Egyptian composer Nahla Mattar publishes A Day’s Repeated Moments on Youtube – Music – Arts & Culture

The video shows Moro performing the composition during the 6th edition of the Piano Lab festival, held in August at the Church of Saint Francesco, in the Martina Franca in Taranto, Italy – in a beautiful Gothic atmosphere.

Moro, who started playing the piano at the age of 9, studied at the Conservatories F. Cilea, in Reggio Calabria, and G. Verdi, in Milan, then obtained his cum laude (piano) at the Conservatorio N. Piccinni from Bari.

Mattar is a professor at the Faculty of Music Pedagogy, Theory and Composition Section of Helwan University.

A Day’s Repeated Moments traces the composer’s own life stories.

Contrary to the logic of “pure music that appeals only to an abstract and absolute perception like a symphony or a concerto, the piece has no extra-musical element”, Mattar explained to Al-Ahram Hebdo, the French-language sister publication of Ahram Online.

Program music and composition can be classified as a symphonic poem (orchestral composition usually in one movement, free-form, inspired by a poetic or descriptive extra-musical idea).

It offers the pianist multiple ways of interpretation and experimentation, allowing the musician to express himself freely.

Free as the wind, the pianist Moro manages to touch the listeners, offering them short moments of relaxation, followed by strong accents of anger, irritation and emotional repression.

The composition infuses oriental components such as a repeating rhythmic pattern inspired by maqam hijaz (a melody used in traditional Arabic music).

Moro is not afraid to take risks, submitting his musical interpretation to an abbreviation that allows him to move between space and time.

These emotions go hand in hand with the frantic pace of everyday life and its transformations.

The four-minute piece was mastered by Nahla Mattar in 1998.

“At the time, I was experiencing frustrations on a daily basis. I had terrible mood swings, mostly dominated by moments of anger, sadness, and grief. Hence the birth of this composition. Usually, I draw inspiration from my experience, from my daily stories; I translate them into notes and musical language. In A Day’s Repeated Moments, I tried to communicate my feelings at the time, but also to break away from the monotony. Program music dominated the classical music scene in the 19th century, such as the famous Symphonie Fantastique, premiered by Berlioz in 1830,” says Mattar.

“For me, music is a personality that I form. It all depends on my mood at the time of composition. There can be several moods in the same composition, that’s what I like to call a musical architecture.”

Mattar makes us discover different musical genres in an admirable way, mixing classical with folklore and contemporary, and oriental music with western accents.

The whole piece was born out of two contrasting melodies, booms and falls, playing in chords and another in arpeggios. So, can we speak of an “eye that listens”, according to the beautiful formula of the French artist Paul Claudel?

A Day’s Repeated Moments both narrative and concise, favoring hearing over sight, teaches us to listen to all that comes from the vibrations of the world, not with the ears, but with the spirit, with the “energetic breath” .

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