Kuwaiti newspaper newspaper | Ayoub Khader: The public has become aware of the importance of the maestro

It was revealed to the newspaper that Abdel was Halim Hafez’s references to the group “Show”.

Maestro Dr. Ayoub Khader, conductor, qanun player, master’s and doctoral degree of the Academy of Arts and the Institute of Arabic Music in Cairo, a graduate and professor at the Higher Institute of Music Arts in Kuwait.

In an interview with Al-Jarida, Khader revealed the importance of the maestro, the support he enjoys in Kuwait, and what a musician requires to become an orchestra leader, and emphasizes that the Kuwaiti public has become aware of the importance , role and presence of the maestro on stage … And to the details:

• Who is the Maestro?

Maestro is a non-Arabic word of Italian origin, meaning leader, teacher or professor, and it refers around the world to the leader of the orchestra, who is authorized to lead the players and members of the musical group to bring harmony between achieve them, and give a clear spirit to the musical work, and the great importance of the maestro comes in the preparatory rehearsals for musical performances and parties. , to direct an integrated musical work on stage, led by the maestro.

• Some may think that the role of the maestro is not essential … What is your comment?

– In the past there was this perception, but now the public has become aware, especially the Kuwaiti, as there is no large group that does not have a leader who is the maestro, and this is due to its important role to gives the players different speeds, based on the melody and musical instruments used, and the maestro is responsible About the spirit of the musical instrument, and it was shown when the maestro differed on the same piece, here the personality, spirit and feeling of each maestro who conveys his spirit, feeling, experience, mastery of musical instruments and creativity to the spirit of work, appears in a different way that reflects the personality of the leader of the orchestra.

• Have you been asked by an audience about what your work on stage is?

It has already happened, and I laugh when the audience asks me what to do with the stick you show to the members of the band of musicians, while they wonder about the movements of my hand and its meaning, and how to express things that the musicians understand, but I am comfortable with these questions and answer them because it is proof of the interest, attention and focus of the audience with the maestro and their sense of his performance And his personality and his presence on stage, and I explain to them how the maestro is the director of the musical work responsible for his appearance at his best.

• Is the maestro’s profession foreign to Arabic music?

In the past, Arabic music was a single melodic line, and it was sung in various forms, known as “melody.” There was no harmony and consistency between the instruments, melodies and different music lines as it is now. maestro, for example, was not present in Umm Kulthum’s concerts and other The giants of Arabic singing, as we note in those concerts, that there is no musical note in front of the players, it is just multiple rehearsals before the concert, and they memorize the melody together with the composer training them in an agreed-upon way in the musical sentences he composed.

• When was the first appearance of the Maestro in Arabic music?

– In some cases, the brown Nightingale Abdel Halim Hafez led the orchestra with some signs so that some would think that this was the beginning of the rise of the importance of the maestro, but Abdel Halim’s signs were “Shaw”, because he is not a student of music, the maestro must be a musician, studying various sciences, including instruments. His space, counterpoint and distribution, talent does not qualify a musician or singer to lead an orchestra.

• Is the Maestro present in Kuwait?

Of course there are in Kuwait, even if their number is small, maybe they do not exceed the fingers of the hand, but the presence of the Kuwaiti maestro is old, even we have women maestro, including dr. Amal Bashir, one of the maestro who led the National Council for Music and Arts in the 1990s. I was taught by my teachers at the Higher Institute of Music, including Hamdi Hariri, Majdi Talaat and Saeed Al-Banna, and then a second generation appeared, including Fahd Al-Haddad and Dr. Muhammad Baqer, Dr. Ahmed Hamdan, Dr. Khaled Nouri, and now there is a younger generation, including Ahmed Al-Oud, and they are all academics and not amateurs, and they have a strong imprint in the music market.

• To what extent does the maestro receive support in Kuwait?

– We are an important country, especially artistically. Our concerts, events and festivals do not stop, and we have a rich artistic history. Therefore, the maestro in Kuwait must receive adequate support. We have institutes for teaching music, and I hope it will develop until we have an orchestra leader, neither in Kuwait nor the Arab region, and there are institutes and studies in Europe and Western countries to graduate qualified maestros.

• How do you feel about technical appreciation?

From the turnout, the welcoming and my request at the name in local and international festivals, and at parties of great singers to accompany them in their concerts, and I lead the groups that play their songs, including Abdullah Al-Ruwaished, Nabil Shuail, Mutref Al-Mutref, and many others, because the maestro helps the singer to come out in the best musical image, and from here Harmony comes with the orchestra and the singer alike.

• When did you feel the audience greeted you specifically?

– The audience became aware of the role of the maestro, and when to create, and when to give his soul to work, and when the audience felt the presence of the strong maestro on stage, he expressed his admiration and appreciation, and this situation faced me in several parties, the last of which was a ceremony in honor of the mighty poet Saher, and for 3 times the audience My greetings especially since I entered the stage and in the middle and at the end of the concert, until the audience sang my name, as if I were a singer singing, reflecting that the maestro is a popular star, his performance and his presence on stage as an independent character who loved by the audience.

● Azza Ibrahim

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