L. Mbuyamba, President of the IFCM (International Federation of Choral Music) was enthusiastically greeted by the participants in the first Festival of Arab Choirs, "Aswatuna" (Our Voices), that took place in Petra (Jordan), 19-22 August, 2008. Speaking on this occasion he said, "The universal character of the IFCM requires that we be particularly attentive to a region in which choral music is not very widespread. This occasion gives us the opportunity to discover new realities in order to build new bridges between our different projects and cultures."
“The Festival gave us more than we expected," said Hania Soudah Sabbara, director of the Magnificat Choir of the Custody of the Holy Land, which participated in the event. "Choral music is expanding in the Middle East," she continued, giving several examples.
The choir that came from Syria was formed by students of the Damascus Conservatory. Sixteen years ago, the Syrian Ministry of Culture invited Maestro Victor Babenko, a well-known head of the Moscow Conservatory, and he took it upon himself to form a new choir. Several years ago, President Hariri made a significant donation to support the choir from Lebanon.
The choir from Iraq was delayed a bit: These poor young people had to wait 36 hours before they received permission to cross the border.
The choir from Jordan, which, directed by Shireen Abu-Khader, organized the Festival, was honored by the presence of the Queen Mother, and the resultant attentions of television and other communications media. In fact, the assembly of choirs stimulated great popular interest, due to the fact that the choirs knew how to offer songs that date back several centuries but still live in people’s memory. Some of the masters present added musical variations but without eliminating the originals. The offerings were enhanced with the richness of the harmony, a dimension that the West has very strongly cultivated.
This constituted the first bridge to build for the choral masses, a bridge that happily unites two cultures. For this reason, a Swedish choir was present, the only non-Arab one. For years, the Swedish government has supported musical development in countries where people have a greater desire to kill each other than to sing. In the case of the Petra Festival, Sweden was also its principal sponsor.
The Magnificat Choir of the Custody of the Holy Land performed all the songs in Arabic but, given the liturgical service that it assures in the Holy Land, it presented the best pieces from its sacred repertoire. Although the performance took place in a Muslim setting, these songs, composed or arranged by Father Armando Pierucci, were received very respectfully, even when they told about Noel at Bethlehem or the death of the Messiah in Jerusalem. This constituted another bridge, the one that traditionally exists in the Middle East between different religions, at least where fanaticism has not shaken relations.
"Then," concluded Hania saluting the choirs, "there was a bridge to build, a bridge that will permit us to meet again in Bethlehem during Christmas." This proposal was welcome with a long ovation.
Father Armando Pierucci
“The Festival gave us more than we expected," said Hania Soudah Sabbara, director of the Magnificat Choir of the Custody of the Holy Land, which participated in the event. "Choral music is expanding in the Middle East," she continued, giving several examples.
The choir that came from Syria was formed by students of the Damascus Conservatory. Sixteen years ago, the Syrian Ministry of Culture invited Maestro Victor Babenko, a well-known head of the Moscow Conservatory, and he took it upon himself to form a new choir. Several years ago, President Hariri made a significant donation to support the choir from Lebanon.
The choir from Iraq was delayed a bit: These poor young people had to wait 36 hours before they received permission to cross the border.
The choir from Jordan, which, directed by Shireen Abu-Khader, organized the Festival, was honored by the presence of the Queen Mother, and the resultant attentions of television and other communications media. In fact, the assembly of choirs stimulated great popular interest, due to the fact that the choirs knew how to offer songs that date back several centuries but still live in people’s memory. Some of the masters present added musical variations but without eliminating the originals. The offerings were enhanced with the richness of the harmony, a dimension that the West has very strongly cultivated.
This constituted the first bridge to build for the choral masses, a bridge that happily unites two cultures. For this reason, a Swedish choir was present, the only non-Arab one. For years, the Swedish government has supported musical development in countries where people have a greater desire to kill each other than to sing. In the case of the Petra Festival, Sweden was also its principal sponsor.
The Magnificat Choir of the Custody of the Holy Land performed all the songs in Arabic but, given the liturgical service that it assures in the Holy Land, it presented the best pieces from its sacred repertoire. Although the performance took place in a Muslim setting, these songs, composed or arranged by Father Armando Pierucci, were received very respectfully, even when they told about Noel at Bethlehem or the death of the Messiah in Jerusalem. This constituted another bridge, the one that traditionally exists in the Middle East between different religions, at least where fanaticism has not shaken relations.
"Then," concluded Hania saluting the choirs, "there was a bridge to build, a bridge that will permit us to meet again in Bethlehem during Christmas." This proposal was welcome with a long ovation.
Father Armando Pierucci