In progress:
Bridging the gaps
By
Amal Choucri Catta
Inas Abdel-Dayem, newly appointed administrative director of the Cairo Symphony Orchestra, is Egypt's leading flautist. Professor of flute at the Cairo Conservatoire, she is currently organising a series of concerts showcasing the most promising of her students. As first flautist with the Cairo Symphony Orchestra, she is a fixture of Cairo's symphonic scene. She has been awarded prizes in Egypt, France, Japan, North Korea, and was the first musician from Egypt to participate in the Mediterranean Orchestra.
I was happy with my appointment as administrative director of the Cairo Symphony though I concede I did take some time thinking it over before finally accepting. It was not easy. You see, I was, and still am, convinced that Ahmed El-Saedi has done excellent work as director and principal conductor of the Cairo Symphony. But I realised, too, that the situation between El-Saedi and the Opera House had reached a deadlock, and that my presence might be helpful given that my experience encompasses the period before his appointment a decade ago, as well as the intervening years.
I have been with the orchestra for a long time, and am aware of its problems, of the negative and positive sides of whatever is taking place, and how it might impact on the entire ensemble. And I knew, too, that El-Saedi's efforts had to be continued.
The orchestra plays an important role in my life: I love performing and from the administrative point of view I think things are in good shape, though from the artistic point of view we are now endeavouring to continue with the successes of the past while introducing the changes that inevitably come with the appointment of a new maestro.
Sergio Cardenas has, naturally, his own ideas about the way things should be done. So we are in a transitional phase, and it is important that this be managed sensitively, in a way that does not offend local sensibilities You see, a sudden change, a break with past tradition, is not going to be in favour of the orchestra. Things must be managed sensitively, and a bridge must be built between the past and the future. And this is where I come in. I am the link between the past and the future, accepting innovations as long as they are not detrimental while at the same time maintaining established practices, things that are an integral part of the orchestra's history. We cannot build a future without acknowledging the past, and the past must be safeguarded. We cannot afford to forget achievements already made, and we should neither forget nor deny them.
You ask whether Sergio Cardenas is aware of the successes of the past and I would say yes, he is, though I have to admit that in the beginning we had a great many discussions pertaining to his new ideas. Samir Farag, chairman of the National Cultural Centre, and myself, sometimes had to insist on maintaining our points of view. We have to build on earlier achievements; it would be to no one's advantage to change abruptly from one conception to another without knowing where the new direction will eventually lead us. And Maestro Cardenas understood our reservations to a large extent.
Regarding the programming of the new season, on which we have been working for much of the summer, I was keen on presenting a wider selection of Egyptian composers, alongside homegrown soloists and conductors. I was also keen that Egyptian compositions not be restricted to the Festival of Arab Composers but be dispersed within the regular concert programmes. Indeed. I would like to see Egyptian compositions included in the more popular programmes, which would be a useful service in promoting local symphonic compositions among the audience, and which would also serve as an incentive to younger composers who receive very little exposure.
One conductor included in the upcoming season, who has been long absent from the scene, is Mustafa Nagui. And we will also be hosting several conductors from overseas.
We are also seeking to broaden the orchestra's repertoire: this year, for instance, Mahler's Third Symphony and Brahms' Piano Concerto are scheduled. The choir will also play a larger role in programming, with performances of Schubert and Mozart requiems. And there will be a new departure with the inclusion of Mexican compositions for the first time. And we have plans to present new works, commissioned especially for the orchestra, from local composers, a project Ahmed El- Saedi initiated and which should be continued.
In the past I have always endeavoured to circumvent any obstacles placed in my path as a soloist. But while I continue to pursue this branch of my career it has, inevitably, been placed somewhat on the backburner. My solo recitals will be fewer in number this season though I will be performing, as usual, with the orchestra. There can be no interruptions in that particular schedule. I am, however, due to embark on a concert tour of Canada, France and Switzerland with harpist Manal Mohieddin, and after returning will be presenting a concert with the best of my students, all of them Conservatoire graduates and some members of the orchestra. This is a project I began some time ago, and one that I take very seriously. This time round there will be duets, trios and quartets for flute, which I hope will appeal to the audience. Concerts such as these are important for young musicians. And I intend to continue with some concerts myself, with piano, voice and guitar alongside the flute. And at the moment we are all busy preparing for the symphony orchestra's tour of China.
In closing, there is something that I wish to say: I hope that some day Ahmed El-Saedi and the Opera House will be able to reach an amicable understanding. He is a musician, and I am a musician, and I know that we will have to wait a very long time before another artist of his calibre appears on the scene. It would be regrettable if we were to lose such a talent.
