A concert by a renowned–one might say legendary–musical figure from the Arab world is always cause for celebration. So much more so when that person has shown a deep and abiding concern not only for Arab culture but for justice in the region. How much more bitter is the disappointment, then, when such a venerable musician “pulls a fast one” on his loyal audience base.
The sold-out November 15 concert at Marshall Auditorium on the campus of Haverford College in a Philadelphia suburb marked the long-awaited return visit of Marcel Khalife, for the U.S. premiere performance of his “composition” entitled Chants of the East. The concert was also notable for its sponsorship by a Philadelphia-based cultural organization, al-Bustan Seeds of Culture; and its partnership with the orchestra and choirs of Haverford and Bryn Mawr Colleges, Prometheus Chamber Orchestra, and Keystone State Boychoir, all energetically coordinated by conductor Thomas Lloyd. The foundation of the instrumentation was provided by the professional al-Bustan takht ensemble, under the masterful directorship of violin virtuoso Hanna Khoury.
The source of disappointment was rooted in any assumption that this work was an original composition; rather, it turned out to be a random and incomprehensible pastiche of familiar Arab songs, inexplicable snippets of Western pieces and genres, and minimal Khalife compositions. This listener sat in amazement during the hour-long bombardment of sonic elements: here a waltz, there a Carmina Burana knock-off, everywhere an undercurrent of hyperkinetic frenzy.
Question: is it ethical to subject an audience to this kind of uncharted musical territory without a roadmap? More helpful program notes with a roster of the elements of the piece, along with their composers/origins, would have provided some basic level of understanding.
Frankly, the only moments of sanity in this sonic jumble occurred during the few segments devoted to the vocalist, Abeer Nehme, and the takht (violin, oud, kanun, violoncello, percussion) which ever-so-subtly backed her, as is the tradition. A side-bar about this instrumental ensemble: most of its members have been performing together for ten years. They first dazzled audiences with their Sayyed Darweesh “Soul of a People” tour in 2004, and have continued to deliver sheer excellence ever since. It can safely be said that these ensemble members represent a rare commitment among professional North American (if not global) musicians in performing the authentic repertoire with authentic performance standards. “Fusion” is not in their vocabulary (or was not, until Chants of the East mandated it).
During the concert, the ten-year veterans could be singled out for their respectful attitude toward the other instrumentalists: not overpowering the others (except when the sound system regrettably made the kanun and violin barely heard unless they were playing solos), and playing seamlessly together. The solo taqasim (improvisations) were the accepted occasions to “shine,” with versatile percussionist Hafez Kotain nothing short of super-amazing–providing a jaw-dropping interlude to the delight of all. The oudist, remarkably in-sync with Khalife, with whom he tours, and their over-long duets demonstrated the symbiosis of two generations of oudists.
The overarching vibe of Chants of the East was that of a spectacle, a Hollywood-inspired soundtrack; one which begged not only for a larger venue but for visual enhancements. During the enthusiastic performance, the imagination supplied any number of incongruous images: Cossack dancers, Rockettes, belly-dancers (but of course), Biblical epic-type grandeur, even Disney-esque twittering birds, a-fluttering to expansive stringed whimsies. How does this piece involving one of the living masters of the field contribute to capturing the treasured legacy of traditional Arabic music? Throwing in a few bouncy bars of an Egyptian song just doesn’t cut it. But no matter. Marcel’s mish-mosh of an assemblage brought the audience to its feet. Apparently, both the Arab and Western attendees got caught up in the exotic mystique and grandeur of the piece, buoyed by the youthful exuberance of the student musicians and the mastery of the takht.
Those who weathered the first half of the concert were richly rewarded after the intermission with the signature repertoire of the Marcel audiences worldwide know and love. The downside was that a late start (8:15 p.m.) and lengthy program had the audience filing out at nearly 11:00. Mutterings of “too long” could be heard among attendees. But for the die-hard fans of traditional Arabic music, THIS is what we came to see and hear: familiar tunes, familiar lyrics, and a chance to respond as an Arab audience–with claps and shouts of appreciation, especially for Nehme’s soaring, range-topping vocals. This set consisted of folk-infused Khalife compositions, among them Rakwet Arab (“Arabic Coffee Pot”), two songs with lyrics by Mahmoud Darwish, and Ghanni Qalilan Ya ‘Asafir (“Sing a Little”).
The crowd-pleaser Mountassiba al Kamati was, oddly, not on the list. The takht, backing Khalife and Nehme, was admirably complemented by the Western-trained Prometheus Chamber Orchestra, positioned on either side of the takht and soloists; their mastery and engagement in the purely Arab-style repertoire added immeasurably to the sublime experience of the music. Thanks to the “second half,” there was definitely tarab (“ecstasy” or “enchantment”) in the house. But please, Marcel…don’t mess with us again.
Author: Alison Andrews
Alison T. Andrews divides her time between the Eastern Seaboard and the Arabic-speaking world, where she teaches English as a Second Language, often in exchange for music lessons.
