Corazon envenenado Taqsim viola Dhil
Tormento interior (Ana alladhi bi sakana samim fu’adi), Abd al-Mawla, s.XV
Mis lagrimas, como lluvia (Dam‘u ‘ayni ka-l-gamam). Ibn Antar
Zejel marinero. Antes de comenzar mi relato (Awwal ma nabda’ al-qissa), Abd al-Mawla, s. XV
Senora de hermoso talle. Taqsim laud 2 parte
Se ha inflamado una brasa (Sha‘alat yimarak), Inkilab sika
Me lamento de este cuerpo (Wa man li biyismi), Inkilab sika
Mi corazon padece por tu amor (Qalbi ibtala bigaramik), Inkilab sika
Visítame en secreto. Taqsim fhal Hsin

Salim Fergani comes from a family of craftsmen and musicians. His grandfather Hammou Fergani (1884-1972) was master of the hawzi. Salim was born just before the tragic war in Algeria. From the age of 5 he studied the marvellous secrets of the Maluf from his predecessors in this difficult social environment. His father El Hadj Mohammed Tahar Fergani was his first master, and his uncle Zonaoui introduced him to the arbi lute. This background has helped Salim become more sensitive to the way the ancient poems are performed on the traditional melodies, creating his own style and personality. World tours have given him an international dimension and the nickname “The Troubadour of Constantine”. Salim masters all the traditional genres of chant: maluf, silsila, hawzi, mahdjúz, ´rúbí, qadriya y zdjúl. PAST DAYS WILL RETURN. A SEAFARING ZEJEL CONSTANTINE AND ANDALUSI MUSIC Classical Arab music was born in Baghdad during the Caliphate of Mahdi Ibn al-Mansur in the year 775. Ziryab brought this music to Spain where it became established independently of the oriental world and a new style evolved because of the fusion with the music already present in the Iberian Peninsula. Ibn Baya (Avempace, d.1138) was the true creator of the Arab-Andalusian school, which developed until the fall of Granada in 1492 and is still found across the whole of the Maghreb in its original form, give or take a few losses and additions. The Constantine school is one that has inherited Arab-Andalusian music and boasts a special repertoire owing to its historical characteristics - local poets, such as Ibn al-Jaluf (15th century), the masters of the 19th and 20th centuries and the religious brotherhoods that have preserved the muwashshah and the zajel. The zejel (zadjal, azdjâl) is a poetic genre found in Arabic dialect. The term zejel (zdjal, zdjul) is also used to refer to a post-classical form of popular music and means "to move, to stir with song." Originally, zejel singers (zadjâl, zadjalâ) were non-professionals, successors to the Andalusian troubadours, who sang to melodies played on the zuma (shawm) with percussion on the darbuka drum and handclapping, and occasionally with zunudj (cymbals) and naqarat (a pair of small drums).