Preview full of "Memories" For Hajj Moulay Benkrizi
In another vein, and a more personal point of view, it is worth mentioning the initiative of this brave Hadj Mohamed Bensemmane who decided in the year 1969 to come visit me in Mostaganem as he was so nicely since 1966.
But this time he had the idea to be accompanied by a gentleman of a certain age and the latter's son, a teenager of fifteen years at most
In my case, it was just a simple visit of friendship and, not knowing the two friends Hadj Mohamed, I must confess quite frankly I was very, very far to appreciate the true value of the bargain that was for me, and by extension, to the Association, this unexpected visit.
How could I have my doubts because of the importance of this character that really - (I'll know more later) - was one of the last survivors to have worked and posed for posterity alongside the best minds of Andalusian music as the sheikhs Mahieddine Lakehal, Mohamed Ben Mohamed Teffahi and Brothers and Abderrezak Fakhardji to name the most famous
It was actually Hadj Omar Bensemmane, cousin of Haj Mohamed and his son Yasser.
In addition to simplicity and unfailing kindness, Hadj Omar was what was called a "reference" known and recognized throughout Algiers Andalusian classical music that he taught as a volunteer at her own home Bologhine. So among his most gifted and most receptive, there was of course the young Yassin who had successfully assimilated in record time an impressive number of Nuba he also sang with a soft voice and child while accompanying himself on piano.
But unlike 1966, this time we were fortunate to have an adequate structure and operational with the prestigious Division Andalusian Music Circle Crescent who immediately began to take advantage of the situation by organizing every night , for about a week, a meal in the intimacy followed by a concert at the home of each of us in turn.
Thus, after the meal which were obviously invited all members of the Section, a big band was formed around Hadj Omar violin viola, Haj Mohamed Yassin on the mandolin and the piano for an uninterrupted succession of noubat some of which were unpublished or little known.
course, reached the end of their stay with us, we might have a sense of regret at the idea of separation, but we had to agree with four or five hours of recording by night, on tape, this directory had managed to accumulate a "provision" invaluable capable of ensuring a journey that would fade well seasoned professionals.
And here it is perhaps worth noting that this was really the first time the opportunity arose for me to practice the Nuba in the strict sense and to satisfy an unquenchable thirst as he didn ' had never been allowed to do so. I felt like I finally enter fully into the virtual world, subtle and great music as one enters the Orders, that is to say with emotion and a kind of ecstasy that you are point to the skies to make you lose all sense of reality.
After the departure of guests, our rehearsals resumed their pace usual, but now we have the raw material that made us so lacking. The way we were wide open to progress and move forward. The horizon had expanded considerably, and that I had of course to Haj Omar, his son and his cousin Yasser Hadj Mohamed, who had the brilliant idea of putting us in touch. Especially since this experience would be repeated the following year under the same conditions and with the same dividends for my level in the field, that is to say an impressive harvest noubat more beautiful than the other .
He wanted me to stay to lunch, and I had the greatest difficulty for him to admit that I absolutely had to return to Mosta that day, not without having taken even when a coffee with him which only the genuine Algiers' hold the secret.
Nevertheless, to acquire viola on behalf of our youth orchestra, I asked to have the kindness to accompany me in Ets Lamri located Rue de Tanger in order to test the qualities of the instrument that it had proposed. Of course, he accepted a good heart, and it is his precious advice I did the acquisition of the first viola of Nadi for the tidy sum of 1600 dinars. It is obvious that his mastery in this field and its requirements were highly eclectic for us the best assurance regarding the reliability of the transaction I had just done.
It must unfortunately the last time I saw my dear master. It was already about to leave this world so unjust and cruel, so quick to throwing away those who have served with great fervor. On this point I prefer to defer to the press that rightly proclaimed:
"The Andalusian Music: A poor relation? On February 2 last, an obituary in our confrère''El-Mujahid''announced the death of Hadj Omar Bensemmane. Who could have imagined, apart from a small circle of relatives, that that day disappeared in The most complete anonymity - (as if were yesterday Lekehal Algiers Mohamed Sheikh Hassouna Constantine ... etc.) - one of the last''live''sound archives depository of a rich cultural heritage, that of classical music called Andalusia?
Shoemaker its original state, Hadj Omar Bensemmane was fortunate to receive in his shop - (located in the old Rue Eugene Dress in Bab El-Oued)-some of the most renowned masters of Andalusian music, not to mention that Laho Sror, known as the disciple of the great Sfindja. Upon contact, HO Bensemmane would learn, and memory''store''a large batch of Touchia and pieces from the classical repertoire, who made it in this area, especially after the independence of our country, the most valuable source when quenched their thirst or référèrent number of musicians and singers from the School of Algiers. The TNA for the purposes of the School of Bordj El-Kifane, and the association''El-Adab-Fen Oual''solicited his assistance but a moment, sick, he could not provide them.
Today, twenty days after his death, those who knew him and who must remark bitterly that many officials responsible for ensuring the protection and preservation of this music have not done much to''dig''the heart of this precious mine''and''retrieve the treasures probably never swallowed. And expand the scope of their disappointment by emphasizing the plight and unworthy in which live some other''masters'', which have yet given so much of themselves, their health and their time for the defense and survival of Andalusian music. Is there no way to get them for collaboration and contribution in making profitable one stone: provide a level playing field, as part of the National Institute of Music for example, and the house at the same time the need for the rest of their days? A problem that deserves consideration and solution. As
deserve our attention in relation to or in line with what has been previously developed, the remarks made by Mr Serri, well known Algerian singer:''If Bensemmane Hadj Omar was one of those fans (in the broadest sense as opposed to professional) line of Si Mohamed Ben Teffahi, which gave without expecting anything in return, and whose role in the preservation and propagation of our musical art has been more decisive than that of the great masters. If these love with a big heart, music is sometimes unknown to the public, they are not of our artists. It is from them that have known singers, often enriched their repertoire of forgotten works, compare their knowledge and searched the reference to enable them to better authenticate some pieces.
They left one by one, surrounded by the silence of anonymity, taking into oblivion total and irrecoverable few fragments of this magnificent heritage. And we are helplessly witnessing and resigned to this lamentable erosion. In a country where it attaches importance to everything that contributes to the enrichment of its national values, the disappearance of the''live''sound archives would not have gone unnoticed and all the consequences have been drawn. We are forced, to note that unfortunately is otherwise with us.
This fact allows us today to ask ourselves about the future of our music. In the field of conservation, but nothing has been done and it does not seem that we have undertaken anything for do this. As for its distribution, it is easy to see that our music is treated as a poor relation and our singers and musicians who made his fame at the time when our personality was challenged, are sidelined or occasional use of puppets needs for festivals and cultural weeks, until they disappear in their turn, leaving the field open to the proliferation of a hybrid art copied or inspired by the way, where we do not find our soul or affirmation of ourselves.
's defiance - as other areas that matter - towards art and artists Algerian nationals is justified by the fact that arts groups or foreign artists are often asked to''enhance''or''events''furnish our activities to local or national without consideration for Algeria. It would suffice to make an inventory and make a comparison.
As our cultural exchanges with countries having concluded agreements with us in that sense it is a chapter that should be reviewed seriously. The situation is being made to our music and those who practice it, is such that it is to know - and we are entitled to know - the role assigned in the processusde recovery of our personality and the importance assigned to it.
A response must be given, because one of the main causes of the slump we are experiencing is the lack of clear direction in the area that concerns us.
The development of a charter on this issue, like those established in other areas, we probably would clarify and define our position. " (End quote).
Shoemaker its original state, Hadj Omar Bensemmane was fortunate to receive in his shop - (located in the old Rue Eugene Dress in Bab El-Oued)-some of the most renowned masters of Andalusian music, not to mention that Laho Sror, known as the disciple of the great Sfindja. Upon contact, HO Bensemmane would learn, and memory''store''a large batch of Touchia and pieces from the classical repertoire, who made it in this area, especially after the independence of our country, the most valuable source when quenched their thirst or référèrent number of musicians and singers from the School of Algiers. The TNA for the purposes of the School of Bordj El-Kifane, and the association''El-Adab-Fen Oual''solicited his assistance but a moment, sick, he could not provide them.
Today, twenty days after his death, those who knew him and who must remark bitterly that many officials responsible for ensuring the protection and preservation of this music have not done much to''dig''the heart of this precious mine''and''retrieve the treasures probably never swallowed. And expand the scope of their disappointment by emphasizing the plight and unworthy in which live some other''masters'', which have yet given so much of themselves, their health and their time for the defense and survival of Andalusian music. Is there no way to get them for collaboration and contribution in making profitable one stone: provide a level playing field, as part of the National Institute of Music for example, and the house at the same time the need for the rest of their days? A problem that deserves consideration and solution. As
deserve our attention in relation to or in line with what has been previously developed, the remarks made by Mr Serri, well known Algerian singer:''If Bensemmane Hadj Omar was one of those fans (in the broadest sense as opposed to professional) line of Si Mohamed Ben Teffahi, which gave without expecting anything in return, and whose role in the preservation and propagation of our musical art has been more decisive than that of the great masters. If these love with a big heart, music is sometimes unknown to the public, they are not of our artists. It is from them that have known singers, often enriched their repertoire of forgotten works, compare their knowledge and searched the reference to enable them to better authenticate some pieces.
They left one by one, surrounded by the silence of anonymity, taking into oblivion total and irrecoverable few fragments of this magnificent heritage. And we are helplessly witnessing and resigned to this lamentable erosion. In a country where it attaches importance to everything that contributes to the enrichment of its national values, the disappearance of the''live''sound archives would not have gone unnoticed and all the consequences have been drawn. We are forced, to note that unfortunately is otherwise with us.
This fact allows us today to ask ourselves about the future of our music. In the field of conservation, but nothing has been done and it does not seem that we have undertaken anything for do this. As for its distribution, it is easy to see that our music is treated as a poor relation and our singers and musicians who made his fame at the time when our personality was challenged, are sidelined or occasional use of puppets needs for festivals and cultural weeks, until they disappear in their turn, leaving the field open to the proliferation of a hybrid art copied or inspired by the way, where we do not find our soul or affirmation of ourselves.
's defiance - as other areas that matter - towards art and artists Algerian nationals is justified by the fact that arts groups or foreign artists are often asked to''enhance''or''events''furnish our activities to local or national without consideration for Algeria. It would suffice to make an inventory and make a comparison.
As our cultural exchanges with countries having concluded agreements with us in that sense it is a chapter that should be reviewed seriously. The situation is being made to our music and those who practice it, is such that it is to know - and we are entitled to know - the role assigned in the processusde recovery of our personality and the importance assigned to it.
A response must be given, because one of the main causes of the slump we are experiencing is the lack of clear direction in the area that concerns us.
The development of a charter on this issue, like those established in other areas, we probably would clarify and define our position. " (End quote).
What implacable indictment issued by a newspaper under state supervision - (1972 private press or independent was not yet on the agenda) - Do not be fooled . What parade could be used to absorb the terrible battering rightly firmly told by one of the custodians of the most prestigious and best-qualified cultural heritage in distress?
must add that this article was cleverly illustrated by a photo of the famous Company "El-Djazairia" taken at its foundation ... in 1930 with the leading figures in the heyday of which are recognized: Mahieddine Lekehal, Mohamed Ben-Teffahi, Brothers and Abderrezak Fakhardji Mohamed and the late Hadj Omar ... Bensemmane course.
Thus, beyond the glowing tribute paid to him by Sid-Ahmed Serri, the entire music industry and his national destiny that are raised in this publication state whose impartiality on this matter can not be questioned.
And like a Shakespearean tragedy the curtain fell, the general indifference to the terms of the act end of a simple life and quietly but very rich and fertile, a man out of the ordinary that only those who were lucky enough to approach him and know him will appreciate its value.
But there are people who do not die. Hadj Omar was one of them. It will remain present forever in our hearts through the memories he left behind and the work for which he sacrificed his whole life. May he rest in peace!
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