An Evening with Umm Kulthum Booklet
Hend Zouari is a Tunisian-born qanun player and composer whose work explores the deep connections between Arabic classical music and folk traditions across the Mediterranean and Middle East. A lifelong musician, she began studying the qanun—a traditional plucked-string instrument—at the age of seven, guided by her father. She later earned a doctorate in musicology from the Sorbonne, with a focus on the maqâm, the modal system central to Arabic music.
Her performances highlight the qanun’s historical role in traditional music from the Maghreb, the Mashreq, Iran, Armenia, and Turkey, where it has long served as a bridge between classical and folk repertoires. Known for her skill in improvisation, Hend combines this heritage with contemporary influences to create accessible, culturally rich music.
She has collaborated with well-known international artists including Souad Massi, Lena Chamamyan, André Manoukian, and Göksel Baktagir. Her albums L’Envol and Bledi reflect this balance—one offering a journey through Eastern and Mediterranean traditions, the other blending traditional styles with modern elements such as rock.
Hend’s music offers a thoughtful and engaging look at how folk traditions continue to evolve and connect across cultures.
Narjes began her artistic career at age three, quickly becoming a stage star in nursery performances. Guided and vocally coached by her father, respected music professor Ali Abouda, she received early training in vocalise and the Arabic instrument, the oud.
She rose to prominence in the Choir of Radio Sfax, where she recorded over 100 children’s songs and performed nationally for 15 years, establishing her extensive background in Arabic choral work. Her formal studies at the Conservatoire of Sfax focused on traditional Arabic and Tunisian forms (such as maqamat, muwashahat, and Malouf), which she further honed performing across Tunisia with the Nadi Al Assil ensemble.
Expanding her versatility, Narjes explored jazz and fusion in Arabic and French, earning multiple awards before returning to the stage internationally with Cambridge Takht in the UK. She believes music is the "food of the soul," making every performance an act of connection and nourishment. Outside of music, Narjes works as a Principal Application Engineer, solving complex challenges with the same passion she brings to her art
Mohamed, also known as Mido, is the founder and band leader of Cambridge Takht. His musical journey began in childhood trying different instrument, but he specifically chose the Violin at the age of 13 after being captivated by its sound in Tarab (classical Arabic) music. Possessing a natural gift, he quickly began playing his favorite melodies by ear. He subsequently deepened his skills through classical and jazz lessons and, critically, refined his Arabic violin technique through mentorship with Egyptian violinist Amin Abdulazeem. Furthermore, he attended several workshops led by Grammy Award winner Fathy Salama, where he gained expertise in band arrangement and leadership.
While living in Cairo, he was active in the independent music scene in Cairo, he played with several groups, most notably recording the debut album for Youssra El Hawary and touring internationally with her. Now based in Cambridge, Mohamed founded Cambridge Takht to pursue his mission: sharing the richness of Arabic music with a wider audience. He actively engages the local community through workshops, concerts, and collaborations with diverse local bands.
Outside of his music life, Mohamed works as an Embedded Software Engineer developing wireless solutions and enjoys spending time with his family and two children.
Mohamed Nour Abouelseoud’s string story began in Abu Dhabi at 14, when a guitar first opened the door to a lifelong pursuit of melody and rhythm. He now performs on the oud, having deepened his engagement with Arabic music while studying in Sharjah — where he completed a minor in Music alongside his bachelor — and has appeared with Egyptian, Palestinian, and Syrian bands as well as his university’s Arabic music ensemble.
By day he works in machine learning and AI research, bringing the same curiosity and precision to his professional work as he does to performance. Offstage he enjoys reading and writing, interests that inform the reflective, narrative quality of his playing.
Aida first picked up the double bass as a child in a small Andalusian town, stumbling upon the instrument quite by accident — and instantly falling for its deep, earthy voice. Ever since, she’s been travelling the world with her oversized companion. She brings a rich blend of musical and orchestral experience, performing in productions for Disney and Nintendo and on renowned stages such as Taiwan, Singapore and Spain’s national concert halls. Versatile across musical styles, she now plays actively with several Cambridge ensembles.
When she’s not making music, Aida can be found unravelling the basis behind complex systems through technology. She holds a PhD in computational medical genetics and is involved in biotech entrepreneurship. Above all, she loves having a good time — so don’t be surprised if you spot her at a random street party, nerding around or who knows!
Omar's percussion story began in Hama, Syria, when he received his first instrument at age 10 - a much-needed gift from his parents after years of tapping on tables, pots, and, on desperate occasions, his own belly when nothing else was available. Rhythm was simply unavoidable. Since then, he has studied multiple instruments, sharpened his craft, and performed with a wide range of bands and orchestras in both Syria and the UK, bringing a dynamic, soulful groove to every stage he touches.
Outside the spotlight, Omar is a devoted pharmacist and health economist - proudly fueled by data and spreadsheets. And when he isn't solving health challenges or captivating crowds, you'll find him racking up kilometers on his humble triathlon journey, smiling every time Strava sends him a kudos (which, let's be honest, is half the motivation)
Hanna
first started learning the Tabla in Lebanon at the age of 6-7 after a very musical and exciting bus ride. The Tabla is the main percussion instrument in Arabic music and is known to cause uncontrollable hip movements among Arabs.
Hanna has been a key member of Cambridge Takht for the last 4 years. When Hanna is not administering shakhla3a on his tabla with Cambridge Takht, he can usually be found on an old sailboat in the Mediterranean or making Koussa Mi7shi and Mlokhiyya. Hanna is a world leading expert on extreme remote working, known for hoisting his phone in a bag to the top of the mast to continue sending his emails.
Umm Kulthum (c. 1898–1975) was an Egyptian singer, songwriter, and actress who remains the most celebrated and influential musical figure in 20th-century Arabic culture. Her extraordinary journey began far from the spotlights of Cairo; she was born into a poor, rural family in the small village of Tamay al-Zahayra in the Nile Delta. Recognizing her incredible vocal talent early on, her father initially disguised her as a boy to allow her to sing at local religious festivals and weddings, upholding social tradition while showcasing her gift.
Her immense talent served as a powerful vehicle for social mobility, propelling her from this humble start to the highest echelons of Egyptian society. Known as "Kawkab Al Sharq" (Star of the East), her powerful voice and mastery of tarab (musical ecstasy) captivated both common citizens and royalty. Following the the Egyptian defeat in the Six Day war (1967), she further dedicated her status to national service, launching a massive international tour that raised millions of dollars for the Egyptian Army and helped restore national morale. Her voice holds a legendary status, transcending music to become a symbol of Arab unity and national pride, demonstrating the power of artistic genius to reshape one's destiny.
We celebrate her enduring legacy this year on the 50th anniversary of her passing, honoring her not only as the greatest voice in Arabic music, but as an unparalleled cultural and political symbol of unity, pride, and artistic transcendence.
Composer: Mohammed Abdel Wahab (1902 – 1991)
Lyricist (Poet): Ahmad Shafiq Kamel (1929 - 2008)
Year : 1964
Scale: Maqam Kurd
"Enta Omri" (You Are My Life) stands as one of the most iconic and emotionally profound songs in the history of Arabic music. Released in 1964, it marked a historic collaboration between the Umm Kulthum and composer Mohammed Abdel Wahab for the first time after long period of competition. The collaboration was triggered by a direct request from the then-Egyptian President, Gamal Abdel Nasser, who believed combining the popular artists' talents would strengthen the appeal of Egyptian art throughout the Arab world . Abdulwahab presented a new fresh style to Umm Kulthum's reportoire, and he introduced new sounds like using the electric guitar for the first time in her ensemble. The song was a big success and they later collaborated in 9 more songs with wide populatiry. The song is an epic declaration of love and rediscovery, where the narrator speaks of meeting their true love and realising that their life before this encounter was utterly meaningless—a poignant theme encapsulated by the title itself.
Mohamed Abdulwahab was a prominent 20th-century Egyptian singer, actor, and composer. He has contributed greatly in reinventing the sound of the Arabic song several times throught his career and is known to integrate elements of western music instruments and forms like the waltz,tango and rumba while still preserving the Egyptian character of the music.
Mohammed Abdulwahab (March 13, 1902 – May 4, 1991)
Umm Kulthum and Mohammed Abdulwahab in the studio
Poet Ahmed Shafiq Kamal
Composer: Zakaria Ahmed(1896 –1961)
Lyrics: Bairam Al Tunsi (1893–1961)
Year: 1943
Scale: Maqam Hijaz
"Ana Fi Entezarak" (I Am Waiting For You) is a masterful work of emotional tension and aching anticipation, first released around 1943. Composed by Zakariya Ahmed with lyrics by Bayram al-Tunsi, this song captures the narrator's agonising vigil for a beloved who has promised to return but has yet to arrive. The lyrics vividly describe the narrator's sleepless nights, counting the seconds, feeling the heat of anxiety in their heart, and ultimately wishing they had never fallen in love due to the painful uncertainty—“I wish, I wish I had never loved.” Umm Kulthum's performance is a showcase of her extraordinary vocal control and dramatic flair, as she uses the maqam (scale) of Hijaz to convey a deep, complex sense of yearning and desperate hope, making it a powerful and enduring anthem of unrequited or delayed love.
The composer Zakaria Ahmed, a key figure in Umm Kulthum's life who initially convinced her father to move her to Cairo after recognizing her immense talent, is widely considered one of the greatest composers in Arabic music. His style is distinct, rooted in the traditional chants of the "Mashayekh." For this song, Ahmed collaborated with his lifelong friend, Bairam al-Tunsi. Al-Tunsi was a highly influential Egyptian poet and satirist known for using the Egyptian dialect (Masri) for witty social and political commentary, a style he also perfected during his numerous collaborations with Sayed Darwish.
Zakaria Ahmed
Bariam Al Tunsi
Umm Kulthum and Zakaria Ahmed with the judge that ended their dispute over money 1960
Composer: Mohamed Al Qasabgy (1892 -1966)
Lyrics: Ahmed Ramy (1892–1981)
Year: 1940
Scale: Maqam Nahawand
Umm Kulthum's "Madam Teheb Betenker Leh" (If You Love, Why Do You Deny It?) is a dramatic and technically demanding song released in the 1940s, a period often considered the zenith of her vocal power and range. The lyrics, penned by Ahmed Rami, capture the frustration and confusion of unacknowledged love, directly challenging a lover who harbors deep feelings yet insists on denying them.
The composition is a masterful showcase of Mohamed Al Qasabgy's innovative style, which was ahead of its time. He deliberately constructs concise melodic phrases with calculated ornamentation, allowing the melody to breathe. The composition is musically complex, involving several unusual maqam (modal) changes that attest to Al Qasabgy's deep knowledge of Arabic music theory. Qasabgy is known for his efforts in developing the Arabic music and bringing in influences from Classical western music. He is also considered one of the greatest Oud players of his time and has been the main Oud player in Umm Kulthum's orchestra until he died.
The poet Ahmed Ramy and the composer Mohamed El Qasabgy were integral to Umm Kulthum's early career success, forming a prolific creative trio
Ahmed Rami (1892–1981) is one of the most celebrated and pivotal figures in 20th-century Arabic poetry and songwriting, renowned universally as the "Poet of Umm Kulthum" as he was a close friend and advisor for her. Ramy played a leading role in developing Arabic poetry, using simple language to express sublime themes and he excelled in writing beatiful songs in Egyptian colloquial Arabic . He was named "Poet of the youth" in recognition of his contributions to Arabic verse.
Composer: Riad Al Sunbati (1906 - 1987 )
Lyrics: Ahmed Ramy
Scale: Maqam Bayati
Form: Taqtuqa
Year: 1936
"Ala Baladi El Mahboub" (To My Beloved Country) is an early example of her masterful control over both classical and popular Arabic song forms. The song, sometimes known by the full title "Ala Balad Elmahboub," translates literally as "to the country of the beloved" or "to my beloved country." This popular taqtuqah (lighthearted love song) was featured in her first film, Widad, released in 1936. Unlike her later, hour-long epic performances, this piece is characterized by its comparatively shorter length and lighter, more accessible melodic style.Composed by Riad Al Sunbati with lyrics by Ahmed Rami, the song evokes a deep sense of nostalgia and connection to one's homeland, intertwining the love for a person with the love for a geographical place.
Composer: Baligh Hamdy (1932–1993)
Lyrics: Morsi Jamil Aziz (1921 – 1980)
Scale: Maqam Nahawand
year: 1969
Alf Leila We Leila" (A Thousand and One Nights), first performed in 1969, is one of the most celebrated and epic declarations of love in Arabic music history. Named after the famous collection of Middle Eastern folk tales, the song uses this reference to evoke a world of magic, fantasy, and timeless romance. Written by Morsi Jamil Aziz and composed by the legendary Baligh Hamdi, the near-hour-long piece is a lush and sophisticated blend of classical tarab (musical ecstasy) with modern orchestral arrangements. Its lyrics are a poetic love letter, expressing a desire for a beautiful night of love to last not just one, but a thousand and one nights, where the lovers implore the sun not to rise for an entire year.
was a prolific Egyptian poet and songwriter, often celebrated as the "poet of a thousand songs." He is a pivotal figure in the history of modern Arabic music, having written lyrics for nearly all the major singers of his era, including Umm Kulthum, Abdel Halim Hafez (for whom he penned 35 songs), and Fairuz.
Baligh Hamdy (1932–1993) was an Egyptian composer widely regarded as one of the most brilliant and innovative figures in 20th-century Arabic music, often called the "King of Melody." Known for his exceptional ability to blend traditional Arab rhythms with contemporary musical styles, he composed for nearly every major Arab singer, including Umm Kulthum (most famously Alf Leila wa Leila), Abdel Halim Hafez (El Hawa Hawana ), and Warda Al-Jazairia, whom he also married. His compositions were notable for their simplicity, emotional depth, and catchy folk appeal, helping to define the sound of modern Egyptian pop and classical music throughout the 1960s and 70s.
Composer: Mohamed Al Qasabgy
Scale: Maqam Nahawand
Form: Instrumental
Mohamed al-Qasabji's instrumental piece, "Zikrayati" (My Memories), is a beloved classic that showcases the composer’s sophistication and mastery of the oud. Though often heard as a standalone instrumental, the piece was originally conceived as an orchestral introduction to a song by Umm Kulthum.
Composer: Riad Al Sunbati
Lyrics: Ibrahim Nagi (1898 -1953)
Scale: Maqam Rahat al arwah
Year: 1966
"Al-Atlal" (The Ruins), is a Qasida (Classical Arabic poem), first performed in 1966, stands as the "Crown of the Arab Song," a monumental work exploring lost love and profound heartache. The hour-long ballad draws its devastating lyrics, skillfully compiled by Ahmed Rami from several poems by the Egyptian poet Ibrahim Nagi (including "Al-Wadaa," or The Parting), while its masterful, melancholic melody was crafted by Riad Al Sunbati. The song is a rich, symbolic elegy where the narrator stands amid the metaphorical ruins of a failed romance, reflecting on shattered dreams—a theme powerfully captured in the famous line, "Give me my freedom, release my hands." However, this masterpiece faced internal turmoil: its release was delayed for two years due to a conflict between Umm Kulthum and Al Sunbati, as the singer requested some modifications to the melody and ending. Al Sunbati vehemently refused the changes, leading to a stalemate until the intervention of the revered qanun player, Abdo Saleh, convinced Umm Kulthum to accept the composition as it without modification. Despite being sung entirely in classical Arabic, rather than the familiar Egyptian dialect, "Al-Atlal" was an immediate and overwhelming success with audiences, solidifying its place as a timeless cultural touchstone.
Riad Al sunbati
Riad Al Sunbati (1906–1981) was a towering figure in 20th-century Arabic music, widely considered one of the greatest composers of the Tarab (classical/long-form) genre. He was most famous for his extensive and masterful collaboration with Umm Kulthum, for whom he composed nearly 40 songs, including masterpieces like "Robaiyat Al Khayyam" and "Lessa Faker." Al Sunbati was celebrated for his profound understanding and innovative use of the Arabic maqam system and the distinct, mournful, and soulful quality of his melodies. Unlike some contemporaries who embraced Western instrumentation, Al Sunbati maintained a deeply traditional and authentic Arabic sound, blending classical sophistication with an emotional depth that cemented his place as a purist and a musical genius.
Composer: Riad Al Sunbati
Lyrics: Abdul Fattah Mustafa
Scale: Maqam Ajam
Year: 1960
"Lessa Faker" (Do You Still Remember?), released in 1960, is a poignant and emotionally intense exploration of enduring memory and the bitterness of a lost connection. Composed by Riad Al Sunbati with lyrics by Abdel Fattah Mustafa, the song directly addresses a former lover, challenging them with the haunting question: "Do you still remember the love, the longing, and the tenderness?"