Damascus-SANA
The Syrian composer and composer Mahdi Ibrahim recorded more than 170 melodies and musical works that imbued them with originality and sobriety, thus carrying the identity of contemporary Syrian oriental music.
Ibrahim, who was born in the village of Tartous countryside 58 years ago, recalls his musical beginnings and his most prominent artistic stations, indicating that his family had an important role in directing and following up his talent and his inclination for music. In my love and attachment to this machine.”
Ibrahim adds, "Through my studies, I got acquainted with professors who taught me, and they have the privilege of mentioning them, my music teacher, Adnan Aylush, thanks to him, I joined the Arab Institute of Music and became a player in the Oriental Band for Modern Oud, which he founded and led and was affiliated with the Ministry of Culture and participated with it in festivals in Syria, Algeria and Tunisia."
Ibrahim’s direction of composing and composing began to crystallize since 1986, when he presented a group of instrumental and lyrical melodies to the listening committee in the music department of Damascus Radio, and he accepted two works, which formed his beginning in this field.
Regarding the line he took in his next work, he says, “My message was to preserve the molds of Arab lyrical music by presenting the muwashshah, the role, the poem, the high-end song, and the distinction in words as my interest in melody, as I presented melodies for the most important voices in Syria.”
Among the singers who composed it were Ibrahim Waddah Ismail, Miray Mustafa, Samar Barakat, Kinana Al Qasir, Burhan Al Qaseer, Ahmed Al Ahmad, Sahar Alama, Rola Ward, Nawal Semaan, Mohsen Ghazi, Samir Samra, Inas Latouf and the late Hassan Omrani.
Ibrahim's success in composing reflects the many awards he received in Syrian and Arab music festivals since the eighties of the last century.
Regarding his view of Arab music, Ibrahim indicates that our music has a specificity and its forms, styles, colors and originality must be preserved through individual or collective efforts, pointing to the presence of other composers who have the same interest and to some groups that have taken upon themselves the protection and development of Arab music, including (Qasid) and the National Band for Arab Music .
Ibrahim stops at the programs adopted by Dar Al-Assad for Culture and Arts through those in charge of preparing and adopting them, which aim to revive the oriental musical heritage in general and the Syrian heritage in particular, through the new works presented by Syrian creators or the development of works of heritage and their presentation in an appropriate manner.
At the conclusion of his speech, Ibrahim says, “My passion for music drives me to always do the best, and I hope that we, as musicians, take care of the Syrian musical heritage because it carries a lot of originality and sophistication.”
Hadi Imran
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