Khaled Mouzanar - Et Maintenant On Va Où خالد مزنر– وهلأ لوين

Khaled Mouzanar is a Lebanese musician. His music has gained much popularity since he composed the soundtrack for Nadine Labaki’s Caramel. His musical style melds Arabic music (ney, kanun, violin, and percussion) with classical and tango influences, He has compose numerous music films (Beirut After Shave, Sekkar Banet, Caramel) before embarking in 2007 in writing his first solo album, “Champs Arides “.

Mouzanar started music very young alongside the great Armenian composer, Boghos Gelalian. Like many of his friends are fond of the cinema and make films, he composed the music and he learns to link sounds and pictures.
His musical influences are so intimately related to the 7th art, since, although he grew up listening to the compositions of Bach, he readily admits having had a real shock artistic immersing himself airs of Strauss in the film by Stanley Kubrick “l’Odyssé de l’ espace. ” His inspiration is so tinged with Western trends despite the frequent use of typical instruments of Lebanon, especially in the city where he composes his music, Beirut.

To live his passion for music, he began working for advertising clips. His first professional experience outside the pub turns out to be a short film by Hany Tamba “After Shave”, whose music was nominated for the festival of Lutin Short Film. This is an opportunity for him to make his first teeth, while revealing his method as a composer for films. He works his themes, not images, but once assembled directly from the script.

Khaled Mouzanar خالد مزنر

Mouzanar will then rub with a feature film with director Nadine Labaki, in the film “Caramel.” His work takes as its basic Italian melodies (Morricone, Rota) as well as Lebanese Fairuz. His compositions also flirts with the tango through a thorough analysis of Astor Piazzolla, a composer who saw to make the tango universal and classic.

Finally comes the time of his solo album, entitled “Champs arides”, written in French and edited by Naïve. For this opus, Mouzanar states won by allowing himself to the influences of folk, “song writing” and, inevitably, paid tribute to singers such as Gainsbourg. He said also inspired by the city of Paris. For him, “Paris is literature, cinema. Paris is a kind of fantasy.However, Paris does not inspire him when it is actually far from it, since it is in Beirut that he composes his songs

Et maintenant on va où? وهلأ لوين on IMDb

Khaled Mouzanar خالد مزنر on Facebook

Coaching Chant : Tania Saleh


  1. Danse Funèbre (Solo: Rasha Rizk) (03:15)
  2. La Grande Marche (01:49)
  3. Kifou Hal Helou (02:51)
  4. Machkal (02:58)
  5. Yimkin Law (03:18)
  6. Pax Ukrania (03:16)
  7. Un Air De Liberté (02:47)
  8. Yammi (03:12)
  9. Nassim (02:37)
  10. Miracle Du Flipper (01:33)
  11. Hashishet Albi (Instrumental) (01:48)
  12. Un Air De Liberté (Guitar Version) (02:29)
  13. Kyrié Allah (03:15)
  14. Deuil De Nassim (02:26)
  15. Hashishet Albi (01:48)

Duration : 39:22 | Bitarte : 320 kBit/s  | Year : 2011 | Size : 94 mb

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Hüsnü Şenlendirici ve Trio Chios - 2010 - Ege'nin iki yanı

Hüsnü Şenlendirici


  1. Mini Mini Nihavend Peşrev (02:10)
  2. Gel Gel Kayıkçı (02:57)
  3. Pare Ta Hnaria Mou (Kalarnet Edit) (03:09)
  4. Şeftalisi Ala Benziyor (05:12)
  5. Bekledim de Gelmedin (03:19)
  6. İzmir’in Kavakları (03:43)
  7. Ta Ziliarika Sou Matia (02:41)
  8. Ada Sahilleri (03:41)
  9. Buzuki Taksim (00:54)
  10. Iroini Ke Mavraki (04:51)
  11. Bergama Zeybeği (02:15)
  12. Kanun Taksim (01:16)
  13. Kadifeden Kesesi (04:21)
  14. Rare Ta Hnaria Mou (03:09)
  15. I Lahanades (02:54)
  16. Bekledim de Gelmedin (Bonus Track) (03:17)

Duration : 49:45 | Bitarte : 320 kBit/s  | Year : 2010 | Size : 117 mb

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Hossein Alizadeh – Ney Nava


Hossein Alizadeh (Tehran-1950) is considered one of the most important figures in contemporary Persian music. He comes from a traditional training. He learned the Radif of Persian classical music with various masters of the tradition including PortraitHoushang Zarif, Ali Akbar Shahnazi, NurAli Borumand, Mahmood Karimi, Abdollah Davami, Yousef Foroutan, and Saied Hormozi and later recorded the entire body of the Radif based on the interpretation of Mirza Abdullah for Tar and Setar. He also received a BA in Music Composition and Performance from the University of Tehran and later studied Composition and Musicology at the University of Berlin. He has taught at the University of Tehran and the Tehran Music Conservatory.

Alizadeh has led a solo career, performing both in Iran and throughout North America, Europe and Asia. He was the conductor and soloist in the Iranian National Orchestra of Radio and Television, established the acclaimed Aref Ensemble and worked with the Shayda Ensemble. His first professional experience in Europe was playing in the orchestra of the famous Bejart Ballet Company in Maurice Bejart’s ballet, Gulistan.

Some of Alizadeh’s most noted compositions are The Nava Improvisations (1976), Riders of the Plains of Hope (1977), Hesar (1977), Revolt (1983), Ney Nava (1983), Dream (1986), Torkaman (1986), Raz-O-Niaz (1986), Delshodegan (1987), Song of Compassion (1991), New Secret (1996), A Time for Drunken Horses (2000), Turtles can Fly (2004), Endless Vision (2004), Nive Mang (2006), Under the Razor (2007) and Ode to Flowers (2007). The album, Endless Vision has been nominated for the Best World Music Album of the Year 2006 in the 49th Edition of the Grammy Awards.

Alizadeh established the Hamavayan Ensemble in 1989 with a new approach to the traditional Iranian choral singing. Accompanied with traditional instruments, this ensemble has appeared in many of Alizadeh’s compositions including New Secret, Gabbeh, Songs of Compassion and Endless Vision.

Track List:

  1. Ney Nava / Darâmad (04:17)
  2. Ney Nava / Naghmeh (05:28)
  3. Ney Nava / Jâmeh Darân (04:10)
  4. Ney Nava / Nahoft, Forud (09:05)
  5. Ney Nava / Dance Os Samâ (04:36)
  6. Riders in the Field of Hope (07:22)
  7. Nowrooz (04:00)
  8. Songs of Compassion / Life (06:18)
  9. Songs of Compassion / Sunrise (01:31)
  10. Songs of Compassion / Depth of Catastrophe (05:31)
  11. Songs of Compassion (10:46)
  12. Songs of Compassion / Ascension (04:05)
  13. Songs of Compassion / Search (04:14)

Duration : 71:19 | Bitarte : 320 kBit/s  | Year : 2006 | Size : 164 mb

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Marcel Khalife – 2012 -  Fall Of The Moon مارسيل خليفة – سقوط القمر

Marcel Khalifé was born on June 10, 1950 in Amchit, Lebanon. He studied the Oud (the Arabic lute) at the Beirut National Conservatory of Music and graduated in 1971, and, ever since, has been injecting a new life into the Oud.Portrait

From 1972 to 1975, Marcel Khalifé taught at the Beirut National Conservatory of Music, public Universities and other local private music institutions. During that same period, he toured the Middle East, North Africa, Europe and the United States giving solo performances on the Oud.

Oud playing was traditionally constrained by the strict techniques that governed its playing. Highly talented and skillful musicians such as Marcel Khalifé were, however, able to free the instrument from those constraints and thus greatly expanding its possibilities.

In 1972, Marcel Khalifé created a musical group in his native village, Amchit, with the goal of reviving its musical heritage and the Arabic chorale. The first performances took place in Lebanon. 1976 saw the birth of Marcel Khalifé’s Al Mayadine Ensemble. Enriched by the previous ensemble’s musical experiences, Al Mayadine’s notoriety went well beyond Lebanon. Accompanied by his musical ensemble, Marcel Khalifé began a lifelong far-reaching musical journey, performing in Arab countries, Europe, the United States, Canada, South America, Australia, and Japan.

Marcel Khalifé’s compositions have been performed by several orchestras, notably the Kiev Symphony Orchestra, the Academy of Boulogne Billancourt Orchestra, The San Francisco Chamber Orchestra, the Orchestra of the city of Tunis, the Royal Liverpool Philharmonic Orchestra, the Italian Philharmonic Orchestra, the Royal Oman Symphony Orchestra and the “Absolute Ensemble”.

Since 1982, Marcel Khalifé has been writing books on music that reflect his avant garde compositions and the maturity of his experience. He published Al Samaa, a collection of compositions for various traditional Arab musical instruments (1981), a six part methodology for the study of the Oud (1982), and Arabic Music-Theory and Practice (French Edition, 1984), Jadal oud Duo (1996), OUD (1997), Andalusian Suite for oud and Orchestra (2002).

His challenges, however, are not only musical in character. Interpreter of music and Oud performer, he is also a composer who is deeply attached to the text on which he relies. In his association with great contemporary Arab poets, particularly Palestinian poet par excellence, Mahmoud Darwish, he seeks to renew the character of the Arabic song, to break its stereotypes, and to advance the culture of the society that surrounds it.

Marcel Khalifé’s lyrical and instrumental recordings add up to more than 20 albums and DVDs, Promises of the storm (1976), Rain Songs (1977), Where from, do I Enter the Homeland? (1978), Weddings (1979), At the Borders (1979), Stripped Bare (1980), Happiness (1981), The Bridge (1983), Collections – 3 Albums (1984), Dreamy Sunrise (1984), Ahmad Al Arabi (1984), Peace Be With you (1989), Ode To A Homeland (1990), Arabic Coffeepot (1995), Jadal Oud Duo (1996), Magic Carpet (1998), Concerto Al Andalus (2002), Caress (2004), Voyageur DVD (2004), Taqasim (2007), Sharq CD & DVD (2007).

On his journey, Marcel Khalifé invents and creates original music, a novel world of sounds, freed of all pre-established rules. This language elevates him to the level of an ambassador of his own culture and to the vanguard of Arabic music in search of innovators.


Marcel Khalifé: composer, oud, vocals
Mahmoud Darwish: poetry

Oumaima Khalil
: vocals
Yolla Khalife: vocals
Rami Khalife: piano
Bachar Khalife: percussion
Peter Herbert: double bass
Mark Helias: double bass
Ismail Lumanovski: clarinet
Anthony Millet: accordian
Fabio Presgrave: cello
Mahmoud Tourkmani: guitar

TrackList :

  1. The Pigeons Fly (09:43) يطير الحمام
  2. And We Love Life (07:50) ونحن نحب الحياة
  3. The Stranger’s Bed (Instrumental) (04:52) سرير الغريبة
  4. Oh, My Proud Wound (03:43) آه ياجرحي المكابر
  5. Mohammad (09:05) محمّد
  6. Houriyeh’s Instructions (13:11) تعاليم حوريّة
  7. Jahar Kah (Instrumental) (02:13) جهاركاه
  8. Now, In Exile (12:16) الآن في المنفى
  9. Two Guitars (Instrumental) (05:40) غيثارتان
  10. Fall Of The Moon (Instrumental) (07:26) سقوط القمر
  11. A Song On My Mind (05:02) في البال أغنية
  12. Remember (01:58) تذّكر
  13. Her Eyes (07:39) عيناها
  14. The Poem Of The Land (03:58) قصيدة الأرض
  15. Waltz For Rita’s Winter (Instrumental) (08:42) فالس لشتاء ريتا
  16. Palestinian Mawwal (04:32) موال فلسطيني
  17. The Most Beautiful Love (06:49) أجمل حب
  18. In Damascus (04:28) في دمشق

Duration : 118:58 | Bitarte : 128 kBit/s  | Year : 2012 | Size : 114 mb

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Emel Mathlouthi - Kelmti Horra آمال المثلوثي – كلمتي حرة

Born in Tunis, Emel is a songwriter, composer, guitarist, and singer. She brings an amazing brand new sound to Tunisian music. Hearing her voice, we can evoke Joan Baez, Sister Marie Keyrouz, and the Lebanese diva Fairouz … Endowed with outstanding vocal capacities, her captivating style is sometimes lyrical, with strong dominating rock, oriental and Trip Hop, allying tactfully, the music of the Maghreb and the Middle East melting it with a palette sometimes Tzigane, sometimes flamenco, Celtic, Gnawa or Ragga.

Self-taught, she began her  artistic career at the age of 8 on the stage of  the  small amphitheater in Ibn Sina’s neighborhood  in the suburbs of Tunis where she lived until the age of 25 years old… This stage built there in this arbitrarily triggered in her, the madness and love of art that never deserted her later. Thanks to her father’s records she bathed since her early childhood in classical music, and Arabic as well as Latin American protest music. Prior to the discovery of the Arab dissident scene through the idols of the revolutionary movements of the 70 s: the blind Egyptian singer Sheikh Imam and the Lebanese singer Marcel Khalifa, Bob Dylan and mainly Joan Baez who has greatly influenced her. She discovered the exhilaration and joy of singing around the age of 15 years and she could not stop since then. After performing in a rock band established in college, and experiencing the joys of the stage in different universities, She chose the guitar as fellow traveler and seized every opportunity to perform in public and show her music. Emel Mathlouthi is rapidly remarked for her scenic performances and especially for her ability to enchant and delight the audience.

“Pain and pleasure mix , expand , become deeper to finally be engraved in the hearts forever… Her words are pain that gives birth to pleasure… Her music seems to emerge from a transcendent world…A world full of humanity , sensitivity , and feelings… Emel does not only sing with her voice, but with her body and her features have their own language too…” Encouraged by some friends, she began to write in Tunisian dialect in 2004 and continues to compose in that language as well as in standard Arabic and sometimes in french. After her arrival in France she discovered the pain and suffering of being far and nostalgic… Since that, she never stops working on developing a progressive and unexpected new style where a song is a story with lot of shifting enriched with thick poetry. Her songs are full of anger, sadness, love, patriotism to a country left to the hands of fate… full of hope, hope of freedom and delivery… of faith, disillusionment, and thoughts about the existence and the weaknesses of the human in front of the folly of his fellows. Success was « au rendez vous » and after great collaborations with Tricky, french artists such as Charlie Couture, Jean Jacques Milteau, Meï Teï Shô and a selection in the first edition of the RMC-doualiya music awards in 2006, she’s becoming one of the main figures of the nowadays  Arabic  music.


عُرفت الفنانة التونسية الشابة المقيمة في باريس آمال مثلوثي بخطواتها الواثقة والذكيّة في عالم مليء بالأسماء التي تصنعها الآلة الإعلامية يوميّاً. ورافقتها مؤشرات النجاح، على رغم أنّها اختارت أن تسبح ضد تيّار السائد. وهي اليوم نموذج لشابة تونسية تمكّنت في وقت وجيز من نحت اسمها في الصفوف الأولى، إذ أصدرت أول ألبوماتها «حلمة» ولاقى رواجاً كبيراً وجالت العواصم الأوروبية والعربية وأقامت عشرات الحفلات الناجحة.

تقول مثلوثي التي غادرت تونس منذ سنوات لتستقر في العاصمة الفرنسية: «مرحلة تونس كانت مهمّة جداً بالنسبة إلي، وهي التي ساعدتني على البروز في فرنسا، وأنا فخورة جداً بانتمائي إلى تونس وانطلاقي منها على رغم الصعوبات والعراقيل التي تعرضت إليها».

وتضيف: «ثم كانت مرحلة الهجرة والاستقرار في فرنسا، وهناك كانت مرحلة النضج نوعاً، خصوصاً بعد إصداري الألبوم الأول «حلمة» الذي كان بعد مشاركتي في نهائي راديو مونتي كارلو». وحول التفاعل الكبير بينها وبين الجمهور وبخاصة من الشباب، تؤكد أنّ «هذا التفاعل له تفسير واحد وهو الصدق، إذ بمقدار ما يكون الفنان صادقاً مع الناس سيكسب الجمهور، وأنا أتعامل بصدق وعفويّة، أغنيتي تخرج من القلب لتدخل القلب مباشرة. فالجمهور لا يحبّ من يتصنّع أو يكذب في إحساسه. بذلك وجدت طريقي بالصدق والعفويّة والبساطة أيضاً، إذ أنني أعتمد كلمات بسيطة وقريبة من المتلقّي، ولا أسعى إلى التعقيد لا على مستوى الكلمات ولا على مستوى اللحن».وتتابع: «أنا عصاميّة التكوين في المجال الموسيقي، كنت أغنّي في المعهد الثانوي ثمّ أثناء الدراسة الجامعية. أنا أغنّي بقلبي وإحساسي، وأستمع كثيراً إلى فيروز والشيخ إمام ومارسيل خليفة، كما أنني استمع إلى أنواع كثيرة من الموسيقى من كل العالم: هندية وأسيويّة وأميركيّة وأعوّد أذني على تلك النغمات، فأُخرج منها نغمات متنوعة، ولكن يبقى الإحساس هو الطاغي على كل ما أقدّمه. وربّما هذا ما يجعلني أغنّي في عدد من اللغات إلى جانب اللغة العربية، كالفرنسية والإنكليزية، كما أغنّي بالكردية والتركية».

أما المجموعة الموسيقية التي ترافق مثلوثي فمتنوّعة أيضاً، إذ تجمع بين حضارات مختلفة، كالفرنسية والتونسية واليابانية، ما يضيف جمالية أخرى وتنوّعاً أكبر على أعمال الفنانة الشابة.وعن اختيارها السباحة ضد السائد، تقول مثلوثي: «لا أعتقد بأنّ الفنّان يختار طريقاً معيّنة فقط ليكون مغايراً أو مختلفاً، لأنه سيواجه صعوبات كثيرة وسيتعب أكثر، ويلزمه طول النفس وقوة الأعصاب وعزيمة فولاذيّة. أنا لم اختر، بل وجدت أننّي أميل إلى نوعية غنائية بعينها منذ البداية، إذ شدتني ألحان مارسيل خليفة والشيخ إمام وكلمات أحمد فؤاد نجم وغيرهم…».

وفي ردها على أداء الأغاني «الملتزمة» في زمن الأغنيات الخفيفة والهابطة، تقول: «الأغنية هي بالأساس التزام بقضية ما أو قيم إنسانية، يعني أنّ الأغنية ملتزمة بالضرورة، واليوم تبدو الأغاني التي لها بعد إنساني أكثر إلحاحاً من أيّ وقت آخر، خصوصاً لدى الشباب، لأن شبابنا واعٍ بما فيه الكفاية وينتظر من يأخذ بيده ويساعده على فهم بعض الأمور. وبالتالي، تبدو هذه النوعية من الأغنيات الآن مهمة ومطلوبة أكثر من أيّ وقت آخر، وبخاصة أمام ما نشهده من انحسار في العلاقات الإنسانيّة بما في ذلك العلاقات العربية – العربية».

وكانت مثلوثي أحيت أخيراً حفلة في قصر العلوم في مدينة المنستير، احتفاء بالسنة الدولية للشباب التي أقرتها الجمعيّة العمومية للأم المتحدة. وشهدت الحفلة حضوراً جماهيريّا كبيراً فاجأ الجميع نظراً إلى نوعيّة الأغاني التي تقدمها مثلوثي، إذ اختارت أن تغنّي للحرية والعدالة الإنسانية ولكل قضايا الإنسان عموماً.

وعن جديدها، تقول: «عندي الكثير من الأغاني الجديدة والتي مضى على بعضها بضع سنوات ولم أسجّلها بعد. إذ باتت عمليّة التسجيل اليوم مكلفة جداً، وأنا وجدت في الحفلات المباشرة خير بديل من إصدار البوم يكلّف كثيراً ولا يمكنني تحمّل تلك التكلفة الباهظة حالياً. وأنا أشارك في هذا الاختيار كثيراً من الفنانين حول العالم حيث يفضلون العروض المباشرة ولقاء الجمهور في حفلات كبرى، وهذا ما أفعله. وعلى رغم ذلك، ربما أصدر ألبومي الثاني بعد ألبوم «حلمة» آخر العام الجاري».

المصدر : التونسية آمال المثلوثي تسبح عكس التيار: شدتني أغاني مارسيل خليفة والشيخ إمام


  1. Houdou’on (Calm) (05:32)
  2. Ma lkit (Not Found) (03:58)
  3. Dhalem (Tyrant) (03:56)
  4. Stranger (04:13)
  5. Ya Tounes Ya Meskina (Poor Tunisia) (04:48)
  6. Ethnia Twila (The Road is Long) (08:25)
  7. Kelmti Horra (My Word is Free) (06:31)
  8. Dfina (Burrial) (06:24)
  9. Hinama  (When) (05:29)
  10. Yezzi (Enough) (07:16)
  11. A Linfini (04:10)
  12. Libertà (04:56)
  13. 14 janvier (03:38)

Duration : 69:06 | Bitarte : 128 kBit/s  | Year : 2012 | Size : 93 mb

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