MASĀRĀT — Fadia Tomb El-Hage Sings Lebanese Authors And

Total Page:16

File Type:pdf, Size:1020Kb

MASĀRĀT — Fadia Tomb El-Hage Sings Lebanese Authors And MASĀ RĀT Fadia Tomb El-Hage sings Lebanese Authors and Composers with FRAGMENTS ensemble 1 CD 1 1. Toufic Succar (1922 – 2017) ‛Atšān (1994) 03:41 for contralto, violin and piano text: Anonymous 2. Mansour Rahbani (1925 – 2009) Aturā yaḏkurūnahū (2004) 02:57 for contralto, flute, violin, viola, cello, piano and percussions text by Béchara El-Khoury 3. Ghadi Rahbani (*1960) B‛albak (2015) 06:40 for contralto and piano text by Ghadi Rahbani commissioned by Baalbek International Festival 4. Mona A. Ahdab (*1966) À la fin de cela (2016) 05:07 for contralto, violin, viola, cello and piano text by Salah Stétié commissioned by Quart de ton and Fadia Tomb El-Hage 5. Iyad Kanaan (*1971) Salātu Mirā (2014) 07:30 for contralto and string quartet text by Saïd Akl 6. Marcel Khalifé (*1950) Al-qitār (2000) 03:01 for contralto and ud improvisation text by Mahmoud Darwish 2 7. Violaine Prince (*1958) Pater (2016) 04:34 for contralto, flute, cello, piano and accordion improvisation text by Jad Hatem commissioned by Quart de ton and Fadia Tomb El-Hage 8. Charbel Rouhana (*1965) Wafāʾal-ʿaşāfīr (2004/2020) 05:54 for contralto, ud, qanun, violin, viola, cello, accordion and percussions text by Ounsi El-Hage 9. Samir Tomb (*1955) Aṭfāl (2018) 06:25 for contralto, flute, violin, viola, cello, piano and sampler text by Georges Khodr commissioned by Quart de ton and Fadia Tomb El-Hage 10. Samir Tomb Lḥaʾīʾā (2014) 05:35 for contralto, flute, 2 violins, viola, cello, contrabass, piano and percussions text by Jean Abi-Ghanem 11. Joëlle Khoury (*1963) Vers le soleil bleu (2018) 05:25 for contralto, saxophone, violin, cello, contrabass, piano and percussions text by Nadia Tuéni commissioned by Quart de ton and Fadia Tomb El-Hage TT 56:49 3 CD 2 1. Gabriel Yared (*1949) Baalbeck (2015) 03:34 for contralto and piano text by Nadia Tuéni commissioned by Baalbek International Festival 2. Naji Hakim (*1955) Aš-šawqu ila˘ s-samāʾ (2016) 04:31 for contralto violin, viola, cello and piano text by Kamal Youssef El-Hage commissioned by Quart de ton and Fadia Tomb El-Hage 3. Houtaf Khoury (*1967) Sumer (2016) 08:00 for contralto, violin, viola, cello and piano text by Jacques Aswad commissioned by Quart de ton and Fadia Tomb El-Hage 4. Houtaf Khoury Das Lied der Seele (2006/2019) 11:48 for contralto, violin, viola, cello and piano text by Gibran Khalil Gibran (Translation to German by Ursula Assaf-Nowak and Simon Assaf ) commissioned by Quart de ton and Fadia Tomb El-Hage 5. Bushra El-Turk (*1982) TIK TAK (2006) 01:41 for contralto, piano and metronome text by Grégoire Haddad 4 6. Joëlle Khoury Zarqāʾa ˘ š-šamsu (2016) 06:42 for contralto, flute, violin, cello and piano text by Sabah Zouein commissioned by Quart de ton and Fadia Tomb El-Hage 7. Zad Moultaka (*1967) Where is Light? (2019) 05:41 for contralto, flute, violin, viola, cello and piano text by Etel Adnan commissioned by Quart de ton and Fadia Tomb El-Hage 8. Abdallah El-Masri (*1962) Maġnāt (1987) 14:14 for contralto, cello and piano text by Paul Chaoul TT 56:11 5 CD CD1 1 CD 1 1 1عطشان عطشان لصوت ألتو لصوت وكامنألتو وپيانووكامن وپيانو من توفيق من ّسكر، توفيق ملؤلِّ ّسكف ر، ملؤلِّمجهولف مجهول 3:41 3:41,(1994) ,(1994) 2 أترى 2 أترى يذكرونه؟يذكرونه؟ لصوت ألتو لصوت وفلوت ألتو وفلوتوكامن وڤيوالوكامن وتشيلووڤيوال وپيانو وتشيلو وإيقاعوپيانو وإيقاع من منصورمن منصور الرحباين، ّنص الرحباين، بشارة ّ نص الخوريبشارة الخوري 2:57 2:57,(2004) ,(2004) 3 * 3بعلبك * بعلبك لصوت ألتو لصوت وپيانوألتو وپيانو ّنص ّوموسيقىنص غدي وموسيقى غديالرحباين الرحباين 6:40 6:40,(2015) ,(2015) À la finÀ lade fincela de** cela4 ** 4 لصوت ألتو لصوت وكامنألتو وڤيوالوكامن وتشيلووڤيوال وپيانووتشيلو وپيانو من منى من منى األحدب، ّ نصاألحدب، صالح ّ نصستيتيّةصالح ستيتيّة 5:07 5:07,(2016) ,(2016) 5 صالة 5مرىصالة مرى لصوت ألتو لصوت ّورباعيألتو أوتار ّورباعي أوتار من إياد من كنعان، إياد ّنص كنعان، سعيد ّنص عقلسعيد عقل 7:30 7:30,(2014) ,(2014) 6 القطار6 القطار لصوت ألتو لصوتمع ألتو تقاسيممع عىل تقاسيم عودعىل عود من مارسيلمن خليفة، مارسيل ّنص خليفة، ّمحمودنص درويشمحمود درويش 3:01 3:01,(2000) ,(2000) Pater **Pater7 ** 7 لصوت ألتو لصوت وفلوت ألتو وفلوتوتشيلو وپيانو وتشيلو مع وپيانو تقاسيممع عىل تقاسيم عىل األكورديوناألكورديون من منڤيولني پرانس، ڤيولني ّنص پرانس،جاد ّنص حاتمجاد حاتم 4:34 4:34,(2016) ,(2016) 8 وفاء 8 وفاء العصافريالعصافري لصوت ألتو لصوت وعود ألتو وقانون وعود وكامنوقانون وڤيوالوكامن وتشيلووڤيوال وتشيلو وأكورديون وإيقاعوأكورديون وإيقاع من رشبلمن روحانا، رشبل ّنص روحانا، أنيس ّنص الحاجأنيس الحاج 5:54 ,(5:542020 ;2004),(2020 ;2004) 9 ** 9أطفال** أطفال لصوت ألتو لصوت وفلوت ألتو وفلوتوكامن وڤيوالوكامن وتشيلووڤيوال وپيانو وتشيلو وپيانووسامپلر وسامپلر من سمري من طنب، سمري ّ نصطنب، جورج ّ نصخرضجورج خرض 6:25 6:25,(2018) ,(2018) 10 10الحقيقة الحقيقة لصوت ألتو لصوت وفلوت ألتو وفلوت وكامنني وڤ وكامنني يوال وڤ وتشيلويوال وتشيلو وكونرتاباس وپيانو وكونرتاباس وإيقاعوپيانو وإيقاع من سمري من طنب، سمري ّ نصجانطنب، ّأيب نص جان غانمأيب غانم 5:35 5:35,(2014) ,(2014) Vers leVers soleil le bleu soleil ** bleu11 ** 11 لصوت ألتو لصوت ألتو وساكسوفون وكامنوساكسوفون وتشيلووكامن وتشيلو وكونرتاباس وپيانو وكونرتاباس وإيقاعوپيانو وإيقاع من جويل من خوري، جويل ّنص خوري، نادية ّنص توينينادية تويني 5:25 5:25,(2018) ,(2018) أنتجت لحسابأنتجت لحساب مهرجان بعلبكمهرجان بعلبكّالدويل * ّالدويل * كار-دو-تون وفادية كار-دو-تون طنب وفادية الحاج طنب **الحاج ** 6 6 7 7 6 CD 2 CD CD2 2 BaalbeckBaalbeck * 1 * 1 لصوت ألتو لصوت وپيانوألتو وپيانو من غابرييل من يارد، ّنصغابرييل يارد،نادية ّنص توينينادية تويني 3:34 3:34,(2015) ,(2015) 2 ** الشوق2 إىل** الشوق السامءإىل السامء لصوت ألتو لصوت وكامن ألتو وڤيوال وكامن وتشيلو وڤيوال وپيانووتشيلو وپيانو من ناجي من حكيم، ناجي ّ نص حكيم،كامل ّنص يوسف كامل الحاجيوسف الحاج 4:31 4:31,(2016) ,(2016) 3 ** 3سومر ** سومر لصوت ألتو لصوت وكامن ألتو وڤيوال وكامن وتشيلو وڤيوال وپيانووتشيلو وپيانو من هتاف من خوري، هتاف ّنص جاكخوري، ّنص األسودجاك األسود 8:00 8:00,(2016) ,(2016) Das LiedDas der Lied Seele der ** Seele4 ** 4لصوت ألتو لصوت وكامن ألتو وڤيوال وكامن وتشيلو وڤيوال وپيانووتشيلو وپيانو من هتاف من خوري، هتاف ّنص جربانخوري، ّنص خليل جربان جربان خليل1 جربان 1 11:48 ,(2019 11:48 ;2006),(2019 ;2006) 5 تيك 5تاك تيك تاك لصوت ألتو لصوت وپيانو ألتو وپيانو وميرتونوموميرتونوم من برشى من الرتك، برشى ّ نص الرتك، ّغريغوار نص ّحدادغريغوار ّحداد 1:41 1:41,(2006) ,(2006) 6 ** 6زرقاء ** الشمسزرقاء الشمس لصوت ألتو لصوتوفلوت ألتو وكامنوفلوت وتشيلو وكامن وپيانووتشيلو وپيانو من جويل من خوري، جويل ّنص خوري، صباح ّنص زوينصباح زوين 6:42 6:42,(2016) ,(2016) WhereWhere is Light? is Light?** 7 ** 7 لصوت ألتو لصوت وفلوت ألتو وكامنوفلوت وڤيوال وكامن وتشيلو وڤيوال وپيانووتشيلو وپيانو من زاد من ملتقى، زاد ّنص ملتقى،إيتيل ّنص عدنانإيتيل عدنان 5:41 5:41,(2019) ,(2019) 8َمغناة8َمغناة لصوت ألتو لصوت وتشيلو ألتو وپيانووتشيلو وپيانو من عبد منالله عبد اللهاملرصي، ّنص پولاملرصي، ّنص شاوولپول شاوول 14:14 14:14,(1987) ,(1987) أنتجت لحسابأنتجت لحساب * مهرجان * بعلبك مهرجان الدويلبعلبك الدويل 1 1 ّ ّ ترجمها إىل ترجمها األملانيّةإىل أورسوالاألملانيّة ّعسأورسوال ّعساف-نوڤاك وسمعاناف-نوڤاك ّعساف وسمعان ّعساف ** ** كار-دو-تون وفادية كار-دو-تون طنب وفادية الحاج طنب الحاج 8 8 9 9 7 Natacha Save, contrabass / contrebasse / Zad Khalifé / , زاد خليفة , زاد خليفة / Natacha Save, contrabass / contrebasse / Zad Khalifé ّاملوسيقياملوسيقيي ونن / Musiker / املوسيقيي ن / Musicians / MusiciensMusicians / Musiker / Musiciens إيقاع / Percussions / إيقاع / percussions / Percussionspercussions كونرتاباس / Kontrabassكونرتاباس / MASĀRĀTMASĀRĀT Kontrabass CD 1: 11 CD 1: 11 CD 1: 8 CD 1: 8 , بسام صالح / Saleh , بسام Bassamصالح / / Fadia Tomb El-HageFadia sings Tomb the El-Hage sings the Amaury Geens, Amaurysaxophone Geens, / Saxophonsaxophone / Bassam / Saxophon Saleh Lebanese Authors and Composers contrabass / contrebasse / / contrabass / contrebasse ساكسوفون ساكسوفون ألتو / Altistin / ألتو / Lebanese Authors and Composers Fadia Tomb El-HageFadia, Tombcontralto El-Hage / Altistin, contralto كونرتاباس / Kontrabassكونرتاباس / CD 1: 1–11 CD 2: 1–8CD 1: 1–11 CD 2: 1–8 CD 1: 11 CD 1: 11 Kontrabass With Fragments ensembleWith Fragmentsand the collaboration ensemble and the collaboration Luc Vanden BoschLuc, Vanden Boschpercussions, / percussions / CD 1: 10 CD 1: 10 of the Beirut Oriental ensemble Percussions / , فادي يعقوب / , Yaacoub فادي Fadyيعقوب / إيقاعFady Yaacoub إيقاع / of the Beirut Oriental ensemble Fragments ensemble:Fragments ensemble: Percussions إيقاع / Percussions / إيقاع / CD 1: 11 CD 1: 11 percussions / Percussionspercussions CD 1: 2, 10 Simon Widart, fluteSimon & piccolo Widart / , flûteflute & & piccolopiccolo / / flûte & piccolo / CD 1: 2, 10 :Beirut Oriental ensemble:Beirut Oriental ensemble فلوت وپيكولو / Pikkolo &فلوت Flöteوپيكولو / Flöte & Pikkolo CD 1: 2, 7, 9, 10 CDCD 2: 1: 6, 2, 7 7, 9, 10 CD 2: 6, 7 / Michaël Scoriels, violin / violon / Geige / Charbel RouhanaCharbel / Rouhana مسارات مسارات , رشبل روحانا , رشبل روحانا كامن كامن / Scoriels, violin / violon / Geige فادية طنبطنب Michaëlالحاج تغنيتغني فادية مؤلفني المؤلفينطنب الحاج وملحنني والملحنين تغني لبنانينيالمؤلفيناللبنانيين والملحنين اللبنانيين عود / ud / oud / Oudعود / CD 1: 1, 2, 4, 5, 9, 10CD CD 1: 1, 2: 2, 2–4, 4, 5, 6, 9, 7 10 CD 2: 2–4, 6, 7 ud / oud / Oud CD 1: 8 مع مع فرقةفرقة فراغامنفراغمان مع فرقة فراغمان CD 1: 8 كامن/ Nathalie Huby, Nathalieviolin /Huby violon, / Geigeviolin / / violon / Geige / Jihad Chémaly كامن , جهاد شاميل , جهاد شاميل / CD 1: 5, 11 CD 1: 5, 11 Jihad Chémaly بالتعاون مع فرقة بيروت الشرقية / ud / oud / Oud بالتعاون مع فرقة بيروت الشرقية عود عود / ud / oud / Oud ڤيوال / alto / Bratsche /ڤيوال / Vincent Hepp, Vincentviola Hepp/ alto /, Bratscheviola CD 1: 4 CD 2: 2, 3CD 1: 4 CD 2: 2, 3 CD 1: 6 CD 1: 6 , ّغسان ّسحاب /
Recommended publications
  • Song, State, Sawa Music and Political Radio Between the US and Syria
    Song, State, Sawa Music and Political Radio between the US and Syria Beau Bothwell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Beau Bothwell All rights reserved ABSTRACT Song, State, Sawa: Music and Political Radio between the US and Syria Beau Bothwell This dissertation is a study of popular music and state-controlled radio broadcasting in the Arabic-speaking world, focusing on Syria and the Syrian radioscape, and a set of American stations named Radio Sawa. I examine American and Syrian politically directed broadcasts as multi-faceted objects around which broadcasters and listeners often differ not only in goals, operating assumptions, and political beliefs, but also in how they fundamentally conceptualize the practice of listening to the radio. Beginning with the history of international broadcasting in the Middle East, I analyze the institutional theories under which music is employed as a tool of American and Syrian policy, the imagined youths to whom the musical messages are addressed, and the actual sonic content tasked with political persuasion. At the reception side of the broadcaster-listener interaction, this dissertation addresses the auditory practices, histories of radio, and theories of music through which listeners in the sonic environment of Damascus, Syria create locally relevant meaning out of music and radio. Drawing on theories of listening and communication developed in historical musicology and ethnomusicology, science and technology studies, and recent transnational ethnographic and media studies, as well as on theories of listening developed in the Arabic public discourse about popular music, my dissertation outlines the intersection of the hypothetical listeners defined by the US and Syrian governments in their efforts to use music for political ends, and the actual people who turn on the radio to hear the music.
    [Show full text]
  • Joelle Khoury Pianist/Composer (Classical Music and Jazz). +961 3812959; [email protected]; [email protected]
    Joelle Khoury Pianist/Composer (classical music and jazz). +961 3812959; [email protected]; [email protected] https://en.wikipedia.org/wiki/Joelle_Khoury Studies: Musicology and Economics, BA, George Mason University, Va., USA. Masters in philosophy, Université St. Joseph, Beirut. Thesis titled “Etre et Musique” (Being and Music). PHD in philosophy, Lebanese University. Thesis titled: “Théâtralité et désir de mort créateur chez Gilles Deleuze” (Theatricality and creative death desire in Gilles Deleuze’s writings). Piano diploma, Lebanese National Higher Conservatory of Music. Teaching: Lebanese National Higher Conservatory of Music: piano and composition (for 21 years, ongoing). Coordinator of contemporary music projects (concerts, workshops…etc.) American University of Beirut: 1- Survey of Western Music; 2- Listening to jazz; 3- Philosophy and Music (CVSP 295X) LAU: Survey of Western Music, 2 semesters. Saint Joseph University, Université pour tous: 1 semester, music appreciation. Articles, Conferences & Worshops “Time Goes One Way” (against classification of art). Heinrich Boll Foundation Lebanon www.boell-meo.org “About women composers in the Arab world” (Freemuse conference) 2005 http://freedimensional.org/about/index.html “My Body Myself and I”, conference in the company of Arab cultural journalists, (about a crisis of subjectivity throughout the history of music) Zawaya: 2006. “Bach/Leibniz/Kandinsky: the Unique and the Multiple” conference, Lebanese National Conservatory, December 2007. Of Arab Composers Today, commissioned by AFAC, the Arab Fund for Culture meeting 2011. History a Divine Poem: article commissioned by the Lucerne University, relating Bach to Leibniz, for the inauguration of their new department: Music and Theology. Published October 2015 (Grunewald). https://www.amazon.de/Theologie-Noten-Prof- Wolfgang-M%C3%BCller/dp/3786730350 The Dionysian and the Apollonian in Carmen of Bizet, inspired by Nietzsche.
    [Show full text]
  • Botschafterin Der Sterne | Norient.Com 5 Oct 2021 13:19:41
    Botschafterin der Sterne | norient.com 5 Oct 2021 13:19:41 Botschafterin der Sterne by Thomas Burkhalter Die libanesische Sängerin Fairuz ist die Ikone des libanesischen Liedes. Mit ihren Komponisten, den Gebrüdern Rahbani, hat sie der libanesischen Musik und Kultur eine starke Identität gegeben. Die Sängerin Fairuz und ihre Komponisten Assy und Mansour Rahbani gelten im Libanon als nationale, kulturelle und politische Symbole. Ab den 50er Jahren verpasste das Trio der libanesischen Musik eine starke Identität und vermochte sich von der vorherrschenden Kulturszene Ägypten abzutrennen. Heute jedoch, elf Jahre nach dem Bürgerkrieg, kämpft die Musikszene Libanon etwas orientierungslos gegen eine wirtschaftliche Misere an. Ein Gespräch mit dem 2009 verstorbenen Mansour Rahbani. https://norient.com/podcasts/fairuz Page 1 of 8 Botschafterin der Sterne | norient.com 5 Oct 2021 13:19:41 Diese Sendung wurde ausgestrahlt am 25.1.2002 in der Sendung Musik der Welt auf Schweizer Radio DRS2. Hintergrundinfos zu Fairuz Rezension eines wunderbaren Fairuz-Buches von Ines Weinrich. Von Thomas Burkhalter. Ines Weinrich, Fayruz und die Rahbani Brüder – Musik, Moderne und Nation im Libanon. Würzburg: Ergon Verlag, 2006. Fayruz is much more than just a Lebanese singer; her name stands for a concept with musical, poetical and political connotations: This is the leitmotiv in Ines Weinrichs book on Fayruz, the Diva of Lebanese singing, and her composers Asi and Mansour Rahbani. Through the analysis of their work, the book «Fayruz und die Brüder Rahbani – Musik, Moderne und Nation im Libanon» tracks down significant processes in the history of Lebanon since its formal independence in 1943. It reveals a nation that is continuously searching for its identity and position in the regional and global setting.
    [Show full text]
  • Botschafterin Der Sterne | Norient.Com 27 Sep 2021 12:39:25
    Botschafterin der Sterne | norient.com 27 Sep 2021 12:39:25 Botschafterin der Sterne by Thomas Burkhalter Die libanesische Sängerin Fairuz ist die Ikone des libanesischen Liedes. Mit ihren Komponisten, den Gebrüdern Rahbani, hat sie der libanesischen Musik und Kultur eine starke Identität gegeben. Die Sängerin Fairuz und ihre Komponisten Assy und Mansour Rahbani gelten im Libanon als nationale, kulturelle und politische Symbole. Ab den 50er Jahren verpasste das Trio der libanesischen Musik eine starke Identität und vermochte sich von der vorherrschenden Kulturszene Ägypten abzutrennen. Heute jedoch, elf Jahre nach dem Bürgerkrieg, kämpft die Musikszene Libanon etwas orientierungslos gegen eine wirtschaftliche Misere an. Ein Gespräch mit dem 2009 verstorbenen Mansour Rahbani. https://norient.com/index.php/podcasts/fairuz Page 1 of 8 Botschafterin der Sterne | norient.com 27 Sep 2021 12:39:25 Diese Sendung wurde ausgestrahlt am 25.1.2002 in der Sendung Musik der Welt auf Schweizer Radio DRS2. Hintergrundinfos zu Fairuz Rezension eines wunderbaren Fairuz-Buches von Ines Weinrich. Von Thomas Burkhalter. Ines Weinrich, Fayruz und die Rahbani Brüder – Musik, Moderne und Nation im Libanon. Würzburg: Ergon Verlag, 2006. Fayruz is much more than just a Lebanese singer; her name stands for a concept with musical, poetical and political connotations: This is the leitmotiv in Ines Weinrichs book on Fayruz, the Diva of Lebanese singing, and her composers Asi and Mansour Rahbani. Through the analysis of their work, the book «Fayruz und die Brüder Rahbani – Musik, Moderne und Nation im Libanon» tracks down significant processes in the history of Lebanon since its formal independence in 1943. It reveals a nation that is continuously searching for its identity and position in the regional and global setting.
    [Show full text]
  • Malouma Creative Teachers Intelligent Students Real Learning GUIDE 04
    real learning intelligent students creative teachers Education Education Malouma and the Sahel Hawl Blues 04 Youth 05 TEACHER RESOURCE GUIDE About UMS UMS gratefully acknowledges the One of the oldest performing arts presenters in the coun- following corporations, foundations try, UMS serves diverse audiences through multi- and government agencies for their disciplinary performing arts programs in three distinct but generous support of the UMS Youth interrelated areas: presentation, creation, and education. Education Program: With a program steeped in music, dance, and theater, Ford Motor Company Fund UMS hosts approximately 80 performances and 150 free Michigan Council for Arts and Cultural educational activities each season. UMS also commissions new work, sponsors artist residencies, and organizes Affairs collaborative projects with local, national as well as many University of Michigan international partners. Arts at Michigan Arts Midwest While proudly affiliated with the University of Michigan Borders Group and housed on the Ann Arbor campus, UMS is a separate Chelsea Flowers not-for-profit organization that supports itself from ticket Community Foundation for sales, grants, contributions, and endowment income. Southeastern Michigan Doris Duke Charitable Foundation UMS Education and Heartland Arts Fund JazzNet Audience Development MASCO Corporation Department THE MOSAIC FOUNDATION (of R. & P. Heydon) UMS’s Education and Audience Development Department Margot Campos Designs seeks to deepen the relationship between audiences and Music for Little People art, as well as to increase the impact that the perform- National Dance Project of New England ing arts can have on schools and community. The pro- Foundation for the Arts gram seeks to create and present the highest quality arts National Endowment for the Arts education experience to a broad spectrum of community Office of the Senior Vice Provost for constituencies, proceeding in the spirit of partnership and Academic Affairs, University of collaboration.
    [Show full text]
  • Aswat Zellerbach Hall (“Voices”)
    Cal Performances Presents Program Tuesday, March 17, 2009, 8pm Aswat Zellerbach Hall (“Voices”) Aswat PROGRAM (“Voices”) Mohammad Abdel Wahhab (1907–1991) Fakkaruni Wadi’ Al-Safi (b. 1921) Jannat Al-Safi Weili Laou Yidrun Wahhab Sakana l-Layl Zakariyya Ahmad (1896–1961) Il Wardi Gamil Assi Rahbani (1923–1986) & Mansour Rahbani (1925–2009) Sahrit Hubb INTERMISSION Celebrating the Golden Age of Arab Music & Cinema Farid Al-Atrash (1915–1974) Kahramana starring Al-Atrash Layalil Unsi Fi Vienna Ibrahim Azzam Ahmad Ana Fi Intidharak Malleit Sonia M’barek Wahhab Ya Wardi Min Yishtirik Khalil Abonula Rima Khcheich Al-Atrash Ma ‘Alli w-‘Ultillu Wahhab Ya Di n-Na’im Simon Shaheen, director Presented in Association with the John F. Kennedy Center for the Performing Arts and the University Musical Society at the University of Michigan. Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. 4 CAL PERFORMANCES CAL PERFORMANCES 5 Program Notes Cast Aswat Repertoire The Aswat Orchestra Fakkaruni (“Remind Me”) This traditional Arab orchestra features virtuoso instrumentalists playing violins, ouds, double An instrumental arrangement of a vocal master- an instrumental dance performed in his filmAfrita bass, cello, nay, qanun (zither) and percussion under the direction of maestro Simon Shaheen, piece composed in 1966 by Mohammad Abdel Hanim (“Jinni”), produced in Egypt in 1949. It was recreating the sound of the Golden Age. Wahhab and sung by Egyptian diva Um Kulthum. composed for dancer and actress Samia Gamal, The song starts with a lengthy introduction and in- who played the main role next to Al-Atrash. Director, Violin Simon Shaheen cludes several interludes that link together to form a fantastic instrumental.
    [Show full text]
  • Westminsterresearch Song Is the Secret of of Existence: Fairouz And
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Song is the Secret of of Existence: Fairouz and the Arab Diaspora in London and Doha Issa, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Ms Dima Issa, 2019. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] SONG IS THE SECRET OF EXISTENCE: FAIROUZ AND THE ARAB DIASPORA IN LONDON AND DOHA DIMA ISSA A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS OF THE UNIVERSITY OF WESTMINSTER FOR THE DEGREE OF DOCTOR OF PHILOSOPHY July 2019 Abstract Nestling in the hearts and minds of her listeners, the Lebanese singer and performer, Fairouz, travels across land and seas, offering gentle reminders of the past or inspiring hope for the future. With the objective of exploring the role that Fairouz plays in the lives of the Arab diaspora, this project examines possible identity constructions and concepts of belonging, investigating how Fairouz factors in diasporic space and how her music offers opportunities to navigate individual and social positions in such space. Through an ethnographic study, focusing on in-depth interviews, narratives of 59 members of the Arab diaspora living in Doha, Qatar and London, England were heard, understood and categorised thematically, highlighting how music can elucidate and situate experiences of migration, positioning listeners on a fluctuating continuum, which moves beyond standard private and public lines of domesticity, nationalism and religion.
    [Show full text]
  • Popular Culture and Nationalism in Lebanon
    Herstone-FM.qxd 6/8/07 12:19 PM Page i POPULAR CULTURE AND NATIONALISM IN LEBANON Based on an award-winning thesis, Popular Culture and Nationalism in Lebanon is a pioneering study of musical theater and popular culture and its relation to the production of identity in Lebanon in the second half of the twentieth century. In the aftermath of the departure of the French from Lebanon and the civil violence of 1958, the Rahbani Brothers (Asi and Mansour) staged a series of folkloric musical-theatrical extravaganzas at the annual Baalbeck Festival which highlighted the talents of Asi’s wife, the Lebanese diva Fairouz, arguably the most famous living Arab singer. The inclusion of these folkloric vignettes into the Festival’s otherwise European-dominated cultural agenda created a powerful nation-building combination of what Partha Chatterjee calls the “appropriation of the popular” and the “classicization of tradition.” This musical-theatrical movement coincided with the confluence of increasing internal and external migration in Lebanon, as well as with the rapid development of mass-media technology, of which the Baalbeck Festival can be seen as an extension. Employing theories of nationalism, modernity, globalism, and locality, the book shows that these factors combined to give the project a potent, if not always constructive, identity-forming power. Small wonder then that with the start of the civil war in 1975 would come the collapse of this project. In the ashes of these events Ziad Rahbani, the son of Fairouz and Asi, began to author, compose, and star in his own series of exceedingly popular musical plays.
    [Show full text]
  • Fairouz Centre Culturel Du Livre Édition / Distribution 6, Rue Du Tigre
    Fairouz Centre culturel du livre Édition / Distribution 6, rue du Tigre. Casablanca Tél : +212522810406 Fax : +212522810407 [email protected] Première édition 2021 Dépôt légal: 2021MO0000 ISBN: 978-9920-627-80-1 Fairouz La voisine de la lune La légende Elie EL ACHKAR Table des matières Remerciements et Avertissement ……………………….… 7 Introduction………………………………………………... 9 Préface…………………………………………………….. 11 Avant-propos……………………………………………… 15 Chapitre I : Biographie……..……………………………. 19 D’une rencontre à l’autre………………………………….. 21 Les frères Rahbânî…………………………………………. 22 Une rencontre déterminante……………………………….. 25 Chapitre II ………………………………………..………. 28 La naissance de la chanson rahbanienne…………………... 28 Baalbek, un rendez-vous avec l’histoire…………………… 28 Le théâtre Piccadilly, ou l’étape urbaine…………………... 35 Son œuvre………………………………………………….. 50 Le theater…………………………………………………... 50 Le cinema………………………………………………….. 52 À la television……………………………………………… 53 Discographie selective…………………………………….. 54 Décorations pour Fairouz………………………………….. 57 Constat…………………………………………………….. 58 Conclusion………………………………………………… 64 Nota bene………………………………………………….. 67 5 Chapitre III : Textes et poèmes choisis Mis en musique et interprétés………………………….. 71 71 …………………………… زھرة المدائن …La Rose des villes 74 …..…………… أعطني الناي وغن Donne-moi le ney et chante Sakana al-Laylu (La nuit se calme)……………………….. 75 80 …..………………………………………… المحبة L’amour 85 …..…..……………………… غنيت مكة Je chante la Mecque 86 ….……………… سنرجع يوماً..... Nous retournerons un jour Chapitre IV : Si Fairouz se racontait…………………….. 90
    [Show full text]
  • Quadrívium Revista Digital De Musicologia 10 (2019)
    QUADRÍVIUM REVISTA DIGITAL DE MUSICOLOGIA 10 (2019) The Arabic music migrated to the West Youssef Tannous Holy Spirit University of Kaslik (Lebanon) RESUM Tota música té característiques segons la civilització a la qual pertany i segons l’evolució del seu llenguatge musical i l’aculturació amb la música d’altres cultures. La música àrab té les seues pròpies característiques, especialment en l’àmbit melòdic, amb dotzenes de maqām- s, i en l’àmbit rítmic, amb les seues cent combinacions rítmiques, que defineix la seua identitat. En obrir-se a la música occidental des del segle XIX, va prendre elements d’aquesta música, com l’harmonia, la composició orquestral i les formes musicals. Per a presentar la seua música en l’estil occidental, alguns músics àrabs sacrificaren els maqām-s atemperats per a adequar-los al sistema musical temperat de la música occidental. Alguns ho consideren un enriquiment per a la música àrab; altres ho consideren una pèrdua de la identitat. Podria aquesta música occidentalitzada perdre la seua identitat? Podria servir a la música àrab tant com a la música occidental? Paraules Clau: Música; àrab; occidental; escala; mode; harmonització; temperament; polifonia; orquestració; arranjament RESUMEN Toda música tiene características según la civilización a la que pertenece y según la evolución de su lenguaje musical y su aculturación con la música de otras civilizaciones. La música árabe tiene sus propias características, especialmente a nivel melódico, con sus docenas de maqām-s, y a nivel rítmico, con sus cien combinaciones rítmicas, que definen su identidad. Al abrirse a la música occidental desde el siglo XIX, tomó prestados elementos de esta música, como la armonía, la composición orquestal y las formas musicales.
    [Show full text]
  • Mansour Rahbani Introduces the East to the West Through His Poetry
    LITERARY TRANSLATION AS A PATHWAY TO THE ‘HUMANISATION’ OF EASTERN CULTURE: MANSOUR RAHBANI INTRODUCES THE EAST TO THE WEST THROUGH HIS POETRY THE SOAS JOURNAL OF POSTGRADUATE RESEARCH Author: Heba Albeity Department/Centre: Department of the Languages and Cultures of the Near and Middle East Publication: The SOAS Journal of Postgraduate Research, Volume 10 (2016-17), Pages 121-130 Exploring fluid times: Knowledge, minds and bodies Stable URL: http://eprints.soas.ac.uk/24685/ Key words: Arab poetry – translation - Mansour Rahbani – Orientalism – misrepresentation - humanisation Licence: Published under the Creative Commons Attribution Non- Commercial (CC-BY-NC) 4.0 International Licence H. Albeity / The SOAS Journal of Postgraduate Research, Volume 10 (2016-17), Pages 121-130 LITERARY TRANSLATION AS A PATHWAY TO THE ‘HUMANISATION’ OF EASTERN CULTURE: MANSOUR RAHBANI INTRODUCES THE EAST TO THE WEST THROUGH HIS POETRY Heba Albeity [email protected] Department of the Languages and Cultures of the Near and Middle East MANSOUR RAHBANI: AT THE DAWN OF THE THIRD MILLENNIUM, UNDATED ﺑﺼﺒﺎح اﻷﻟﻒ اﻟﺜﺎﻟﺚ ﺑﻌﺪ ﻓﻲ ﺟﻮع وﻓﻲ أطﻔﺎل ﻣﺸﺮدﻳﻦ وﺑﻜﻲ ودﻣﻮع At the dawn of the third millennium Still there is hunger, Homeless children, Lamentation, And tears shed ﺧﻠﯿﻨﺎ ﻧﻨﮫﻲ اﻟﺤﺮوب ﻳﺎ دول اﻟﻘﻮﻳﺔ ﻻ ﻟﻠﻔﻘﺮ ﻻ ﻟﻠﻘﮫﺮ ﻻ ﻟﻠﻌﻨﺼﺮﻳﺔ O powerful countries, let us end the wars, No to poverty No to repression No to racism اﻧﺖ ﻣﯿﻦ؟ أﻧﺎ ﻣﺎ ﺑﺴﺄل ﻟﻜﻦ ﺣﺰﻧﻚ ﻗﻠﻲ ﻣﯿﻦ وﻻ ﺑﻌﺮف أي ﻟﻮن وأي دﻳﻦ ﺑﻌﺮف اﻧﻚ ﺧﻲ ﺧﻲ ﺑﺎﻹﻧﺴﺎﻧﯿﺔ Who are you? I ask you not, but your sadness tells all I do not even see your
    [Show full text]
  • Joelle Khoury, Ph.D. Pianist-Composer Lebanese/American Languages Spoken and Written
    Joelle Khoury, Ph.D. Pianist-Composer https://en.wikipedia.org/wiki/Joelle_Khoury Lebanese/American Languages spoken and written: French, English and Arabic Studies: Musicology and Economics, BA, George Mason University, Va., USA. Masters in philosophy Université St. Joseph, Beirut. Thesis titled “Etre et Musique” (Being and Music). PHD in Philosophy, Lebanese University, thesis titled: Théâtralité et Désir de Mort Créateur chez Gilles Deleuze (Thetricality and creative death desire in Gille Deleuze’s philosophy) Piano diploma, Lebanese National Higher Conservatory of Music. Teaching: Lebanese National Higher Conservatory of Music: piano and composition (22 years) American University of Beirut: 1- Survey of Western Music; 2- Listening to jazz; 3- Philosophy and Music (7 years) Lebanese American University: Survey of Western Music (1 year) Articles, Conferences & Worshops Time Goes One Way (against classification of art) www.boell-meo.org About women composers in the Arab world (Freemuse conference) 2005 http://freedimensional.org/about/index.html My Body Myself and I conference in company of the Arab cultural journalists, (about a crisis of subjectivity through the history of the music) Zawaya: 2006. Bach/Leibniz/Kandinsky: the Unique and the Multiple, conference, Lebanese National Conservatory, December 2007. Of Arab Composers Today, written for AFAC, the Arab Fund for Culture meeting 2011. History a Divine Poem: article commissioned by the Lucerne University, relating Bach to Leibniz. for the inauguration of their new department: Music and Theology. Published October 2015 (Grunewald). https://www.amazon.de/Theologie-Noten-Prof-Wolfgang- M%C3%BCller/dp/3786730350 The Dionysian and the Apollonian in Bizet’s Carmen, conference given at the Lebanese University Doctoral School of Philosophy.
    [Show full text]