The lute makes a strong comeback as the young "Stars of the Lute" perform at Al-Sawi Cultural Centre. Aziza Sami listened As the muffled tones of traffic passing above on15 May Bridge receded and the lights dimmed in Al- Nahr Open Air Theatre at Saqiat Al-Sawi, the performance started. Eleven young people sat on chairs in traditional positions cradling the oud on their laps. Their conductor and teacher Atef Abdel-Hamid sat in the centre. The mahogany and almond wood of the ouds -- the very name meaning branch of wood -- shone, each a different hue and size, for ouds can be tailored according to each player's comfort and convenience. The performers, aged eight to 16, were casually dressed, some in blue jeans and shirts, others in slacks and T-shirts. This repertoire, which gave the troupe its first public performance at Al-Saqiya last March, consisted of popular "modern" songs that would have been familiar to the audience, including works by such modern greats as Umm Kulthoum, Mohamed Abdel-Wahab, Laila Murad and Abdel-Halim Hafez. These were interspersed with musical compositions like Al-Sharq (the East) by Abdel- Moneim El-Hariri, Longa Riad by Riad El- Sunbati, and tahmila suznak, from old turn-of-the- 20th century music. Following in succession were pieces by the 1930s composer Mohamed El-Qasabgi, himself an accomplished oud player, and more modern compositions by the 1960s composer Mohamed El- Mougi. Once the troupe had played in unison, ample time was reserved for individual performances in which Ahmed Yehia, Ali Khaled, Ahmed Osama and John Samir in particular excelled. Yehia, having already released a CD -- the recording of his own compositions is already underway -- gave a striking performance of George Michel's challenging and intricate piece Flirtation ( Muda'aba ). Even younger or less advanced performers made for remarkable solo performances. Most played the oud, while Mary Samir, Mohamed Hani, and Nour El-Shinnawi chose to sing. El-Shinnawi -- incidentally, the grand-nephew of the legendary Abdel-Halim Hafez -- sang the latter's famous song, Ala Ad Al-Shoq (The Longing in my Eyes). The aim here, according to the troupe's teacher Abdel- Hamid, was to have all members sing while playing the oud, again following tradition. However, considering that most are in their early teens, a stage in which the voice "breaks", making on-stage performance less viable, there was little singing on this occasion. The troupe, none of whose members are "professional musicians" (all attend regular schools) was scouted from a larger group of performers named "Small Strings", formed in 2000 by Abdel- Hamid, lute professor at Helwan University's Institute for Musical Education. Abdel-Hamid had scouted the members of this group from the Cairo Opera House Centre for Developing Talents, and the Musical Education Institute Free Studies Department. "Small Strings" received an award when it performed at the Children's Song Festival held in Jordan in 2002. Out of this an even smaller and more "select" group of performers was formed, the "Stars of the Lute", "officially" launched with its first performance at Saqiat Al-Sawi last month. The audience at the time consisted primarily of the musicians' family members and friends. This week, there was a notable increase in attendance by the general public, testimony to the new troupe's rising reputation. The significance of the show lies in the fact that the performers are all school students who, though amateurs, nevertheless perform to professional standards. The troupe's ambitions are now fuelled to do more as they are increasingly better known to local and, it is hoped, international audiences. Notable here is the renaissance the oud is currently witnessing. It had been feared that the instrument was becoming obsolete over the past two decades, following the demise of great performers. Now, however, it is evidently picking up again, especially among the younger generation. Being the ancestor of the European lute, the oud -- also traditionally the prime instrument of Arabic music -- still carries much potential for connecting music lovers everywhere, and as was the case for Ahmed Yehia, teaming up with other international performers and composers. The discipline and composure displayed by the "Stars of the Lute" was impressive, as was the genuine pleasure with which each of them seemed to greet the applause directed to his or her fellow performer. For having instilled in them this team spirit, along with the determination to individually excel, accolades go to the troupe's driving force and teacher, the ever-present but never inhibiting Atef Abdel-Hamid.
