TRIBUTE: The Arab music faculty of QMA performed a combination of songs composed by al-Safi and songs where he collaborated with other musicians and composers.
By Umer NangianaThey made certain that the mesmerising journey began on a high note. The selection of Maqam (a musical mode in Arabic music) for the opening melody was perfect. Played on multiple instruments, the opening captivated audience’s hearts and minds. It was the Marasi ensemble of Qatar Music Academy (QMA) performing “Songs of Wadi’ al-Safi” at a concert recently at the Qatar National Convention Centre. The melodic tone set by the first performance rang through the rest of the evening. It was a decorated tribute to the legendary Lebanese singer, song-writer and composer Wadi’ al-Safi who passed away a few months ago at the age of 94. The Arab music faculty of QMA performed a combination of songs composed by al-Safi and songs where he collaborated with other musicians and composers. The music represented the man and his talents.“In each song you find a different rhythm, a different treatment of melody and aesthetics. Each piece works differently because Wadi’ al-safi himself was a very diverse singer,” Issa Boulos, head of Arab Music at QMA and an Oud (an Arab musical instrument) player, told Community. “For instance the one that did not have much rhythm in it is a whole genre by itself and only capable singers can carry that kind of melody,” Boulos pointed out. In many ways, it is similar to different types of music anywhere in the world, he added. It encompasses all improvisations and vocal lines’ requirements found in the classical and folkloric genres of music from different parts of the world such as Central Asia, Northern or Southern India and others, said Boulos.Al-Safi was a Lebanese cultural icon, often referred to as the voice of Lebanon. He started his first major musical impression at the age of seventeen when he grabbed the first prize in a national competition judged by the greats of the time, beating over 40 other singers. It was the distinctive and unique quality of his vocals that had set him above all others. His distinctive approach to music continued throughout his life and he ended up creating a whole new genre in Arab music called mawwal.Wadi’ al-Safi incorporated maqam concepts that appear in classical Arab musical literature while keeping intact the classical vocal forms but stretching them within the same logical framework. “You think of the word muqam similar to the way you think of scales and modes in western music. We have a lot more modes. In the combinations that we use when we arrange melodies, pitches and notes together, we have a lot of possibilities,” said Boulos.The music itself is diverse. There is folkloric music, popular, classical and art music; each Arab country has different sort of musical map, the QMA Arab music head added.For the concert, he said, different genres and maqams were fused together. And the selection of instrumental pieces that connected the songs together actually came from an entirely different place.“They came from Iran and in a way that is what makes maqam music more magnificent. The first piece that we opened with comes from early 19th century Ottoman empire and then you have other pieces that are traditional from Iran,” said the head of Arab music at QMA who was himself among the performing members of the ensemble.About the maqam music, Boulos said it is flourishing and can be found in the entire Arab world, Turkey, the Balkans, Greece, Macedonia, parts of Bulgaria, Easern Europe, Afghanistan, the whole Central Asian area, Azerbaijan, and Iran. For “Songs of Wadi’ al-Safi”, QMA performers tried to keep the interpretation much closer to its original. There is no such thing as authentic. They do not think of it that way, said Boulos. “We think of performance practices. If I play a piece from 1920, we teach that piece in 1920 musical mentality. So we try to capture the period and the way the piece was played,” said the head of Marasi. It also comes handy in teaching. There are certain things that you would do differently on the instrument when you are playing Oud in the 1920 style and Oud in 1980 style. Students are required to know this and to be able to differentiate all the different elements, said Boulos.He has been playing Oud for 33 years and has been heading the QMA Arab music faculty for four years. Boulos has also taught at the University of Chicago where he directed the Middle East Music Ensemble.Other members of the Marasi ensemble and faculty members who performed at the concert were Bayan Reda, a Syrian vocalist and Oud player; George Oro on percussion; Yassine Ayari playing Nay (Arab musical instrument); and Taoufik Mirkhan on Qanun (musical instrument).The marasi ensemble was established by QMA in 2011 to explore the theory, practice and history of maqam music. Marasi emphasises the authentic interpretations of traditional maqam music and its compositional and improvisational techniques that are unique to non-Western musical culture.