Visions
Joseph and James Tawadros
JT2005

I once witnessed Joseph Tawadros and Slava Grigoryan in the greenroom of the Opera House sitting opposite each other improvising. They were both concentrating intensely attempting to imitate each other. What struck me was the extent to which each was either unable to reproduce what the other was playing, or was unwilling to give ground.

Whatever piece of information was missing or not understandable in this encounter between the two capable players seems present when I listen to Visions, which presents the music of James and Joseph Tawadros. These brothers are undoubtedly of prodigious talent. My difficulty is not with the way in which they perform, but with the content of the music being played.

Firstly, the solo pieces for solo oud. All these compositions are by Joseph Tawadros, and all conform to similar patterns of simple and transparent harmonic and melodic structures interspersed with outbursts of fast ornamental flourishes. For me, these two strata remain entirely distinct, and I suspect the position of the passagework is determined by technical limitations rather than compositional ones. The result is that the dense ornaments are drained of meaning, becoming only dense ornamentation. This need not be a criticism which condemns the music. There are great traditions of music making in which the composition is a vehicle for the virtuosity of the performer. If Tawadros is considered from this perspective alone, then he ranks well, perhaps even above average.

I would like to be able to comment on the modal complexities of this music, which is something one expects from music for the oud. But here, too, is not a wealth of subtle shadings.

Iqa’ At Req’, for solo percussion, is the highlight of the disc. Just when you think that James Tawadros is drawing as much from his Req’ (a kind of frame drum) as possible he reveals new possibilities. This is real virtuosity!

My criticisms here are at odds with many other people. Joseph Tawadros is more in demand as a soloist than just about any other in Australia at the moment. He has a diary which would make some of the country’s best performers envious. Perhaps audiences hear something which I don’t. 

It is as easy to heap acclaim upon these performer for their cultural differences as it is to make critical comparisons with the musicians of different traditions with whom they perform; neither is fair, but it is something to be considered. Reviewers are quick to say how remarkable it is that this music comes from performers in their early 20s. It will be interesting to hear Joseph Tawadros in ten year’s time.

© Michael Hooper