Newsletter No. 900
Interview
February 8, 2008
YOSHIKO MATSUDA INTERVIEW: JAPANESE
INTEREST IN ARAB MUSICAL CULTURE
Our third Shingetsu Interview moves away from
the world of politics to take a closer look at cultural exchanges
between Japan and the Islamic world. Here we interview Yoshiko
Matsuda, Oud player and professor of Arab Music at Tama Art
University. An Oud, of course, is a musical instrument popular
in West Asia, similar to the later European lute. This interview
was conducted by e-mail.
Michael Penn: The obvious first question is
that we’d like to know how you gained your interest in
the Oud and Arab music in the first place?
Yoshiko Matsuda: In 1989, a great Tunisian
Oud player, Ali Sriti, came to Japan to give some concerts.
I heard one of the recordings of his concerts, and obtained
it for myself. It made a strong impact on me. I was fascinated
by the deep sound of the Oud and various beautiful songs of
the Arab world.
Michael Penn: Your short biography states that
you studied Arab musical theory under the guidance of this same
Ali Sriti in Tunisia. Since he is probably better known in the
Francophone world than in the Anglophone world, could you tell
us about him, and about your experience studying under him?
Yoshiko Matsuda: Ali Sriti was born in Tunisia
in 1919 and passed away in April 2007. He was a great master
of Oriental music. Although he was a Tunisian, his style was
that of the golden age of Egyptian music like Mohamed Kasabgi,
Mohamed Abdelwahab or Riad Sombati. He also used techniques
from Turkish music. He educated many famous musicians like Lotfi
Bouchnak or Anouar Brahem.
I studied Oud with Ali Sriti from 1992 to 1995.
He provided me with a lot of knowledge about Arab music and
taught me many Bashrafs, Samaiis and Longas (Arabic classical
musical pieces), as well as the songs of Umm Kulthum, etc. This
is a very important heritage. His beautiful and powerful Taqsim
(improvisations) are unforgettable as well.
Michael Penn: We have also heard that you studied
at the Bait al-Oud al-Arabi in Cairo in 2005 under the guidance
of the renowned Iraqi Oud player Naseer Shamma. Could you tell
us about that experience too?
Yoshiko Matsuda: Bait al-Oud al-Arabi is the
Arab Oud House where musicians acquire and improve their Oud
techniques. There were many students from Egypt, of course,
but also from Lebanon, Syria, Iraq, France, and even from Malaysia.
Usually, graduate students of Bait al-Oud teach younger students.
Naseer Shamma himself also teaches. It is like a big family
of brothers and sisters. The orchestra of excellent students
and Nasser Shamma regularly give concerts. I too participated
in these concerts in Cairo and Alexandria. We rehearsed a lot
and traveled together. It was a very amusing experience for
me.
Michael Penn: Who is your favorite composer
or player of the Oud? Why?
Yoshiko Matsuda: Riad Sombati (1910-1981).
He was a great composer, singer, and Oud player in Egypt. He
continued to offer his compositions for over 35 years to Umm
Kulthum. I like his songs and instrumental pieces. Especially,
when I listen to his Taqsim (improvisations), his compositions
of beautiful melodies, and his treatment of various Maqams (modes),
it touches my heart very much.
Michael Penn: You have performed before audiences
in the Arab world in places like Tunisia, Cairo, and Bahrain.
What kind of reception have you received in these countries?
Yoshiko Matsuda: Actually, I do musical activities
with my friends -- a player of the Nai (flute) and a player
of Derbouka (percussion). We call our group Le Club Bachraf.
We received a very warm and passionate reception from each country.
They enjoyed and highly evaluated our performance, as they know
it is not an easy thing to get involved in such a different
kind of music and to try to assimilate it. We received long
applause and even a standing ovation. I appreciated it very
much.
Michael Penn: How do Japanese audiences react
compared to Arab audiences?
Yoshiko Matsuda: Generally speaking, Japanese
audiences are the quietest audiences because they don't express
their emotions even if they are genuinely moved. Furthermore,
for most Japanese audiences, our Arab music performance is their
first experience. However, once they know its beauty, they like
and enjoy it, and they often become interested in the existence
of the great Arab culture.
Michael Penn: At present, we have about 170
members worldwide who will be reading this interview immediately,
and others will later visit our Shingetsu website. How can we
listen to your Oud playing for ourselves?
Yoshiko Matsuda: If you live in Kanto area
in Japan, you can listen to our live performances as we constantly
play, mainly in Tokyo. We do, of course, go to play to other
areas or countries with great pleasure when we are invited.
I'm sorry that I haven't updated my recordings,
but you can listen to my playing a bit at our website (http://www.arab-music.com)
and from our CD: Le Club Bachraf. We also sell the CD by mail
order.
Michael Penn: Is there anything else that you’d
like to tell us about Arab music in Japan or another subject?
Yoshiko Matsuda: Me and my friends have been
trying to present Arab music to audiences in Japan. However,
we also try to compose our own music in accordance with Arabic
musical theory. Maybe we will make a CD with our original pieces.
We have a dream that Arab people will know and play our compositions
some day.
Michael Penn: Thank you for your time.
Yoshiko Matsuda: Thank you very much for your
interest and your kindness.
