Matar Mohammed was a Syrian musician dedicated to the art of Bouzouq. Born in 1939 in Tal Kalakh, a Syrian town located near the border with the state of Lebanon, to a family of Bedouin culture, he learned the rudiments of the instrument at a young age at the explicit wish of his father.
Due to various problems he was forced to leave the family home very early, dedicating himself to various occupations (including the olive picker for five lire a day in the district of Al-Koura) and playing in the night clubs of Beirut and at village festivals and weddings both in Syria and Lebanon.
He had the opportunity to perform in a concert in Homs in the presence of the Lebanese actress and singer Souad Mohamed who was fascinated by the melodies of his instrument. His abilities were noticed by Tawfiq Al-Basha, a pioneer of Arab music and supporter of the revival of Lebanese song, who began to support and advise him. In 1964, the Lebanese playwright Nizar Mikati hired him as a musician for the performance of his comedy “Arduna ila al Abadi” at the Baalbek festival in the company of artists such as Wadih Al-Safi and Sabah. This event marked the beginning of his professional career and was an opportunity to showcase his artistic abilities in front of a large audience.
His first composition to achieve widespread popularity was the song “Ahadhu al rih wa Akhadhu al Layl” performed by Sabah. This was followed by the songs “Fawqa al khayl”, brought to success by the singer ‘Issam Raggi and “Wa ma khuna al’’aish wa al milh”, a re-adaptation of the song “Adwar”, performed by the singer Hayam Younis.
For a certain period, he worked for the BBC broadcasting in the program dedicated to Arab music hosted by the musician and composer Muhiy al-Din Salam, a great admirer of his. He performed several times in Paris, so much so that he was repeatedly offered French citizenship, an offer that he always refused, instead longing to obtain Lebanese citizenship.
A great innovator, Matar Mohammed contributed significantly to the spread of the bouzouq, making it popular and expanding its repertoire. In his unique style, folklore and modernity blend together in a refined and pleasant way, highlighting both his great creativity, which manages to express hope and pain in an intuitive way, and his technical ability.
The last years of his life saw him forced to immobility due to a serious paralysis. Matar Mohammed died on December 7, 1995. What remains of his work can be found in a handful of albums that can be found on the collectors' market, and in a series of videos on YouTube that see him perform his memorable melodies during television appearances.
In the 1970s, he appeared in a Lebanese television series called “Hayaty” alongside actors Abd El Magid Majzoub and Hind Abi alame’. He can be seen giving a virtuoso performance as he belts out a series of traditional songs with his powerful Bedouin voice.
Matar Mohammed è stato un musicista siriano dedito all’arte del Bouzouq. Nato nel 1939 a Tal Kalakh, cittadina siriana sita presso il confine con lo stato del Libano, da una famiglia di cultura beduina, ha appreso i rudimenti dello strumento in giovane età su esplicito volere del padre.
A causa di svariati problemi fu costretto ad abbandonare la casa di famiglia molto presto dedicandosi a varie occupazioni (tra queste il raccoglitore di olive per cinque lire al giorno nel distretto di Al-Koura ) e suonando nei locali notturni di Beirut e in occasione di feste di paese e matrimoni sia in Siria che in Libano.
Ebbe modo di esibirsi in un concerto a Homs alla presenza dell’attrice e cantante libanese Souad Mohamed che rimase affascinata dalle melodia del suo strumento.
Le sue capacità vennero notate da Tawfiq Al-Basha, pioniere della musica araba e fautore della rinascita della canzone libanese, che cominciò a sostenerlo e consigliarlo.
Nel 1964 il commediografo libanese Nizar Mikati lo assumerà come musicista per la rappresentazione della sua opera “Arduna ila al Abadi “ al festival di Baalbek in compagnia di artisti quali Wadih Al-Safi e Sabah. Questo evento rappresenterà l’ inizio della sua carriera professionista e sarà l’occasione per mettere in evidenza le sue capacità artistiche di fronte a un grande pubblico.
La sua prima composizione ad ottenere una grande diffusione sarà il brano “ Akhadhu al rih wa Akhadhu al Layl” interpretato da Sabah. A questo seguiranno i brani “ Fawqa al khayl “, portato al successo dal cantante ‘Issam Raggi e “Wa ma khuna al’’aish wa al milh”, riadattamento del brano "Adwar", interpretato dalla cantante Hayam Younis.
Per un certo periodo lavorerà per per il broadcasting della BBC nel programma dedicato alla musica araba condotto dal musicista e compositore Muhiy al-Din Salam, suo grande ammiratore.
Si esibirà svariate volte a Parigi tanto che gli verrà ripetutamente offerta la cittadinanza francese, offerta che rifiuterà sempre anelando invece ad ottenere la cittadinanza libanese.
Grande innovatore, Matar Mohammed ha contribuito notevolmente alla diffusione del bouzouq rendendolo popolare e ampliandone il repertorio. Nel suo stile unico folklore e modernità si fondono in modo ricercato e piacevole mettendo in risalto sia la grande creatività, che riesce ad esprimere in modo intuitivo la speranza e il dolore, che l’abilità tecnica.
Gli ultimi anni di vita lo vedranno costretto all’immobilità a causa di una grave paralisi. Matar Mohammed morirà il 7 dicembre 1995.
Ciò che resta della sua opera è rintracciabile in una manciata di album recuperabili nel mercato del collezionismo, e in una serie di video presenti su You tube che lo vedono eseguire le sue memorabili melodie nel corso di apparizioni televisive .
Negli anni ‘70 è apparso in una serie televisiva libanese intitolata “Hayaty” a fianco degli attori Abd El Magid Majzoub e Hind Abi alame’ . Lo si può vedere alle prese con un esibizione virtuosistica mentre intona una serie di canzoni tradizionali con la sua potente voce beduina.
Matar Mohamed مطر محمد - Oriental Bouzok Music
A1 Ala Hisbi Wdad Gabi على حسب وداد قلبي
A2 Akhed Habibi آخد حبيبي
A3 Mita Achoufak متى اشوفك
A4 Aduka El Mayass قدك المياس
A5 Larkab El Mouheira لاركب الميرة
B1 Ya Teira Tiri Ya Hamama. يا طيري طيري يا حمامة
B2 Ya Mal El Cham يا مال الشام
B3 Ami Ya Bayah El Wared عمّي يا بياع الورد
B4 Adawar ادوّر
B5 El Ataba Azaz العتبى قزاز
B6 Taksim تقاسيم
Matar Mohamed مطر محمد- Only For Kings - Matar Plays His Magic Bozouki
A1 Lamma Ya Gheeb El Gmara. لما يغيب القمر
A2 Besh El Ghawazee باش الغوازي
A3 'al Lala عاللالا
A4 Adawar ادور
A5 Solo (Nahawand) تقسيم نهاوند
B1 Mouhya موهيا
B2 Mashaal اوف مشعل
B3 Kadoukal Mayas قدك المياس
B4 El Karassia القراصية
B5 Solo (Bayati) تقسيم بياتي
Please note: There is an edition of this album with a different title and cover. The track list remains unchanged.
Instead of "Only For Kings - Matar Plays His Magic Bozouki" the album is titled "Belly Dance With Matar Mohamed And His Magic Bouzok". The cover is this
Matar Mohamed مطر محمد - More Bouzouk With
A1 'ainy lala عيني لا لا
A2 Abdou Habeb Ghandoura عبدو حابب غندورة
A3 Ana Many Raidah أنا مني رايده
A4 Ah Ya Assmar El Lawn آه يا أسمر اللون
A5 Ya Chady El Alhan يا شادي الألوان
A6 Ya Ghosn El Bal يا غصن البال
B1 Ya Saria يا سارية
B2 Lamma Bada Yatassana لما بدا يتثنى
B3 Mily Ya Ghoussoun El Achjar ميلي يا غصون الأشجار
B4 Safer Ya Habyby سافر يا حبيبي
B5 Kalby Yahwaha قلبي يهواها
B6 Ya Ghossayn يا غصين
Matar Mohamed مطر محمد- Musique Traditionnelle Arabe Sur Bousoq
A Rash Sur Le Maqam Atarkord
B1 Taksim Nahawand Ochak
B2 Taksim Bayati Nawa
Matar Muhammad – Liban (1939-1995) Hommage a Un Maître Buzuq
01 Maqam Bayat al-nawa
02 Maqam Atar kar
03 Maqam Hijaz kar
04 Maqam Bayati
Recordings Theatre de Beyrouth 1972
