Abu Dhabi, UAE: Oud prodigy Naseer Shamma has had a longstanding relationship with the Abu Dhabi Music and Arts Festival, making it his prime venue for premiering his ground-breaking compositions and performances.
The 5th Abu Dhabi Music and Arts Festival was no exception to what has now become Naseer Shamma's and the Festival's joint "tradition of innovation", as the Oud master came back this year to present his latest works with the Oriental Orchestra, an ensemble of 60 instruments from all over the "East": artists and their instruments from Egypt, Korea, Syria, Iraq, Japan, Turkey, China and Greece united in their love for music and their will to connect together and create harmony -literally- following the lead of Shamma.
Indeed, as Shamma said, this was the very first live performance of his most recent works evolving around the notions of shared destiny, and mutual acceptance beyond any differences we may have.
This might seem like a naïve or an all-to-vague goal, but Naseer's acute sense for music as much as meaning, embodied in his latest works, gave a very real form to these intentions... and a shining one for that matter.
From the first piece, a "Salute" (Tahiya) to the audience, the orchestra demonstrated with energy and soul the power of Shamma's work and all the subtleties and nuances brought by this one-of-a-kind ensemble of instruments and performers. Naseer Shamma, conducted and directed the performance, obviously taking as much pleasure in taking the lead as he did in letting his oud merge with the Orchestra's music.
If only one word was to describe the performance onstage in the Emirates Palace auditorium, it definitely would be "generosity". Naseer Shamma was not here to steal the show but to serve the greater purpose of his message and of the audience.
"Mural of Life" was a beautiful work, demonstrating Shamma's immense talent for composition: it was both an unadorned piece and yet one of immense sophistication, its shift of rhythms and its exploration of all the textures offered by the Oriental Orchestra built into an extraordinary assertive mosaic of music.
"The Old Man and I" (al Sheikh wa Ana) was a piece inspired by an encounter with Mustafa Ismail. Starting with a fluid stream of music, "The Old Man and I" then delved into a spiritual and thoughtful moment of bliss before delivering... absolute silence. The music came back to life, with very few subtle notes conveying a sense of soulful introspect, opening way for a melody that spoke directly to the soul. A viola solo, full of meditation and spirituality was particularly riveting, followed by other instrumental solos that responded to each other, each instrument carrying differently the same tune. This was a powerful statement about an aspiration for universality and the audience responded with enthusiastic applause.
Another incredible moment of sheer musical virtuosity was Shamma's soulful solo, which started with the master wrapped around his oud, playing in his own very recognizable style (strumming as if on a guitar), before he entered into a masterful, seemingly magical performance of his oud, with only one hand plucking and striking the strings... The Orchestra sprang back to life, increasing the rhythm and power of the performance to an overwhelming celebratory ending.
This was followed by yet another piece choc-full of meaning: "One Destiny" (Masir Wahid), affirming the shared destiny of all Iraqis and also of all Arabs. This statement drew yet again approving applause as this elegant piece played very intelligently with the notion of individuality and unity: each instrument had its moment of individual affirmation but flowed into the "collective", the Orchestra: it was a moving moment expressing musically that individual affirmation may and must be expressed within a collective construct, a fitting metaphor for nation, be it the Iraqi or Arab nation. The Orchestra ended in perfect unison with the auditorium ringing from thunderous applause, saluting the riveting performance and the message it so aptly conveyed.
"Among the palm trees" (Bayn al Nakheel) was yet another affirmation of life: one that portrayed the subtle sound of the wind blowing into the palms and building up to music reminiscent of the power, majesty and grace of the palm tree.
"Soul lover" (Aashek al Rouh), the classic by Mohamed Abdul Wahab ended the first part of the concert: this particular piece was an absolute crowd pleaser but also an artistic statement of how important Naseer Shamma is to the world of Arab music: as a custodian of tradition as much as a force of innovation. This absolute classic, performed by a not-so-classic orchestra drew the audience further into Shamma's world of tradition and risk-taking, with a particularly noted solo by child prodigy Youssef Darwish on the oud and a vertiginous solo by one of the kanoun performers. This classic, reinvented by Shamma's audacity, pushed the audience to a frenzy, who clapped avidly.
Time had flown during this first part of the show... and quite oppositely, intermission lasted forever; all the festival goers impatient to set into the second part of Naseer's musical voyage.
"Al Nahawand Time" (Zaman al Nahawand) opened the second part of the show, with a soulful performance built around solos of great diversity and feeling. And then... one of the defining moments of the evening: Maqam Al Hijaz a piece based on the popular folksong "Faouq al Nakhal" which means on "On top of the Palm Tree" (i.e. on top of the world) when pronounced in a certain way in fact originates from the "Faoq-una-Khal" (There is a Lord above). This absolute classic from Iraq started in an upbeat rhythm and then entered into its "circular" pattern allowing the highlighting of the many diverse sections of the orchestra. It was yet again, a surprising experience to hear such a familiar tune explored by not-so-familiar instruments. It also was a perfect one for Naseer Shamma who was yet again linking two musical territories many consider wrongly to be opposed: the world of tradition and the need for new explorations. The music lent way to one of the Orchestra performers who started to sing a perfect, spiritual, immensely moving lament based on this classic... the audience was hypnotized by this incredibly beautiful voice...
Naseer Shamma then took us to another land of suffering, to the "Land of Ascension" (Ard al Issra): this piece is based on a famous Palestinian musical custom. Shamma led the way with this very melodic tune, playing in a vibrant solo bestowing it with a highly classical tone, picking up speed, this acceleration leading to a more mischievous part that interacted beautifully with the responsive orchestra.
"Violet Fingers" (binafsaj al asabii) a very elegant piece, the highlight of which was a duo between Shamma's oud and a guitar, a case in point of cross cultural convergence, and a beautiful combination saluted by avid applause. One of Naseer's favourite colours is violet.
Naseer Shamma next addressed the audience: in a calm, respectful tone as he explained the piece to follow: in homage to the great Jalal Al Deen Al Rumi, a man of immense knowledge and deep faith, a Soufi who dedicated his life to cross-cultural understanding, who lived over 800 years ago. This was an opportunity for Shamma to salute his audience and the strong relationship he has with the Abu Dhabi Music and Arts Festival and the work of Hoda Kanoo for the advancement of the arts. The audience applauded, saluting the artist as well as his gracious words.
This piece was one of soulful reflection that started with fragile notes full of character. It was a riveting performance, a vibrant exploration of self. Soon, just as "self" connects to "others", the orchestra entered, lending assurance and affirmation to the subtle beginning. Applause rang as the orchestra played on. Just when the audience thought it had explored the full promise of this piece, a Dervish performer appeared onstage: in a hypnotic spin, the dancer mesmerized all present in his perfect spinning while he performed numbers of skilful, expressive grace: creating geometric forms (based on the circle of his spinning) with the tambourines he held, and then with his robes, one of which was folded to look like a baby the performer cared for... it was a life affirming, powerful performance. All present understood better the reason why Shamma had started this piece saying that circles symbolize the process of togetherness. The audience was in a frenzy, clapping avidly in admiration and delight.
But the surprises were not over yet... Naseer Shamma next revealed his surprise 'gift' to the audience; he invited onstage singer Khalid Selim, the star that had graced the third day of the 5th Festival with a riveting performance of Arab Classics, along with Asmaa Al Monaoar, but who had returned to Abu Dhabi expecting only to watch Naseer's concert. Khalid Selim and Naseer Shamma performed an incredibly moving "Without Blame" (Belash Ettab), a classic that Shamma's oud and Selim's sincere, generous performance reinvented much to the delight of the audience that yet again applauded leading to a standing ovation.
"Bravos" and "Encores" rang through the auditorium as the Orchestra and Shamma bowed. After long minutes of clapping during which Shamma performed his famous, humble bow, his oud in front of him, the master said a few words to his orchestra who sat back down, fulfilling the audience with the joy that they would be enjoying this riveting performance for a few more blissful moments.
In a joyful, vertiginous finale, full of joy and spring-like life affirmation, Shamma's virtuoso oud, supported by a no less impressively skilful and racing kanoun played "On the Wings of a Butterfly". Avid, unstoppable applause shook the Emirates place auditorium to its core, as the audience stood again, taking in each and every last delightful moment spent with Naseer Shamma and his Oriental Orchestra.
This performance transported the audience both emotionally and geographically, allowing all present to experience first hand the universality of the human experience, thanks to the talent of Naseer Shamma and his Orchestra handpicked from all corners of the Arab World and further East... As the audience enjoyed the musical flavours of the East, a radio broadcast from the West played to its worldwide audience... a news report on RFI (the French equivalent to the BBC) was aired, expressing how thrilling this festival had been and that something very unique, both based on tradition and innovation, on accessibility and quality, was happening in Abu Dhabi. And indeed it was, thanks to Naseer Shamma...
-Ends-
© Press Release 2008
