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There is no doubt whatsoever that Ahmed El Kalai figures amongst the most
outstanding figures in contemporary Tunisian music. He is known as a concert
artist, ‘ud virtuoso and composer – equally known for his
instrumental compositions as well as his vocal ones.
Born in Tunis in 1936 into a family of musicians (his father was a
violinist, his brother played the nay, yet another brother was a
highly esteemed virtuoso on the violin) Ahmed’s initiation into playing the
‘ud and the violin began at an early age (starting in 1941). Eager to
develop his performance, he mixed with the great masters, particularly at
Sheikh ‘Abdellaziz Jmayyil’s famous workshop for stringed instruments (a
meeting place for a veritable inner circle of the best musicians of the
era). His encounters with ‘Ali Sriti from 1945 onwards had a crucial impact
on his life as a musician.
In 1948, he started his career as an ‘ud player by giving recitals
before embarking on life as a musician in a ensemble on Tunisian Radio on
its formation in 1957. In 1961, he obtained a diploma in Arabic music while
still pursuing his activities as an instrumentalist, singer and composer at
the heart of the radio station where he took on conducting the Orchestra in
1972 with great panache. In 1976, his musical performances were crowned with
success when he was awarded 1st prize and a qualification in
‘ud with distinction…. In his role as instructor, from 1983 onwards,
Ahmad El Kalai dedicated himself to the teaching of ‘ud at the
National Conservatory as well as at the Institute for Higher Education in
Music in Tunis. In present-day Tunisia, his numerous disciples represent a
truly dynamic force for the school of ‘ud.
His style, albeit that he has made a few concessions to modernism, to
acculturation or to cultural divertissement, remains marked by a strong
impression from the Arab Mashriq tradition; he exemplifies still further the
Tunisian trend linked to Syrian-Egyptian expression, which itself clings to
the typically North African tradition.
He made a name for himself as a distinguished virtuoso, thanks to a series
of solo concerts, and also to the role which he succeeded in giving to the
‘ud at the heart of the most representative Ensembles, such as that
of the Radio Ensemble and the Rashidiyya. He was a precursor in the
use of the ‘ud as a (solo) recital instrument and as a composer of
pieces specially written for that particular instrument. His repertoire
comprises more than 140 songs and pieces for instruments. |
