bio

Anouar Brahem is the oud’s conjuror, an authentic master at bringing out the acoustic magic which this age-old traditional Oriental lute carries inside its calabash: the musical heritage of the Arab and Islamic worlds. Brahem is a phenomenon, a concentrated mix of prolific paradoxes: he is a supremely subversive classicist; a solitary soloist, resolutely open to the world; and a "culture smuggler", a man ever inclined to venture beyond his own limits and push back musical frontiers… without yielding an inch to aesthetic standards forged across time and tempered with deep respect for tradition. Anouar Brahem是沉香的魔术师，是一位真正的大师，可以带出这种古老的传统东方琵琶在其葫芦中携带的声学魔力：阿拉伯和伊斯兰世界的音乐遗产。布拉赫姆是一种现象，是多产悖论的集中混合体：他是一个极具颠覆性的古典主义者;一个孤独的独奏家，坚决向世界开放;以及一个“文化走私者”，一个总是倾向于冒险超越自己的极限并推回音乐边界的人......没有屈服于跨越时间锻造的审美标准，并以对传统的深刻尊重来锤炼。

Because he has always recognized this fundamental complexity, it has become his strength. And because he’s sought to weave this abundance of influences and disparate passions inside the very material of his work and compositions for nearly forty years, Anouar Brahem now creates music free of any named traditional influences but rather in his own image, with the bewitching poetic colours of the oud to enrich a host of diverse musical canvases. 因为他一直认识到这种根本的复杂性，这已经成为他的优势。由于近四十年来，他一直试图将这种丰富的影响和不同的激情编织在他的作品和作品的材料中，Anouar Brahem现在创作的音乐不受任何命名的传统影响，而是按照他自己的形象创作，沉香迷人的诗意色彩丰富了各种各样的音乐画布。

From the rich repertoire of Jazz – John Surman, Dave Holland, Jan Garbarek and Jack DeJohnette are just some of the leading players to succumb to Brahem's melodic spells – to the multiple and diverse traditions of Mediterranean and Oriental influence, (from his native Tunisia to the confines of India and Iran), his sensitive yet rigorous music constantly redefines a cleverly composite universe of poetry and culture, ever balancing between discretion and sensuality, nostalgia and contemplation. 从丰富的爵士乐曲目——约翰·苏尔曼、戴夫·霍兰德、扬·加巴雷克和杰克·德约翰内特只是屈服于布拉赫姆旋律咒语的一些主要演奏者——到地中海和东方影响的多种多样传统（从他的祖国突尼斯到印度和伊朗的范围），他敏感而严谨的音乐不断重新定义诗歌和文化的巧妙复合世界， 在谨慎与感性、怀旧与沉思之间取得平衡。

Some landmarks… 一些地标...

Born in 1957 in Halfaouine, in the heart of the Medina in Tunis, Anouar Brahem was ten when he began studying the oud at the National Conservatory in Tunis, and later pursued his apprenticeship with the great master Ali Sriti; it was an entry deep into the art of the maqamat, highly complex, ancestral and modal, in the Arab tradition of classical music. Anouar Brahem于1957年出生于突尼斯麦地那中心的Halfaouine，十岁时开始在突尼斯国家音乐学院学习沉香，后来跟随伟大的大师Ali Sriti做学徒;这是对阿拉伯古典音乐传统中高度复杂，祖先和模态的maqamat艺术的深入。

In an Arab musical environment where popular songs and crowded orchestras dominated – the oud was reserved for accompaniment – Brahem revealed his complex and multi-faceted personality by spontaneously undertaking a personal mission to restore the oud to the status of an emblematic solo instrument in Arab music, whilst at the same time breaking with tradition in his work as a composer by integrating elements of jazz and other musical traditions from the Orient and the Mediterranean into his new works. 在流行歌曲和拥挤的管弦乐队占主导地位的阿拉伯音乐环境中 - 沉香被保留用于伴奏 - Brahem通过自发地承担个人使命来揭示他复杂和多面的个性，将沉香恢复到阿拉伯音乐中标志性独奏乐器的地位，同时通过整合爵士乐和东方和地中海的其他音乐传统的元素，打破了他作为作曲家的传统传统。融入他的新作。

In 1981, motivated by the desire to team up with other musicians from a variety of different aesthetic backgrounds, he moved to Paris for four years. It was to be a decisive period for him: he collaborated with Maurice Béjart and above all, composed numerous original works, notably for the Tunisian cinema and theatre. This was fertile ground for his orchestral experiments, because he introduced new ways of playing and even hitherto unknown instruments into the fundamental Arab tradition. 1981年，出于与来自不同审美背景的其他音乐家合作的愿望，他搬到巴黎四年。这对他来说是一个决定性的时期：他与莫里斯·贝嘉合作，最重要的是，创作了许多原创作品，特别是突尼斯电影和戏剧。这是他管弦乐实验的沃土，因为他将新的演奏方式甚至迄今为止未知的乐器引入基本的阿拉伯传统。