Yenişehir Wiki
Register
Advertisement



Mustafa_İsmail'in_Asra_Damgasını_Vuran_Okuyuşları!_🔥_-_1945-1978_Arası_Tilavetlerinden_Kesitler!-2

Mustafa İsmail'in Asra Damgasını Vuran Okuyuşları! 🔥 - 1945-1978 Arası Tilavetlerinden Kesitler!-2

Kıraatını mıhteşem yorumluyorlar.

الشيخ_مصطفى_اسماعيل_يروي_قصة_زعل_الشيخ_محمد_رفعت_في_احدى_الليالي

الشيخ مصطفى اسماعيل يروي قصة زعل الشيخ محمد رفعت في احدى الليالي

Kıraatın Şeyh-i Ekberi Mustafa İsmail, Şeyh Muhammed Rıfat’ın bir gece üzülmesinin hikayesini anlatıyor.

Makamı_nihavend_M_İsmail

Makamı nihavend M İsmail

Makamı nihavendde Mustafa İsmailin Ses çıkışı

Bakınız


Şablon:Mustafa İsmail d
Mustafa Ismail Mustafa İsmail/Kur'anla zenginleşmek için makamları öğretir
Kari Qari Moustafa İsmail.
Mustafa İsmail/Naziat --- Mustafa İsmail/Muhteşem kıraatinden örnekler Kıraat ile tilavet arasındaki fark nedir?
Remzi Kaya Mustafa İsmail/Anılar Mustafa İsmail/Sözler
Kur'an/VİDEO Video Kur'an
مصطفى إسماعيل
Wikipedia-logo-tr
Mustafa İsmail
ile ilgili daha fazla bilgiye ingilizce wikipedia'dan ulaşabilirsiniz.
Wikipedia-logo-tr
Vikipedi'den Mustafa İsmail ile ilgili bir şeyler var

Best_of_Imam_of_recitors_Sheikh_Mustafa_Ismail_part3.flv

Best of Imam of recitors Sheikh Mustafa Ismail part3.flv

Best of Imam of recitors Sheikh Mustafa Ismail part3.flv

Mustafa İsmail insanlar hınca hınç camii doldurmuş ilgiyle dinliyorlar

Mustafa İsmail insanlar hınca hınç camii doldurmuş ilgiyle dinliyorlar

Mustafa İsmail piyano başında nota talimi ve ses akordu

Mustafa İsmail piyano başında nota talimi ve ses akordu

Şeyh_Mustafa_İsmail.._Ğaşiye,Fecr.._(Nadir_Kayıt)

Şeyh Mustafa İsmail.. Ğaşiye,Fecr.. (Nadir Kayıt)

Which_Qira'ah_did_the_Prophet_(ﷺ)_use_to_recite_the_Quran?_-_Arabic101-2

Which Qira'ah did the Prophet (ﷺ) use to recite the Quran? - Arabic101-2

Bakınız

D. Kıraat.
Kıraatlar.
Kari.
Kariler
--- Kıraatlar


Ahruf-u seb'a *Yedi Kıraat:

Dört Kıraat: Hişam b. Ammar • İbn Zekran • Ahmed b. Muhammed el-Bezzi • Ebu Amr Muhammed İbn Abdurrahman • Hafs b. Süleyman • Şube b. Ayyaş • Hafs b. Ömer ed-Durri • Ebu Şuayb Ziyad b. Salih, Susi • Hullad b. Halit Kufi • Halef b. Hişam • Osman b. Said Mısri • İsa b. Mina • Leys b. Halid • Hafs b. Ömer ed-Durri
*On Kıraat
Yedi Kıraat
ek olarak: Halef b. Hişam  • Yakub b. İshak • Ebû Ca'fer Yezîd b. Ka'kâ' el-Kârî
*Yirmi Kıraat:
Ondört Kıraat
ek olarak: Ebu Yakub İshak b. Bağdadi • İdris، Ebu'l Hasan Abdulkerim • Ruveys، Muhammed b. Mütevekkil  • Ebu'l Hasan Ruh b. Abdu'l Mümin Hazeli • Ebu'l Haris İsa b. Verdan Medeni  • İbn Cemmaz، Süleyman b. Müslim
ZELLETÜ’l-KĀRÎ Tecvid

Introduction_to_Maqamat_Al-Quran

Introduction to Maqamat Al-Quran

المقامات_الموسيقية

المقامات الموسيقية

Bakınız

Şablon:Makambakınız - d


Makam - Maqam -
Makâm - Maqâm - MAKÂM
Makamat - Maqamat

Kur'am kırratında kırk makam [1]
Muqam - Uygur
Makam araçları - Musiki'de makamlar
Makam/WP - Makam/VP

Sözlükte "ayakların bastığı yer, oturulan yer, menzil, merhale, konak" anlamlarına gelir
Tasavvufta, kulun tekrar etmek suretiyle kazandığı ve kendisinde özellik haline getirdiği edebler ve ahlâk veya kulun riyazet ve mücahede ile ulaştığı derece demektir. Haller, Allah vergisi (vehbi) iken, makâmlar kulun çalışması ile (kesbi)dir.
Hal geçicidir, makâm ise süreklidir.
Ayrıca velilerin mezarlarına veya hatıralarını taşıyan yerlere de makâm denilmektedir. (M.C.)
Makam-ı İbrahim
Hz. İbrahim'in Kabe'yi inşa ederken iskele olarak kullandığı veya halkı hacca davet ederken üzerine çıktığı taşın bulunduğu yerdir. Mümkün olursa tavaf namazının burada (Makam-ı İbahim'in arkasında) kılınması efdaldir.
LIVÂÜ'L-HAMD
Hamd sancağı; kıyamet günü insanların altında toplanacakları sancak; Hz. Peygamber'in sancağı. Kıyamet günü övgü ve şeref Hz Peygamber'e ait olacağı için, onun ümmetini toplayacağı sancağın ismi "Hamd sancağı" diye isimlendirilmiştir.

Makam-ı mahmud
"Gecenin bir kısmında da sana mahsus olmak üzere, onunla (Kur'an) gece namazı kıl. Umulur ki Rabbin seni bir Makam-ı Mahmud'a gönderir" (el-Isrâ, 17/79). Bu ayeti kerimede geçen makam-ı mahmud, ahiret günü Hz. Peygamber'e verilecek şefaat makamı olarak tefsir edilmiştir. Nitekim bir hadisi şerifte Hz. Peygamber makam-ı mahmudun ne olduğunu soran sahâbiye "o şefaattır" diye cevap vermiştir (Ahmed b. Hanbel, II, 444). Bu açıdan değerlendirildiğinde hamd sancağının, şefaatla alâkası ortaya çıkmaktadır.
Ebû Saîd el-Hudrî (r.a), Hz. Peygamber (s.a.s)'in şöyle buyurduğunu rivayet etmiştir: "Öğünmek için söylemiyorum, ben Âdemoğullarının efendisiyim! Kıyamet gününde ilk diriltilecek benim. Öğünmek için söylemiyorum; ilk şefaat isteyen ve şefaati ilk kabul edilenim. Öğünmek için söylemiyorum; kıyamet gününde hamd sancağı benim elimde olacaktır" (Tirmizî, Menâkıb, I; Ibn Mâce, Zühd, 37; Dârimî, Mukaddime, 8; Ahmed b. Hanbel, I, 281, 295, III, 14, 4). Hamd sancağı Hz. Peygamber'e ait olan hususi özelliklerdendir. Bir rivayete göre diğer peygamberlerde bulunmayan, yalnızca Hz. Peygamber'e ait olan bu sancak altında Âdem (a.s)'den kıyamete kadar bütün müminler toplanacaklardır (Mübarekfürî, Tuhfetü'l-Ahvezî, Beyrut t.y, IV, 130).
MAKÂM
Bir kimse şu on şeyi, kendine farz bilmedikçe, tam verâ ehli (dînimizde şüpheli olan şeylerden sakınan) olamaz: Başkalarını çekiştirmemeli. Mü'minlere sû-i zan (kötü zan) etmemeli, kötü bilmemeli. Kimse ile alay etmemeli. Yabancı kadınlara, kızlara bakmamalı. Doğru söylemeli. Kendini beğenmemek için, Allahü teâlânın kendisine yaptığı ihsânları (iyilikleri), nîmetleri düşünmeli. Malını helâl yerlere harcayıp, haramlara vermemeli. Nefsi, keyfi için, mevki makâm istemeyip, bunları insanlara hizmet yeri bilmeli. Beş vakit namazı vaktinde kılmağı birinci vazîfe bilmeli. Ehl-i sünnet (Resûlullah efendimiz ve arkadaşlarının bildirdiği doğru yolda giden İslâm) âlimlerinin bildirdiği îmânı ve işleri iyi öğrenip, kendini bunlara uydurmalı. (Ahmed Fârûkî)
Emeli, arzû ve istekleri kısa yapmak lâzımdır. Makâm, mevkî kapmak için yarış etmek gibi hırs yoktur. (Ahmed bin Âsım Antâkî) Makam ne kadar mühim olsa da, şahsiyetinizi vermeyin. Kendinizi küçültmeyin. (Ferîdüddîn Şeker Genç) Mal için makam için hep uğraştım,
Sonsuz nîmetlerden oldum, âh yazık!
Yol bozuk ve karanlık, önde şeytan,
Günâh ağır, ağlarım hep, âh yazık!
(Mevlânâ Hâlid-i Bağdâdî)
2. Tasavvuf yolunda bulunan kimsenin bu yolda ilerlerken kazandığı mânevî derecelerden her biri.

Makam ile hal arasındaki fark
Makâmı kazanmakta kulun gayreti lâzımdır. Bu bakımdan makâm ile hâl arasında fark vardır. Çünkü hâl, kulun gayreti olmadan kalbde meydana gelir. (Ali bin Hüseyin)

Tasavvuf yolunda bulunan kimsenin kazandığı makâmın hükümlerini, îcâblarını yerine getirmeden, tamamlamadan, başka makâma geçmekte acelecilik yapmaması, sabırsızlık göstermemesi lâzımdır. Zîrâ, kanâati olmayan hırslı kimsenin tevekkülü, sıhhatli olmaz. Tevekkülü tam olmayanın teslimiyetinde sıhhat bulunmaz. (Seyyid Abdülhakîm Arvâsî)
Makâm-ı İbrâhim
Haccın farzlarından üçüncüsü, Kâbe-i muazzamayı tavaf etmektir. Tavaf, Mescid-i harâm içinde, Kâbe-i muazzama etrâfında dönmek demektir. Dördü farz, üçü vâcib olmak üzere yedi kerre dönülür. Zemzem kuyusunun ve makâm-ı İbrâhim'in dışından dolaşarak da tavâf etmek câizdir. (İbn-i Âbidîn) Yeryüzünde Cennet'e âit varlıklardan yalnız Hacer-ül-esved (Cennet'ten getirilen, Kâbe'nin duvarına konan kıymetli siyah taş) ile Makâm-ı İbrâhim bulunmaktadır. Eğer bunlara müşriklerin (Allah'a ortak, eş koşanların) elleri dokunmamış olsaydı, onlara dokunan derd sâhiblerine mutlaka cenâb-ı Allah şifâ verirdi. (İbn-i Abbâs)
Makâm-ı İlliyyîn
Bir ma'sûm (günâhsız, suçsuz) çocuk hasta olup, ölüm döşeğine girdiğinde, makâm-ı İlliyyîn, onun makâmı olur. Oradan üç yüz altmış melek gelip, saf saf olup o çocuğun karşısında dururlar ve; "Yâ ma'sûm çocuk! Müjdeler olsun sana, bugün öyle bir gündür ki, geçmiş olan, anaların ve dedelerinin ve cümle komşularının günâhlarının affı için Hak teâlâdan dile (iste)" derler. (İmâm-ı Gazâlî)

مقامات_الشيخ_مصطفى_إسماعيل_رحمه_الله_تعالى_سبعة_مقامات-0

مقامات الشيخ مصطفى إسماعيل رحمه الله تعالى سبعة مقامات-0

Dünyanın en meşhur Qur'an karii (okuyucusu) olup sesini piyano ile akord ederdi. Gece ağlamak ve hüzünle dinlemek için tercih edilen kaaridir. Bilhassa kıraatında tiyatral özellikler kullanarak bir kur'an bölümünün anlaşılmasını ve hissetrtirilmesini muhteşem becerirdi. Bunu anlayan cemaat yerinde duramaz ve bağırırdı.

Mustafa İsmail Kur'an Videolarının Dış linkler[]

  • Kalpleri titrettiği an [2]
  • Cenazesi videosu [3]
  • Hayatı arapça[4]
مقامات_الشيخ_مصطفى_إسماعيل_رحمه_الله_تعالى_سبعة_مقامات-1

مقامات الشيخ مصطفى إسماعيل رحمه الله تعالى سبعة مقامات-1

  • Mustafa İsmail^'den muhtelif makamlarda "Ey İnsanlar sizler Allah'a karşı fakirlersiniz" mealindeki ayeti sesisyle tiyatral olarak tasvir etmesi. Buradan şunu anlıyoruz ki Osmanlı'da insanların neden fakir sıfatını kullandıkları şimdi daha iyi anlaşılıyor. İşte ayette ey insanlar sizler fukarasınzı(fakirlersiniz) ayetinin Kari tarafından muhteşem okunuşlarını dinleyelim .[5]

Musiki makamlarına göre kıraatı[]

  • Nihavend makamında kıraatı (Ana babaya ihsanda bulunma ve Allahdan rahmet dilerken ve "rabbi erham huma" demesi ve sonra aniden Rabbi kümle başlayan Allah sizin yaptıklarınızı bilir derken inmesi muhteşem ve bu sure ancak bu makamda bu kadar güzel okunabilir.[6] - İsra suresi - İsra SuresiRabbin, kendisinden başkasına asla ibadet etmemenizi, ana-babaya iyi davranmanızı kesin olarak emretti. Eğer onlardan biri, ya da her ikisi senin yanında ihtiyarlık çağına ulaşırsa, sakın onlara “öf” bile deme; onları azarlama; onlara tatlı ve güzel söz söyle.” [1] İsra,23-24

Sureler göre Mustafa İsmail in Kur'an videoları linkleri[]

Ezanları[]

Mustafa ismail belgeselleri[]

==Piyano ile sesini akord etmesi==küçükresim] Mustafa İsmail ve zevcesi piyano başında sesini akor ediyor. https://youtu.be/m6DMvUw04dM

Müzik dergisinde hakkında yazılanlar


Mustafa Ismail | An artist's soul in a reciter's throat

Mina Nagy - August 4, 2014

1

In the recordings of Sheikh Mustafa Ismail, people can hear eruptions and dates, irritation and agitation . Imagine they rose up in hysteria, chasing each other and randomly fighting each other . They feel that there is a problem, a problem whose initial solution is hitting and shouting with hysteria, this problem comes due to a lack of understanding accompanied by overwhelming energy, an overwhelming energy of lack of self-understanding, a lack of understanding that paralyzes thinking and prompts to act to the maximum .

2

The freedom to choose and mix the ten readings per session and even one verse, with the boldness of an expert who knows where to eat the shoulder . At the same time, shifts are taking place, on another level, between musical shrines, with an amazing innate maqam genius, and a musical genius, for example, able to stay in the bayati for a full forty minutes without getting  bored by any of the parties . And on a third level, he tastes the possible interpretations of meaning in great depth and novelty : a three-dimensional phonemic movement, charged with a wonderful acoustic ability to reach the answers of the Qarajhar ( al-Bayati al-Shuri ) and his “ answer to the Hijaz ” , and all this, without practically departing from tradition, but rather By playing around and on his limits .

This last sentence is the key to all the above of Mustafa Ismail's total genius, and the real lesson that he leaves after : how to break the rules, which were formed over time for good reasons, without distorting or breaking them, in a clear bias towards the aesthetic and creative side of the genetic imitation obedient religious aspect. Character . In order to draw a more beautiful musical sentence, he moves to extend the last word or change its pronunciation to change the reading he is walking on, or he sets off on a flamboyant glimpse of a passing verse to infuse it with a completely different meaning . It is precisely in this that the reader Mustafa Ismail distinguishes himself from any other Quran reader : the soul of the artist is in the reciter's larynx .

Advertising

3

“He cut off their hands and said, “ God forbid, what is this human being ”- despite the difficulty that this saying came from the women who brought them Zulikha, the dear woman ( or Potiphar according to the Hebrew narration of the sect and the non-appearance of the sectarianism ) Arabic word for God “ Allah ” ; Any historical interpretation of the verse would therefore be wrong . This negation does not mean power, on the contrary, the argument put itself firmly as an expression of my hair, and it seems that the interpretation of poetry is the richest interpretations, unlike the attempts that sought to calm down or scaled exaggerate " poetic " that in the text : " Qtan means Qtan, ie Kvven hands for Harm" , Or " Qtan means Jarahn only and does not mean the amputation of paws from the body . " Or, " They were robbed of his beauty while holding knives to peel the fruit, so they interpreted the knives on their hands . All of these interpretations are on the table, but the richest interpretation for me is what Mustafa Ismail did, and the reading “ recitation ” is an act of interpretation, as it seems to me that the tone with which the sheikh uttered is the highest of the meaning of the saying, an interpretive tone that reached what is called the impossible combination of two opposites : Erotic burning and paranoid stupor . According to the Qur’anic narration, cunning women transformed into monotheism, through beauty, and through desire, which is based on a feminine basis for thinking and reasoning .Here he clarifies that one of Sheikh Mustafa Ismail's genius is that he is capable of sexual transformation, which is what is required by any true and proper interpretation of these verses .



مصطفى اسماعيل | روح فنان في حنجرة مُقرئ

مينا ناجي - August 4, 2014

١

في تسجيلات الشيخ مصطفى اسماعيل، يُسمع الناس تثور وتمور، تهيج وتميج. اتخيّلهم قاموا في هيستريا ليلطشوا بعضهم البعض ويتعاركوا بشكل عشوائي. إنهم يشعرون أن هناك مشكلة، مشكلة حلها المبدئي هو الضرب والصراخ بهيستريا، هذه المشكلة تأتي بسبب عدم فهم مصحوبة بطاقة غامرة، طاقة غامرة من عدم الفهم بالذات، عدم فهم يشل التفكير ويدفع إلى التصرف بأقصى حد.

٢

الحرية في اختيار ومزج القراءات العشر في الجلسة بل والآية الواحدة، بجرأة خبير يعرف من أين تؤكل الكتف. في ذات الوقت الذي تتم فيه التنقلات، على مستوى آخر، بين المقامات الموسيقيّة بعبقريّة مقاميّة فطريّة مذهلة، وعبقريّة موسيقيّة تقدر مثلاً على المكوث في البياتي أربعين دقيقة كاملة دون ملل أحد من الأطراف. وعلى مستوىً ثالث، أصباغ التأويلات المحتملة للمعنى في جدّة وعمق شديديّن: تحرك صوتي ثلاثي الأبعاد، مشحون بقدرة صوتية عجيبة على الوصول إلى جوابات القارجهار (البياتي الشوري) ولجواب “جواب الحجاز” الخاصة به، وهذا كله، من دون الخروج عملياً عن التقليد، إنما باللعب حوله وعلى حدوده.

هذه الجملة الأخيرة هي مفتاح كل ما سبق من عبقريّة مصطفى اسماعيل الكليّة، والدرس الحقيقي الذي يتركه بعده: كيفيّة كسر القواعد، التي تكوّنت عبر الزمن لأسباب وجيهة، من دون تشويهها أو تحطيمها، في انحياز واضح إلي الجانب الجمالي الابداعي عن الجانب الوراثي المُقلد المطيع ديني الطابع. فمن أجل رسم جملة موسيقيّة أجمل، ينتقل ليمد آخر كلمة أو يغيّر نطقها ليغير القراءة التي يسير عليها، أو ينطلق في هبوة ملتاعة في آية عابرة ليصبغها بمعني آخر تماماً. في هذا تحديداً يتميّز القارئ مصطفى اسماعيل عن أي قارئ قرآن آخر: روح الفنان في حنجرة المُقرئ.

إعلان

٣

“وَقَطَّعْنَ أَيْدِيَهُنَّ وَقُلْنَ حَاشَ لِلَّهِ مَا هَذَا بَشَراً” – على الرغم من صعوبة احتمال أن تكون تلك المقولة جاءت على لسان النسوة اللاتي جلبتهن زليخة، امرأة العزيز (أو فوطيفار بحسب الرواية العِبرانيّة) – لعدم ظهور مفهوم الشِرك في المنظومة الدينيّة الفرعونيّة، وعدم ظهور أيضاً اللفظة العربيّة للإله “الله“؛ فأي تأويل تاريخي للآية سيكون بالتالي خاطئاً. لا يعني هذا نفي قوّتها، على العكس، المقولة تطرح نفسها بقوة كتعبير شعري، ويبدو أن التأويل الشعري هو أغنى تأويلاتها، على خلاف المحاولات التي سعت لتهدئة أو تحجيم المبالغة “الشعرية” التي في النص من: “قطَّعن تعني قَطَعن، أي كففن أيديهن عن الأذى“، أو “قطَّعن تعني جرَّحن فقط وليس معناها بتر الكفوف عن الجسد.” أو “أنهن سرحن من فرط جماله وهن يمسكن بالسكاكين لتقشير الفاكهة فسرن بالسكاكين علي أيديهن.” كل هذه التأويلات مطروحة، لكن التأويل الأغني بالنسبة لي، هو ما قام به مصطفى اسماعيل، والقراءة “التلاوة” هي فعل تأويل، حيث يبدو لي أن النبرة التي صدح بها الشيخ هي الأعلى لمعنى المقولة، نبرة تأويليّة وصلتْ لما يسمّى بالجمع المستحيل بين نقيضين: الحُرقة الإيروسيّة والذهول التَقَوي. إذ تحولن النساء، الماكرات، بحسب الرواية القرآنيّة، إلى التوحيد، عبر الجمال، وعبر الشهوة، وهو ما ينبنى على قاعدة أنثويّة للتفكير والإستدلال. هنا يوضح أن من عبقريّة الشيخ مصطفى اسماعيل أنّه قادرٌ على التحول الجنسي، وهو ما يتطلبه أي تأويل حقيقي وسليم لتلك الآيات.

Lahn-ı Azam[]

Ihab Mustafa

He was not like any of the readers, so Al-Sami’a flocked to him until he reached King Farouk, and from him to the kings of the Arab countries. Among the maqamat in one verse, he even amazed the singers themselves, surpassing the musician Muhammad Abdel Wahab, and Riad Al-Sunbati said about him that none of the singers, starting with Abdo Al-Hamuli, matched him in the beauty of his voice and his strength. It is Sheikh Mustafa Ismail, whose son, Atef, was met by Al-Dustour. This dialogue, in which he opened the coffers of stories, was one of the greatest Egyptian reciters throughout history.

Muhammad Refaat praised his voice in the first meeting between them.[]

Sheikh Mustafa Ismail was born on the morning of June 17, 1905, in the village of Mit Ghazal, the center of Al-Santa in the Gharbia governorate, to a well-off family, his father is Muhammad al-Mursi Ismail, and his mother is Stita Hassanein Ismail, and the sheikh was the first son of Muhammad Al-Marsa, and after him came his sister Zakia, Abdel Salam, Amina, Muhammad, Fatima, West El-Aila, and Sariya Abdulaziz.

Since his inception, the Sheikh's father was keen to keep him away from agriculture, and after two years of joining the book that Sheikh Abu Al-Ainain owned, he joined Sheikh Abdullah Shehata's writers, and he was close to the family home, and in it he completed memorizing the Qur’an, and he started reciting it on various occasions until it became famous for him. Bad when he is in his early years.

On one occasion, his grandmother heard him reading the Qur’an from his father, so she went out to release a large “Zagrooda”, after which his father came, so I swore by God that he would do everything in his power for his child to study the sciences of the Qur’an. I see his future in reading God's book. ”

Indeed, he sent it to the two sheikhs Muhammad Abu Hashish and Idris Fakher, and one time the child, Mustafa Ismail, sinned, so Sheikh Abu Hashish attacked him and bitten him in the shoulder until blood flowed, so he returned to his mother crying, so she put dirt for him on the wound.

Mustafa Ismail settled in Tanta in his early twenties, at that time his fame had begun to spread, and he was asked to read at funerals and weddings in Mit Ghazal and its surroundings, and he reached Tanta, which was at that time full of readers, such as Sheikh Awad, Sheikh Shafiq Shahba and Sheikh Muhammad Saudi.

Atef Ismail narrates that there was a man called Hussein al-Qasabi, one of the notables of Tanta, and he was a member of the Senate. The sheikh met with him and read, so “al-Qasabi” loved him so much that he once gathered the most senior readers and said to Mustafa Ismail: Read among them.

"Al-Qasabi" traveled in the mid-twenties to Turkey and died there, and his body was returned to Alexandria on the ship, and he was transferred from Alexandria to Tanta by a special train. Mustafa Ismail was in his house when one of them knocked on the door. And famous readers.

And when Sheikh Muhammad Rifaat finished reading it, Sheikh Mustafa Ismail went up to read, and Sheikh Hassan Subuh gave him a stream and said: “Go down, boy .. is it the work of children?” Then one of the relatives of “Al-Qasabi” came forward and said that “Mustafa” is invited to read like all the sheikhs. Hassan Subuh was reluctantly silent, and Mustafa Ismail read that night until he dazzled the eldest of Tanta and her elite, and the real beginning was for him as a reciter, so that Sheikh Muhammad Rifaat praised him and told him: "You only need to study the shrines and you will be a reader who will emulate people with you."

He read in "Al-Hussein" and the worshipers went out behind him until the threshold.

The sheikh had begun to read a lot in all parts of the West, and there were those coming from Cairo who listened to him, among them Muhammad al-Awaiji, who liked the Sheikh’s voice and recognized him and became friends. After the return of “Al-Awaiji” to Cairo, his mother died He called the Sheikh and asked him to read at the funeral in Cairo, and this was the first invitation the Sheikh received to read in the capital.

He says: “Abu Tarazi used to separate his clothes with him, and his name was Ousta Fattouh, and the latter was very impressed with the Sheikh’s voice, and a friendship arose between them, and he sometimes asked him to read at his home, and he was the one who advised him to join the Readers’ Solidarity Association. Indeed, my father went to the League. And Sheikh Muhammad al-Saifi met her, and al-Saifi asked him to read what was available from the Qur’an, so my father read and praised him a lot and asked him to recite the Qur’an on the radio for half an hour on a par with the rest of the reciters. The sheikh returned happily to our home, and told us what was the matter of the radio. .

He continues: “When his time with the League came, he went to the Al-Hussein Mosque before the evening prayer, and the sheikh began to read on the radio. The mosque was filled with listeners and overflowed with them. They followed him, and he walked and walked after him, so he marveled at them and asked some of them: What do you want? Then they said: We want to hear your reading again now, and while the sheikh was speaking with them, they reached the threshold square and a pavilion appeared for a funeral, so the masses pushed him to the pavilion and they sat him on the bench and asked him to read, and the friends joined The marquee was to them, and the sheikh obeyed them and read until early dawn. ”

Abdel-Wahhab was defeated in the "Surat Al-Thunder" contest

when the mother of the king of Iraq died in 1947. Our phone rang at that time and found him in the royal palace in Iraq, and they wanted Sheikh Mustafa, and at that time he was in Alexandria. They told me that the sheikh would fly to Baghdad with Sheikh Ahmed Abu Al-Ainain. Sheikh Al-Sha`a’i, and Sheikh Abu Al-Aynin told me that everyone there was asking about Sheikh “Mustafa”, so “Al-Sha`sa’i” was annoyed, and he told them that he would travel, and my father came two days later, and I told him what happened, and “Al-Sha`a’i” went instead.

And in Beirut, there was a billionaire named Mahmoud, who held a party called by the musician Mohamed Abdel Wahab and Abi. Abdel Wahab suggested to the Sheikh that each of them read a verse, on the condition that the people judge from the best, so Abi read a verse from Surat Al-Raad: «Or did they make God partners who are created Like his creation, so creation is similar to them. ”So“ Abdel-Wahhab ”stood up to hit him with both hands after he defeated him.

Al-Sunbati said: "All those who opened their throats were not like him."

I was bothered by what the late art critic Kamal al-Nuji wrote that there was no one after Sheikh Muhammad Rifaat, so I collected several recordings for him and went to him with them, and Abu al-Fadl Jadallah was with him, and “Jadallah” told me that “Al-Najmi” did not sleep at night and that he wanted to meet the sheikh, so I told my father And he was hesitant about his meeting, but I convinced him, and "al-Najmi" came, and said to my father: “I heard the shrine of the sika from Umm Kulthum, Abd al-Wahhab and Zakaria Ahmed, but I did not hear the sika that it was read before (O people, you are the poor, to God). Before, I told him: “Do not judge Sheikh Mustafa from the radio, because Sheikh Rifaat and Ismail are both champions in his tracks, just like the two champions of short and long distances. Neither the short champion is fit for long distances nor the other way around. Muhammad raised short distances, but the long ones are for Sheikh Mustafa Ismail, The composition of my father's voice does not give the same entrance to the voice of Sheikh Muhammad Rifaat, so it has no equal in its entry into recitation.

After my father's death, I set up a marquee in Tahrir Square, and I was next to Kamal al-Nuji, and he pointed to a man wearing an abaya and cap, so I asked him: “Who is this?” He said: “Riad Al-Sunbati”, so I knew him and thanked him for his sympathy, so he asked me: “Are you Ibn Sheikh?” Then I said, "Yes." He also said to me: “All those who opened their throats from the days of Abd al-Hamuli until now were not like Mustafa Ismail, because he said everything they said and added to them.” So I said to him: “If I had said this to my father before his death, he would not have died, and he laughed.”

He was buried in his house at “Mit Ghazal” by Sadat’s order


in 1974. The Egyptian ambassador in Germany called me to meet President Sadat with the Egyptian community. Othman Ahmed Othman and accompanying ministers were with us, and he was arranging everything, Dr. Muhammad Tawfiq Aweidah, and he was the head of the Supreme Council for Affairs He told me: "Next month we will see you in London, and he told me that Queen Elizabeth is preparing for a major Islamic festival, and that the Sheikh of Al-Azhar and my father will be with us."

I completely forgot this matter, until I read news in Al-Ahram that Sheikh Abdel Halim Mahmoud left Cairo airport for London, so-and-so, and I did not find my father’s name among them. Two weeks later, I came to Cairo, and went to the Supreme Council for Islamic Affairs, and met Tawfiq Aweidah, and he told me The reason why your father did not go is that there was a phone call that came from the Sheikh of Al-Azhar, and she said that your father would not go to this trip, and I told the father of this matter, and Dr. Abdulrahman Besar, the representative of Al-Azhar at the time, called him and told him about the London trip, and it turned out that the Sheikh of Al-Azhar did not speak to anyone And that it was a big game by the sheikh, who was helped by Sheikh Mustafa Ismail to reach the radio.

My father used to open the Al-Bahr Mosque with “Sadat” in Damietta, and after the opening of the mosque, one of them invited him for lunch, and my father went out from him to Alexandria, and he spoke to me, so I booked on the first plane and came to Cairo directly. My father was in the hospital at the time, and I knew that he was suffering from a brain explosion And in light of the doctor’s words, we prepared the cemetery with his house as ordered.

The story is that my father had previously recommended his brothers and sons to be buried in his house with the dead of Ghazal, and after his death the governor refused to bury my father in our house, so what was Muhammad’s uncle but went directly to “Sadat”, and actually met my uncle the President of the Republic, and asked him to implement a will The late father refused to be buried in his home, and the president agreed and ordered the governor to implement the order.


مينا ناجي - August 4, 2014

١

في تسجيلات الشيخ مصطفى اسماعيل، يُسمع الناس تثور وتمور، تهيج وتميج. اتخيّلهم قاموا في هيستريا ليلطشوا بعضهم البعض ويتعاركوا بشكل عشوائي. إنهم يشعرون أن هناك مشكلة، مشكلة حلها المبدئي هو الضرب والصراخ بهيستريا، هذه المشكلة تأتي بسبب عدم فهم مصحوبة بطاقة غامرة، طاقة غامرة من عدم الفهم بالذات، عدم فهم يشل التفكير ويدفع إلى التصرف بأقصى حد.

٢

الحرية في اختيار ومزج القراءات العشر في الجلسة بل والآية الواحدة، بجرأة خبير يعرف من أين تؤكل الكتف. في ذات الوقت الذي تتم فيه التنقلات، على مستوى آخر، بين المقامات الموسيقيّة بعبقريّة مقاميّة فطريّة مذهلة، وعبقريّة موسيقيّة تقدر مثلاً على المكوث في البياتي أربعين دقيقة كاملة دون ملل أحد من الأطراف. وعلى مستوىً ثالث، أصباغ التأويلات المحتملة للمعنى في جدّة وعمق شديديّن: تحرك صوتي ثلاثي الأبعاد، مشحون بقدرة صوتية عجيبة على الوصول إلى جوابات القارجهار (البياتي الشوري) ولجواب “جواب الحجاز” الخاصة به، وهذا كله، من دون الخروج عملياً عن التقليد، إنما باللعب حوله وعلى حدوده.

هذه الجملة الأخيرة هي مفتاح كل ما سبق من عبقريّة مصطفى اسماعيل الكليّة، والدرس الحقيقي الذي يتركه بعده: كيفيّة كسر القواعد، التي تكوّنت عبر الزمن لأسباب وجيهة، من دون تشويهها أو تحطيمها، في انحياز واضح إلي الجانب الجمالي الابداعي عن الجانب الوراثي المُقلد المطيع ديني الطابع. فمن أجل رسم جملة موسيقيّة أجمل، ينتقل ليمد آخر كلمة أو يغيّر نطقها ليغير القراءة التي يسير عليها، أو ينطلق في هبوة ملتاعة في آية عابرة ليصبغها بمعني آخر تماماً. في هذا تحديداً يتميّز القارئ مصطفى اسماعيل عن أي قارئ قرآن آخر: روح الفنان في حنجرة المُقرئ.

إعلان

٣

“وَقَطَّعْنَ أَيْدِيَهُنَّ وَقُلْنَ حَاشَ لِلَّهِ مَا هَذَا بَشَراً” – على الرغم من صعوبة احتمال أن تكون تلك المقولة جاءت على لسان النسوة اللاتي جلبتهن زليخة، امرأة العزيز (أو فوطيفار بحسب الرواية العِبرانيّة) – لعدم ظهور مفهوم الشِرك في المنظومة الدينيّة الفرعونيّة، وعدم ظهور أيضاً اللفظة العربيّة للإله “الله“؛ فأي تأويل تاريخي للآية سيكون بالتالي خاطئاً. لا يعني هذا نفي قوّتها، على العكس، المقولة تطرح نفسها بقوة كتعبير شعري، ويبدو أن التأويل الشعري هو أغنى تأويلاتها، على خلاف المحاولات التي سعت لتهدئة أو تحجيم المبالغة “الشعرية” التي في النص من: “قطَّعن تعني قَطَعن، أي كففن أيديهن عن الأذى“، أو “قطَّعن تعني جرَّحن فقط وليس معناها بتر الكفوف عن الجسد.” أو “أنهن سرحن من فرط جماله وهن يمسكن بالسكاكين لتقشير الفاكهة فسرن بالسكاكين علي أيديهن.” كل هذه التأويلات مطروحة، لكن التأويل الأغني بالنسبة لي، هو ما قام به مصطفى اسماعيل، والقراءة “التلاوة” هي فعل تأويل، حيث يبدو لي أن النبرة التي صدح بها الشيخ هي الأعلى لمعنى المقولة، نبرة تأويليّة وصلتْ لما يسمّى بالجمع المستحيل بين نقيضين: الحُرقة الإيروسيّة والذهول التَقَوي. إذ تحولن النساء، الماكرات، بحسب الرواية القرآنيّة، إلى التوحيد، عبر الجمال، وعبر الشهوة، وهو ما ينبنى على قاعدة أنثويّة للتفكير والإستدلال. هنا يوضح أن من عبقريّة الشيخ مصطفى اسماعيل أنّه قادرٌ على التحول الجنسي، وهو ما يتطلبه أي تأويل حقيقي وسليم لتلك الآيات.


1

Wikipedia 'da Mustafa İsmail maddesi[]


Dosya:ModernEgypt, Farouk I during Ramadan, DHP13655-30-14 01.jpg

Mustafa Ismail (center, dressed in white) with King Farouk of Egypt

Early life[]

Shaykh Mustafa Ismael is one of the most well known Qaris (Quran reciter). [kaynak belirtilmeli] He was born in a village called Mit Gazal, a village near Tanta in Egypt on 17 June 1905 and his parents named him Mustafa, he was raised by his grandfather.

Shaykh Mustafa Ismael focused on Quran at an early age and when he became 10 years old he became a Hafiz (memorized the Quran). He went to Ahmadi Institution at Tanta and learned Tafsir (exegises), Qiraat (science of recitation) and Fiqh (Islamic jurisprudence). After that he devoted his life to the service of the Quran and. It is noted that once he recited the Quran at a very large gathering and thus became very popular among the people. His son Wahid Mustafa said:

"Somebody pointed at my father and said that this young man recites the Quran well. My father was to recite for 10 minutes with Shaykh Rifat but since Shaykh Rifat liked it so much, my father recited for an hour and a half." [kaynak belirtilmeli]

The Qari who recited the Quran from Egypt radio became ill and instead Shaykh Mustafa Ismael was put on the radio chair to recite. King Faruq was one of the audience. King Faruq liked Shaykh Mustafa Ismael so much that he requested him to recite Quran during the Ramadan for himself. He was now King’s Qari.

Unique Style[]

Dr. Ahmed Nuaina, an Egyptian Qur’an reader, once told noted composer Ammar El-Shereii: “Mostafa Ismail is not just one sheikh. He is several methods and sheikhs in one. You can find all musical forms in his recitation. Whenever I hear a sheikh say something, I remember that Sheikh [Ismail] had said it before. Reciters have failed to come up with anything new after him. He moves easily between maqamat, and never went off tune. The listener’s ear never feels tired of him, because he always intrigues his listeners. He is creative in his qafalat [endings]. I can often predict qafalat, but his are always unexpected.” [1]

Late great composer Abdel-Wahab was of much the same opinion: “He was big in his art, he was big in his management of his voice, and was the only reciter who surprised listeners with unexpected maqam routes,” he once declared. [kaynak belirtilmeli]

In his Dream TV program two years ago, El-Shereii tried to analyze the sheikh’s musical approach by replaying a few short recitations. “His recitation was miraculous, and he was a musical miracle as well. He was unique.” [1]

Analyzing a different verse, the composer says: “He would go up to the very highest notes of the maqam, and he would do it with ease, enjoying himself. It is enough to drive you crazy. This man must have understood music very well, and must have meant what he was doing. He uses saba maqam at first to demonstrate huzn [sadness], then moves to the C, or agam, and then he takes his voice high up the notes when he says al-samaa (the sky) If this were not a musician, then we the musicians know nothing, and must go home. He knew what he was doing and did it depending on his knowledge of the [seven] qira’at [readings] and his very special expressive ability.” [1]

Chronology[]

  • 1905 Mostafa Mohamed El-Mursi Ismail is born on June 17 in Mit Ghazal, a Gharbeya governorate village.
  • 1911 The young Mostafa starts learning the Qur’an in the kuttab of Sheikh Abdel Rahman Abul Einein
  • 1913 Mostafa moves to the kuttab of Sheikh Abdallah Shehata
  • 1915 The 10-year-old becomes a celebrity reciter in his village, as his voice starts drawing listeners.
  • 1917 Sheikh Mostafa Ismail finishes studying the art of tilawa and tajwid with Sheikh Idriss Fakher. He later moves to Tanta to study at the Religious Institute, after an Azhar Sheikh hears him recite in Oteif mosque. The young Sheikh embarks on his career as a reciter.
  • 1920 He receives 70 pt for his first official three-night aaza [mourning] event.
  • 1925 He recites during the aaza of one of Tanta’s richest men, Hussein El-Qasabi, and soon becomes a celebrity all over rural Egypt.
  • 1927 He recites at the aaza of national leader Saad Zaghloul in Damietta. Meets his wife, the mother of his six children, and is also heard by all of Egypt’s pashas. He has to open an office in Tanta to organize his schedule.
  • 1943 He recites in Cairo for the first time. He becomes a radio star.
  • 1944 He becomes King Farouk’s favorite reciter. His famous recitations from the King’s palace every Ramadan were heard by radio listeners all over the Arab world. Sheikh Mostafa travels all over the Arab world.
  • 1947 He becomes Al-Azhar’s reciter, a prestigious post.
  • 1965 Receives the Distinction Medal from Gamal Abdel Nasser, who had also made him his official reciter. Umm Kulthum and Mohamed Abdel Wahab receive their medals on the same night as Ismail.
  • 1977 Ismail travels to Jerusalem with President Anwar Sadat. He recites the Qur’an inside the Al-Aqsa mosque.
  • 1978 On Dec. 22, he recites the Qur’an for the last time in Damietta. Dies on Dec. 26.

References[]

Wikimedia Commons'ta:
Mustafa İsmail ile ilgili çoklu ortam kategorisi bulunur.

External links[]

=Archive.org Audio[]

https://archive.org/search.php?query=%D8%A7%D9%84%D9%82%D8%A7%D8%B1%D8%A6+%D9%85%D8%B5%D8%B7%D9%81%D9%89+%D8%A5%D8%B3%D9%85%D8%A7%D8%B9%D9%8A%D9%84+&and[]=mediatype%3A%22audio%22

archive video[]

https://archive.org/search.php?query=+%D9%85%D8%B5%D8%B7%D9%81%D9%89+%D8%A5%D8%B3%D9%85%D8%A7%D8%B9%D9%8A%D9%84&and[]=mediatype%3A%22movies%22

https://archive.org/search.php?query=%D8%A7%D9%84%D9%82%D8%A7%D8%B1%D8%A6+%D9%85%D8%B5%D8%B7%D9%81%D9%89+%D8%A5%D8%B3%D9%85%D8%A7%D8%B9%D9%8A%D9%84&and[]=mediatype%3A%22movies%22






ar:مصطفى إسماعيل (مقرئ) fa:مصطفی اسماعیل ur:مصطفی اسماعیل

Advertisement