Los Braços Traygo ..

This concert was recorded by the radio station SWR. The broadcasting is planned for spring 2017. If you are interested to get informed about the date please get in touch with us through this form here.

It is a crossover work based on musical elements from the Spanish renaissance combined with traditional Arabic music and new works by the composers Nehad El-Sayed and Lee Santana. Braços Traygo Cansados includes improvisations in a quite unusual allocation: soprano, Vihuela/Citra, Oud and Viola da Gamba. Additionally there will be the Egyptian performance artist Omar Ghayatt who will overtake direction work, so there will be on stage more than only a concert.

The actors are:

Lee Santana ( USA/D ) Vihuela, Cittern & composition
Nehad El Sayed ( EGY/CH )
Oud & composition
Luciana Mancini ( Cl/D )
Paolo Pandolfo ( I/CH )
Viola da gamba
Omar Ghayatt ( EGY/CH )P

This project is supported by
Ministry for science, research and art Baden-Württemberg
by the Innovationsfonds Kunst


[pdf-embedder url=”http://www.oriental-music-summeracademy.de/wp-content/uploads/securepdfs/2017/03/147-2016-09-05-BZ-Betoerende-Musik_150DPI-1.pdf” width=”max” height=”max”
title=”Betoerende Musik”]

The basics are the epic romance Pliego ‚Los Braços Traygo Cansados’, collected at the end of the 16th century in Spain. From the same time there exists the setting by the Vihuela player Enrique de Valderrábano. His music will be the musical heart and release mechanism. Also there will be a fantasia by Valderrábano, and a set from Diego Ortiz and some other songs from the same time. This all will be embedded into new compositions by Nehad El-Sayed & Lee Santana and free improvisations go into interaction with the performance artist. So every concert will be a unique work.
The story tells about the war against the muselmans in the 16th century on the Iberian peninsula. There will be shown a heavy contrast within the texts coming from the Islamic mystic of that time, which had a highly integrating point of view, was very civilised, progressive and even utopic in comparison to the Christian ideas.

“Within all the Arabic music the high ornamentation play an important role. Without them it would loose most of its quiddity .. In general, there is a big similarity between Arabic and European ornamentation.” ( Sayed ). At this point the supposed so different music cultures will meet and and will have a common composition.

Sayed says: “The dispute with European micro tonality is very interesting and did help me to develop my compositorian ideas more precise. My special interest goes to make an evolutionary development of the horizontal Arabic micro tonality. My music can be by sure also pure melodic, but I do widen it with own micro tonal inventions added by one or more counter lines. In this context is is important for me, where and how I use the micro tonal intervals. The micro tonal “weight” is of a huge importance.”

where it took place:

St. Cyriak, D – 79295 Sulzburg