℗ 2018 Alia Vox
| Released | March 8, 2019 |
| Duration | 2h 26m 31s |
| Record Label | Alia Vox |
| Catalogue No. | AVSA9930 |
| Genre | Classical (Baroque) |
Ibn Battuta, The Traveller of Islam
Jordi Savall
Available in 88.2 kHz / 24-bit AIFF, FLAC high resolution audio formats
|
1.1
|
Taqsim and Narration I
Traditional; Driss El Maloumi |
2:00 | |||
|
1.2
|
Bismillah ir-Rahman
Traditional; Ahmed Al Saabri |
0:59 | |||
|
1.3
|
Taqsim and Narration II
Traditional; Rajery |
0:29 | |||
|
1.4
|
Kouroukanfouga
Traditional; Rajery; Driss El Maloumi |
4:47 | |||
|
1.5
|
Lamento di Tristano
Traditional; Jordi Savall; Manuel Forcano |
1:17 | |||
|
1.6
|
Greek Song
Traditional; Katerina Papadopoulou; Hespèrion XXI; Jordi Savall |
3:31 | |||
|
1.7
|
Taqsim and Narration III
Traditional; Driss El Maloumi; Manuel Forcano |
1:23 | |||
|
1.8
|
Taqsim and Narration IV
Traditional; Moslem Rahal; Manuel Forcano |
1:46 | |||
|
1.9
|
Kevoque
Traditional; Moslem Rahal; Hespèrion XXI; Jordi Savall |
2:04 | |||
|
1.10
|
Taqsim and Narration V
Traditional; Hakar Güngör; Habib Ghloum Al Attar |
2:04 | |||
|
1.11
|
Qays ibn al-Moullawwah
Traditional; Waed Bouhassoun |
4:30 | |||
|
1.12
|
Taqsim and Narration VI
Traditional; Yurdal Tokcan; Nedyalko Nedyalkov |
2:05 | |||
|
1.13
|
Nihavent
Traditional; Meral Azizoğlu; Yurdal Tokcan; Hakan Güngör |
2:27 | |||
|
1.14
|
Taqsim and Narration VII
Traditional; Moslem Rahal; Driss El Maloumi; Manuel Forcano |
0:47 | |||
|
1.15
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Danse of the Soul
Traditional; Yurdal Tokcan; Pedro Estevan; Habib Ghloum Al Attar |
2:41 | |||
|
1.16
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Sallatu Allah
Traditional; Ahmed Al Saabri; Hespèrion XXI; Jordi Savall |
4:08 | |||
|
1.17
|
Taqsim and Chahamezrab
Traditional; Dimitri Psonis; Habib Ghloum Al Attar; Nedyalko Nedyalkov |
3:05 | |||
|
1.18
|
Taqsim and Neveser · Hal asmar
Traditional; Jordi Savall; Gaguik Mouradian; Waed Bouhassoun; Meral Azizoğlu |
4:21 | |||
|
1.19
|
Taqsim and Narration VIII
Traditional; Rajery; Manuel Forcano |
1:03 | |||
|
1.20
|
Véro (instrumental from Yémen)
Traditional; Rajery; Driss El Maloumi; Habib Ghloum Al Attar |
1:22 | |||
|
1.21
|
Percussion
Traditional; Pedro Estevan |
0:20 | |||
|
1.22
|
Der makām-ı Hüseynī Sakīl-i Ağa Rıżā
Traditional; Jordi Savall; Hespèrion XXI |
3:09 | |||
|
1.23
|
Taqsim and Narration IX
Traditional; Yurdal Tokcan; Manuel Forcano |
0:58 | |||
|
1.24
|
Talaa’ al-badr ‘aleina
Traditional; Ahmed Al Saabri; Hespèrion XXI; Jordi Savall |
5:19 | |||
|
1.25
|
Taqsim and Narration X
Traditional; Haïg Sarikouyoumdjian; Gaguik Mouradian; Manuel Forcano |
4:10 | |||
|
1.26
|
Sufí Dance
Traditional; Moslem Rahal; Siar Hashimi; Pedro Estevan |
4:10 | |||
|
1.27
|
Taqsim and Narration XI
Traditional; Nedyalko Nedyalkov; Manuel Forcano |
1:26 | |||
|
1.28
|
Taqsim and Narration XII
Traditional; Guillermo Pérez; Habib Ghloum Al Attar |
1:32 | |||
|
1.29
|
En to stavro pares tosa
Traditional; Marc Mauillon; Guillermo Pérez; Pedro Estevan |
3:25 | |||
|
1.30
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Ясен месец веч изгряава
Traditional; Habib Ghloum Al Attar; Hespèrion XXI; Jordi Savall |
1:34 | |||
|
1.31
|
Tabla
Traditional; Siar Hashimi; Manuel Forcano |
1:30 | |||
|
1.32
|
Laïla Djân (Afghanistan)
Traditional; Jordi Savall; Hespèrion XXI |
4:07 | |||
|
2.1
|
Taqsim and Narration XIII
Traditional; Daud Sadozai; Bakary Sangaré |
2:06 | |||
|
2.2
|
Laïla Djân II (Afghanistan)
Traditional; Jordi Savall; Hespèrion XXI |
2:32 | |||
|
2.3
|
Taqsim and Narration XIV
Traditional; Daud Sadozai; Bakary Sangaré |
2:02 | |||
|
2.4
|
Muddhu gare yashoda (Raga)
Traditional; Daud Sadozai; Prabhu Edouard |
4:07 | |||
|
2.5
|
Taqsim and Narration XV
Traditional; Daud Sadozai; Bakary Sangaré |
1:29 | |||
|
2.6
|
Instrumental Dance
Traditional; Daud Sadozai; Prabhu Edouard |
2:42 | |||
|
2.7
|
Gao shan liu shui
Traditional; Lingling Yu; Xin Liu |
2:06 | |||
|
2.8
|
Improvisation
Traditional; Xin Liu; Bakary Sangaré |
2:11 | |||
|
2.9
|
Jiao chuang ye yu
Traditional; Xin Liu |
3:03 | |||
|
2.10
|
Danced Song "Ya bourdaeyn"
Traditional; Waed Bouhassoun; Hespèrion XXI; Jordi Savall |
2:17 | |||
|
2.11
|
Improvisation (Double Flute) and Narration
Traditional; Pierre Hamon; Bakary Sangaré |
1:23 | |||
|
2.12
|
Quant ai lo mont consirat
Traditional; Lluís Vilamajó; Furio Zanasi; Hespèrion XXI; Jordi Savall |
2:58 | |||
|
2.13
|
Taqsim and Narration XVI
Traditional; Driss El Maloumi; Bakary Sangaré |
2:21 | |||
|
2.14
|
Fiyachia
Traditional; Driss El Maloumi; Waed Bouhassoun |
3:03 | |||
|
2.15
|
Taqsim and Danced Song "‘Al maya, ‘Al maya"
Traditional; Moslem Rahal; Waed Bouhassoun |
3:25 | |||
|
2.16
|
Taqsim and Narration XVII
Traditional; Rajery; Bakary Sangaré |
2:42 | |||
|
2.17
|
Imperial Dance
Traditional; Driss El Maloumi; Rajery; Prabhu Edouard |
4:03 | |||
|
2.18
|
Isabella (Stampitta)
Traditional; Pierre Hamon; Michael Grébil; Pedro Estevan |
4:13 | |||
|
2.19
|
Tian shan zhi chun
Traditional; Lingling Yu |
3:23 | |||
|
2.20
|
Taqsim and Der makām Çargah sirto
Traditional; Yurdal Tokcan; Hakan Güngör |
3:55 | |||
|
2.21
|
Cerco de Baeza
Traditional; Jordi Savall; La Capella Reial de Catalunya |
2:12 | |||
|
2.22
|
Xing jie
Traditional; Lingling Yu; Xin Liu; Jordi Savall; Yurdal Tokcan |
3:59 | |||
|
2.23
|
Li Saheb – Taqsim
Traditional; Waed Bouhassoun; Haïg Sarikouyoumdjian; Pierre Hamon |
5:50 |
According to Islam’s earliest prophetic tradition, travel as training and a source of knowledge was advocated by the prophet Mohammed himself; he urged believers to travel far and wide in their search for wisdom and knowledge. One of the quotations attributed to him is “Seek knowledge even unto China.”
The reader of Ibn Battuta’s fascinating travelogue discovers and experiences the full character of this literary genre, the “rihla”, which designates both the journey and the narrative of that journey. The genre can be traced back to the writings of Ibn Jubayr (1145-1217), the first great Muslim traveller from al-Andalus (Xativa, Valencia).
The discovery of the Travels of Ibn Battuta in the great edition translated into Catalan by the historian Margarida Castells and the poet and arabist Manuel Forcano and published by Edicions Proa (Barcelona, 2005) has been the source of inspiration for this meditative look into musical history.
88.2 kHz / 24-bit PCM – Alia Vox Studio Masters
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -4.06 -10.37 to -0.07 | -23.23 -30.25 to -15.34 | -20.75 -26.90 to -13.10 | 13 10 to 15 | |
| 1.1 | Taqsim and Narration I | -6.08 | -25.61 | -23.2 | 12 |
| 1.2 | Bismillah ir-Rahman | -9.66 | -27.77 | -25.3 | 11 |
| 1.3 | Taqsim and Narration II | -8.23 | -30.25 | -26.6 | 14 |
| 1.4 | Kouroukanfouga | -3.60 | -22.60 | -22.5 | 13 |
| 1.5 | Lamento di Tristano | -8.21 | -29.62 | -26.5 | 14 |
| 1.6 | Greek Song | -6.54 | -27.56 | -24.2 | 13 |
| 1.7 | Taqsim and Narration III | -5.91 | -26.44 | -23.6 | 14 |
| 1.8 | Taqsim and Narration IV | -6.13 | -26.06 | -22.8 | 11 |
| 1.9 | Kevoque | -2.30 | -19.75 | -17.3 | 11 |
| 1.10 | Taqsim and Narration V | -5.54 | -26.40 | -22.9 | 14 |
| 1.11 | Qays ibn al-Moullawwah | -1.20 | -20.31 | -16.0 | 11 |
| 1.12 | Taqsim and Narration VI | -4.80 | -25.30 | -23.1 | 13 |
| 1.13 | Nihavent | -1.20 | -21.06 | -17.7 | 13 |
| 1.14 | Taqsim and Narration VII | -6.66 | -24.69 | -22.1 | 12 |
| 1.15 | Danse of the Soul | -1.20 | -18.55 | -18.4 | 11 |
| 1.16 | Sallatu Allah | -1.20 | -17.83 | -15.3 | 10 |
| 1.17 | Taqsim and Chahamezrab | -4.09 | -23.85 | -21.4 | 13 |
| 1.18 | Taqsim and Neveser · Hal asmar | -2.16 | -23.73 | -20.9 | 14 |
| 1.19 | Taqsim and Narration VIII | -5.16 | -26.77 | -23.3 | 14 |
| 1.20 | Véro (instrumental from Yémen) | -1.95 | -19.94 | -18.6 | 12 |
| 1.21 | Percussion | -5.49 | -24.21 | -22.1 | 13 |
| 1.22 | Der makām-ı Hüseynī Sakīl-i Ağa Rıżā | -1.20 | -15.34 | -13.1 | 10 |
| 1.23 | Taqsim and Narration IX | -3.90 | -24.43 | -21.4 | 14 |
| 1.24 | Talaa’ al-badr ‘aleina | -1.20 | -18.77 | -15.7 | 11 |
| 1.25 | Taqsim and Narration X | -5.01 | -26.74 | -23.4 | 15 |
| 1.26 | Sufí Dance | -1.20 | -18.99 | -16.2 | 11 |
| 1.27 | Taqsim and Narration XI | -5.30 | -25.92 | -22.8 | 15 |
| 1.28 | Taqsim and Narration XII | -4.12 | -22.55 | -20.1 | 13 |
| 1.29 | En to stavro pares tosa | -2.96 | -21.02 | -18.1 | 11 |
| 1.30 | Ясен месец веч изгряава | -3.64 | -23.07 | -20.0 | 13 |
| 1.31 | Tabla | -1.68 | -21.20 | -21.2 | 13 |
| 1.32 | Laïla Djân (Afghanistan) | -1.20 | -18.40 | -16.7 | 12 |
| 2.1 | Taqsim and Narration XIII | -4.43 | -25.41 | -23.3 | 14 |
| 2.2 | Laïla Djân II (Afghanistan) | -1.05 | -17.83 | -15.2 | 10 |
| 2.3 | Taqsim and Narration XIV | -3.98 | -23.70 | -21.5 | 13 |
| 2.4 | Muddhu gare yashoda (Raga) | -1.00 | -21.26 | -19.5 | 14 |
| 2.5 | Taqsim and Narration XV | -4.74 | -25.30 | -22.6 | 14 |
| 2.6 | Instrumental Dance | -1.81 | -23.60 | -21.7 | 15 |
| 2.7 | Gao shan liu shui | -5.67 | -26.70 | -24.5 | 14 |
| 2.8 | Improvisation | -4.94 | -25.29 | -22.8 | 14 |
| 2.9 | Jiao chuang ye yu | -10.37 | -28.37 | -26.9 | 12 |
| 2.10 | Danced Song "Ya bourdaeyn" | -4.43 | -21.67 | -18.2 | 11 |
| 2.11 | Improvisation (Double Flute) and Narration | -5.17 | -26.11 | -23.2 | 14 |
| 2.12 | Quant ai lo mont consirat | -0.18 | -16.59 | -13.9 | 11 |
| 2.13 | Taqsim and Narration XVI | -6.08 | -27.11 | -24.8 | 14 |
| 2.14 | Fiyachia | -5.10 | -23.67 | -21.2 | 12 |
| 2.15 | Taqsim and Danced Song "‘Al maya, ‘Al maya" | -4.85 | -22.66 | -19.9 | 11 |
| 2.16 | Taqsim and Narration XVII | -5.09 | -25.78 | -23.7 | 14 |
| 2.17 | Imperial Dance | -4.01 | -22.06 | -20.0 | 11 |
| 2.18 | Isabella (Stampitta) | -0.07 | -18.03 | -15.1 | 11 |
| 2.19 | Tian shan zhi chun | -4.40 | -25.79 | -24.4 | 14 |
| 2.20 | Taqsim and Der makām Çargah sirto | -0.34 | -18.42 | -15.8 | 11 |
| 2.21 | Cerco de Baeza | -2.72 | -18.13 | -15.8 | 10 |
| 2.22 | Xing jie | -7.56 | -25.49 | -22.6 | 12 |
| 2.23 | Li Saheb – Taqsim | -6.64 | -24.12 | -22.1 | 11 |