Last weekend was a special time for aficionados of Arabic orchestral music. The Royal Opera, House of Musical Arts was packed to the rafters for both concerts, “The Traditional Symphonies of Yemen”, performed by The Royal Oman Symphony Orchestra (ROSO) with artists from Yemen and Egypt. The ‘Heritage Symphonies’ project was curated in 2019 by Yemeni composer-conductor, Mohammed AlGhoom, blending fusions of Arabic and orchestral styles. The ‘Symphonies’ refers to a ‘sounding together’ rather than Western form, and from the pen of such a prolific composer of soundtracks for films, TV series and programmes, the audience was in for a varied and exciting evening ahead!
Guest musicians formed a tight ensemble of sixteen solo instrumentalists from Yemen and Egypt, including a ‘semsemiya’ (an Egyptian12-string lyre), mizmar (a conical single-reed shawm, like an Indian shenai) and piano. Soloists were amplified to be heard throughout the auditorium. They formed an inner circle on stage, dressed patriotically in their national costumes, with five percussionists and five singers at the back. Between were the forty-strong ROSO players and sixteen choristers, in their red and green or black dress. Enhancing the presentation even more – if that were needed – each number had its own picture projected behind the musicians.
To set the mood and introduce his visiting musicians, the concert opened with an original composition by Al Ghoom, “Awdat Mushtaq” in front of an evocative mountain projection. An Oud solo from Haitham AlHadhrami led to a mesmerising fiddle exposition using an Arabic mode, performed with dazzling skill by Mohamed Gharabi. Ali Joban displayed his dexterity on the Qanoon, and Lufti Mahyur the Nay over a sustained string drone. Following with powerful conviction, Abdullah Bin Abidan left no doubt how confident and loudly the Mizmar can resonate, receiving enthusiastic applause from the audience! ROSO plunged in with full romantic orchestral colour, interjected by Arabic percussion in the broad swells. The piece concluded with a musical dialogue between Oud and Qanoon and a haunting vocalise from the choir behind.
The beloved Saudi piece, “Leila” was set against an ancient Arabic house. It had the audience singing along and filming on distracting mobile phones. A montage of Mutrah and Riyami Park illustrated, “Sehr Ash’arq”. The broad orchestral sweeps were lively and syncopated, making proud use of the brass section and full chorus.
In contrast the next piece used a rhythmic piano riff from Abrar Al Hanani with solo semsemiya from Qasem Bin Nasr. Trombones thickened the orchestral texture, and a contemporary Egyptian cinematic language was created in front of a carved temple wall. Another piano solo introduced the next piece, a chordal, hymn-like quality in front of an old Arabic majlis. It was a lyrical, romantic waltz developing into a traditional celebration with Nay, Mizmar and ululating chorus in festive, joyous mood.
A huge cheer and round of applause greeted Omani Oud player, Nebras Youssef as he appeared as guest soloist with a backdrop of an Omani Fort in, “Kul Ma Jeet Bazur al Habeyab”. The audience’s engagement was palpable, with clapping and cheering as Oud solos were juxtaposed against orchestral tutti. Part One finished with a syncopated Big Band sound featuring muted trumpets and rhythmic interjections from the chorus. Solos were exchanged between flute (Huda Azim) and Nay, until Mulatif Hamidi stood up with a hand drum and played an enjoyable rhythmic clapping game to catch the audience out – but didn’t!
Part Two opened with a Bahri folksong sung in a defiant, powerful voice from Semsemiya player, Qasem bin Nasr against a projection of a sailing Dhow. Percussion solos and watery melodies passed between Nay and flute were interspersed with sweeping brush strokes from ROSO, painting an impressionist image.
The next two numbers were European waltzes like film scores, ensemble solos alternating with glorious, uplifting orchestral sections, sweeping along like French ballroom dances. Members of ROSO must have enjoyed the opportunity to perform these lush arrangements by AlGoom. Then guest singer, Salem Fadaaq came on stage to perform the sad, “Khalas Hassak Tqul Li Rouh” in front of an impressionist painting of a winter townscape.
“Mizmar Al Habeish” was an unusual, compelling composition featuring syncopated Arabesque melodies on Mizmar with a contemporary chromatic quality. Mohamad Gharabi played a jazzy violin solo recalling gypsy fiddler, Stéphane Grappelli before an extraordinary Arabic jazz trumpet solo. Coloured lights illuminated windows behind Yemeni singer, Omar Hadi performing, “Ya Summar” in his deep, rich bass. It evoked a slow, religious mood with Arabic fiddle accompaniment. A second highlight of the evening came with young, charismatic Yemeni singer, Hani Al Shaibani in the love song, “Sana’aa Al Yaman” under a stylised painting of the city’s impressive architecture. He possesses a strong, expressive voice, brilliant and arresting with stage presence to match. His performance was extremely popular of this lively rhythmic song, joined by fellow percussionist at the front to rapturous applause.
The final piece, “Sabbouha”, brought the concert to a joyful, exuberant conclusion. Gharabi demonstrated his brilliant, high Grappelli-style virtuoso technique, with a Japanese painting by a river. ROSO took over with a big, movie-score ending for the public to leave, like film stars themselves, into the balmy night.
By Georgina Benison
Photos by Khalid al Busaidi
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