Once again, oud music draws big crowds
Print Edition
WITH his favorite instrument, the oud, 59-year-old Tunisian musician Anouar Brahem unfolded an exotic world of music at Shanghai Symphony Hall recently, together with his ensemble and Shanghai Symphony Orchestra.
The concert featured songs from his recent album “Souvenance,” with reference to the Arab Spring revolution in his motherland in 2011. It was the first album Brahem produced with symphonic strings, and the first time he brought his music to China.
“I don’t want to define the message in the music, as the music will speak for itself,” said Braham.
“Even when choosing a title for the pieces, I try not to give too much definition and leave enough room for the listeners’ imagination and personal reaction to it,” Brahem said.
Born in Medina in Tunis in 1957, Brahem has played the oud since he was seven years old. The oud, originally from Turkey, is a pear-shaped, lute-like string instrument traditionally used in many Middle Eastern countries. There are no oud players in his family, and Brahem said he doesn’t know why he developed such a strong fascination for the instruments.
“It is a mystery, just like the source of my inspiration,” said Brahem.
Brahem studied at Tunisia’s National Conservatory of Music, and toured to Paris in the 1980s. Encounters with musicians from various genres contributed to his mix of Arab classic, folk and jazz elements later.
Since 1980s, he has witnessed the declining popularity of the oud and traditional Arabic music in his motherland, Brahem wanted to revive the oud. He succeeded in bringing the instrument music back not only to Tunis but other nations as well. As the director of the Ensemble Musical de la Ville de Tunis, he toured in the US and Canada and recorded a series of critically acclaimed albums under a deal with ECM Records.
“Being given enough freedom to create my own music is always essential for me,” said Brahem.
Q: Does the Arabic Spring Revolution have an influence on your life and music?
A: It does have a deep impact on my life just as it does to all Tunisian citizens. The event happened suddenly. We witnessed the regime falling down, the president escaping, and ourselves in a completely new political situation.
The album title “Souvenance” seems related to the revolution, as I wanted to make some references to the event. But I never wanted to describe the event or look for a direct link. I think music is something human and personal. It does not make sense for me to voluntarily describe a political event through my music.
When composing, I chose not to think about the event. Music is something that comes from the inside. I am never sure where it comes from. It may be from a close memory or an old one. It is complicated.
Q: Why does the oud usually play an accompany role for ensembles?
A: In fact, the oud was an important and major instrument for traditional Arabic music. But traditional Arabic music was mostly sung, with the vocal parts highlighted. I think that is why the role of oud was often neglected.
For a long time, in a traditional Arabic ensemble featuring only four to five musicians, the oud player would always sit in the center and play the major role. But in the 1950s to 60’s, when Arabic orchestras became bigger and bigger, the oud with its relatively mellow sound was gradually marginalized.
When I was a teenager, I could see the oud in the ensembles broadcast on TV, but I could not hear it. In addition, as a global trend, pop and entertaining music became much more popular than traditional music. That is why I chose another direction — to create my own music for my favorite oud.
Q: How did you bring the oud back to the center stage?
A: I chose to compose only for instrument music. I learnt traditional music for the oud, and started to give solo concerts since 1980s.
It was a strange move at the time in my country and other Arabic countries. My friends all thought I am crazy, since they believed that nobody will come. But I had made up my mind and followed the path I chose.
To my surprise, people came. Though there were just small audiences at the beginning at relatively small venues, but they came and listened. It triggered a big debate among the critics and media. Some criticized my work as non-music, while others highlighted it as an innovation in Arabic music. The most interesting thing is that you can sometimes read two very different opinions in one newspaper after a my concert.
Now, things changed completely. I have a huge audience, and it is normal for people to attend a solo oud concert.
Besides, a younger generation has joined, not just as players but also as creators who help expand the traditional repertoire. I am happy that the oud is now a major instrument in Arabic music.
Q: How are your compositions different from the traditional ones?
A: It depends on how the listeners feel. There are audiences who feel it’s completely different from the traditional Arabic music, but there are also people who find deep links.
I don’t analyze my music. When I compose, I want to be completely free. I don’t think about what is traditional or what is not. I just take the ideas and be myself.
It is not jazz, nor Western music. It is my music. At the beginning, there were critics and journalists trying to define my music. But I don’t think it is necessary.
I don’t like the idea of “fusion” or “mix.” I am working with many elements that influenced me unconsciously, but I never try to mix anything. I do my music with my sensitivity and inspiration, finding a way to make it work.
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