Loading ...The Everlasting Music of Muhammad Abd al-Wahhab
By: Sami Asmar / Arab America Contributing Writer
May 4th marked the Anniversary of Egypt’s Legendary Musician Muhammad Abd al-Wahab
Most Arab music influencers lived in the twentieth century and, when making a list, Muhammad Abd al-Wahhab is always near the top. The Egyptian singer and composer (1902-1991) is considered one of the most significant figures in our music–known as the bridge who blended traditional music and Western orchestration, helping to shape the modern genres we recognize today.
Like most of his compatriots of that era, he was directed towards religious chants when he showed vocal talent at a very young age. Like Um Kulthum and others, he turned this experience into a core strength, as inshad taught him proper pronunciation and breathing techniques and exposed him to the complex Eastern music theory of the maqam system, schooling that would have been nearly impossible to get elsewhere. He later attended a music institute and learned the fundamentals of Western music. He learned to play the oud, which he used as his primary instrument for composing his legendary works.
As he started singing professionally at local venues, he received tremendous praise and was noticed by poet Ahmad Shawqi, the Prince of Poets, who took him under his wings. Shawqi, an aristocrat, mentored him in social norms and refining his art, and he was taken to Paris to be exposed to European music and lifestyle. This patron also opened many doors for the young singer among the Egyptian ruling class and the royal family (which was later deposed). In recognition of Shawqi, Abd al-Wahhab composed selected poems into songs that were not short of a “tour de force”, such as Al-Gondoul and Madnak.
One of the doors that opened for him was cinema. It wasn’t long before the handsome young man tried his luck on the silver screen—and succeeded tremendously. Though his acting was often awkward, he starred alongside leading ladies and, more importantly, used the medium to showcase his music. He sang and composed the soundtracks for his films, using cinema as a vehicle to amplify the reach of his songs. Since Egyptian cinema was the dominant industry across the Arab world, his name and music spread far beyond Egypt’s borders.
Among his most beloved songs are Ya Mesafer Wahdak (You Who Travels Alone), Khayef A’ul Illi Fi Qalbi (Afraid to Say What’s in My Heart), Al-Gondoul (The Gondola), and his final masterpiece, Min Gheir Leh (Without Asking Why). As his career advanced, the established star chose to pursue less singing and more composing. He went on to create iconic works for other legends of Arab music, including Umm Kulthum, Abdel Halim Hafez, Fairuz, and many others.
What defined his work was a deliberate sense of innovation in every composition. Sometimes, it was subtle–like inserting a brief waltz or foxtrot rhythm into otherwise traditional structures—and other times more striking, such as introducing the electric guitar into the orchestra in a bold, almost shocking way. He also experimented with harmony that was practically foreign to the strictly melodic line style of traditional Arab composition. Sadly, some critics labelled his innovations stealing instead of adopting new ideas. However, this did not affect his agenda as he continued to be an intellectual composer who refused to repeat any pattern.
For musicians, Abd al-Wahhab was a great pioneer because he was one of the few Arab artists who composed instrumental pieces, not only songs. These pieces are taught at conservatories worldwide – – even students at UCLA in Los Angeles play Aziza and Bint al-Balad. The university even hosted and honored Muhammad Abd al-Wahhab.
When Abd al-Wahhab composed the song Inta ‘Omri for Um Kulthum in 1964, it was considered a significant risk for this diva to accept due to his reputation for musical surprises. it is said that Egypt’s president Nasser himself insisted on the collaboration of these two national giants. The style of this song deviated significantly from the songs of her entire career, but it was such a success that she requested more songs from him. In Inta ’Omri and other works, Abd al-Wahhab employed a clever technique to help audiences appreciate instrumental music: he introduced extended instrumental preludes to his songs—an innovation that became one of his trademarks.
Fairuz was an odd choice for collaboration, as she typically worked exclusively with her Rahbani family.
Nevertheless, Abd al-Wahhab composed for her the classical piece Ya Jarat al-Wadi, based on a poem by Ahmad Shawqi and centered around a city in Lebanon. In an interview, he remarked on the charm of the Lebanese dialect, which he found particularly appealing. He also composed the song S-har (the Lebanese pronunciation of “staying up late”) because he was enchanted by a specific phrase in the lyrics—yihriz il-mishwar, meaning “worth the trip”—a phrase not used in Egypt.
On the anniversary of his death, the legacy of the brilliant Muhammad Abd al-Wahhab endures. Known as Musiqar al-Ajyal—the Musician of Generations—he reshaped Arab music for the future. With a refined touch, he blended traditional and modern elements, expanding the genre’s reach and deepening its appeal to wider audiences.
Sami Asmar is a writer and cultural commentator known for his expertise in Arab music. He is the Founding Director of Mawtini Choir and has contributed to Al Jadid magazine and other platforms. He promotes Arab musical heritage through essays, lectures, and advocacy across academic and artistic communities.
Want more articles like this? Sign up for our e-newsletter!
Check out our blog here!
