Mercredi 30 Novembre 12 :00-14 :30 Yehudi Menuhin, European Parliament

Orient-Occident

Dialogue des âmes : bridging cultures through music

Concert et conversation entre , UNESCO Artist for Peace, et Georges Corm, ancien ministre et historien libanais

Hosted by MEP Ernest Maragall with the support of the Greens/EFA group in the European Parliament

du XXIe siècle, la mission irremplaçable de l’art. Et c’est très UN DIALOGUE DES ÂMES précisément ce que nous éprouvons à l’écoute de ces superbes musiques venues d’époques et de terres diverses. Soudain nous découvrons, ou redécouvrons, que les civilisations qui nous Écouter ces musiques d’Orient et d’Occident, paraissaient éloignées les unes des autres, et même ennemies, sont subtilement rassemblées par Jordi Savall, n’est pas une expérience étonnamment proches, étonnamment complices. ordinaire. Parce qu’à l’émotion esthétique vient s’ajouter un sentiment plus intense encore, celui de communier, par Au cours de ce voyage dans le temps et l’espace, nous enchantement, avec une humanité réconciliée. nous demandons à chaque instant si les conflits auxquels nous sommes accoutumés ne sont pas trompeurs, finalement, et si la vérité Celle-ci n’a-t-elle pas perdu quelque chose de son âme des hommes et des cultures ne réside pas plutôt dans ce dialogue des dans la seconde moitié du XVe siècle, lors de la mort simultanée de instruments, des accords, des cadences, des gestes et des souffles. Séfarade et d’al-Andalous, quarante ans après l’écroulement de Monte alors en nous un sentiment de joie profonde, né d’un acte de Byzance ? Entre l’Orient et l’Occident, des passerelles mentales et foi : la diversité n’est pas forcément un prélude à l’adversité ; nos spirituelles ont été détruites, qui n’ont jamais été réparées depuis. La cultures ne sont pas entourées de cloisons étanches ; notre monde Méditerranée a cessé d’être cette mer nourricière située au centre de n’est pas condamné à des déchirements sans fin ; il peut encore être notre univers culturel, pour ne plus être qu’un champ de bataille, et sauvé... une barrière. N’est-ce pas là, d’ailleurs, depuis le commencement de Aujourd’hui, notre mer commune est le lieu où s’élève la l’aventure humaine, la raison première de l’art ? Muraille invisible qui partage la planète entre Nord apeuré et Sud désespéré ; et entre des communautés planétaires qui ont pris l’habitude de se méfier de « l’Autre », et de s’en démarquer. Le AMIN MAALOUF monde arabe et le monde juif semblent avoir oublié leur féconde parenté d’autrefois ; l’Orient musulman et l’Occident de tradition chrétienne semblent enfermés dans une confrontation sans issue.

Pour redonner à notre humanité déboussolée quelques signes d’espoir, il faut aller bien au-delà d’un dialogue des cultures et des croyances, vers un dialogue des âmes. Telle est, en ce début

ORIENT-OCCIDENT DIALOGUE DES ÂMES Dialogue entre les musiques chrétiennes, ESPAGNE Paxarico tu te llamas (instr.) - Traditionnel séfarade sépharades, ottomanes et arabo-andalouses autour de la Méditerranée SYRIE Ce Brun Hal asmar – Chant traditionnel de Damas (Syrie) ROUMANIE Der makām-ı Uzzäl Sakîl "Turna" Semâ’î - Mss. D. Cantemir, 324 ISRAËL La Moledet shuvi roni - Asher Mizrahi (Jérusalem)

ARMÉNIE Ene Sarére – Traditionnel arménienne SYRIE Invocation: ”Dance du vent”() CHYPRE Koniali - Chanson & dance traditionnel de ISRAËL Qamti be-Ishon Layla - Improvisation d’après le Cantique Grèce et Turquie des Cantiques La Quarte Estampie Royal - Le Manuscrit du Roi (Paris, XIIIè siècle) GRÈCE Apo xeno meros SYRIE À Damas - Texte: Qays ibn al-Moullawwah (Majnoun Layla) ISRAËL Torah MOLDAVIE Der makām-ı Hüseynī Sakīl-i Ağa Rıżā - Mss. D. SYRIE Ghazali Cantemir, 89 RHODES Durme, hermosa donzella (instr.) CHYPRE Dillirga / Tillirkotissa - Chanson & dance de Chypre (grec & turc) MAROC Ghazali tal jàhri (instr.) & Tous ensemble Dimitri Psonis & Moresca Pedro Estevan Percussion HESPÈRION XXI Orit Atar (Israël) Voix Jordi Savall Waed Bouhassoun (Syrie) Voix Vièle, Rebec Katerina Papadopoulou (Grèce) Voix & Direction

Haïg Sarikouyoumdjian Duduk & Belul Moslem Rahal Ney Avec le soutien du Département de la Culture de la Yurdal Tokcan Generalitat de Catalunya et de l’Institut Ramon Llull Hakan Güngör Kanun HESPÈRION XXI Ancient music’s most important value stems from its ability as a Right from the beginning Hespèrion XXI set out on a clearly universal artistic language to transmit feelings, emotions and innovative and artistic course that would lead to the establishment of ancestral ideas that even today can enthral the contemporary listener. a school in the field of ancient music because they conceived, and With a repertoire that encompasses the period between the 10th and continue to conceive, ancient music as an experimental musical tool 18th centuries, Hespèrion XXI searches continuously for new and with it they seek the maximum beauty and expressiveness in points of union between the East and West, with a clear desire for their performances. Any musician in the field of ancient music will integration and for the recovery of international musical heritage, have a commitment to the original spirit of each work and has to especially that of the Mediterranean basin and with links to the New learn to connect with it by studying the composer, the instruments of World. the period, the work itself and the circumstances surrounding it. But as a craftsman in the art of music, he is also obliged to make In 1974 Jordi Savall and , together with Lorenzo decisions about the piece being played: a musician’s capacity to Alpert and Hopkinson Smith, founded the ancient music connect the past with the present and to connect culture with its ensemble Hespèrion XX in Basel as a way of recovering and dissemination depend on his skill, creativity and capacity to transmit disseminating the rich and fascinating musical repertoire prior to the emotions. 19th century on the basis of historical criteria and the use of original instruments. The name Hespèrion means “an inhabitant of Hesperia”, Hespèrion XXI’s repertoire includes, amongst others, the music of which in ancient Greek referred to the two most westerly peninsulas the Sephardi Jews, Castilian romances, pieces from the Spanish in Europe: the Iberian and the Italian. It was also the name given to Golden Age, and Europa de les Nacions. Some of their most the planet Venus as it appeared in the west. At the turn of the 21st celebrated concert programmes are Les Cantigues de Santa Maria century Hespèrion XX became known as Hespèrion XXI. d’Alfons X El Savi, La Diàspora Sefardí, the music of Jerusalem, Istanbul, and the Folías Criollas. Thanks to the outstanding Today Hespèrion XXI is central to the understanding of the music work of numerous musicians and collaborators who have worked of the period between the Middle Ages and the Baroque. Their with the ensemble over all these years Hespèrion XXI still plays a labours to recover works, scores, instruments and unpublished key role in the recovery and reappraisal of the musical heritage, and documents have a double and incalculable value. On one hand, their one that has great resonance throughout the world. The group has rigorous research provides new information and understanding about published more than 60 CDs and performs concerts for the whole the historical knowledge of the period, and on the other hand, the world, appearing regularly at the great international festivals of exquisite performances enable people to freely enjoy the aesthetic ancient music. and spiritual delicacy of the works of this period. Orit Atar (Israël) Voix aussi fut immédiat et la presse unanime salue «une révélation », « les A poet and singer with unique and exciting voice that penetrates to applaudissements pleuvent » « l’époustouflante Waed »... the soul. Sings Jewish prayers with Moroccan Andalusian melodies. Performs in concerts in Israel and the world with orchestras in De retour en Syrie, Waed va enchaîner les concerts notamment à Jewish music festivals and world music. l’Opéra de Damas. Toujours en 2006, elle est invitée au Festival d’Assilah puis au Festival de la Madinah à Tunis avant une nouvelle tournée en France, puis le Festival de Tétouan (mai 2007), celui des Soloist of the Israeli Andalusian Orchestra. Successful emotion and musiques sacrées du monde à Fès (juin 2007) et à nouveau le touch the heart of the audience. In her performances sings in Festival d’Assilah (2007). Moroccan Jewish liturgical and favourite songs Moroccan,

Andalusian, French, Algerian, Spanish, Ladino and more. Le 31 janvier 2008, dans le Salon des Ambassadeurs de l’Alhambra de Grenade, elle est, avec Curro et Carlos Piñana, la vedette du Orit has collaborated with singers: David Daor ,Kobi Aflalo, Etti concert d’inauguration de “Damas capitale culturelle du monde Ankri , Dikla ,Mika Karni, Yair Dalal ,Lior Elmalech, Shlomo Bar arabe”. Elle y interprète, en s’accompagnant au ‘oud, des poèmes de and more. Orit collaborated with Israeli music producer Nadav Biton. Wallada et d’Ibn Zaydoun qu’elle a mis en musique. Le concert est Together they worked on the new album coming out so on. retransmis par plusieurs télévisions du monde arabe. En mars 2008 Waed présente, en création mondiale, à l’Auditorium de l’Opéra Waed Bouhassoun (Syrie) Voix Bastille à Paris, dans le cadre du Festival de l’Imaginaire, des La jeune joueuse de luth et chanteuse syrienne, Waed Bouhassoun poèmes chantés de la grande mystique Rabi’a al ’Adawiya, possède un timbre de voix d’une qualité rare, comme on n’en entend accompagnée par le joueur de nay Kudsi Erguner, un muezzin plus qu’exceptionnellement, une de ces fameuses voix de la chanson d’Istambul, un joueur de kanoun et un percussionniste. Ce même arabe des années trente. On va tout de suite penser à Oum Kalthoum concert sera invité à l’Opéra de Damas puis à Soueida (Syrie) en mai ou à Asmahan, mais non, pas du tout, bien qu’elle soit de la même 2008 et le 30 juin au Festival de Spoleto (Italie). Depuis la parution ville que cette dernière, Waed a une voix qui n’est la copie d’aucune de son premier CD : “La voix de l’amour”, elle a présenté plusieurs autre, elle a la voix de Waed. Dès sa première audition à Alep, les concerts en solo. spécialistes (sammaïnes) ne s’y sont pas trompé et ont immédiatement reconnu son talent et symboliquement autorisée à se Actuellement Waed présente des concerts en solo avec des présenter en public ce qu’elle fit à Paris à la Maison des Cultures du participations à des concerts avec d’autres musiciens ou des Monde et à l’Institut du Monde Arabe en mars 2006. Le succès là ensembles (notamment celui de Jordi Savall avec lequel elle a enregistré un CD en 2013: Orient Occident II : Hommage à la Syrie). Katerina Papadopoulou (Grèce) Voix was published in 2002 and was voted from the music magazine She was born in Athens. Eight years old she entered J.Tsiamoulis “Echo & artis” as the best CD of Greek traditional music for the year choir where she attended and folk singing lessons 2002. In May of 2007 she released the cd-single “San as well as Greek traditional dance. She participated in all the helidoni”(Cantini), singing three songs of Sokratis Sinopoulos. In concerts and recordings of the choir until 1990. At the age of the autumn of 2008 she released “Amygdalaki tsakisa”(Music thirteen she started ud lessons with H.Tsiamoulis. Corner), an lp with songs from different regions of Greece. In May 2010 together with Hristos Tsiamoulis and Sokratis Sinopoulos they In 1991 she represented Greece at the world meeting of young artists published “Politiki zygia”(Legend), which was a live recording of a (JMF-Jeunesse Musiqual de France), which took place in Paris, concert in Utreht in November 2008. In 2013 "Amygdalaki tsakisa" playing ud and singing. was published in the of America by Golden Horn Records with the title : "Drawing in an almond". From 1993 to 2001 she worked as an ud teacher at the “experimental music high school of Pallini. In 1995 she lectured workshops about In the Greek traditional music field she has worked with: D.Samiou, the Greek music and musical instruments in high schools and H.Aidonidis, M.Kaliontzidis, H.Tsiamoulis, “Archive of Greek lyceums of Finland. She has also worked for five years at the “Pireas music”, “The Melpo Merlier music folklore archive” and others, and music center”, teaching ud and being a member of the “orchestra of in the contemporary Greek music field with: N.Xidakis, Pireas municipality”. In 2000 she acquired her Byzantine music N.Papazoglou, P.Thalassinos, P.Dourdoubakis, “Orchestra of diploma after attending lessons with Y.Arvanitis. colours”, Evanthia Remboutsika and others.

She has sung in several music programs broadcasted by Greek She teaches Greek folk singing in the “Conservatory of Athens national TV about rebetiko and Greek traditional music. The most 1871”. important are: a series for Traditional music called “Lalitades”, and two series about rebetiko, one called: “In rememberance of beautiful Haïg Sarikouyoumdjian Duduk & Belul times”, and another called: “The four famous composers of Piraeus”. Born in 1985. He begins the doudouk (Armenian oboe) in the age of She has participated in several recordings of Greek traditional music 13 years. He makes numerous stays with different masters in as well as contemporary Greek music. Armenia, where he learnt on one hand the technique of the instrument, with all his nuances of stamp, and on the other hand the In 2000 - after archive and personal research – she recorded with traditional repertoire with all it subtleties (subtlety of the interval, S.Sinopoulos, P.Dimitrakopoulos and V.Karipis a CD with songs the intonations, the ambiguities and the rhythmic multiplicities, the from Meli in A.Minor named: “Ta tragoudakia mou poulo”. The CD work of the ornament, the development of the modes). He collaborated until 2004 with an Armenian traditional set (group), As a writer, he wrote the chapter specified for the Ney instrument in supervised by Gaguik Mouradian who profoundly marked him by The Musical Dictionary collected by professor Victor Babinco. He the approach of the music. He works now on various projects of also wrote a manuscript titled "Ney between Making and Playing". which Medjlis, where the Armenian music meets the jazz and the Moslem Rahal has been invited by Maestro Jordi Savall to perform contemporary music and a duo of traditional . In in his concerts as Ney soloist travelling around the world and he has 2009 he started to collaborate with Jordi Savall and Hespèrion XXI. been very welcomed by the international press for his performances. With them he has participated in different projects around the world Yurdal Tokcan Oud Moslem Rahal Ney Yurdal Tokcan is being regarded as one of the finest oud players in Graduated from the High Institute of Music in Damascus, he is also the world today. His style combines older traditions with many new a composer and Instrument maker for Ney and . He performs stylistic innovations, which are also present in his playing of the as Soloist at the Syrian National Symphony Orchestra and he is a fretless . His new compositions combine traditional rich member in The National Group. Moslme is as a melodies with polyphonic textures performed on Turkish classical teacher of ney in the High Institute of Music in Damascus. He has instruments. been the founder and the conductor of the ensembles "Nawa Group" & “Shams Ensemble Group". Tokcan is a graduate of Istanbul Technical University’s Turkish State Conservatory. While completing his master’s program there, Moslem has participated in the Arabic scientific of Music as he joined the faculty as an oud instructor. Tokcan continues to teach, arbitration for developing Nay and also in the international meeting sharing his knowledge, experience, and technique with Turkish and of Nay solist in 25th Jerash Festival. He have played with the foreign students. Philharmonic Orchestra of Qatar for the "Concerto Arab" composed by Marcel Khalifa" in some very famous venues as the Albert Hall In 1990, he joined Istanbul State Classical Turkish Music Ensemble in UK, La Scala Milan (), the Theatre Champs Elysees in Paris under the artistic direction of Tanburi Necdet Yasar. He is a member and in the Opera Kennedy Center in Washington. of the Istanbul Fasil Ensemble and the Istanbul Tasavvuf Music Ensemble, and a founding member of the Istanbul Sazendeleri, a His productive musical career has lead him to play around the world group dedicated to presenting Turkish instrumental works. Tokcan in the most renewed venues visiting Europe and Asia with the Syrian has participated in many recordings and has performed Symphony Orchestra, the National Group for Arabic Music, and internationally. performing in a lot of Festivals.

As a soloist, Tokcan performed in the Netherlands with the During six years, he followed the courses of named musicians and Amsterdam Percussion Group and Chamber Orchestra in a program professors such as Yavuz Ozustun, Nail Yavuzoglu, Emin Sabitoglu, titled European Music Around Oud, and with the Tekfen Mutlu Torun, Selahattin Icli, Ruhi Ayangil, Erol Deran about Philharmonic Orchestra in Turkey, the United Kingdom, France, solfege, composition, harmony and counterpoint, technics of Kanun, Germany and Belgium. Tokcan joined Burhan Ocal (percussion), European classical music and Turkish classical music. His melodic Goksel Baktagir (kanun), Selim Guler (kemence), and Arif Erdebil style, his rich sound as well as, the clearness and tenderness of his (ney) in concert, the recording of which won the 1998 “Best Ethnic Mezrab (plectrum) make him very unique. He is considered a Album” in France. Tokcan has played in many of ney virtuoso Kudsi virtuoso of this instrument. Erguner’s ensembles, both in Turkey and abroad. He performed in Israel with Group Baharat and with long time collaborator, kanun Since the 1993 he collaborated with world famous musicians such player Goksel Baktagir. Recently, Tokcan has been recording and as; KUDSI ERGUNER, JORDi SAVALL, YOYOMA, RENAUD performing with Israeli Ladino artist Hadass Pal Yarden. His work GARCIA-FONS, FAZIL SAY, OKAY TEMIZ. He has participated can also be heard on Bende Can, an album of his original in their concerts and played in their CDs made in Europe and Turkey. compositions. Beside giving concerts, he is a teaching specialist at Halic University and he works at Istanbul Radio House as a Kanun player. He also Tokcan represented Turkey in several international festivals and produces and presents the famous show MUZIK DEYINCE at TRT celebrations, including the 3rd International Oud and Lavta Festival Music Channel. in Dresden, Germany and the 2002 International Oud Meeting in , Greece (along with oud players Ara Dinkjian, Simon Dimitri Psonis Santur & Moresca Shaheen, Haig Yazdjian, and Omar Bashir). In 2003, he performed Dimitri Psonis débute à Athènes, sa ville natale, ses études d’analyse at the Oud Festival in Jordan, at the Arabic Music Festival at the musicale, harmonie, contrepoint, musique byzantine et instruments Cairo Opera Hall, and Turkish Year in Japan. Tokcan performed in populaires grecs. Il les poursuit à Madrid, où il obtient le titre le plus Jerusalem in a pan-Mediterranean élevé pour la percussion et la pédagogie musicale au Conservatorio Superior de Música, de marimba avec Robert Van Sice et Peter Hakan Güngör Kanun Prommel, et de musique contemporaine avec Iannis Xenakis. Il He was born in Ankara at 1973. He received his first music lessons collabore avec de nombreux orchestres en Espagne. Il a fondé les from his father, oud player Ali Osman Güngör and his first Kanun ensembles de percussion Krustá, Aula del Conservatorio de Madrid, lessons from Ozhan Kayhan. At 1990 initially, he studied at the P’An-Ku et Trío de Marimbas Acroma. music department of Gazi University and then at 1992, he passed to Composition Department of ITU Turkish Music Conservatory. Il a collaboré avec plusieurs troupes de théâtre et a réalisé des Lisbon, Orchestra of the 18th Century directed by Frans Brüggen enregistrements pour RNE et TVE et enregistré la bande sonore de and with the groups: Koan, Sacqueboutiers de Toulouse, Paul divers films. Winter Consort, Camerata Iberia, Anleut Música, Ensemble La Romanesca, Accentus, Sinfonye, La Real Cámara and Ensemble Il travaille avec de nombreux ensembles de musique ancienne : Baroque de Limoges. Hespèrion XXI, Le Concert des Nations, Sema, Speculum, Orchestre Baroque de Limoges. An eclectic musician, he feels a special commitment to early music - Hespèrion XXI, Le Concert des Nations, Ensemble La Romanesca, Il donne des cours de percussion et de pédagogie dans différentes The Harp Consort and SEMA- and to contemporary music - écoles de musique et conservatoires, ainsi que des conférences sur la Rarafonâa, Grupo Círculo, Orquesta de las Nubes and PAN-KU musique orientale. Percusión.

Récemment, il s’est consacré à l’interprétation de la musique As a concert soloist he has performed with the Orquesta de Cámara classique ottomane et de la musique populaire de Grèce et de Nacional de España and with the Orquesta Reina Sofía, participating Turquie, ainsi qu’à ses instruments : santur et iraniens, saz et oud in highly prestigious festivals and in numerous programmes of turcs, santuri et lauto grecs et tous les instruments à percussion de contemporary music with sessions exclusively featuring percussion. ces régions. Il a fondé l’ensemble Metamorfósis puis Misrab, avec Pedro Estevan et Ross Daly. He has taken part in various productions for radios and televisions in , United Kingdom, Norway, USA, Canada, Japan and Australia Pedro Estevan Percussion and he has participated in more than one hundred cds, with special mention to: «Nocturnos y Alevosias» and «El aroma del Tiempo». Pedro Estevan began to study percussion at Madrid’s Conservatory He took part in the Paul Winter cd which received a Grammy on of Music, moving subsequently to Aix-en Provence to study 1993. contemporary percussion with Sylvio Gualda and African percussion with the Senegalese teacher Doudou Ndiaye Rose. He has also He also teaches Historic Percurssion at the ESMUC (The Superior studied tambourine technique with Glen Velez. Music School of Catalonia).

A founding member of The Percussion Group of Madrid, he has worked with many important national and international musical formations such as the National Orchestra of Spain, Radio Television of Spain, Madrid Symphony Orchestra, Gulbenkian of JORDI SAVALL Jordi Savall’s prolific musical career has brought him the highest For more than fifty years, Jordi Savall, one of the most versatile national and international distinctions, including honorary doctorates musical personalities of his generation, has rescued musical gems from the Universities of Evora (), Barcelona (Catalonia), from the obscurity of neglect and oblivion and given them back for Louvain (Belgium) and Basel (Switzerland), the order of Chevalier all to enjoy. A tireless researcher into early music, he interprets and de la Légion d’Honneur (France), the Praetorius Music Prize performs the repertory both as a gambist and a conductor. His awarded by the Ministry of Culture and Science of Lower Saxony, activities as a concert performer, teacher, researcher and creator of the Gold Medal of the Generalitat of Catalonia and the prestigious new musical and cultural projects have made him a leading figure in Léonie Sonning Prize, which is considered the Nobel prize of the the reappraisal of historical music. Together with Montserrat music world. “Jordi Savall testifies to a common cultural inheritance Figueras, he founded the ensembles Hespèrion XXI (1974), La of infinite variety. He is a man for our time” (The Guardian, 2011). Capella Reial de Catalunya (1987) and Le Concert des Nations (1989), with whom he explores and creates a world of emotion and beauty shared with millions of early music enthusiasts around the world.

Savall has recorded and released more than 230 discs covering the Medieval, Renaissance, Baroque and Classical music repertories, with a special focus on the Hispanic and Mediterranean musical heritage, receiving many awards and distinctions such as the Midem Classical Award, the International Classical Music Award and the Grammy Award. His concert programmes have made music an instrument of mediation to achieve understanding and peace between different and sometimes warring peoples and cultures. Accordingly, guest artists appearing with his ensembles include Arab, Israeli, Turkish, Greek, Armenian, Afghan, Mexican and North American musicians. In 2008 Jordi Savall was appointed European Union Ambassador for intercultural dialogue and, together with Montserrat Figueras, was named “Artist for Peace” under the UNESCO “Good Will Ambassadors” programme.