Interview with Composer Kareem Roustom

Melding his Arab heritage with his training in western classical music, Kareem Roustom has composed contemporary music that draws on the traditional and contemporary to create a thoroughly unique sound. His work varies from an Emmy-nominated film score to a narrated chamber orchestra piece set to an Arab folk tale. This Saturday, as part of the Arab Music Concert Series, Al-Bustan will present the works of Roustom. He will introduce the program with excerpts from his film scores, followed by performances of his compositions by a chamber orchestra comprised of talented artists from Philadelphia and New York.

Though you may not be familiar with Kareem Roustom’s name, you have probably heard some of his compositions. He has written the scores for many acclaimed films including Budrus, Amreeka, and Encounter Point among others. The music in these three films is strikingly beautiful, enriching the story without upstaging it. “It is the job of the score to compliment the film in an unobtrusive way…the music has to be subtle and stay out of the way at times and it has to take charge of the emotional flow at other times,” Roustom explained via email. Roustom’s Emmy nomination for the score of The Mosque in Morgantown is a testament to his mastery of this balance. His prowess with elegantly weaving together narrative and music is equally evident in his chamber orchestra pieces.

His work Abu Jmeel’s Daughter is one such piece. Based on an Arab folktale of the same name the story is about Rida, who having been transformed from an ugly woman into a beauty by the djinn (genies), captivates Prince Alwan. They marry but the union is rocky because in exchange for her beauty, the djinn forbid Rida from speaking to her husband. Yet, the story ends happily when the djinn take pity on the couple and tell Alwan the phrase to release Rida from her oath of silence. Roustom was drawn to both the structure of the story and the darkness he found throughout. “The fact that there are djinns and magic also inspired my decision to use this tale, as I imagined it would allow for a type of musical language that I don't often get to use when I compose music for film.” In addition to the musical cues that Roustom provides in his composition, a narrator guides the audience through the tale of Rida and Alwan. His connection to Arab culture is deeper than the narratives for which he composes music.

During the music writing process, Roustom engages many influences including his Syrian roots. “I think being aware of one's roots is very important whether you are performing Mozart, playing the blues or performing North Indian Raga. This blending of styles and backgrounds is a natural extension of what I've been doing all my musical life.” His embracive approach to composition does not mean his work is incongruous with his understanding of the Arab classical music tradition. “Musical language has to evolve in order to survive. That doesn't mean that everything gets thrown out every time there is a new wave of change, it just means that value and perspectives change.” It is this combination of an appreciation for the traditional while being open to new developments that makes Roustom’s music so intriguing.

Given that "Al-Bustan means "The Garden" in Arabic, Roustom's botanical analogy for his own work seems apropos. “I try to think of my work very much like a tree. There are roots that keep the tree grounded and trunk that supports the branches that reach for heights in search of sunlight and nourishment.”

Melding Musical Traditions: A.J. Racy in Philadelphia

Scholar, composer, and musician A.J. Racy proffered so much knowledge and artistry during his visit to Philadelphia in November 2011 but it is the sound of him playing the mijwiz that sticks with me months later. The mijwiz is a wind instrument made of two reeds, each with five or six holes and fitted with smaller tubes that vibrate to produce sound. Playing the mijwiz requires a difficult process called circular breathing wherein the performer produces music continuously while not appearing to be breathing at all.

In many ways Racy’s performance on the mijwiz was a departure from the rest of the concert, which featured a takht ensemble. Traditionally Arab classical music is presented by a takht ensemble comprised of a violin, oud, qanun, nay, riq and vocalist. The enormity and uniqueness of its sound means the mijwiz is typically played as a solo instrument or accompanied by percussion outdoors. While the takht ensemble is the cornerstone of concert hall performances you will more often hear the mijwiz being played at weddings and other celebrations, providing music for the dabkah, a line dance. The inclusion of the mijwiz in the concert demonstrated Racy’s unmatched dedication to studying and playing both folk and classical music while also reinterpreting traditions in his own compositions.

We will upload a video clip from A.J. Racy's performance in Philadelphia soon. In the meantime check out this video of him playing the mijwiz.

Sources: Arab Music Part 1 and Arab Music Part 2

Defining the "golden age" of Arab music

The first concert of the Arab Music Concert Series will feature Syrian singer Youssef Kassab performing selections of music from Egyptian icons, Umm Kulthum and Mohammed Abdel Wahab, and Farid al-Atrash of Syria—artists who shaped the music of the “golden age” and continue to be among the most famous musicians and composers in the Arab world.

The period from the 1920s to the 1950s is considered the "golden age" of Egyptian cinema and with it came a blossoming arts scene in Cairo that drew artists from all parts of the Arab world. Along with cinema, music reached one of its pinnacles during the same period. With the advent of talkies (films with sound) in the 1930s came the introduction of a new form of film—musicals, which propelled the careers of many musicians to great stardom. Kulthum, Abdel Wahab, and al-Atrash all played starring roles in musicals. Farid al-Atrash (see photo to the right) moved from his home in Syria to Cairo and gained recognition for his role as a singing romantic lead in many musicals. Beyond his numerous film roles, he became known for his skill as an oud player and as a composer, performing only his own music.

In addition to the renowned musicians that the era produced, the music of the golden age is defined by particulars in composition and lyrics and the development of new media. Moving away from the romantic escapism of the post World War I era, music that dealt with the realities and hardships of the common man became more popular by the 1930s and 40s. The works of Egyptian composer Sayyed Darwish, the father of this golden age, depicted stories of working-class people, affirming local culture and politics while criticizing British presence in Egypt.

Like Darwish, many composers reacted to political changes in Egypt in their music. The end of Ottoman rule in 1914 also marked the beginning of the British protectorate and a growing europeanization of Egypt. Composers reflected this transition by moving away from Turkish music traditions and incorporating more elements of western classical music in their pieces. Abdel Wahab (see photo to the left), who emerged as a singer, composer, and actor in the 1920s, was one who juxtaposed European and Arab traditions in his music. With his move away from improvisation and audience-driven pieces that had long been central to Arab music, he is credited with ushering in a time in which composed pieces occupied a place of greater importance. In the face of growing Europeanization and the accompanying growth in support for western classical music, Umm Kulthum advocated for the appreciation of Arab music in her position as president of the Cairo Musicians’ Union and in choosing her own repertoire.

Musicians including Kulthum (see photo to the right) benefited from new forms of media. The development of radio in 1920s facilitated the transmission of music and the growth in popularity of musicians. A large portion of the programming on local radio stations and the Egyptian National Radio, which was established in 1934, was music. Kulthum solidified her status as the most celebrated female singer of her time with live-radio-broadcasts on the first Thursday of each month, which began in 1937 and continued until her death in 1975. As a measure of her popularity, streets would empty across the Arab world in time for her Thursday concerts.

The golden age may have a distinct beginning but the music’s popularity has extended its reign into the modern day. Youssef Kassab has a deep appreciation for this music, which he grew up listening to in Syria and continues to perform to this day in America, his new home since immigrating here in 1970. Al-Bustan Seeds of Culture is presenting Youssef Kassab in a performance of music from the golden age in Egypt and Syria on October 29. Check back soon for an interview with Mr. Kassab himself.

Miranda Bennett
Outreach Coordinator
Al-Bustan Seeds of Culture

Sources referenced:
Marcus, Scott L. Music in Egypt: Experiencing Music, Expressing Culture. Oxford: Oxford University Press 2007.
Racy, A.J. Making Music in the Arab Music: The Culture and Artistry of Tarab. Cambridge: Cambridge University Press, 2003.
Danielson, Virginia. The Voice of Egypt: Umm Kulthum, Arabic Song, and Egyptian Society in the Twentieth Century. Chicago: University of Chicago Press: 1998.