Ya Farhatan

Rarely is it possible to find a structure in Western tonal music culture in which dramaturgical construction, variation technique, motif development and perfect harmonic forms occur as they do in Beethoven. The situation is different in Arab musical culture. It is based on the adjnas or maqam system (the tonal gender, the tetra and penta chords). This musical structure contains no dramaturgy, variations, harmonies and the like. Nevertheless, the aesthetic logic of Arabic music is on its way through the fourteen sexes of sound to reach the absolute.
However, the elements of the two merging musical cultures will by no means just stand side by side and no style will dominate the other. In a dramaturgical process Thamir knits a new fabric. The composition will be realized in practice by a western orchestra and Arabic chamber ensemble with two vocal ensembles, one German and one Arabic. 
With the sounds of the calligrapher the composer tries to create a unity in the joint work of music and the art of calligraphy, which takes place on several levels: Within music, between musical cultures; between the written and musical cultures, and finally between the Orient and the Occident.

Friday, 24.09.2021, 7:30 pm
Nachfolge-Christi-Kirche, Dietrich-Bonhoeffer-Straße 8, 53227 Bonn