No strings attached

In a world of hype, child prodigies are a dime a dozen, but Mohammad Hamami has earned his place. His career in music began at only eight years old when he started playing the violin in his native Aleppo, Syria, supervised by well-known Russian instructors like Dr E. Chalbash and A. Babaeiv, at The Arab Institute of Music.

Within the next three years, Hamami acquired several distinctions, merits and awards for his performances on the classical violin.

These achievements were repeated by Hamami over the next four years, slotting him in as the top violinist in Syria. The youngster continued his golden streak through his teens, winning every major musical challenge and competition, both Arabic and classical. Young Hamami also ranked second at the Pan Arab level amongst senior musicians.

Hamami then began composing for local singers, including writing music for theatrical productions. Some of the musicals produced then are still performed today. He also penned music for a theatrical play for youth, sponsored by Unicef. In this sense he's a role model to aspiring musicians in the Arab world, as well as a name to reckon with in the global arena.

He has toured with famous singers like Majida Al Roumi, Fadl Shaker, Najwa Karam and Sabah Fakhri. He performed in numerous festivals in Egypt, Tunisia, Lebanon, Jordan and Syria, and all during his early teens.

It was only at the age of 18 that Hamami could take up a job as an instructor in the prestigious institute where he began learning as a child. He continued to tour the region and then moved to Dubai in 2003 where he settled down as a music teacher.

With vigour and passion, Hamami continues to develop new trends in music by exploring various styles. He has participated in local events and orchestras, teaming up with musicians from around the world. He's also been an active member of orchestras, including the Dubai Chamber Orchestra and the Dubai Philharmonic Orchestra.

His dream is to have his own orchestra, and has a vision of promoting music – Arabic music in particular. At his Sharq Orchestra's debut, his dream materialised in a performance comprising enthusiastic local musicians of 20 nationalities. Hamami has performed at seven prestigious concerts with Sharq in the Emirates, and he continues to tour around the world. He has recorded music composed exclusively for him, and hopes that his musical efforts will help popularise Arabic music beyond the region.

I liked music as a child, but I was too young to decide which instrument to actually play, how to study and how to perform. Luckily, my father recognised my keen interest and decided to take me to a music school. I don't know how it came about exactly, but I chose the violin.

I studied at an Arabic music school in my city, Alleppo, for six years. I enjoyed music, but it was a rather serious subject to study. At that age I could not see that it would help my future. All I knew was that I always wanted to play, for other people as well as myself. I learnt to play both Arabic and classical forms and enjoyed both playing and listening to music.

I couldn't tell how good I was back then. But something happened that has remained with me. When I was 10 years old, I was walking about in a street with my violin when an old lady stopped me and asked if I would play for her. So I unpacked my violin and played. To me it was just another routine performance, but she thought it was great, and she told me so. She also said that I would make for a great soloist one day. At that age one does not take such praise seriously. But  that was the first inkling I had of my talent. She saw something or felt something that I myself was not aware of.

I completed my studies at the Arabic Music Institute in six years, and continued for another four years for postgraduate studies. My teachers were Russian professors, very big names in the music world that included Dr Emil Chalbach, Ali Mukhtar Babaeiv and Ohanis Costanian.

There were 2,000 candidates for the graduation course, of which only 44 were accepted. I was lucky enough to be among the 44. Usually, when one graduates from the institute after six years of study, and scores between 98 and 100 per cent as a final score, he or she would be selected to study further for another two years under one of the professors as an extra diploma. Luckily for me, I studied for the first six months under Dr Chalbach.

After I appeared for my first exam, he said he wanted me in his class. But I should have passed with the rest of the class, and it was against the rules, because a pupil had to complete six years before a teacher could take him under their wing, and I had only done six months. But Dr Chalbach wrote to the ministry concerned. The plea was approved and as a result I could study under him.

I continued studying under him as a postgraduate for four years and later became his assistant. He taught me how to teach. I then started teaching in the same college.

Along with music, I studied economics and received a diploma in accounting. I also studied law, but didn't complete it because by that time I had started travelling for performances.

I began performing when I was studying. At the age of 14, I joined the Alleppo Chamber Music Orchestra. I was the youngest member; the others were over 20. I played in many concerts with them. When I was 16, I was chosen to play with the Alleppo University Orchestra even though I was not in university yet. I was accepted simply because I could play the music. I played in many concerts with both orchestras. I also entered solo competitions from the age of 11 and won the best musician prize at a national competition.

I was fortunate in that I excelled in whatever I did. Over and above music, I also received first prizes in competitions for poetry and mathematics.

I started playing Arabic music at the age of 14 when I played with some small, local bands. When I was 17, I played with a very famous singer, the late Ruba Al Jamal. She was a very big name and to be able to join her band was a huge privilege. Up until that point, I had only played classical music in the institute and with the orchestras. But now, I was on television!

More television appearances followed with other singers and musicians. I was then invited to play with Sabah Fakhri, a legendary singer from Alleppo. I played for a few other big names in Syria. But then I had the opportunity to play with Lebanese legend Majida Al Roumi. I played for her for many years.

I moved to Dubai when I was 21, having completed university in 2003. Initially, I taught at The Music Institute with Helen Smith. It was a big leap for me given the different pace of the country. American jazz pianist Tyler Smith helped me so much. He got me the job and gave me a lot of contacts in the music society in Dubai. I got in touch with the Dubai Chamber Orchestra and we did many concerts in Dubai. I then joined the Bahrain Symphony Orchestra with conductor Alistair Old. I regularly play with them; every six months we have concerts in Bahrain. I then joined the Dubai Philharmonic Orchestra as the lead violinist and also played solo with the orchestra.

It has always been my passion and dream to play Arabic music. Wherever I travel to Europe or the US I play it and everybody enjoys it. Arabic music has great, soft melodies and it's easy to listen to. You can relax with it. Since I have played all my life with different orchestras, I began to think, ‘why not play with my own orchestra and make my own music?' That was the birth of Sharq Orchestra, with co-founder Dr Barbara James. She had all the ideas on how to start, how to get the music and how to contact the musicians.

Sharq's uniqueness extends to its musicians. There are 65 musicians comprising 22 nationalities. Many non-Arabic musicians can now play Arabic music. They have always enjoyed listening to the music, and now they enjoy playing it. However, listening to a genre and playing it are two different things. So we started by first teaching the musicians the Arabic scales, and the techniques and emotions you need to put into every scale and phrase. That made it more interesting for them.

I formed Sharq in Dubai because it was the perfect place for me to start an orchestra. You can form an orchestra in countries like Syria, Lebanon, or Egypt. You will have Arabic musicians playing Arabic music; it would be nothing different.

But in Dubai, you have people of so many nationalities playing a music that is not theirs. Sharq represents Dubai and the UAE perfectly. This is a land of many nationalities, with the Arabic leaders representing our heritage. It is the same with Sharq, an orchestra comprising different musicians, but conducted by an Arab, and playing Arabic music. So it represents our Arabic culture, our music and our history. We now have applications from 20 more musicians who want to join. We hope we can make it bigger and extend the group.

The name Sharq means the east, it also means the first moment of sunrise. We hope to be like the rising sun, spreading light across the world. My goal behind Sharq is not only to perform solo violin pieces and conduct the orchestra, but also to enable musicians from everywhere to play Arabic music.

Every concert is titled differently. The first one was about eternal themes, so we chose compositions that live in people's memories, ranging from the early 1920s to 2009. We featured many composers like Abdul Wahab and progressed to the recent days with Marwan Khoury. The second concert was centred around divas and we chose the repertoire of Oum Kolthoum, the legendary Egyptian diva.

Me and being a child prodigy

As a child you can tell that you are a little different from other students by how well you do. I didn't realise the talent I had until I had spent about three years in music school. Of course, my family enjoyed my music and always praised and supported me.

But they were family, and you expect them to do that. You have to get to a certain age before you realise that you are special. I felt this around the time I was 16 or 17. This realisation added to my sense of responsibility.

Music is also about staying in touch with people; sometimes it's difficult to connect with talented musicians. As a conductor, you have to communicate with many artists. Musicians can be moody and difficult at times, so you have to possess the skill of drawing them into a circle of friendship on stage. This is what my talent taught me.

Me and music

Music is everything to me. If I want to run away somewhere, I run to my music; if I want to share my happiness with others, I do it through my music. I can express myself through my violin – through my four strings. Earlier, when I played for somebody and they praised me, I took it as just another compliment, an exaggeration perhaps. But of late I've started feeling that it's the truth. Music is how I express myself. Now people who know me tell me, ‘You were angry, or happy or sad or very emotional' after listening to me perform.

Me and my family

Family always comes first. My family have done everything for me. To feel good you have to be good to your family first; it all starts with your home. I am lucky to have a wonderful family.

My dad encouraged me from the beginning. Whether it was boiling hot or raining outside, my mom would always walk with me to the music school and be outside to walk me back when I was done. My parents would sit with me every Sunday and listen to me practice. Playing for our relatives and friends made me more confident to play for other people.

What inspires you?

Initially I was inspired by my family's support. Later on, I was inspired by accomplished musicians and I dreamt of being like them. I then wanted to be on television and on stage. Now what inspires me are all the stories in people's lives. It's good to listen and learn from them and in turn, translate them into music.

How did you make the transition to conducting?

One day, the conductor was not available due to a problem and they wanted me to conduct the orchestra. I had always just concentrated on playing, so it came as a shock. But I conducted, it felt good and the concert was thankfully a success. In Dubai I played for the Dubai Chamber Orchestra for a year. At one point our conductor had to leave, but I didn't see myself as a conductor yet. I was content to remain a player.

But when I started Sharq, I began conducting because my music is very different. Normally a conductor faces the orchestra and the members get their directions from him. But with my style I don't face the orchestra all the time. The members of our orchestra learnt how to watch my body language to gauge my feelings. I don't need to face them. It's a different level of conducting, it's more difficult because I'm facing
the audience.

Will the kind of music that you play always vary?

Yes. Every time you go solo, you can improvise, add a little touch or ornament so that the audience who come to the concert a second time round will never hear the same piece again. Every time it's different; every day it's different. If today I played the Bamyan as a bold classical, tomorrow I may play it gently with some added elements. It completely depends on the mood of the moment.

What is your next step in music?

I want to play my violin on the international stage. I've travelled and played in many countries, but I want to take the Sharq Orchestra and my Arabic music out on an international platform. We are planning to tour next year, we're working on taking Sharq to London. We'll also soon play at a festival in Oman.

I would also like to compose my own music. At present, I am working on an album of my performances of the original compositions of Shannon and Stoyan. I have done many recordings before, but not as a soloist. This album will be truly my own.