Country: France Year: 1997 00:00 Ikhtitaf fi Assaraya (L'Enlèvement au sérail) 06:39 Double Quartet in F, for string quartet & traditional instruments (after Mozart, K 496) 12:11 Lamma Bada Yatathenna Symphonie No. 40, for voices & traditional ensemble 17:00 Mahdiyat, for voices (after Mozart's Berceuse) 19:10 Concerto for oud & piano "No. 23" 26:31 Hamilu Lhawa Tahibou (after Papageno's Aria No. 20 from Mozart's Magic Flute) 29:57 Yaman Hawa (Thomas, King of Egypt) 34:45 Mawwall 39:49 Double Quatuor en mi bemol, for clarinet, string quartet & traditional instruments (after Mozart, K 374) 47:14 Ouazat Al Kahira (after Mozart's L'Oie du Caire) 50:15 Symphonie Egyptienne, for traditional ensemble (after Mozart's Symphony No. 25) 56:57 Dhikr / Requiem / Golgotha, for voices, children's chorus & orchestra - - - - - Hughes de Courson is a musician, composer and producer born in French Neuilly-sur-Seine in 1946. Hughes' albums are all large-scale works. On many he combines electronic effects with medieval or baroque instruments. 'Mozart in Egypt' takes works by Mozart and emphasises the oriental elements in them. It represents a fusion of Mozart's work with the sounds, rhythms and instruments typical of contemporary Egyptian music.The album saw considerable success in continental Europe, especially France, but had only limited success elsewhere. Unfortunately his recordings are rarely available in the English-speaking world - Wikipedia For those who know and appreciate the Lambarena project intended to bring the music of Johann Sebastian Bach African musical traditions, this disc is a great result. Hugues de Courson takes the challenge of creating an unlikely encounter between Egyptian music and scores of Mozart. What a success! As Lambarena, theoretical collages become a sound marriage and refreshing style - amazon.fr Hughes de Courson, member of the vintage French folk group Malicorne, has launched a new career as a musical fusionist on a grand scale. First he gave us Lambarena: Bach to Africa, which, in tribute to Albert Schweitzer, combined the religious music of J.S. Bach with the music of the Gabonese peoples of Africa. On Mozart l'égyptien, Courson unites the (mostly secular) music of W.A. Mozart with the traditional music of Egypt. Even though efforts to blend classical and other forms of music are often disasters (e.g. playing The Four Seasons with a jazz ensemble), this one works and works well. It helps that Egyptian music has the complexity and emotional depth necessary to stand up to Mozart. One of the composers most famous movements, the opening to "Symphony No. 40 in G minor" is matched to one of the Middle East's most famous melodies, "Lama Bada Yatathenna." The one-on-one confrontations are even more daring, as in the "Concerto for Oud and Piano No. 23," where the oud performs one of those long preludes typical of Arabic music that leads, as if by magic, to the piano theme, which it weaves in and out of. This piece, like the others on the album, was arranged by Courson along with the Bulgarian musician Teg and the Egyptian Nasredine Dalil - allmusic - - - -

• published: 24 Dec 2013
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