Havana at legendary Egrem Studios with a minimum of technical bells-and-whistles and if the sonic texture is somewhat rough and remote, it only adds to the studio-live atmosphere.

01. El Rincón Caliente
02. Para bailar el montuno
03. Deuda
04. El reloj de Pastora
05. Me bote de guano
06. Mi corazon no tiene quien lo llore
07. Tengo que olvidarte
08. Canta montero
09. Chicharronero
10. No vuelvo a moron/Las Tres Marias/Apurrunenme mujeres Medley
11. Dombe dombe

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Wallada - Ibn Zaydun "Una historia de amor y poesía"
Wallada (Córdoba 994-1077) - Ibn Zaydún (Córdoba 1003-1071)

Una historia de amor y poesía - A story of love and poetry Eduardo Paniagua & El Arabi Sergheni Ensemble

The songs recorded on this CD are based on the poems by these two medieval poets from Cordoba. Using Andalusí music from the same period in history the poems have been adapted to existing melodies. The poetry itself has survived in the Andalusí nubas from Morocco, and anonymous texts have been replaced by the words written by Walladah and Ibn Zaydún. In this way we have poetry and music from the 11th century using the "contrafacta" technique, common in Al-Andalus at the time. The result is a collection of the most beautiful melodies from the repertoire, with new verses in the same rhyme and metre as the ones they replace.
A dialogue of love and indifference that for the very first time is expressed through the surviving verse written by Princess Walladah, corresponded by her eternal suitor Ibn Zaydún.
The collaboration between Eduardo Paniagua as musical director and producer, and the singers El Arabí Serghini and Aouatif Bouamar continues PNEUMA's previous series of projects: "Poemas de la Alhambra" PN-230, "Felicidad Cumplida. Inscripciones árabes del Alcázar de Sevilla" PN-290 and "El Agua de la Alhambra" PN-320.
Only nine of Wallada poems have been preserved, of which five are satirical, daring, risqué and caustic. As a sign of her independence and freedom, she wore this emblematic verse embroidered on the right shoulder of her tunic:
On the left:
I am fit for high positions by God
And am going my way with pride.
On the left:
I allow my lover to touch my cheek
And bestow my kiss on him who craves it.
Ibn Zaydún.
Ibn Zaydún.
When she offers me jasmine in the palm of her hand
I collect bright stars from the hand of the moon.

Contents:

1. Tiempo de amor - A time of loveAnon.

Taqsim ud' istihlal: Camino orgullosa - Proud path

Wallada

Dary al-istihlal: Estoy hecha para la gloria - I am made for glory

Ibn Zaydún

Muwwal istihlal: Córdoba lozana - Exuberant Cordoba

Dary al-istihal: Mirada furtiva - Furtive glance

Wallada

Dary iraq al-ajam: Cuando caiga la tarde - When night falls

Dary hidyaz: La separación - The separation

Ibn Zaydún

Moaxaja modo hidyaz: Enamorado nostálgico - Nostalgic lover

Taqsim y muwwal hidyaz: Pasa tus miradas - Cast your eyes

Qa'im was-nisf hidyaz kabir: Si tu sintieras por mi - If you felt for me

2. Desengaños y reproches - Disappointment and reproaches
Wallada

Dary rasd: Enamorado de Júpiter - In love with Jupiter

Anon.

Twishya de la núba rasd: Entre nosostros - Between us

Ibn Zaydún

Quddam rasd: Un secreto - A secret

Inshad rasd: Tras la ausencia - After the absence

Anon.

Twishya del quddam rasd: Noche sin ti - Night without you

Ibn Zaydún

Quddam rasd: Despedida - Farewell

Wallada

Melodía tradicional: Ave veloz - Swift bird

3. Amor idealizado - Idealised love
Ibn Zaydún

Qa'im wa-nisf nahawand: Vino y rosas (Wine and roses)

Wallada

Modo nahawand: Muy rico, contra Al-Ashbahi - Very rich, against Al-Ashbahi

Ibn Zaydún

Dialogo en la noche - Dialogue in the night

Playing time: 67' 47"
Performers
Eduardo Paniagua (flautas, darbuga, tar, cimbalos) & El Arabi Ensemble [El Arabi Serghini (canto, viola, darbuga, tar), Aouatif Bouamar (Canto, coro), Larbi Akrim (laúd, coro), Jamal Eddine Ben Allal (violin, coro)] - Eduardo Paniagua, dir.

Wallada
In the year 711, the history of Cordoba, Spain, was about to witness a dramatic change. The Muslims who were conquering Spain, were about to receive the most precious of the Iberian Jewels, Cordoba. However, surrender of the city was based on an agreement, which allowed Jews, Christians, and Muslims to live peacefully.

The Great Mosque, the oldest building still in use (now as a Cathedral) has an interesting history that illustrates some toleration. It was built on land that had been part of a monastery. The Muslims paid for the land. The Mosque was built in the 8th c., and Cordoba remained Muslim until Christians from the north took over in 1236. The Christians built a cathedral inside the mosque. Interestingly, the Mosque was not destroyed except for those portions of the interior where the altar, choir and other parts of the Cathedral were placed. There are no walls to the Cathedral. It simply was placed inside the much larger mosque.

Over the centuries, families paid for small chapels, which line one wall of the former Mosque. A Christian bell tower was also added. The Mosque/Cathedral is in the heart of the historic district surrounded by narrow streets of the former Jewish Quarter. Today the former Mosque functions only as a Cathedral. A nearby Jewish synagogue has been preserved for its historic value, but is not used.

That tolerant city under the Muslims was the birthplace of a very liberal poetess, Wallada Bint Al Mustakfi. There is no question that Wallada and many other Poets and artists would not have been able to write or create what they have done in any other place. Until this day the city has several monuments and statues dedicated to "los enamorados", the lovers, of whom Wallada gained a very wide-spread fame.0

The love story of the poet Ibn Zaydun and his beautiful, courageous Princess is still alive in the hearts of the people of Cordoba, the capital of Arab Spain and of the Umayyad Caliphs.

Who really was the passionate and daring Umayyad princess?

When Cordoba was the greatest and most sophisticated city, not only of the Moorish civilization but also the entire known world, the Princess Wallada (born in 1011 and died in 1091) achieved fame for her court of learning, many centuries before France's legendary Madame de Rambouillet held sway over her literary salon. Wallada gathered around her the finest poets and musicians of al-Andalus, who would sit around her on cushions and rugs, improvising ballads and epic sagas to the sound of the lute and zither.

Wallada, was the daughter of the Caliph al-Mustakfi Billah, Mohammed the Third, who reigned for only two years, 1923-1025. She was greatly admired for her fair skin and blue eyes, which gave her a very special, exotic appeal for the Aristocats of Cordoba. She had a unique reputation for wit, eloquence and intelligence. Famed for beauty as well as independence, Walladah inspired verses from other poets and wrote her own, becoming poet and author as well as singer. Her poetry was noted for its boldness. In fact, she was so proud of her beauty that she refused to wear the veil when she went out in the streets of the city, thus enraging the local religious people. It was the time of the great fitna, (rebellion) when the Berbers were rising up against the Umayyad Caliphate, and religious tension was high.

But Cordoba was in many ways very liberal indeed. This was because the Andalucian society of the time was a multi-cultural one, a mixture of the Islamic, Christian and Jewish cultures, which made up medieval Spain.

Wallada not only refused to cover her face, she also was very outspoken and free in her personal behaviour, thus becoming a symbol of liberation for the women of her time. She resisted all efforts to keep her in her traditional place, and to prevent her from choosing the lovers she preferred.

When the great Moorish philosopher and supreme judge of the city, Ibn Rushd, known to Europeans as Averroes, accused her of being a harlot, she responded with an act of defiance. She had one of her own poems embroidered on the gown she wore in the street, for everyone to read. It said:

On the left side:

I am fit for high positions by God
And am going my way with pride.
And on the left:
I allow my lover to touch my cheek
And bestow my kiss on him who craves it.

Her most famous relation, a true and passionate love story, was with Ibn Zaydun, one of the greatest Arab poets of the time, born in 1003 and died in 1071.

Although Ibn Zaydun was a leading figure in the courts of Cordoba and Seville, he was most famous among the people of his day because of his scandalous love affair with Princess Wallada. They did nothing to hide their passion, and at her literary circle, when the poets began improvising, as was their custom, they would allude to it quite openly. On one famous occasion, Wallada uttered this impromptu verse, as she gazed upon her lover's face:

I fear for you, my beloved so much, that even my own sight even the ground you tread even the hours that pass threaten to snatch you away from me. Even if I were able to conceal you within the pupils of my eyes and hide you there until the Day of Judgment my fear would still not be allayed.

And he, returning her glance just as ardently, responded:

Your passion has made me famous among high and low your face devours my feelings and thoughts. When you are absent, I cannot be consoled, but when you appear, my all my cares and troubles fly away. When she offers me jasmine in the palm of her hand I collect bright stars from the hand of the moon.

Ibn Zaydun's prestige, as the leading poet and the lover of the most beautiful woman of Cordoba, awakened much jealousy among his rivals, such as Ibn Abdus, the Caliph's Vizir. He created a venemous intrigue aimed at destroying his enemy's friendship with the Caliph and also his romance with Wallada.

At first he failed, but then succeeded in catching Ibn Zaydun making love to Wallada's favourite slave, an African girl. The proud Princess was so hurt that she wrote him a poem of rebuke:

If you had been truly sincere in the love, which joined us, you would not have preferred, to me, one of my own slaves. In so doing, you scorned the bough, which blossoms with beauty and chose a branch, which bears only hard and bitter fruit. You know that I am the clear, shining moon of the heavens but, to my sorrow, you chose, instead, a dark and shadowy planet.

Ibn Abdus then made his rival jealous by letting it be known that Wallada had taken him as her lover, and by walking beside her in the streets of Cordoba. The arrow hit its mark, and the wounded Ibn Zaydun bitterly wrote these lines to the woman he thought had spurned him:

You were for me nothing but a sweetmeat that I took a bite of and then tossed away the crust, leaving it to be gnawed on by a rat.

Although the Caliph was fond of Ibn Zaydun, the scandal reached such proportions that he had him thrown into prison, and later exiled him to Seville. The hapless poet languished there, far from the gardens of the great palace, Medina Zahara, and he passionately missed his beloved Princess. Fortunately for him, the Caliph died soon afterwards and Ibn Zaydun was able to return. The lovers forgave one another and for a while their affair continued, just as passionate and stormy as before. But Wallada now lived in the home of powerful Vizir, who gave her protection, and Ibn Zaydun, disenchanted, eventually decided to return to Seville, where he spent the rest of his life as the favourite poet of the Sultan.

Only nine of Wallada poems have been preserved, of which five are satirical, daring, risqué and caustic. Some of her most impressive love lined she wrote to Ibn Zaidun, and some of her harshest satires were also addressed to him!

Ibn Zaydún
Abu al-Waleed Ahmad Ibn Zaydún al-Makhzumi (1003-1071) known as Ibn Zaydún (Arabic full name,أبو الوليد أحمد بن زيدون المخزومي)was a famous Arab Andalusian poet of Cordoba and Seville. His romantic and literary life was dominated by his relations with the poetess Wallada bint al-Mustakfi, the daughter of the Ummayad Caliph Muhammad III of Cordoba.

Ibn Zaydun was born in Cordoba of pure Arab descent, from the Arab tribe of Makhzum, which was one of the first tribes to migrate to al-Andalus

Ibn Zaydun grew up during the decline of the Umayyad caliphate and was imprisoned by the government. He sought refuge with one local ruler and then another in Seville. He was able to return home for a period after the ruler of Seville conquered Cordoba. Much of his life was spent in exile and the themes of lost youth and nostalgia for his city are present in many of his poems. In a poem about Cordoba he remembers his city and his youth:

God has sent showers upon abandoned dwelling places pf those we loved. He has woven upon them a striped many-coloured garmet of flowers, and raised among them a flower like a star. How many girls like images trailed their garmets among such flowers, when life was fresh and time was at our service...How happy were, those days that have passed, days of pleasure, when we lived with those who had back flowing hair and white shoulders

By Wijdan al shommari
A few months ago I was sitting at a sidewalk café, in the shadow of the medieval walls of Cordoba - and just a few steps from a curious statue of two hands, which seem to be reaching towards one another. I knew, from my studies in Damascus, that it pays tribute to a great Moorish poet and the Princess, also a poetess, whom he loved.
It was Saint Valentine's day, a bright winter morning. I pretended not to know what the statue represented and, just to see what he would say, asked the young waiter if he did, as if I were any other tourist. "That statue is dedicated to los enamorados, the lovers". he said, as he served my cup of coffee.
The love story of the poet Ibn Zaydun and his beautiful, courageous Princess is still alive in the hearts of the people of Cordoba, the capital of Moorish Spain and of the Ummeyad Caliphs. But where I was born, Syria, their poems are studied in every high school student's Arabic literature class.
But who really was the passionate and daring Ummeyad princess?
When Cordoba was the greatest and most sophisticated city, not only of the Moorish civilization but also the entire known world, the Princess Wallada (born in 1011 and died in 1091) achieved fame for her court of learning, many centuries before France's legendary Madame de Rambouillet held sway over her literary salon. Wallada gathered around her the finest poets and musicians of al-Andalus, who would sit around her on cushions and rugs, improvising ballads and epic sagas to the sound of the lute and zither.
Wallada, who was the daughter of the Caliph al-Mustakfi, was greatly admired for her fair skin and blue eyes, which gave her a very special, exotic appeal for the men of Cordoba. In fact, she was so proud of her beauty that she refused to wear the veil when she went out in the streets of the city, thus enraging the local mullahs. It was the time of the great fitna, when the Berbers were rising up against the Ummeyad Caliphate, and religious tension was high.
But Cordoba was in many ways much more liberal in its customs than some Middle Eastern countries are today. This was because the Andalucian society of the time was a multi-cultural one, a mixture of the Islamic, Christian and Jewish civilisations, which made up medieval Spain. This meant that no single religion had full power over the men, and particularly over the women, of the city.
Wallada not only refused to cover her face, she also was very outspoken and free in her sexual behaviour, thus becoming a symbol of liberation for the women of her time. She resisted all efforts to keep her in her traditional place, and to prevent her from choosing the lovers she preferred.
When the great Moorish philosopher and supreme judge of the city, Ibn Rushd, known to Europeans as Averroes, accused her of being a harlot, she responded with an act of defiance. She had one of her own poems embroidered on her gown and wore it in the street, for everyone to read. It said:
"For the sake of Allah! I deserve nothing less than glory I hold my head high and go my way I will give my cheek to my lover and my kisses to anyone I choose."
She had many lovers, but the most famous was the Ibn Zaydun, one of the greatest Moorish poets of the time, born in 1003 and died in 1071.
Although Ibn Zaydun was a leading figure in the courts of Cordoba and Seville, he was most famous among the people of his day because of his scandalous love affair with Princess Wallada. They did nothing to hide their passion, and at her literary circle, when the poets began improvising, as was their custom, they would allude to it quite openly. On one famous occasion, Wallada uttered this impromptu verse, as she gazed upon her lover's face:
"I fear for you, my beloved so much, that even my own sight even the ground you tread even the hours that pass threaten to snatch you away from me. Even if I were able to conceal you within the pupils of my eyes and hide you there until the Day of Judgment my fear would still not be allayed."
And he, returning her glance just as ardently, responded:
"Your passion has made me famous among high and low your face devours my feelings and thoughts. When you are absent, I cannot be consoled, but when you appear, my all my cares and troubles fly away."
Ibn Zaydun's prestige, as the leading poet and the lover of the most beautiful woman of Cordoba, awakened much jealousy among his rivals, such as Ibn Abdus, the Caliph's Vizir. He created a venomous intrigue aimed at destroying his enemy's friendship with the Caliph and also his romance with Wallada.
At first he failed, but then succeeded in catching Ibn Zaydun making love to Wallada's favourite slave, an African girl. The proud Princess was so hurt that she wrote him a poem of rebuke:
"If you had been truly sincere in the love which joined us you would not have preferred, to me, one of my own slaves. In so doing, you scorned the bough, which blossoms with beauty and chose a branch which bears only hard and bitter fruit. You know that I am the clear, shining moon of the heavens but, to my sorrow, you chose, instead, a dark and shadowy planet."
Ibn Abdus then made his rival jealous by letting it be known that Wallada had taken him as her lover, and by walking beside her in the streets of Cordoba. The arrow hit its mark, and the wounded Ibn Zaydun bitterly wrote these lines to the woman he thought had spurned him:
"You were for me nothing but a sweetmeat that I took a bite of and then tossed away the crust, leaving it to be gnawed on by a rat."
This caused much amusement in the city, because Ibn Zaydun had compared the unpopular Vizir to a rat. The ugly old man went straight to the Caliph to complain, but rather than mention the insult to his own person, he pointed out that the poet had compared a Princess of the realm to a pastry crust.
Soon after, Ibn Zaydun fell out of favour altogether. Wallada discovered him with a man. Homosexuality is forbidden in the Koran, but was widely practiced by the Moors of the time nevertheless. She used the occasion to send him back an even more hurtful poem than the one he had addressed to her:
"The nickname they give you is Number Six and it will stick to you until you die because you are a pansy, a bugger a fornicator a cuckold, a swine and a thief. If a phallus could become a palm tree, you would turn into a woodpecker."
Although the Caliph was fond of Ibn Zaydun, the scandal reached such proportions that he had him thrown into prison, and later exiled him to Seville. The hapless poet languished there, far from the gardens of the great palace, Medina Zahara, and he passionately missed his beloved Princess. Fortunately for him, the Caliph died soon afterwards and Ibn Zaydun was able to return. The lovers forgave one another and for a while their affair continued, just as passionate and stormy as before. But Wallada now lived in the home of powerful Vizir, who gave her protection, and Ibn Zaydun, disenchanted, eventually decided to return to Seville, where he spent the rest of his life as the favourite poet of the Sultan.
The sculpture of the hands of Ibn Zaydun and Wallada was placed in the plaza known as El Campo Santo de los Mártires in 1971, to commemorate the 900th anniversary of the great poet's death.

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Gaguik Mouradian & Ensemble - Goussan. Bardes d'Arménie
Doux comme le velours, cet opus de Gaguik Mouradian et son Ensemble est un visa musical pour l'Arménie et ses mystères. Habité par des bardes, des poètes, des philosophes et des amoureux, l'album fait place aux éloges d'un barde au poète, aux odes à l'amitié, aux poésies amoureuses ou encore à la nostalgie de la terre natale. C'est d'ailleurs entre Gaguik et le kamantché –vièle à pique à trois ou quatre cordes– une réelle histoire d'amour, un coup de foudre, alors qu'il n'avait pas même 16 ans. Ses talents d'improvisateur mettent en scène une musique savante et codifiée aux influences persanes qu'il manie avec élégance. Une perle supplémentaire vient s'ajouter à la parure déjà somptueuse du label Accords Croisés.

Grand maître du kamantcha (vièle à pique), Gaguik Mouradian occupe rapidement le poste de soliste des ensembles nationaux de chant et de danse de l'ex-République soviétique d'Arménie. Il révèle la musique des achoughs, les troubadour, au public français. L'ensemble « Goussan », composé d'instruments traditionnels et de chanteurs propose des mélodies liées aux chants anciens du Moyen Age et nous emporte dans l'univers des provinces d'Arménie.

01. Hymne à l'amitié
02. Modeste barde et grand poète
03. Les belles de Géorgie
04. Ode à l'instrument
05. Sirounnér mik nérana
06. Saréri gakav és
07. Paysage d'enfance
08. Poésie amoureuse & instrumentale
09. Chant d'amour à double lecture
10. Métaphores
11. Poésie amoureuse
12. Tou mi arév és
13. Ode aux montagnes
14. Hommage au troubadour

Gaguik Mouradian - kemenche
Dzvovinar Hivhanissian - kanun
Armen Badalian - vocals
Levon Torossian - ud, saz, vocals
Vicken Balassanian - shvi
Keyvan Chemirani - zarb

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