Word: quintets
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Dates: during 2000-2009
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...Ceremony DemonstrationsTearoom. East Asian Languages and Civilizations Department, 5 Bryant St.Dance FestivalLowell Lecture Hall A Violin/Viola EventMemorial Church New Music from Harvard Undergraduate ComposersPaine Hall Music for PercussionSanders Theatre Harvard Magic: Sleight of VeritasScience Center D3:00 PM Joga CapoeiraScience Center Kids’ Show! Agassiz Theatre Tropical Woodwind Quintet MusicAdolphus Busch Hall Films by Oliver HorovitzCarpenter Center Debussy Piano PerformanceFogg Art Museum Calderwood Courtyard Portraits in Modern JazzHarvard Yard Stage ‘Cliffe NotesHolden Chapel Tabla JugalbandhiLoker Commons Dance FestivalLowell Lecture Hall Modern Acoustic RockMemorial Church Mass Cello PerformancePaine Hall Under ConstructionPhillips Brooks House A Cappella...With...
...been “censuring sports commentary since 1931.” In actuality, the blog was born only around a year ago, though its roots stretch back, in all likelihood, to fair Harvard herself. While the authors remain secretive of their identities—none of the quintet responded to an email requesting comment for this column—a look through the FJM archives indicates that at least several of the group matriculated at Harvard. At one point or another in the past year, the Detur Prize, the Winthop House Library...
...CCOE quintet that played in Sanders reflected Darweesh’s pan-hemispheric aesthetic. In addition to a violin and cello (played by Hanna Khoury and Kinan Abou-Afach, respectively), the ensemble included an ‘ud (Kareem Roustom), a guitar-like instrument that is the predecessor to the European lute; a qanum (played by Xauen Music founder and director of CCOE, Hicham Chami), a trapezoidal stringed instrument akin to the zither; and a riqq (Karim Nagi), a handheld percussion instrument similar to the tambourine. Accompanying the instrumentalists were two vocalists, Youssef Kassab and Albert Agha...
Darweesh’s compositional genius became readily apparent as the quintet launched into its first set of songs. Whereas Western composers sometimes write Arabic instruments or themes into their scores to lend them exotic “flavor,” Darweesh’s use of Western musical tropes is a true synthesis of styles. The violin and cello parts were not merely ornamental to their Arabic counterparts, but rather integral components of Darweesh’s sonic palette—Darweesh did not bridge the gap between Western and Arabic music, so much as he recombined elements...
Darweesh’s compositions were expertly performed by the CCOE quintet. All of the musicians delivered virtuosic performances, but riqq player Nagi was especially dazzling. He showcased incredible mastery and bravura during several show-stopping solos; rock drummers with full kits would struggle to match the rhythmic variety and tonal subtlety Nagi achieved with his single instrument...