“UNESCO” acquitted the artist of the charge of stealing tunes
Music historian: Abdel Wahab was not the singer of King Farouk.. Some of his songs were subjected to "arrest"
The musician of generations, Mohamed Abdel Wahhab, is feathered by the artist Essam Azzouz.
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The writer and music historian, Dr. Victor Sahab, presented a new defense of the generational singer, Muhammad Abdel Wahab, in which he denied what was raised about him of his Shiism to King Farouk and his hostility to the authority of July 1952. He also revealed new details about the background to what was reported about UNESCO accusing him of stealing his tunes from music. Al Gharbia, stressing that the campaign against Abdel Wahab was fueled by leftist pens because of Abdel Wahab's support for the late Egyptian President Anwar Sadat, noting that the late singer and composer had many of his songs detained because of their national and Arab content, according to Sahab's account.
Sahab said in a new book that reveals many behind the scenes of the life of the musician Mohamed Abdel Wahhab, titled “Mohamed Abdel Wahhab - A Musical Biography,” and issued by “Dar Rich” that “what was rumored about Abdel Wahhab was that he was an opportunist who sang to those in power, especially King Farouk.” And that he sang to Abdel Nasser, the immortal leader of Arabism, and then returned and sang to Anwar Sadat, many of the people of leftist tendencies exploited him to deafen the art of Muhammad Abdel Wahhab as being reactionary, neither patriotic nor nationalist.
Sahab continued, "It is very pleasant for those with these tendencies to compare Abdel Wahhab, the spoiled son of authority, and Sheikh Sayed Darwish, who some exaggerate, describing him as the leader of the 1919 revolution, and his companion, the genius poet Bayram al-Tunisi, to the point of saying that Abdel Wahhab sang his song (replaced by the livelihood of the farmer) to urge farmers to Submission to the rule of feudalism, and these must not forget that the one who composed (its place is the living of the farmer) marked by the left, and that the song came in the context of the novel to show the ugliness of the conspiracies told by one of the women of high society compared to the purity and simplicity of the farmers’ livelihood.
Sahab went on to say, "We have counted in our Big Seven book seven patriotic and political songs that Abdel Wahab sang before 1952, most of which are masterpieces of patriotic singing, such as (Anthems of Jihad) 1941, (Egypt Called Us) 1942, the poem (Damascus) and (Anthem of Freedom), which turned 1952. To something similar to the anthem of the Gamal Abdel Nasser revolution.
He added, “In contrast to this record, the musician of the century Abdel Wahhab sang during the era of the immortal leader Gamal Abdel Nasser 36 patriotic and national songs, many of which amounted to historical masterpieces in Arab music, such as (Doaa Al Sharq) 1954, (Al Rawabi Al Khader) 1954, (The Eternal River) 1954 , (Patience and Faith) 1955, (Arabic Song), 1958, (Oh my God, we have won with your power) 1958 and (The Rising Generation) 1961.
The book touched on the press campaign launched against Abdel Wahab, which claimed that the United Nations Educational, Scientific and Cultural Organization (UNESCO) had published 13 lists of art theft attributed to Abdel Wahab, and Salim Sahab's defense of him and UNESCO's disavowal from the list.
Then UNESCO celebrated the centenary of Abdel Wahab, settling the controversy in this regard, and behind the scenes of the bickering over it.
The chapter included a complete appendix entitled “They Arrested My Songs,” in which Abd al-Wahhab narrates that his songs were banned because of their political content, which included the song (Damascus), which he composed during the French colonial bombardment of the Syrian capital in 1943, in which he recorded Shawqi’s poem (Peace from Saba Barada, insomnia .. and tears Don't stop, Damascus), so the French embassy in Cairo protested against her, so she was stopped and she remained imprisoned until the July 1952 revolution. It also included the song (Ilam Al-Khalaf Beinakma Alama), which he recorded at the time of the partisan rivalry in Egypt in the 1940s, and was stopped by the then Prime Minister, Mahmoud Al-Naqrashi, Under the pretext of rejecting the appearance of the Egyptian political community divided before the occupier, it also includes the poem (Palestine) by Bishara Al-Khoury, which the authorities said they stopped because of the armistice after the 1948 war, and which was broadcast after the Egyptian revolution as well.
For its part, the Lebanese newspaper “Al-Akhbar” was isolated with an introduction that was singled out by the author of the book, Victor Sahab, which was not published in the book, on the national position of Abd al-Wahhab. Egypt was able to evacuate the British army after 70 years of occupation.
His second admiration for the Arab leader, from a nationalistic standpoint, was that he did not leave Syria alone in the face of the Israeli threat.
In his speech, which I mention its generalities, without the precise details, it was that this admiration for the Arab leader was caused by an Arab nationalism in Abdel Wahhab, which had been evident in his musical and lyrical behavior, since the 1952 revolution.
He continued, “In 1956, after the tripartite aggression and the evacuation of the British, French and Israeli forces, Abdel Wahab began a new style of collective singing in the national patriotic anthems, with a chant: “Tell Egypt to sing with me on its liberation feast.” Shadia, Muhammad Abd al-Muttalib, and Fayda participated in its singing. Kamel, and Abdel-Ghani El-Sayed.
But the nationalist position emerged in particular, with Abdel-Wahhab during the years of unity with Syria, especially in his immortal song about unity: “An Arab Song”, in 1958.
Sahab concludes his introduction on Nasser’s affiliation, as he does not stop at his tendency to Nasserism, as he sees that “Abdul Wahab’s past reveals another tendency, which was clear to him, which was his close relations with the leaders of the Egyptian National Wafd Party, which was founded by Saad Zagloul, and was led in the forties by Mustafa Al-Nahhas. Pasha, and prominent poles Makram Ebeid.
Abd al-Wahhab’s relationship with them was an almost daily relationship with Obaid, and a relationship of consultation and exchange of views with al-Nahhas Pasha.
• The campaign against Abdel Wahab was inflamed by leftist pens, because of Abdel Wahab's support for the late Egyptian President Anwar Sadat.
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