عبدالله برير: محاولة لسبر أغوار أغنية (لَمَحتِك) أو (مدن عينيك)

 كلمات عبدالقادر الكتيابي .. ألحان الراحل بدرالدين عجاج .. أداء مصطفى سيد أحمد

المقدمة اللحنية للأغنية –على قصرها- تبعث في نفس المتلقي شعوراً بالاستدراج لمآلات الجمل اللحنية وتهيئته ليكون محصناً ضد المباغتة الحميمة عند بدء اللحن الحقيقي، منذ الوهلة الأولى يصدر لك إحساس بأن الأغنية ستدخل في متاهات وتشعبات من حيث القالب الموسيقي والتصاوير القادمة، صعوداً وهبوطاً مع الأحداث الخيالية، وبالتركيز مع تسجيل الأغنية في حفلة الدوحة في فندق الشيراتون، ينوء الساكسفون بحمل كبير، يخيل لك حشرجة صوته المحببة، كأنه يبعث تحذيراً مسبقاً بصعوبة القادم .

يأخذك بعدها الموسيقار بدرالدين عجاج والفرقة الموسيقية لمصطفى إلى الاستدراج الحميم المذكور أعلاه، ومع تناغم اللحن المفعم بالتحدي والتفاؤل، والمثقل بالشجن، تفرد الآلات الموسيقية أشرعتها وتهيئ الأمواج للفنان، الذي يباغتنا بصوته الطروب، وكأنه ينطق (لمحتك) من أعماق البحر، فتخرج في لمح السمع، فجائية محببة تطل من صوته، وكأن لمحة المحبوبة قد هزت في كوامن الشاعر والملحن والمؤدي بيارق الأمل، يرددها ثلاث مرات (لمحتك قلت بر آمن بديت أحلم)، ورغم ضعف (الاتصال غير اللفظي) لدى مصطفى ظاهرياً –أي تفاعله الخارجي مع معنى النص المؤدى– إلا أن ثمة نصف إنحناءة أو إلتفاتة من عنق الفنان، تبعث شعوراً عميقاُ بمعنى (لَمَحتِك)، حيث أن اللمحة لابد أن يسبقها فعل بيولوجي بحاسة السمع تحديداً، صوت الراحل ينتشر بغنة رحيمة بين ثنايا اللحن بحيث تخرج جملة (بديت أحلم)، تحديداً في حرف الميم الذي يرتاح فيه المؤدي ليمنح المتلقي إحساساً بالغفوة والحلم.

ينتقل بعدها المشهد بتسلسل لطيف، وهنا يضع مصطفى إمكانيات صوته الضخمة في كلمة (ألملم)، يخيل لك أن حروف الكلمة وإحساسها مشتت، وسرعان ما تتنادى الأحرف مع دفء نطقه لها، لإيصال معنى الضعف اللحظي في (قدرتي الباقية)، عبر الأداء يصل للمتلقي أن الفنان أو الشاعر بالفعل لديه (القليل من القدرة) لما هو آتٍ، تمهيداً لشد الساعد على المجداف، وحينما يصل تحديداً إلى كلمة (المجداف) تعتري صوته قوة ناجمة من (لمحة المحبوبة) التي بعثت فيه روحاً جديدة، (تلوح لي مدن عينيك)…

انفراج جزئي للموقف ينادي من على شرفة التفاؤل حينما ينطق كلمة (تلوووح ليي)، شعور لحظي يعتريك بـ(ابتسامة الصوت)، كناية عن الفرح المعبأ في قوارير الأداء، الفصل بين جملتي (تلوح لي) و (مدن عينيك) والمسافة الصوتية بينهما مقصود منها التشويق وتهيئة السامع لهوية (الملوِّح) التي اختار لها الكتيابي (مدن عينيك) وألبس الموقف استعارة رائعة، حينما صور عينيها بالمدن، التي أعطاها حرية التلويح، وذهب إلى أبعد من ذلك حينما قال (وترفع لي منارة بسمتك سارية)، فهو هنا استعار ايضاً المنارة وكأنها سفينة تائهة ضلت طريقها في عرض البحر لتأتيها مدن العينين والابتسامة وهو في أشد الحاجة لهما، ما أوغل في نفس الشاعر للمزيد من الاطمئنان في الحلم، ودل على ذلك بتأكيد الجملة (وبديت أحلم).

تستغرق تفاصيل الأغنية في الحلم، وينقلنا مصطفى بصوته ثلاث مرات، بتكرار يختتم تدريجياً بصوت خفيض، كناية عن إغماض عيني الكلمة، وإطلاق العنان لأنفاس اللحن الذي يغوص في أعماق المتلقي، وأصوات الجيتار تناغم من خلف الكواليس، فيما يمارس الساكسفون تسلُطه ويؤرجح الجملة اللحنية بين ظفري الحذر والتفاؤل، ليفاجئ مصطفى بصوته فرقته الموسيقية ويصدح بالقول (كلما الريح تطارد الموج)، مستعرضاً قدرته في تطويع الحرف وإعطاءه حقه ومستحقه لحناً وأداءً، حيث يمد الياء في (الريييح) لتشعر لوهلة أن صوته متبعثر في الفضاء اللحني للكلمة، ويختصر كلمة (الموج) بتضعيف نطق الواو، ليأتي دور الموسيقى التي تطيل بدورها المد في ( أزيييييييد ) كناية الزيادة نفسها، و (أحلف بيك)، الشاعر يقسم بمحبوبته التي تشبث بها من لمحة وهو في خضم توهانه، ليسير اللحن والصوت ويكاد يبلغ الذروة في (أغير سكة التيار)، حيث أعطت (القدرة الباقية للشاعر)، المولودة من اللمحة والابتسامة، أعطته طاقة خرافية ليخير ما بين تغيير سكة التيار –وهو أمر خرافي – ويتبنى مصطفى تكرار الجملة ليدلل على استحالة الأمر وهو حينما يقوم بتكرارها يؤديها بطريقة (تفكيرية) بها نوع من الإصرار، ليصل صوته بعد ذاك إلى المناطق الحادة والعالية (وأقووووووول) يا إنت يا أغرق، مانحاً المستمع شعوراً مفعماً بالعزيمة والإصرار على الغرق أو المعشوقة أياً كانت، ليعود إلى النقطة المحفزة والمحرض الأكبر (ألوح لي مدن عينيك) التي بدورها تبادله التلويح (ألوح لي مدن عينيك… تلوح لي).

يدس صوت مصطفى نفسه في تناغم لطيف مع مكونات الجمل الموسيقية في (ألوح لي مدن عينيك تلوح لي)، بحيث تمتد الياء صوتياً وكأنها سحابة عابرة لاقت اللازمة الموسيقية واتحدتا بكيمياء متجانسة لتمطران صوتاً وموسيقى بذات التطابق.

مصطفى نفسه يأبى إلا وأن يمد يد العون للجملة الموسيقية ويردد بعد (تلوح لي): لا لا لا لالا لالا للاااا، والتي تنساق مع الموسيقى في تناغم مبكٍ ومفرح.

على كل تتواصل الملحمة الموسيقية وينتقل الشاعر والمؤدي والملحن إلى تعقيدات النص التي تضج بالمخاوف (أخاف الضفة ترجع بيك قبل ألحق)، يبعث الكاتب أشجانه ومخاوفه، ويخشى أن تضيع (لمحة المعشوقة) في الضفة التي لربما تظفر بها قبل أن يلحق هو بمعشوقته، وهنا استخدم الشاعر كلمة (قبُل) وهي أشد حنيناً، لتتكرر كلمة الخوف حين يقول (أخاف غيم المنى الشايل تسوقو الريح ويتفرق) وهو امتداد للهواجس حيث يتوجس الشاعر من أن تتدخل الريح –مرة أخرى- لتفسد عليه، استخدم هنا عبارات مفعمة بالحنين ومترفة بالخوف، حيث سمى حلمه بـ(غيم المنى الشايل) والذي ينتظره بفارغ الصبر أن يتنزل عليه غيثاً لطيفاً، غير أن الريح ربما تبعثر هذه اللوحة إذا هبت و(فرقت) ذلك الحلم المحمّل في الغيم، لينطق مصطفى كلمة (يتفرق) ببعثرة الأحرف مرة أخرى، في الوقت الذي يلخص فيه الشاعر توجساته بتكرار (أخاف وأخاف أخاف وأخاف) في تطابق موسيقي مع الجملة.

يتتابع تلاحم الأداء الصوتي مع اللحن، لتستأنف الملحمة وتعود الجمل إلى بداية اللحن وصولاً إلى مرحلة تصدير إحساس مبعثر، مليء بالهواجس والظنون، لتبدأ الموسيقى تدريجياً في تهدءة اللواعج وبعث قليل من الاطمئنان وكثير من الخوف بعد أن وصل النص إلى ذروة سنامه، ويلعب الباص جيتار دور ناقوس الخطر، الذي يدق في مأتم الأوركسترا إسفين اللحظات الحاسمة، ليجيء صوت مصطفى (وأشد ساعد علي المجداف) يجيء واهناً حزيناً (وأجيك بي قدرتي الباقية) حيث يبعث الصوت والموسيقى شعوراً بالاستجداء ( حطام إنسان موسم بي شقاء الدنيا)، هذا الحطام المثقل بالشقاء، وأي شقاء –شقاء الدنيا– كله اختزل فيه (ومقسم قلبو في الأحزان)، الحزن الذي لا تكاد تخلو أغنية من أغاني مصطفى وأحاسيسه منه، تقسيم الأحزان على قلب هذا الانسان (أجيك فنان) وهاهنا يصعب نطق كلمة (فنان) في المنطقة اللحنية الدنيا غير أن مصطفى يخرجها من غيابة الحزن والأسى في أكثر صورها إيلاماً، يتحول الشاعر هنا ليضع مفرداته تحت تصرف لوحة قادمة، ويأتي للمعشوقة بأدوات رسم مكتملة الشجن لتسطير هذه اللوحة التراجيدية المزعزعة بين مآلات الأمل والخوف والهواجس والتحدي.

بين ثنايا الأداء الصوتي ينساق الأداء اللحني في انسجام ملحوظ مع معنى النص في التو (أشد أوتاري وأحكيلك)، مع ملاحظة أن كل ما يحدث من خيالات وتصاوير في نفس الشاعر من لحظة اللمحة والهواجس والخوف من الريح والغيم؛ متزامناً مع تلويح مدن العينين، وتنازع الكاتب بين هدهدات الموج وتوعد الضفة، تشتعل دواخل الشاعر ويبدأ في تنميق النص ليحكي لمعشوقته قصته (حكاية إنسان وهب لي سكتك نفسو)، هذا الحطام الموضوع في مفترق طرق، وهو –على ضعف حيلته– قرر أن يهب لسكة المحبوبة وطريقها الذي اختاره -نفسه- وكلمة (وهب) تمنح إحساساً أقوى بأنه بكامل قواه الشاعرية نذر نفسه لطريق معشوقته في تينك اللحظة التأريخية.

من تجليات النص التي أبدع فيها الشاعر الكتيابي (رسم صورتك علي حسو) وهو تصوير رائع حد الدهشة، ويصعب أن نتخيل ماهية رسم الصورة على الصوت، بعدها يستخدم مصطفى كاريزما صوته الرخيم في إيصال المعنى (وربط) ساعد على المجداف، ومن ثم تظهر المقدرات اللحنية العالية لدى الراحل بدر الدين عجاج حيث يبدأ تصاعد الموسيقى ليصل إلى الأماكن العالية من الأداء، ليقوم المغني باستنفار الآلات الموسيقية والملحنين بإشارتين من يديه يميناً ويساراً ويحرضهم على تصاعد النسق الموسيقي، ويصدح مصطفى (وقاااااااااال يا إنت يا أغرررق)، وما تلبث الأشجان والمخاوف إلا وأن تباغت الجميع (أخاف وأخاف أخاف وأخاف) بتفصيل يشرح حجم المأساة (أخاف غيم المنى الشايل تسوقو الريح ويتفرق

وألاقيك يا أماني سراب مواهبي عليهو تتدفق) و (أخاف وأخاف أخاف وأخاف) .. لتجيئ الخاتمة اللحنية والصوتية بامتداد حس مصطفى في (أخاااااااااااااف) الأخيرة وكأنه قادم من دهاليز الخرافة والهواجس و الظنون.

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