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EARLY MUSIC and the ORIENT: East Meets West

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EARLY MUSIC and the ORIENT: East Meets West EARLY MUSIC AND THE ORIENT AN UPDATE AND A MINI-SYMPOSIUM, 2010 Rehearsing in Paris, Maison de la Radio, April 2007: Karim Nagi, Joel Cohen, Anne Azéma, and Boujemaa Razgui EAST MEETS WES T–OR DOES IT? East meets West. World music. Medieval music about a Chinese pípá virtuoso trying to A winner of EMA’s Howard and Arabic music. Black music in the New play country and western music. Then Mayer Brown Award for World. Symphonic music and Chinese music. there was that clip sent to me only yes - lifetime achievement Intercultural dialogue and collaboration. Silk terday by a friend on Facebook, of roads and Crusader roads and Inca trails. André Rieu leading his ensemble in seeks to go beyond the Hava Nagila. Oy!). But these projects – superficial application HERE ’SALOT OF THIS SORT of great, terrible, and everything in between of Near Eastern musical thing in the air just now; more – are out there, and in increasing num - techniques to find the human aTnd more concert stages are occupied bers; there are some pressing societal commonality at the roots by ensembles that mix Western-trained reasons for these developments.... of Western and Eastern musicians with artists from non-Euro- Well, those recent, get-out-of-jail-free, pean traditions. We are yearning for a urges in the arts world at large are not so musical traditions jailbreak. novel to those of us who, less media - In the classical music field at large, tized, perhaps, than the affable Mr. Rieu, Introduced and there is an increasing desire to reach out, have been involved for a while in the moderated by Joel Cohen to escape from the fetters of established reconstruction of performance practice categories, to go beyond. Some of these in the European Middle Ages. While the experiments you may find wonderful; big world went about its business, we in others may leave you skeptical, or even our small world went about ours. And set your teeth on edge (Last week, I perhaps because precise information is watched a nationally televised program so scarce regarding the music of those Early Music America Spring 2010 31 distant centuries, we Medievalists for the Anthologie Sonore and other anti - KAREEM ROUSTOM some time have been seeking evidence quated, required-listening recordings. We WHAT IS “EARLY MUSIC? and inspiration about performance prepared for the inevitable test by endur - AN INTERCULTURAL PERSPECTIVE techniques from neighboring musical ing the most academic and boring imagi - As a composer and performer I’ve cultures. Speculation and experimenta - nable waxworks-in-sound of Gregorian been fortunate to be involved with several tion among contemporary Medieval chant, troubadours, and what have East/West musical ventures. The most performers have been going on for you.... Triste plaisir, et douleureuse joie , as notable of these has been the CDs and decades. Recently, however, our activities they say. concert series with the Boston Camerata, seem to be dovetailing with the preoccu - Imagine the shock when Tom, where exploring the repertoire of the pations of the society at large. How Andrea, Sterling, and fine singers like Cantigas was a fascinating and eye-opening fascinating! Nigel Rogers or Richard Levitt or musical journey. Which leads me to ask some ques - Willard Cobb would let loose with vivid, While the term “early music” has very tions: What’s the current musical state in complex musical events, including vivid, clear implications when it comes to the our corner? How has it been evolving theatrical singing a hundred leagues Western musical canon, it can be very prob - lematic when it comes to Arabic music, and and changing? And how did we get here? removed from the world of opera and specifically the music of the Near East (Syria, Let’s start with the third of those oratorio, complex instrumental ritornelli, Lebanon, Jordan, Palestine, and Egypt). questions. polyrhythms, oriental percussion, and Whereas the Moroccan repertoire known as other unanticipated instruments, and a Andalusi is recognized as the oldest contin - IN THE BEGINNING general devil-may-care, in-your-face atti - ually performed repertoire in the world, the In the beginning was Tom. And Tom origins of classical music of Syria and Egypt created the field. can be very difficult to date. For instance, Or so it still seems to this observer in the body of music from this region known late 2009, forty years or so after Thomas as the Muwashshahaat—strophic songs Binkley and the Studio der Frühen that use meters up to 48 beats per measure Musik first began performing Carmina and highly ornate melodic lines—is based on Arab-Andalusian poetry of the same Burana and the music of troubadors, name. While the poetry, or at least the style trouvères, and minnesingers with ouds, of poetry, can be dated back to as early as darbouks, Moroccan tambourines, and the 10th century, the music to which these the other accoutrements of North poems were set cannot. In some cases, African Arabic music. these songs were written in the early 20th The late Tom Binkley, the son of a century and some can be traced back to the renowned historian, was cognizant of mid-19th century. When groups such as the the scholarly speculation around highly respected and prodigious Aleppo- Medieval lyric poetry: as he knew, start - based Al-Kindi ensemble choose a repertoire ing in the late 19th and early 20th cen - to be performed in a “period” setting, they turies, a number of scholars had pointed Joel Cohen sometimes add works that were composed as late as the 1970s. In many ways, the out the similarities among both the for - Muwashshahaat are like the many ancient mal structure and the content of Medi - buildings that can be found in the old quar - eval Arabic poetry, and the lyric songs of tude. It was all unimaginably refreshing, ter of Damascus. Built by Roman and even Provençal, Spanish, and Galician authors stimulating, challenging, and fun. earlier cultures, some of these structures in the 12th and 13th centuries. And the Studio’s approach triggered still support inhabited homes. Yet they are The shock waves were created when an enormous amount of imitation and sometimes taken for granted as old stones Binkley and his colleagues (singer emulation, even if little of what followed and nothing more. Andrea von Ramm and instrumentalist was executed with the same level of flair, To one versed in Western “early music” Sterling Jones were the most central to musicianship, and scholarship as the this mixing of music from various periods this process) began applying some of Binkley /Studio model. René Clemencic seems like an anachronism. One realizes, some of these speculations to the actual was an important popularizer of the however, that, upon close inspection, pieces composed as late as the 20th century main - performance of Medieval song. The Middle Eastern “gospel,” and his Bink - tain an adherence to traditional forms that effect was revelatory. Medieval music ley-inspired, but primary-color and larg - date back hundreds of years. In that spirit, became exciting, appealing. er-than-life recordings of Medieval song tradition trumps historical provenance, A flashback: for the increasingly small were enormously influential among a thereby keeping alive, albeit in esoteric number of us who went through music younger generation, especially in Europe. musical circles, old musical forms. While a history courses at American universities There was controversy. One critic newly composed motet, conductus, discant, in the 1950s and ’60s, I now evoke the observed that the Orientalist “fashion” or clausulae is quite rare in Western unpleasant memory of what was out in Medieval music performance had, too European music the Sama’i form, whose there before the Studio’s experiments: often, given birth to “weird salades Ottoman roots date back to the 14th creaky, cobwebby performances from Continued on page 35 32 Spring 2010 Early Music America (“Iqaat”) and applied these choices to the Kareem Roustom KARIM NAGI ADAPTING ARABIC PERCUSSION songs. I paid close attention to the instru - mentation chosen by Joel Cohen, to balance TECHNIQUES TO THE CANTIGAS out my inherent delivery with the aesthetic When I first was assigned to play the of the piece. Finally, after many rehearsals Cantigas de Santa Maria , I discovered that and the first two concerts of the first tour, I there was no codified percussion technique finally began to take on the traditional role directly related to the repertoire. [Note: As of the Arab percussionist, helping to cue with all Medieval monody, the original and manipulate ensemble tempo and Cantigas notation is melody-only, with no dynamics. indication of instrumentation; many illustra - The world of Arab percussion, I feel, is a tions of instrumental performance in one of strong complement to the performance of the manuscripts do give early European music. The many clues, however.] I lis - The world of well-developed system of tened to many early music Arab percussion, the Arab Mashriq school— recordings from several I feel, is a strong the hand technique, the groups and consorts, century, is still widely in use in the Arab complement to rhythms and the expres - attempting to discover an Near East as a vehicle for new compositions. the performance siveness of the the frame, established approach. I As a composer of new or contemporary of early European tambour ine, and goblet found, however, that the music, my work seeks to achieve a balanced music. drums and their role in role and system of percus - synthesis between music of the Near East the ensemble—are very sion in today’s perform - (both old and contemporary) and Western compatible with early music performance. ance of early music is under-developed.
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