I've learned a lot about Turkey, its politics and culture, in the last few days, hanging out with Ferhat Tunç and his entourage.
The last event on his local residency is TODAY, Wednesday (3/25) from 7-9 pm at NCSU's Stewart Theater in Raleigh. (After this, they are headed to California, then Rome, then back to Istanbul.) I hear that Ferhat and Nuray will play music at the beginning, and again at the end of this event. There will be a panel discussion in between with Louise Meintjes and Catherine Admay, the two professors responsible for bringing them to Duke.
Tuesday afternoon I visited their class, "Human Rights and The Arts." The students had a lot of great questions for Ferhat about music and politics (and might I add, that classrooms are a different place now than when I was last a student? Everyone--without exception had laptops open, typing their notes and toggling between Google maps of Turkey, Wikipedia entries and the Freemuse.org site that has lots of source material about Ferhat in English.)
After that, he met some Turkish students for coffee in Van der Heyden, the café in Duke's library; they debated the Kurdish question and possible roads toward multiculturalism in Turkey.
Later I learned from Ferhat that his instrument, the bağlama, has a long history of being associated with political protest and persecution.
Ferhat Tunç Unplugged from Santa Salsera on Vimeo.
Ferhat Tunç playing the bağlama and singing a song about Pir Sultan Abdal, a 16th-century musician who was killed by the Ottoman Empire because he would not renounce freedom. Translation at the end provided by Ömür Kayikçi.
Showing posts with label world music. Show all posts
Showing posts with label world music. Show all posts
Wednesday, March 25, 2009
Sunday, March 22, 2009
The Bulgarian La Bamba
I mentioned Ferhat's sideman, Nuray, who comes from Bulgaria and is ethnically Turkish. While we didn't have a language in common, we were able to "converse" in snippets of a few Spanish cover songs he knows.
Sure enough, here is Nuray (in purple shirt, far right) singing "La Bamba" on KanalTurk TV:
Sure enough, here is Nuray (in purple shirt, far right) singing "La Bamba" on KanalTurk TV:
Saturday, March 21, 2009
Ferhat Tunç Date Added THIS AFTERNOON at Talullah's
WHAT: Ferhat Tunç, Kurdish singer from Turkey
WHEN: TODAY, Saturday (3/21), 4 p.m. - ?
WHERE: Talullah's, W. Franklin St., Chapel Hill
COST: (unknown, if any)
I saw Ferhat Tunç last night at the Duke Performances show. (Ferhat is on a short artist residency at Duke.) He played the saz or bağlama, a narrow-necked, fretted instrument which has 3 pairs of double-coursed strings. An extra bass string on this particular saz, for added depth, made for a total of seven tuning pegs. He sings with a particular, rather rapid, full-throated vibrato; at times it helped to just close my eyes and listen. I don't know what kind of scales or modes this music employs, but in my "Western" terms it sounded like minor keys exclusively--nothing I would characterize as a major mode--and occasionally micotonal, but not as much as the Arab music we heard recently. I picked up some unusual meters (9/8, maybe? what was that?) and one of Tunç's original tunes I thought could be happily repurposed into prog rock. A few of us thought he looked like Billy Bragg up there on stage, in jeans and a flannel shirt.
Tunç (pronounced "Too-nch") had just one musician with him (which is a shame, listening to the videos, would have liked to hear a whole band to get a better feel for this music): Bulgarian/Turkish classical guitarist Nuray Ahmed. Nuray was the one who explained the saz' workings to me, with the help of a very kind UNC student who translated for us. The owner of Tallulah's was at the concert last night, and they set up this impromptu concert for this afternoon at 4. Not sure if they will charge admission or not, but this is a nice chance to hear him if you missed the Duke show. He performed a lot of Turkish, Kurdish and Armenian songs, and through translator Firat Oruc, provided some context for the political and cultural contest.
See also, panel discussion on Monday (3/23):
Roger Lucey performs Monday night at 7:30 pm in the Nelson Music Room, Duke East Campus in the East Duke Building. He is a South African musician whose career was suppressed by security police in the '70s and '80s. This concert is a fundraiser for Freemuse.org, a Danish organization promoting free speech and human rights for musicians.
WHEN: TODAY, Saturday (3/21), 4 p.m. - ?
WHERE: Talullah's, W. Franklin St., Chapel Hill
COST: (unknown, if any)
I saw Ferhat Tunç last night at the Duke Performances show. (Ferhat is on a short artist residency at Duke.) He played the saz or bağlama, a narrow-necked, fretted instrument which has 3 pairs of double-coursed strings. An extra bass string on this particular saz, for added depth, made for a total of seven tuning pegs. He sings with a particular, rather rapid, full-throated vibrato; at times it helped to just close my eyes and listen. I don't know what kind of scales or modes this music employs, but in my "Western" terms it sounded like minor keys exclusively--nothing I would characterize as a major mode--and occasionally micotonal, but not as much as the Arab music we heard recently. I picked up some unusual meters (9/8, maybe? what was that?) and one of Tunç's original tunes I thought could be happily repurposed into prog rock. A few of us thought he looked like Billy Bragg up there on stage, in jeans and a flannel shirt.
Tunç (pronounced "Too-nch") had just one musician with him (which is a shame, listening to the videos, would have liked to hear a whole band to get a better feel for this music): Bulgarian/Turkish classical guitarist Nuray Ahmed. Nuray was the one who explained the saz' workings to me, with the help of a very kind UNC student who translated for us. The owner of Tallulah's was at the concert last night, and they set up this impromptu concert for this afternoon at 4. Not sure if they will charge admission or not, but this is a nice chance to hear him if you missed the Duke show. He performed a lot of Turkish, Kurdish and Armenian songs, and through translator Firat Oruc, provided some context for the political and cultural contest.
See also, panel discussion on Monday (3/23):
Roger Lucey performs Monday night at 7:30 pm in the Nelson Music Room, Duke East Campus in the East Duke Building. He is a South African musician whose career was suppressed by security police in the '70s and '80s. This concert is a fundraiser for Freemuse.org, a Danish organization promoting free speech and human rights for musicians.
Thursday, March 5, 2009
Shaheen & ASWAT Orchestra WORLD PREMIERE Tonight
Concert Review added...scroll down.
The last few days hanging out at Duke, I've been trying to learn Simon Shaheen's musicians by name, the instruments they play, and grasp just the tip of the iceberg of Arabic music. 16 musicians arrived Monday at Duke--from L.A., Boston, New York, Lebanon, Tunisia--and have been rehearsing like mad on a program of classical Arabic music from the "Golden Age." Apparently this refers to a golden age for cinema and movie music, in the Egyptian film industry of the 1930s-1960s. The concert tonight (Page Auditorium, 8 pm, Duke Performances) will also feature video projections of rare movie clips to go along with the music.
Jamal Senno plays the zither-like qanoun.
The four vocalists, 2 male and 2 female, all came from overseas. I've only heard Sonia M'Barek (gorgeous voice) and Ibrahim Azzam in rehearsal, and can't wait to hear Rima Khcheich and Khalil Abonula, who I'm told are also great. No doubt. This is an ensemble of first class cats, many of whom turned down other gigs to do the 20-day U.S. tour with Shaheen. Duke Performances shared this personnel list:
Welcome to the world of transliterated Arabic: I've found alt spellings for artist's names (what they tell me and what is on their Facebook page sometimes varies from the artist management's travel manifest), and for the names of instruments, and so I'm going to just print what people have told me and allow that there is some variation.
Tomas Ulrich, cello, Zafer Tawil and Michel Merhej Baklouk, percussion
As you can see from that list, many, if not most of these musicians are multi-instrumentalists. So for instance, Zafer Tawil is one of the two percussionists, but is also adept at oud, violin, etc. I'm not sure if I photographed Bassam Saba with a violin in rehearsal at one point, in addition to Western flute and Arabic reed flute(or nay/nye), but I wouldn't be surprised. (Saba is a member of Silk Road Project, and Shaheen's Quantara and Near Eastern Music Ensemble.) All three Shaheen brothers, Simon, Najib and William, play both oud and violin. (Najib is a master luthier, while William sidelines as an optometrist.) I've played a violin in my life and know that this is obviously not the same technique at all. [Although a local musician I talked to at the gig pointed out, both are fretless and have a neck and fingerboard of similar size.] I find it intriguing that this is a common prerequisite for these Arabic musicians, who must have a well-rounded approach to the music that would come from mastering very different techniques to achieve the same ends. While it's not completely rare in Latin, jazz or classical circles, it's certainly more typical for instrumentalists to specialize in one instrument, or in instruments with a similar technique (i.e. trumpet/flugelhorn/valve trombone, saxophones/flutes, etc.)
UPDATE - Concert Review, added 3/6:
"ASWAT (Voices): Celebrating the Golden Age of Arab Music" was a monumental concert event, 3 hours of music with intermission, and well worth being among the first to hear it last night in Duke University's Page Auditorium.
"You are going to hear the best voices in the Arab World," Simon Shaheen said, and he wasn't kidding. The first half of the program featured the exquisite Khalil Abonula and Rima Khcheich, performing individually and then as a duet. Part two followed a similar format, with Sonia M'Barek followed by Ibrahim Azzam, closing with a duet.
Before they played, a short segment of film clips introduced us to stars of the Egyptian film industry who first sang these tunes on screen and, via the magic of mass culture, popularized them throughout the Arab world. A montage of the images and voices of Egytian stars Um Kulthum and Mohammad Abdel Wahhab, the Lebanese diva Fairuz and Syrian movie star and composer Farid Al Atrash, among others, flashed onscreen above the musicians, and were referenced briefly throughout the evening as new singers took on their roles. [It occurred to me during the program that one could do something similar with the Mexican film industry.]
Farid Al Atrash with bellydancer Samia Gamal in 1950
The musicians wore black tie without the tie, but Simon proved very down-to-earth as he spoke with the audience to introduce the program. (That's the vibe I got from them throughout their visit; friendly and unpretentious, with a low-key sense of humor). It's not for nothing Shaheen is considered an ambassador for Arabic music; not only is he a multi-ensemble leader and performer, but since 1996 he has organized an annual workshop retreat in Arabic music at Mt. Holyoke College.
Program Notes:
Part 1
They opened with an instrumental arrangement of "Fakkaruni" (Remind Me) by Mohammed Abdel Wahhab. It seems not uncommon for an Arabic music audience, like a jazz audience, to applaud mid-way through a piece to acknowledge solos. Musicians will also express a word or gesture of appreciation for solos that are tasty or cooking; we witnessed both of these during this opening number.
Next, Khalid Abonula from Palestine sang a truly exquisite song called "Jannat" (Gardens), by Lebanese composer and singer Wadi' Al Safi to lyrics by Abdel Jalil Wihbeh. This was a slow piece with wrenchingly elaborate ornaments, and like all the singers, he was mighty and effortless. I can't interpret the words, yet I could really sense the storytelling energy behind his delivery. [Off the record: I ran into these guys at the grocery store a few nights earlier, and Khalid was stocking up on Kit Kats--could that be part of his regimen for maintaining his silky smooth voice, I wondered?]
Abonula followed that with an equal tour de force by the same songwriters, "Wayli Laou Yidrun," about a guy in love with a woman not approved of by his parents. Both of these opened with qanoun solos by Jamal Sinno, over a low drone in the violins. I don't know enough about the structure of this music to speak knowledgably about it, but I was trying to take notice. Mr. Abonula projected warmth and polish with a deep blue tie peeking out of a high-buttoned, long-cut jacket.
Lebanese singer Rima Khcheich ('Ka-shaysh') was introduced for the next two numbers. The petite Ms. Khcheich wore a simple all black emsemble of trousers, strapless top, and an airy, full-length wrap bordered in white or silver embroidery. She gestured emphatically, raising her upper arms near her head while singing, beginning with the long, intense 'Qasida' poem "Sakana I-Layl" (Calm Night), an Abdel Wahhab tune setting lyrics by Gibran Khalil Gibran.
Rima literally stole the show with an a capella interlude between that and her next number, "Il Wardi Gamil" (Lovely Flowers), an Um Kulthum hit in the 1947 film "Fatima." In the interlude, introduced by Simon's violin solo, Rima's high, ampflied solo voice, literally trembling at times, entranced everyone I talked to in the hall. It's worth noting that none of the singers read their parts from sheet music, and the intricate melodies and lyrics they have committed to memory is no doubt extensive.
Part one wrapped by bringing Khalil back out to sing with Rima an excerpt from a 1960s Lebanese musical about rural life, Sahrit Hubb (An Evening of Love), a TV sketch that originally starred Fairuz and Wadi' Al Safi.
Part 2
Again they opened with a sort of jam session [an Arab descarga, I thought], "Kahramana" by Farid Al Atrash [who looks a little like Tito Rodriquez in the film clips, in one of them wearing a tuxedo.] Solos in order, if I'm not mistaken, by: Jamal Sinno (qanoun = zither), Bassam Saba (nay = flute), Najib Shaheen (oud = lute), Kamil Shajrawi (violin). This tune is an instrumental dance number from a 1949 Egyptian film, "Afrita Hanim" (Jinni) starring Al Atrash and Samia Gamal.
Also of interest to me, as an aside, was how often the string players tuned up between numbers. With microtones in their scales and modes, I'm sure that pitch is an especially keen matter. I am not sure how the violins, cello and bass are tuned, i.e. if they vary from Western tuning, but it didn't sound like it as they were bowing their open fifths. However, that's just my guess. Also, I wondered how they play microtonal scales on the reed flute (nay/ney); I thought to look more closely and saw that Bassam had at least 6 nays on a table by his side. Are these keyed to different maqams, or what? Clearly I need to do more research.
The stately, emotive Sonia M'Barek came out next, looking like a queen in a pillar of aqua silk, to sing a really divine Arabic ode to Vienna. "Layalil 'Unsi Fi Vienna" (Merry Nights in Vienna) is in vals time, which Simon says is no stranger in Arab music. The tune comes from the 1944 film Gharam Wa Intiqam (Love and Revenge) starring Farid Al Atrash's sister, Asmahan.
Asmahan in one of the films that inspired ASWAT
Sonia then sang "Ana Fi Intidharak Malleit" (I Am Fed Up Waiting For You) which was another glorious highpoint of the evening. She emotes from deep within her body when she sings. Not to shortshrift the concert performance--you definitely got the feeling she gave her utmost to a live audience--but it's possible this tune was even more delicate and moving in the rehearsal, when the band and singers were without amplification. In any case, it moved listeners at the open rehearsal to spontaneous applause. M'Barek is Tunisian and has specialized in Tunisian and Andalucian music since she was a child.
"Ya Wardi Min Wishtirik" (The Flower Buyer) brought Palestinian singer Ibrahim Azzam to the stage next, in a bright yellow tie, and with a second oud in hand. They set him up troubadour style, standing at a pair of mics with one leg on a chair to support the oud. The song is an Abdel Wahhab tune, setting lyrics by Lebanese poet Bishara Al Khoury. It tells the story of a moody monologue by a young man, thinking about buying a flower for his beloved.
Next was "Ya 'Awathil Falfillu," another Farid tune from the 1950 film "Akhir Kithba" (Last Lie) that got the audience clapping. A brief oud solo from Najib was welcome, and the duelling ouds with Najib and Ibrahim was a real crowdpleaser.
The evening ended with a happy ending: "Ya Di n-Na'im" (Living in Happiness), from the 1938 film Yahyal Hubb (Love Wins) starring Layla Murad and Mohammed Abdel Wahhab. Sonia and Ibrahim sang this dialogue about reunited lovers.
A few sound problems got worked out in the first half, so the premiere should set them up well for their big coming out party in D.C. There was talk among the musicians of the program running long, so it could be that some numbers will get tightened up or cut during the tour. I don't know if the Arabic music scene is just super laidback about autographs or what, but the supporting musicians seemed very phlegmatic about signing CDs. They all referred me to Simon to do the honors. He did, with the graciousness he showed to everyone throughout his residency here. (And I even got Najib to throw his John Hancock on it in Arabic.) Thanks to ASWAT Orchestra for access to their practice sessions and a fantastic, extended play concert of rare music.
If you're in a touring city where tickets are still available, I definitely recommended you catch this, it's an epic work on the visionary scale of Wynton Marsalis' Congo Square with Yacub Addy, bringing together musicians it will be hard to catch together anywhere else. As someone new to traditional Arabic music, I found it accessible and entrancing; there can't be a better way to hear this music for the first time than live, by some of the best practitioners in the world. Fans of Arab music won't have to be told twice; ASWAT is a cultural experience not to be missed.
Links:
Simon Shaheen on WUNC's The State of Things
A story I wrote for Duke Today about Shaheen's reception on campus
Syrian Clarinettist Kinan Azmeh on Weekend Edition
NPR's Sampling of the Arabesque Festival in D.C.
The last few days hanging out at Duke, I've been trying to learn Simon Shaheen's musicians by name, the instruments they play, and grasp just the tip of the iceberg of Arabic music. 16 musicians arrived Monday at Duke--from L.A., Boston, New York, Lebanon, Tunisia--and have been rehearsing like mad on a program of classical Arabic music from the "Golden Age." Apparently this refers to a golden age for cinema and movie music, in the Egyptian film industry of the 1930s-1960s. The concert tonight (Page Auditorium, 8 pm, Duke Performances) will also feature video projections of rare movie clips to go along with the music.
Jamal Senno plays the zither-like qanoun.
The four vocalists, 2 male and 2 female, all came from overseas. I've only heard Sonia M'Barek (gorgeous voice) and Ibrahim Azzam in rehearsal, and can't wait to hear Rima Khcheich and Khalil Abonula, who I'm told are also great. No doubt. This is an ensemble of first class cats, many of whom turned down other gigs to do the 20-day U.S. tour with Shaheen. Duke Performances shared this personnel list:
Orchestra (12 members)
Kamil Shajrawi - violin
William Shaheen - violin
Abeeb Refela - violin
Georges Lammam - violin
Simon Shaheen - violin / oud
Najib Shaheen - oud
Bassam Saba - nay/flute
Jamal Sinno (alt spelling: Senno)- qanun
Tomas Ulrich - cello
Walid Zairi - bass
Michel Merhej Baklouk - percussion
Dafer Tawil (alt spelling: Zafer) - percussion
Vocalist (4 featured)
Ibrahim Azzam - vocal
Sonia M'Barek - vocal
Khalil Abonula - vocal
Rima Khcheich - vocal
Welcome to the world of transliterated Arabic: I've found alt spellings for artist's names (what they tell me and what is on their Facebook page sometimes varies from the artist management's travel manifest), and for the names of instruments, and so I'm going to just print what people have told me and allow that there is some variation.
Tomas Ulrich, cello, Zafer Tawil and Michel Merhej Baklouk, percussion
As you can see from that list, many, if not most of these musicians are multi-instrumentalists. So for instance, Zafer Tawil is one of the two percussionists, but is also adept at oud, violin, etc. I'm not sure if I photographed Bassam Saba with a violin in rehearsal at one point, in addition to Western flute and Arabic reed flute(or nay/nye), but I wouldn't be surprised. (Saba is a member of Silk Road Project, and Shaheen's Quantara and Near Eastern Music Ensemble.) All three Shaheen brothers, Simon, Najib and William, play both oud and violin. (Najib is a master luthier, while William sidelines as an optometrist.) I've played a violin in my life and know that this is obviously not the same technique at all. [Although a local musician I talked to at the gig pointed out, both are fretless and have a neck and fingerboard of similar size.] I find it intriguing that this is a common prerequisite for these Arabic musicians, who must have a well-rounded approach to the music that would come from mastering very different techniques to achieve the same ends. While it's not completely rare in Latin, jazz or classical circles, it's certainly more typical for instrumentalists to specialize in one instrument, or in instruments with a similar technique (i.e. trumpet/flugelhorn/valve trombone, saxophones/flutes, etc.)
UPDATE - Concert Review, added 3/6:
"ASWAT (Voices): Celebrating the Golden Age of Arab Music" was a monumental concert event, 3 hours of music with intermission, and well worth being among the first to hear it last night in Duke University's Page Auditorium.
"You are going to hear the best voices in the Arab World," Simon Shaheen said, and he wasn't kidding. The first half of the program featured the exquisite Khalil Abonula and Rima Khcheich, performing individually and then as a duet. Part two followed a similar format, with Sonia M'Barek followed by Ibrahim Azzam, closing with a duet.
Before they played, a short segment of film clips introduced us to stars of the Egyptian film industry who first sang these tunes on screen and, via the magic of mass culture, popularized them throughout the Arab world. A montage of the images and voices of Egytian stars Um Kulthum and Mohammad Abdel Wahhab, the Lebanese diva Fairuz and Syrian movie star and composer Farid Al Atrash, among others, flashed onscreen above the musicians, and were referenced briefly throughout the evening as new singers took on their roles. [It occurred to me during the program that one could do something similar with the Mexican film industry.]
Farid Al Atrash with bellydancer Samia Gamal in 1950
The musicians wore black tie without the tie, but Simon proved very down-to-earth as he spoke with the audience to introduce the program. (That's the vibe I got from them throughout their visit; friendly and unpretentious, with a low-key sense of humor). It's not for nothing Shaheen is considered an ambassador for Arabic music; not only is he a multi-ensemble leader and performer, but since 1996 he has organized an annual workshop retreat in Arabic music at Mt. Holyoke College.
Program Notes:
Part 1
They opened with an instrumental arrangement of "Fakkaruni" (Remind Me) by Mohammed Abdel Wahhab. It seems not uncommon for an Arabic music audience, like a jazz audience, to applaud mid-way through a piece to acknowledge solos. Musicians will also express a word or gesture of appreciation for solos that are tasty or cooking; we witnessed both of these during this opening number.
Next, Khalid Abonula from Palestine sang a truly exquisite song called "Jannat" (Gardens), by Lebanese composer and singer Wadi' Al Safi to lyrics by Abdel Jalil Wihbeh. This was a slow piece with wrenchingly elaborate ornaments, and like all the singers, he was mighty and effortless. I can't interpret the words, yet I could really sense the storytelling energy behind his delivery. [Off the record: I ran into these guys at the grocery store a few nights earlier, and Khalid was stocking up on Kit Kats--could that be part of his regimen for maintaining his silky smooth voice, I wondered?]
Abonula followed that with an equal tour de force by the same songwriters, "Wayli Laou Yidrun," about a guy in love with a woman not approved of by his parents. Both of these opened with qanoun solos by Jamal Sinno, over a low drone in the violins. I don't know enough about the structure of this music to speak knowledgably about it, but I was trying to take notice. Mr. Abonula projected warmth and polish with a deep blue tie peeking out of a high-buttoned, long-cut jacket.
Lebanese singer Rima Khcheich ('Ka-shaysh') was introduced for the next two numbers. The petite Ms. Khcheich wore a simple all black emsemble of trousers, strapless top, and an airy, full-length wrap bordered in white or silver embroidery. She gestured emphatically, raising her upper arms near her head while singing, beginning with the long, intense 'Qasida' poem "Sakana I-Layl" (Calm Night), an Abdel Wahhab tune setting lyrics by Gibran Khalil Gibran.
Rima literally stole the show with an a capella interlude between that and her next number, "Il Wardi Gamil" (Lovely Flowers), an Um Kulthum hit in the 1947 film "Fatima." In the interlude, introduced by Simon's violin solo, Rima's high, ampflied solo voice, literally trembling at times, entranced everyone I talked to in the hall. It's worth noting that none of the singers read their parts from sheet music, and the intricate melodies and lyrics they have committed to memory is no doubt extensive.
Part one wrapped by bringing Khalil back out to sing with Rima an excerpt from a 1960s Lebanese musical about rural life, Sahrit Hubb (An Evening of Love), a TV sketch that originally starred Fairuz and Wadi' Al Safi.
Part 2
Again they opened with a sort of jam session [an Arab descarga, I thought], "Kahramana" by Farid Al Atrash [who looks a little like Tito Rodriquez in the film clips, in one of them wearing a tuxedo.] Solos in order, if I'm not mistaken, by: Jamal Sinno (qanoun = zither), Bassam Saba (nay = flute), Najib Shaheen (oud = lute), Kamil Shajrawi (violin). This tune is an instrumental dance number from a 1949 Egyptian film, "Afrita Hanim" (Jinni) starring Al Atrash and Samia Gamal.
Also of interest to me, as an aside, was how often the string players tuned up between numbers. With microtones in their scales and modes, I'm sure that pitch is an especially keen matter. I am not sure how the violins, cello and bass are tuned, i.e. if they vary from Western tuning, but it didn't sound like it as they were bowing their open fifths. However, that's just my guess. Also, I wondered how they play microtonal scales on the reed flute (nay/ney); I thought to look more closely and saw that Bassam had at least 6 nays on a table by his side. Are these keyed to different maqams, or what? Clearly I need to do more research.
The stately, emotive Sonia M'Barek came out next, looking like a queen in a pillar of aqua silk, to sing a really divine Arabic ode to Vienna. "Layalil 'Unsi Fi Vienna" (Merry Nights in Vienna) is in vals time, which Simon says is no stranger in Arab music. The tune comes from the 1944 film Gharam Wa Intiqam (Love and Revenge) starring Farid Al Atrash's sister, Asmahan.
Asmahan in one of the films that inspired ASWAT
Sonia then sang "Ana Fi Intidharak Malleit" (I Am Fed Up Waiting For You) which was another glorious highpoint of the evening. She emotes from deep within her body when she sings. Not to shortshrift the concert performance--you definitely got the feeling she gave her utmost to a live audience--but it's possible this tune was even more delicate and moving in the rehearsal, when the band and singers were without amplification. In any case, it moved listeners at the open rehearsal to spontaneous applause. M'Barek is Tunisian and has specialized in Tunisian and Andalucian music since she was a child.
"Ya Wardi Min Wishtirik" (The Flower Buyer) brought Palestinian singer Ibrahim Azzam to the stage next, in a bright yellow tie, and with a second oud in hand. They set him up troubadour style, standing at a pair of mics with one leg on a chair to support the oud. The song is an Abdel Wahhab tune, setting lyrics by Lebanese poet Bishara Al Khoury. It tells the story of a moody monologue by a young man, thinking about buying a flower for his beloved.
Next was "Ya 'Awathil Falfillu," another Farid tune from the 1950 film "Akhir Kithba" (Last Lie) that got the audience clapping. A brief oud solo from Najib was welcome, and the duelling ouds with Najib and Ibrahim was a real crowdpleaser.
The evening ended with a happy ending: "Ya Di n-Na'im" (Living in Happiness), from the 1938 film Yahyal Hubb (Love Wins) starring Layla Murad and Mohammed Abdel Wahhab. Sonia and Ibrahim sang this dialogue about reunited lovers.
A few sound problems got worked out in the first half, so the premiere should set them up well for their big coming out party in D.C. There was talk among the musicians of the program running long, so it could be that some numbers will get tightened up or cut during the tour. I don't know if the Arabic music scene is just super laidback about autographs or what, but the supporting musicians seemed very phlegmatic about signing CDs. They all referred me to Simon to do the honors. He did, with the graciousness he showed to everyone throughout his residency here. (And I even got Najib to throw his John Hancock on it in Arabic.) Thanks to ASWAT Orchestra for access to their practice sessions and a fantastic, extended play concert of rare music.
If you're in a touring city where tickets are still available, I definitely recommended you catch this, it's an epic work on the visionary scale of Wynton Marsalis' Congo Square with Yacub Addy, bringing together musicians it will be hard to catch together anywhere else. As someone new to traditional Arabic music, I found it accessible and entrancing; there can't be a better way to hear this music for the first time than live, by some of the best practitioners in the world. Fans of Arab music won't have to be told twice; ASWAT is a cultural experience not to be missed.
Links:
Simon Shaheen on WUNC's The State of Things
A story I wrote for Duke Today about Shaheen's reception on campus
Syrian Clarinettist Kinan Azmeh on Weekend Edition
NPR's Sampling of the Arabesque Festival in D.C.
Tuesday, March 3, 2009
Simon Shaheen Residency begins today at Duke
Oud and violin virtuoso Simon Shaheen, a seminal composer and performer of Arab music and world fusion, begins a brief artist residency at Duke this week. The public is invited to welcome Shaheen and members of his ASWAT Orchestra at a free reception this evening (Tues., 3/3) at 8 p.m. in the Mary Lou Williams Center for Black Culture.
On Wednesday (3/4) from 6-7:30 p.m., Page Auditorium will be open to the public for an open rehearsal of Shaheen's ensemble.
Duke Performances presents an 8 p.m. concert Thursday (3/5) in Page, where Shaheen will present the world premiere of "ASWAT (Voices): Celebrating the Golden Age of Arab Music," with featured vocalists Ibrahim Azzam, Sonia M'Barek, Khalil Abonula and Rima Khcheich.
Shaheen's massive new choral piece, backed by a 12-15 piece classical Arab orchestra, will travel from Duke directly to Washington D.C., where its performance is already sold out as part of the Kennedy Center's month-long festival "Arabesque: Arts of the Arab World."
The 53-year-old Shaheen has been called "one of the most dynamic musical links between the Arab world and the West." From a Palestinian musical family, he studied Western classical music in Haifa and the Academy of Music in Jerusalem, where he also taught. He entered the New York music scene when he came to the U.S. in 1980 to begin graduate studies at Columbia and the Manhattan School of Music. In the '90s, he founded his own classical ensemble of Arab music, NEME (Near Eastern Music Ensemble) and recorded several albums. In 2000, he saw the need for a thoughtful approach to world fusion, and created the jazz and Arab music ensemble Qantara (which translates as "arch").
As Shaheen told Afropop Worldwide at that time:
Developing...
More info:
Duke Performances Website
Simon Shaheen: Artist's Website
On Wednesday (3/4) from 6-7:30 p.m., Page Auditorium will be open to the public for an open rehearsal of Shaheen's ensemble.
Duke Performances presents an 8 p.m. concert Thursday (3/5) in Page, where Shaheen will present the world premiere of "ASWAT (Voices): Celebrating the Golden Age of Arab Music," with featured vocalists Ibrahim Azzam, Sonia M'Barek, Khalil Abonula and Rima Khcheich.
Shaheen's massive new choral piece, backed by a 12-15 piece classical Arab orchestra, will travel from Duke directly to Washington D.C., where its performance is already sold out as part of the Kennedy Center's month-long festival "Arabesque: Arts of the Arab World."
The 53-year-old Shaheen has been called "one of the most dynamic musical links between the Arab world and the West." From a Palestinian musical family, he studied Western classical music in Haifa and the Academy of Music in Jerusalem, where he also taught. He entered the New York music scene when he came to the U.S. in 1980 to begin graduate studies at Columbia and the Manhattan School of Music. In the '90s, he founded his own classical ensemble of Arab music, NEME (Near Eastern Music Ensemble) and recorded several albums. In 2000, he saw the need for a thoughtful approach to world fusion, and created the jazz and Arab music ensemble Qantara (which translates as "arch").
As Shaheen told Afropop Worldwide at that time:
"I've tried to come up with a formula that is original, interesting musically, but not harming the roots. So the qantara is a symbol of something that holds different things together, and when you go through it, you don't know what to expect inside. It's like a new world."
Developing...
More info:
Duke Performances Website
Simon Shaheen: Artist's Website
Sunday, February 22, 2009
RADIO ALERT (2/22): Sitar player Viswas Chitnis on WXDU TODAY
From Luke at WXDU:
WHAT: Viswas Chitnis, musical guest (sitar)
WHEN: 6-7 pm, Sunday, 2/22
WHERE: WXDU 88.7 FM, live streaming via iTunes at www.wxdu.org
"Sitar strummer extraordinaire Viswas Chitnis will be playing a somewhat abbreviated raga session tonight on our show at 6PM as well as answering our (and your) questions."
WHAT: Viswas Chitnis, musical guest (sitar)
WHEN: 6-7 pm, Sunday, 2/22
WHERE: WXDU 88.7 FM, live streaming via iTunes at www.wxdu.org
Tuesday, February 17, 2009
give a little love
I was talking about the remarkable Iraqi oud player and human rights activist Rahim AlHaj with fellow blogger Robin, of The Holly Tree, and she sent me the link to this beautiful short documentary:
Fan of the oud? Go and see Naji tonight with ELM Collective.
Fan of the oud? Go and see Naji tonight with ELM Collective.
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