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Feb 07, 2020

CALL TO PRAYER or ADHAN (in arabic):

21 February

The root of the word is ʾadhina نِ َ
ذَأ meaning "to listen, to hear, be informed about". 

Another derivative of this word is ʾudhun (نُ."ear „meaning), أُذ

The prophet Muhammad preferred the call of the human voice then the use of bells and horns. The adhan is the Islamic call to worship, recited by the muezzin five times every day at prescribed times of the day. Each phrase of the Adhan is followed by a longer pause and is repeated one or more times according to fixed rules. During the first statement each phrase is short and limited in tonal range with few melismas. Upon repetition the phrases become longer and more ornamented with a tonal range of over an octave.

Dhrupad traces its origins to the recitation of vedic hymns and mantras from almost 2000 years ago. It roots in the sacred Hindu Sanskrit text Natyashastra (200 BCE - 200 CE) and was also sung at temples as an important mean of religious contemplation. Dhrupad’s purpose is ‚Aradhana‘ (worship) and seeks a meditative mood for both singer and listener.

Romina with her western classical music background and knowledge of indian dhrupad, and Ghalia with her classical arabic music background and her opening for all other styles, have a common love for the music of Marin Marais (1656-1728), a french master of the Viola de gamba. Marais, a pupil of the mysterious figure Monsieur de Sainte-Colombe and himself a viol vituoso, composed over 500 pieces for the viol and brought the instrument to fame in the french baroque era. Ghalia and Romina started their musical encounter with his Pièces de Viole.

Through the pleasure of listening to one another and exchanging their musical thoughts from different styles and cultures they evolved a dialogue trying to catch the common spirit of arabic maqams, Indian ragas and Marais’s impressionistic spirit as well as the essence of what is common to all of us.

Ghalia Benali – vocals & Romina Lischka - dhrupad vocal & Viola da gamba
Vincent Noiret - contrebasse


I slowly approach
Le Carillon de Passy - Antoine Forqueray le père (1671 – 1745), Pièces de Viole
Causer to Causes
Morning Raga Bhairav - Do you remember
Le Moulinet - Marin Marais (1656 – 1728), 3e livre de Pièces de Viole 1711
The Lament of the pigeon - Rondeau moitié pincé et moitié coup d’archet - Marais, 5e livre
Antidode / Teryak
Last Embrace
Prelude en sol Ste Colombe - Dama daiman
Raga Yaman + In Konta Tadri
Le Badinage - Marais, 4e livre 1717 & Latalumi