Snow may have inhibited a larger audience from attending the concert by oud player Rahim AlHaj, the New Zealand String Quartet and guests at the Glenroy Auditorium on Thursday evening.
Those who made it had an enchanting voyage through Iraqi music.
The evening opened with Samuel Barber’s String Quartet Op 11 played exquisitely by the New Zealand String Quartet. The quartet’s performance of the well-known molto adagio was made all the more amazing for sounding new. Melodic lines were shared seamlessly to extract the depth of betrayal experienced by victims of fellow humans.
Oud player Rahim AlHaj introduced his Letters from Iraq. All cite a personal tragedy when events of extreme violence happened randomly and almost daily. The letters are from children to the United States president. They are heart-wrenching, but the music is less so as it expresses that all-too human hope that life will return to normal, whatever that is.
AlHaj’s haunting and beautiful Dream develops from repeated maqam (themes) through a series of apparently improvised variations with tone bending cadence figures and inflections told via sharp strumming and deft picking.
Sinan’s Eastern Love is sadly loving. Distinct voices provided by strings, double bass (Joan Perarnau Garrica), percussion (Justin DeHart) and oud show dancing moments of pure joy.
Riyadh’s letter The Last Time We Will Fly Birds, opens with single tone from the double bass. The string quartet steps up slowly with limping lines only to be brought back down by the bass. The oud flitters above, unable to come to earth. It is all profoundly sad yet ethereal. Laila’s letter Unspoken Word is equally enchanting and sorrowful.
Fatima’s letter Fly Home with percussionist is ecstatically energetic and hopeful for normalcy. It is replete with technically challenging syncopated and compulsive rhythmic patterns.
An inspiring evening.
