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OUM KALTHOUM

(‫)أم آﻠﺜﻮم‬
Lyrics Digest (sample file)
(95 lyrics included)
Title : Oum Kalthoum
– Lyrics Digest
Author : Lirikarab.Com
Released : January 2009
Edition :I
Page : 200
Who Should Have This Book :

1) Art people, including musician, artist,


poet, who wants to look for a complete
reference about Oum Kalthoum biography
and her discography.
2) People who learn Arabic as a foreign
language. One of the best way to learn a
language is by the culture of the origin,
including music and poem.
3) Historian. Especially majoring on Arabic or
Egypt.
4) School and College, as a valuable reference
of department of Art or Arabic.

How To Get Music Files of Oum Kalthoum


for Free :

You can get the streaming of Oum Kalthoum


discograph for free on some Arabic music sites,
music share portal, or some Arabic radio online.
It is simple search on internet.
Lirikarab.com 4 Umm Kulthum

Table of Content

Ummu Kulthum ............................................................... 9


Biography .................................................................... 10
Early life................................................................... 11
Fame ......................................................................... 14
Acting ....................................................................... 17
Personal life ............................................................. 18
Death ........................................................................ 19
Legacy ...................................................................... 20
Her voice.................................................................. 22
Afrah Ya Albi .............................................................. 24
Aghda Al’ak ................................................................ 25
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References:......................Error! Bookmark not defined.


Lirikarab.com 9 Umm Kulthum

Ummu Kulthum
(1904 - 1975)
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Biography

Umm Kulthum (Arabic ‫ أم‬:


‫آﻠﺜﻮم‬, born ‫أم آﻠﺜﻮم إﺑﺮاهﻴﻢ اﻟﺒﻠﺘﺎﺟﻲ‬
Umm Kulthum Ebrahim
Elbeltagi; see Kunya;
Egyptian Arabic: Om
Kalsoum). (May 4, 1904 –
February 3, 1975). Various spellings include Om
Kalthoum, Oum Kalsoum, and Umm Kolthoum. In
Turkish, she is named Ümmü Gülsüm. She was an
Egyptian singer, songwriter, and actress. Born in El
Senbellawein, she is known as "the Star of the East"
(kawkab el-sharq). More than three decades after her
death, she is still recognized as the Arab world's most
famous and distinguished singer of the 20th century.
Kulthum had a contralto singing range.
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Early life

Umm Kulthum was born in


Tamay ez-Zahayra village in
El Senbellawein, Dakahlia
Governorate, Egypt. Her
birth date is controversial,
and even the Egyptian
Ministry of Information seems to have given either
December 31, 1898, or December 31, 1904.

At a young age, she showed exceptional singing


talent. Her father, an Imam, taught her to recite the
Qur'an, and she is said to have memorized the entire
book. When she was 12 years old, her father disguised
her as a young boy and entered her in a small
performing troupe that he directed. At the age of 16
she was noticed by Abol Ela Mohamed, a modestly
famous singer, and by the famous oudist Zakariyya
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Ahmad, who invited her to Cairo. She waited until


1923 before accepting the invitation. She was invited
on several occasions to the house of Amin Beh Al
Mahdy, who taught her how to play the Oud". She
developed a very close relationship to Rawyeha Al
Mahdi, daughter of Amin, and became her closest
friend. Kulthum even attended Rawheya's daughter's
wedding, although she has always tried to avoid
public appearances.

Amin Al Mahdi introduced her to the cultural circles


in Cairo.

In Cairo, she carefully avoided succumbing to the


attractions of the bohemian lifestyle, and indeed
throughout her life stressed her pride in her humble
origins and espousal of conservative values. She also
maintained a tightly managed public image, which
undoubtedly added to her allure.
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At this point in her career, she was introduced to the


famous poet Ahmad Rami, who wrote 137 songs for
her. Rami also introduced her to French literature,
which he greatly admired from his studies at the
Sorbonne, Paris, and eventually became her head
mentor in Arabic literature and literary analysis.
Furthermore, she was introduced to the renowned
lute virtuoso and composer Mohamed El Qasabgi. El
Qasabgi introduced Umm Kulthum to the Arabic
Theatre Palace, where she would experience her first
real public success. In 1932, her fame increased to the
point where she embarked upon a large tour of the
Middle East, touring such cities as Damascus,
Baghdad, Beirut, and Tripoli, Lebanon.
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Fame

By 1948 her fame had come to the attention of Gamal


Abdel Nasser, who would later become the president
of Egypt. At one point the Egyptian musicians guild
of which she became a member (and eventually
president) rejected her because she had sung for the
then-deposed king, Farouk of Egypt. Nasser did not
hide his admiration for her. When he discovered that
she was no longer allowed to sing, he reportedly said
something to the effect of "What are they? Crazy? Do
Lirikarab.com 15 Umm Kulthum

you want Egypt to turn against us?" It was his favor


that made the musicians' guild accept her back into
the fold. In addition, Umm Kulthum was a dedicated
Egyptian patriot since the time of King Farouk. Some
claim that Umm Kulthum's popularity helped
Nasser’s political agenda. For example, Nasser’s
speeches and other government messages were
frequently broadcast immediately after Umm
Kulthum's monthly radio concerts. Umm Kulthum
was also known for her continuous contributions to
charity works for the Egyptian military efforts. Umm
Kulthum’s monthly concerts took place on the first
Thursday of every month and were renowned for
their ability to clear the streets of some of the world's
most populous cities as people rushed home to tune
in.

Her songs deal mostly with the universal themes of


love, longing and loss. They are nothing short of epic
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in scale, with durations measured in hours rather than


minutes. A typical Umm Kulthum concert consisted
of the performance of two or three songs over a
period of three to six hours. In the late 1960s, due to
her age, she began to shorten her performances to two
songs over a period of two and a half to three hours.
These performances are in some ways reminiscent of
the structure of Western opera, consisting of long
vocal passages linked by shorter orchestral interludes.
However, Umm Kulthum was not stylistically
influenced by opera.

The duration of Umm Kulthum's songs in


performance was not fixed, but varied based on the
level of emotive interaction between the singer and
her audience. A typical improvisatory technique of
hers was to repeat a single phrase or sentence of a
song's lyrics over and over, subtly altering the
emotive emphasis and intensity each time to bring her
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audiences into a euphoric and ecstatic state, and was


considered to "have never sang a line the same way
twice". Thus, while the official recorded length of a
song such as Enta Omri (You Are My Life) is
approximately 60 minutes, a live performance could
extend to many hours as the singer and her audience
fed off each other's emotional energy. This intense,
highly personalized creative relationship was
undoubtedly one of the reasons for Umm Kulthum's
tremendous success as an artist.

Acting

In parallel to her singing career, Umm Kulthum at one


point pursued an acting career starring in six films;
however, she quickly gave it up because of the lack of
personal and emotional contact with the audience.
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Personal life

Umm Kulthum was rumored to have had a romantic


affair with Sharif Sabri Pasha, one of the uncles of
King Farouk in the 1940s. In 1955, in what was
perceived as a possible attempt to quash rumors
surrounding her personal life, she hastily married a
dermatologist named Hassen El Hafnaoui. The couple
had no children.
Lirikarab.com 19 Umm Kulthum

Death

In 1967, Umm Kulthum was diagnosed with a severe


case of nephritis. She gave her last concert at the
Palace of the Nile in 1973. Tests at that time indicated
that her illness was incurable. She moved to the
United States, where she benefited for some time from
the advanced medical technology, but in 1975, upon
re-entering her home country, she required
hospitalization due to declining health. Umm
Kulthum died in a Cairo hospital on February 3, 1975.

Her funeral was attended by over 4 million mourners


– one of the largest gatherings in history – and
descended into pandemonium when the crowd seized
control of her coffin and carried it to a mosque that
they considered her favorite, before later releasing the
coffin for burial.
Lirikarab.com 20 Umm Kulthum

Legacy

Umm Kulthum has been a


significant influence on a
number of musicians, both in
the Arab World and beyond.
Among others, Jah Wobble
has claimed her as a
significant influence on his
work. Bob Dylan has been
quoted as saying "She's great. She really is. Really
great" , Maria Callas, Jean-Paul Sartre, Marie Laforêt,
Salvador Dalí, Nico, Bono and Led Zeppelin are also
known to be admirers of Kulthum's music. One of her
best known songs, Enta Omri, has been the basis of
many reinterpretations, including one 2005
collaborative project involving Israeli and Egyptian
artists.
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She had been referred to as "The Lady" by Charles de


Gaulle, and is regarded as "The Incomparable Voice"
by Maria Callas, Umm Kulthum is remembered in
Egypt and the Middle East as one of the greatest
singers and musicians who have ever lived. Even
today, she has retained a near mythical status
amongst young Egyptians. She is also notably popular
in Israel among Jews and Arabs alike, and her records
continue to sell around a million copies a year. In
2001, the Egyptian government opened the Kawkab
al-Sharq (Star of the East) Museum in the singer's
memory. Housed in a pavilion on the grounds of
Cairo's Manesterly Palace, the collection includes a
range of Umm Kulthum's personal possessions,
including her trademark sunglasses and scarves,
along with photographs, recordings, and other
archival material.
Lirikarab.com 22 Umm Kulthum

Her voice

It is known that she had the ability to sing as low as


the second octave, as well as the ability to sing as high
as between the seventh and the eighth octave at her
vocal peak; yet she also could easily sing over a range
surpassing two octaves near the end of her career. Her
remarkable ability to produce approximately 14,000
vibrations per second with her vocal chords, her
unparallelled vocal strength, her ability and capability
to sing every single Arabic scale, and her voice’s
unique and breathtaking beauty that surpasses
convention, arguably makes her the most
incomparable voice of all time. In her final few years,
recordings show a slight coarsening of her voice, a
loss of the silken golden thread of coloratura which in
her earlier years, in songs such as Bairam al-Tunsi's
Beredaak, she displayed with an ease and stupendous
nonchalance
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‫‪Lirikarab.com‬‬ ‫‪24‬‬ ‫‪Umm Kulthum‬‬

‫‪Afrah Ya Albi‬‬

‫اﻓﺮح ﻳﺎ ﻗﻠﺒﻲ‬

‫اﻓﺮح ﻳﺎ ﻗﻠﺒﻲ ﻟﻚ ﻧﺼﻴﺐ ﺗﺒﻠﻴﻎ ﻣﻨﺎك وﻳﺎ اﻟﺤﺒﻴﺐ اﻓﺮح ﻳﺎ ﻗﻠﺒﻲ ﻳﺎ ﻓﺮﺣﺔ اﻟﻘﻠﺐ‬
‫اﻟﺤﺰﻳﻦ ﻟﻮ ﺻﺎدق اﻟﺨﻞ اﻻﻣﻴﻦ ﺑﻌﺪ اﻟﺘﻤﻨﻲ واﻟﺤﻨﻴﻦ ﻳﺒﻠﻎ ﻣﻨﺎﻩ وﻳﺎ اﻟﺤﺒﻴﺐ اﻓﺮح ﻳﺎ‬
‫ﻗﻠﺒﻲ اﻟﻔﻜﺮ آﺎن ﺗﺎﻳﻪ ﺷﺮﻳﺪ واﻟﻘﻠﺐ آﺎن هﺎﻳﻢ وﺣﻴﺪ واﻟﻠﻲ اﻧﻜﺘﺐ ﻟﻪ ﻳﻜﻮن ﺳﻌﻴﺪ‬
‫ﻳﺒﻠﻎ ﻣﻨﺎﻩ وﻳﺎ اﻟﺤﺒﻴﺐ اﻓﺮح ﻳﺎ ﻗﻠﺒﻲ ﻏﻨﻰ ﻟﻪ اﻟﺤﺎن اﻟﻐﺮام واﺣﻜﻲ ﻟﻪ اﺳﺒﺎب اﻟﻬﻴﺎم‬
‫واﻓﺮح ﻳﺎ ﻗﻠﺒﻲ ﺑﺎﻟﻤﺮام واﺑﻠﻎ ﻣﻨﺎك وﻳﺎ اﻟﺤﺒﻴﺐ اﻓﺮح ﻳﺎ ﻗﻠﺒﻲ اﻗﻄﻒ ﻣﻌﺎﻩ زهﺮ‬
‫اﻟﺤﻴﺎة ﻣﺪام هﻮاك واﻓﻖ هﻮاﻩ إﺧﻠﺺ اﻟﻴﺔ واﻃﻠﺐ رﺿﺎﻩ واﺑﻠﻎ ﻣﻨﺎك وﻳﺎ اﻟﺤﺒﻴﺐ‬
‫اﻓﺮح ﻳﺎ ﻗﻠﺒﻲ‬
‫‪Lirikarab.com‬‬ ‫‪25‬‬ ‫‪Umm Kulthum‬‬

‫‪Aghda Al’ak‬‬

‫أﻏﺪًا أﻟﻘﺎك‬

‫أﻏﺪًا أﻟﻘﺎك‬
‫ﻳﺎ ﺧﻮف ﻓﺆادي ﻣﻦ ﻏ ٍﺪ ﻳﺎﻟﺸﻮﻗﻲ وإﺣﺘﺮاﻗﻲ ﻓﻲ إﻧﺘﻈﺎر اﻟﻤﻮﻋﺪ‬
‫ﺁﻩ آﻢ أﺧﺸﻰ ﻏﺪي هﺬا وأرﺟﻮﻩ إﻗﺘﺮاﺑﺎ‬
‫آﻨﺖ أﺳﺘﺪﻧﻴﻪ ﻟﻜﻦ هﺒﺘﻪ ﻟﻤﺎ أهﺎﺑﺎ‬
‫وأهﻠﺖ ﻓﺮﺣﺔ اﻟﻘﺮب ﺑﻪ ﺣﻴﻦ اﺳﺘﺠﺎﺑﺎ‬
‫هﻜﺬا أﺣﺘﻤﻞ اﻟﻌﻤﺮ ﻧﻌﻴﻤﺎً وﻋﺬاﺑﺎ‬
‫ﻣﻬﺠﺔ ﺣﺮة وﻗﻠﺒًﺎ ﻣﺴﻪ اﻟﺸﻮق ﻓﺬاﺑﺎ‬
‫أﻏﺪًا أﻟﻘﺎك‬
‫أﻧﺖ ﻳﺎ ﺟﻨﺔ ﺣﺒﻲ واﺷﺘﻴﺎﻗﻲ وﺟﻨﻮﻧﻲ‬
‫أﻧﺖ ﻳﺎ ﻗﺒﻠﺔ روﺣﻲ واﻧﻄﻼﻗﻲ وﺷﺠﻮﻧﻲ‬
‫أﻏﺪًا ﺗﺸﺮق أﺿﻮاؤك ﻓﻲ ﻟﻴﻞ ﻋﻴﻮﻧﻲ‬
‫ﺁﻩ ﻣﻦ ﻓﺮﺣﺔ أﺣﻼﻣﻲ وﻣﻦ ﺧﻮف ﻇﻨﻮﻧﻲ‬
‫آﻢ أﻧﺎدﻳﻚ وﻓﻲ ﻟﺤﻨﻲ ﺣﻨﻴﻦ ودﻋﺎء‬
‫ﺁﻩ رﺟﺎﺋﻲ أﻧﺎ آﻢ ﻋﺬﺑﻨﻲ ﻃﻮل اﻟﺮﺟﺎء‬
‫أﻧﺎ ﻟﻮ ﻻ أﻧﺖ ﻟﻢ أﺣﻔﻞ ﺑﻤﻦ راح وﺟﺎء‬
‫أﻧﺎأﺣﻴﺎ ﻟﻐﺪ ﺁن ﺑﺄﺣﻼم اﻟﻠﻘﺎء‬
‫ﻓﺄت أو ﻻ ﺗﺄﺗﻲ أو ﻓﺈﻓﻌﻞ ﺑﻘﻠﺒﻲ ﻣﺎ ﺗﺸﺎء‬
‫‪Lirikarab.com‬‬ ‫‪26‬‬ ‫‪Umm Kulthum‬‬

‫أﻏﺪًا أﻟﻘﺎك‬
‫هﺬﻩ اﻟﺪﻧﻴﺎ آﺘﺎب أﻧﺖ ﻓﻴﻪ اﻟﻔﻜﺮ‬
‫هﺬﻩ اﻟﺪﻧﻴﺎ ﻟﻴﺎل أﻧﺖ ﻓﻴﻬﺎ اﻟﻌﻤﺮ‬
‫هﺬﻩ اﻟﺪﻧﻴﺎ ﻋﻴﻮن أﻧﺖ ﻓﻴﻬﺎ اﻟﺒﺼﺮ‬
‫هﺬﻩ اﻟﺪﻧﻴﺎ ﺳﻤﺎء أﻧﺖ ﻓﻴﻬﺎ اﻟﻘﻤﺮ‬
‫ﻓﺈرﺣﻢ اﻟﻘﻠﺐ اﻟﺬي ﻳﺼﺒﻮ إﻟﻴﻚ‬
‫ﻓﻐﺪًا ﺗﻤﻠﻜﻪ ﺑﻴﻦ ﻳﺪﻳﻚ‬
‫ﻼ‬
‫وﻏﺪًا ﺗﺄﺗﻠﻒ اﻟﺠﻨﺔ أﻧﻬﺎرًا وﻇ ّ‬
‫ض ﺗﻮﻟّﻰ‬
‫وﻏﺪًا ﻧﻨﺴﻰ ﻓﻼ ﻧﺄﺳﻰ ﻋﻠﻰ ﻣﺎ ٍ‬
‫وﻏﺪًا ﻧﺰهﻮ ﻓﻼ ﻧﻌﺮف ﻟﻠﻐﻴﺐ ﻣﺤﻼ‬
‫وﻏﺪًا ﻟﻠﺤﺎﺿﺮ اﻟﺰاهﺮ ﻧﺤﻴﺎ ﻟﻴﺲ إﻻ‬
‫ﻗﺪ ﻳﻜﻮن اﻟﻐﻴﺐ ﺣﻠﻮًا‬
‫إﻧﻤﺎ اﻟﺤﺎﺿﺮ أﺣﻠﻰ‬
‫أﻏﺪًا أﻟﻘﺎك‬
‫‪Lirikarab.com‬‬ ‫‪27‬‬ ‫‪Umm Kulthum‬‬

‫‪Ahl El Hawa‬‬

‫أهﻞ اﻟﻬﻮى‬

‫أهﻞ اﻟﻬﻮى ﻳﺎ ﻟﻴﻞ ﻓﺎﺗﻮا ﻣﻀﺎﺟﻌﻬﻢ‬


‫واﺗﺠﻤﻌﻮا ﻳﺎ ﻟﻴﻞ ﺻﺤﺒﻪ وأﻧﺎ ﻣﻌﻬﻢ‬
‫ﻳﻄﻮﻟﻮك ﻳﺎ ﻟﻴﻞ وﻳﻘﺼﺮوك ﻳﺎ ﻟﻴﻞ‬
‫ﻳﻄﻮﻟﻮك ﻳﺎ ﻟﻴﻞ ﻣﻦ اﻟﻠﻲ ﺑﻴﻬﻢ‬
‫واﻧﺖ ﻳﺎ ﻟﻴﻞ ﺑﺲ اﻟﻠﻰ ﻋﺎﻟﻢ ﺑﻴﻬﻢ‬
‫ﻓﻴﻬﻢ آﺴﻴﺮ اﻟﻘﻠﺐ واﻟﻤﺘﺄﻟﻢ‬
‫واﻟﻠﻲ آﺘﻢ ﺷﻜﻮاﻩ وﻟﻢ ﻳﺘﻜﻠﻢ‬
‫واﻟﻠﻲ ﻗﻌﺪ ﺑﻌﺪ اﻟﺤﺒﺎﻳﺐ وﺣﺪﻩ‬
‫وﺑﺎت ﺣﺰﻳﻦ ﻳﺸﻜﻲ هﻴﺎﻣﻪ ووﺟﺪﻩ‬
‫ﻳﺸﻜﻮ وﻻ ﻣﺨﻠﻮق ﺳﻤﻊ ﺷﻜﻮاهﻢ‬
‫إﻻ اﻟﻜﻮاآﺐ ﻓﻰ اﻟﺴﻤﺎ ﺳﻤﻌﺎهﻢ‬
‫ﻳﻄﻮﻟﻮك ﻳﺎ ﻟﻴﻞ ﺑﺎﻟﺴﻬﺪ واﻷﻓﻜﺎر‬
‫واﻟﺸﻤﺲ ﺑﻌﺪ اﻟﻠﻴﻞ ﻳﻄﻠﻊ ﻋﻠﻴﻬﻢ ﻧﻬﺎر‬
‫وﺑﻌﺪ ﻃﻮل اﻟﻮﻳﻞ ﺗﻌﻮد ﻟﻬﻢ ﻳﺎﻟﻴﻞ‬
‫وﻳﻘﺼﺮوك ﻳﺎﻟﻴﻞ ﻓﻰ ﺻﺤﺒﻪ هﻨﻴﻪ‬
‫ﻋﻠﻰ وﺗﺮ رﻧﺎن ﻓﻰ اﻟﺼﺒﺤﻴﺔ‬
‫‪Lirikarab.com‬‬ ‫‪28‬‬ ‫‪Umm Kulthum‬‬

‫ﻓﻴﻬﻢ ﻳﺎﻟﻴﻞ ﺧﻞ ﻋﻄﻒ ﻋﻠﻰ ﺧﻠﻪ‬


‫وﻳﻘﻮﻟﻪ ﻟﺤﻦ اﻟﺸﻮق وﺧﻠﻪ ﻳﻘﻮل ﻟﻪ‬
‫وﻳﻘﺼﺮوك ﻳﺎﻟﻴﻞ ﻋﻠﻰ هﻨﺎ وﺳﺮور‬
‫واﻟﺸﻤﺲ ﺑﻌﺪ اﻟﻠﻴﻞ ﻳﻄﻠﻊ ﻋﻠﻴﻬﻢ ﻧﻮر‬
‫وﻳﺴﺄﻟﻮك ﻳﺎﻟﻴﻞ اﻣﺘﻰ ﺗﻌﻮد ﻳﺎﻟﻴﻞ‬
‫ﻧﺎس ﻣﻦ ﻗﻠﻮﺑﻬﻢ ﺗﻘﻮل ﻳﺎﻟﻴﻞ‬
‫وﻧﺎس ﻋﻠﻰ اﻷرﻏﻮل ﺗﻘﻮل ﻳﺎﻟﻴﻞ‬
‫واﺣﻨﺎ ﻣﻌﺎﻧﺎ ﺑﺪر ﻃﺎﻟﻊ ﻓﻰ ﻟﻴﻠﺔ ﻗﺪر‬
‫ﻓﻴﻬﺎ ﺣﺒﻴﺐ اﻟﻘﻠﺐ واﻓﺎ ووﻓﻰ اﻟﻨﺪر‬
‫هﻮ ﻳﻘﻮل ﻳﺎﻟﻴﻞ واﺣﻨﺎ ﻧﻘﻮل ﻳﺎﻟﻴﻞ‬
‫وآﻠﻨﺎ ﺑﻨﻘﻮل ﻳﺎﻟﻴﻞ أهﻞ اﻟﻬﻮى ﻳﺎﻟﻴﻞ‬