We were keen to see this solo early evening concert by the virtuoso oud player of Syrian origin, Rihab Azar. The oud is a basically a Middle-Eastern fretless lute – indeed the instrument from which the Western lute derived.
We were not disappointed – the concert was truly lovely.
Here is a link to the Wigmore Hall resources on this concert.
For those who cannot be fussed to click, this is what we heard:
- Ahmad Al Khatib – Extract from Suznak Rhapsody
- Rihab Azar – Enchanted Weavers
- Adnan Abul-Shamat – Hatiha Ya Sah
- Rihab Azar – Biography of a Bubble
- Rihab Azar – Samaie
- Rihab Azar – Questions
- Rihab Azar – The Pull of Time
- Anouar Brahem – Parfum de Gitane
- Rihab Azar -Indulgence
- Rihab Azar -Sand, Roots & Blossoms.
Here is a charming video of Rihab Azar playing one of the lovely pieces we heard, Indulgence, on the very same seven-course oud that we heard:
The concert was held in the Learning Room (formerly known as the Bechstein Room), which the Wigmore Hall team had set up beautifully in a “jazz club with tables” style and some suitably Middle-eastern-looking drapes. Very atmpospheric.
Soon after the concert began, an old twerp with a massive Canon camera and several large lenses came forward from the rear of the room and sat next to us at our table, fiddling away with his camera and snapping with seeming abandon. Janie thought he must have been an official publicist or something, until a member of staff stepped forward at the end of the piece and politely but firmly told the geezer that it was not permitted to take pictures during the performance – a fairly obvious point that, in the main hall, would have been made as part of the pre-announcements these days, now that everyone has cameras (smart phones) on them all the time.
The old geezer feigned surprise and confusion. Then he proceeded to fiddle with his equipment ceaselessly during the performance and snap with reckless abandon between each piece.
The staff clearly made a decision, rightly or wrongly, that further intervention would be more disruptive than letting the old git have his way.
Rihab Azar took all this with great grace. She even took with great grace the same geezer stopping the concert just before she played her last piece, with a request for “something old school”, because he hadn’t been expecting her use of the loop pedal and wanted to hear the oud without it.
Rihab sweetly said that she had to play her planned last piece, but that she would additionally play a short traditional piece without loop pedal (I cannot remember what it was, but it was delightful) before the last scheduled piece (which was also but differently delightful).
If you, like the old git, want to hear “old school” oud, here is the Parfume de Gitane piece played by the composer, Anouar Brahem, and his mates back in 1997:
No wonder Rihab Azar was insistent on playing her closing number – it was especially charming and is her latest piece, Sand, Roots & Blossoms. designed to accompany an art exhibition, “The Universe Within”. here is a link to the performance she posted, from that exhibition, a few days after our gig:
At the end of our concert, several members of the audience let the witless git know how they felt about him. One said that he had ruined their enjoyment of the concert, which seemed a bit extreme. We were the closest to his fiddling and we just thought he was a twerp.
Mr Twerp engaged us in conversation once he had beaten back his detractors. He clearly wanted us to know that he was a guitar player (he must have said “Fender” three times) and spoke in critical terms about the loop pedal back-tracking (which we rather liked) and the fact that Rihab Azar “looked at the neck of her instrument too much”.
“Have you ever played a fretless instrument?”, I asked. He hadn’t, but pointed out to me, entirely counterfactually, that the oud has frets…or at least Rihab Azar’s did! (Oh no it doesn’t…oh no it didn’t).
Janie then wondered, given his desire for “old school oud playing”, whether Mr Git had ever been to Syria. Of course he hadn’t. “Oh you should, you’d find it fascinating”, said Janie.
I quietly wondered whether the old geezer would survive 20 minutes in Syria these days. Even in 1997, some diplomacy was needed to navigate the political regime and local sensitivities wherever we went. Perhaps that was in Janie’s mind when she recommended the place to Mr Twerpy Git, the amateur photographer-guitarist.
After we parted company with the fellow, Janie told me that she had wanted to take a picture of him for the blog, but thought him so mercurial that the request might lead to an argument and that permission to publish would probably not be granted. I agreed that her decision was a wise one.
I decided instead to help you visualise this geezer by prompting the DeepAI image generator with the phrase:
Silly Old bald Man taking a photo with a telephoto lens camera
The following image, very much of the right kind, emerged:
We had a lovely time at this concert and for sure will return to “Learning Room Sessions” if the subject matter pleases us.
Let’s leave the last word to Rihab Azar’s beautiful oud-playing:
Enjoyed your oud story. Last year or maybe the one before, I saw/heard Joseph Tawadros, the Egyptian-Australian oud virtuoso, in a church in Bromley. He was very good and aside, from his playing, also has a very entertaining moustache. Wish I’d been nearer the front, but I wasn’t banking on such a big turnout.
Strangely, John, you are the second John to have messaged me about Joseph Tawadros in the context of this Ogblog piece – the other being John White who sent me an SMS. The other John saw Tawadros in Saffron Walden recently. Randwick…Bromley…Saffron Walden… have outrageous moustache, will travel, I suppose. I shall be streaming some of his albums over the coming days, as I must say his virtuosity and eclectic mixture of styles sounds fascinating.