Latest news with #KhaledSaleh
Al-Ahram Weekly
20-07-2025
- Entertainment
- Al-Ahram Weekly
Isis Children String Orchestra calls on young amateur players to join ensemble - Music - Arts & Culture
Isis Children String Orchestra for Amateurs announced that it was seeking out new young musical talents to join the ensemble in the upcoming season. The Isis Children's String Orchestra is seeking children aged 6 to 16 years old, specifically violin and cello players. Interested young musicians are required to provide their name, age, and details about previous musical experiences, as well as a video of themselves performing a piece of music supplied by the Isis String Orchestra via its Facebook page. The deadline for receiving videos is Friday, 29 August 2025 or when enough musicians have applied. Please check the Isis String Orchestra's Facebook page for more details. The programme will focus on training in various playing techniques, reading sheet music, and learning the style of ensemble performance in a classical Western orchestra setting. The accepted players will then participate in the orchestra's new season, which includes extensive rehearsals every Friday at Cultograph (Dokki, Cairo), followed by a concert in December 2025. Isis String Orchestra Isis String Orchestra was formed in 2020 by violinist and educator Khaled Saleh, following his prior project Osiris String Orchestra (2016-2018). Members of the orchestra, the only ensemble for amateurs in Egypt, come from different backgrounds and cities. For several seasons, the Isis String Orchestra has included musicians of all ages performing together. However, in 2024, Saleh decided to create an ensemble for young talents, aged 6 to 16, by establishing the Isis Children's String Orchestra parallel to the Isis String Orchestra. In a recent interview, Saleh explained that "When placed among the older musicians, children were not getting sufficient attention suitable to their age. Children require a different approach to the fundamentals of music – only then can they progress at a healthy pace." The young orchestra has already made its stage debut, performing in half of a concert that featured a varied programme – from simple pieces for younger musicians to more challenging works suited to more experienced players. Follow us on: Facebook Instagram Whatsapp Short link:
Al-Ahram Weekly
13-07-2025
- Entertainment
- Al-Ahram Weekly
Khaled Saleh: A music of possibilities - Culture - Al-Ahram Weekly
Over the past two decades, the name Khaled Saleh has repeatedly appeared in various publications—in recent years often in connection with the Isis String Orchestra for Amateurs. But the portfolio of this violinist, educator and conductor is filled with all kinds of gems. Saleh's musical journey includes his education at the Cairo Conservatory and the Indiana University Jacobs School of Music, as well as founding the Awtar Quartet and the Osiris String Orchestra for Amateurs (2016–2018). Since 2020, he has continued to work with amateur musicians through Isis String Orchestra for Amateurs—a highlight of his recent educational and musical career. Saleh's name is also part of the legacy of the Cairo Symphony Orchestra where he spent several years (2004-2009) and appeared in a number of solo performances. His teaching portfolio includes Al Nour Wal Amal Orchestra, an ensemble consisting of visually impaired woman musicians, for over a decade (2011-2021); he also teaches at the American University in Cairo and at the Cairo Conservatory as an assistant professor. Through these and many other endeavors, Saleh has made unceasing contributions to Egypt's musical landscape. He has dedicated much of his life not only to performing classical music – his principal interest – but also to nurturing new generations of aspiring musicians and fostering meaningful engagement with diverse audiences beyond traditional concert halls. Isis String Orchestra for Amateurs Today, the Isis String Orchestra for Amateurs is the centerpiece of Saleh's activities. The orchestra has become one of the most authentic reflections of his multifaceted experience – bringing together his work as a performer, educator, and musical visionary. 'I had to take a break from the activities of the Orchestra; right now, I'm preoccupied with exams at the Cairo Conservatory and writing my research to become an associate professor,' he reveals while awaiting rehearsal for a concert he will be leading the following day. Even when preoccupied with smaller musical projects, the demands of the Conservatory and research, the orchestra is always on his mind. 'The members of the orchestra are amateurs; they come from all walks of life, and different cities, from areas that I would never have imagined had talents interested in classical music. After all, though we present programmes that fuse other genres, Western classical music and its arrangements remain dominant in the ensemble. My goal is for the orchestra to reach a near-professional level – not just in terms of performance, but also in the audition process, rehearsals, and the entire learning journey,' he explains. For several seasons, the Isis String Orchestra performed with musicians of all ages in one concert. In 2024, Saleh decided to set up an ensemble focused on the youngest players (6-16 years old) through creating a parallel Children's String Orchestra. 'When placed among the older musicians, children were not getting sufficient attention suitable to their age. Children require a different approach to the fundamentals of music – only then can they progress at a healthy pace,' he explains, adding that the young ensemble is also a source of joy for the young musicians, and a special delight to their families. The young orchestra has already made its stage debut, performing in half of a concert that featured a varied programme – from simple pieces for younger musicians to more challenging works suited to more experienced players. In many ways, Saleh's vision resonates with the spirit of El Sistema, the revolutionary Venezuelan programme that uses music education to empower children. However, while El Sistema was designed specifically to support underprivileged children through free orchestral training, Saleh's approach with the Isis String Orchestra reflects a broader vision. Rooted in the belief that music is a right, not a privilege, his work welcomes musicians from all walks of life, regardless of social or economic background or level of training. Like El Sistema founder José Antonio Abreu (1939-2018), Saleh sees music as a transformative force that fosters human growth, purpose and excellence. Both models ensure commitment to accessibility and education, and use the power of music to build confidence, discipline, and a sense of community. 'I set the programme, work on arrangements, work on the individual development of each player, lead the rehearsals… Sometimes the process feels overwhelming, and as time constraints build approaching the concert, I start thinking about taking a long break – or even giving up altogether. Then we have a concert and the next day I am already planning for the next season. The orchestra members always inspire me to keep moving forward,' he shares. Though Saleh performs most tasks singlehandedly, he is quick to credit his wife, Hagar Nawar, who 'was the main reason behind the launch of the Isis Orchestra. After Osiris, I was a bit discouraged. It was Hagar who boosted my confidence – as she always does – and in the beginning, she helped with many organisational tasks in Isis. Remember, 2020 was the year of Covid19. Yet we made it! It would have been much more difficult without her.' In both his personal and artistic life, Saleh speaks with love of Hagar's unwavering support and influence. The very existence of the Isis String Orchestra lies at the intersection of Saleh's many passions. A crowning achievement, it reflects both his creative and personal journeys – embracing a deep love for classical music and for people, a drive to share music with the world, and a steadfast commitment to education. His boundless patience, perfectionism, hard work, and unconditional dedication are what truly sustains the Isis Orchestra. Awtar Quartet. (Photo: Zafar Azimov) Shaping the musician Yet Saleh's approach to music has been nurtured through the years, starting with his violinist parents, Egyptian father Samir Saleh and Russian mother Tatiana Saleh. 'My father met my mother during his PhD studies at the Moscow Conservatory. Naturally, I started playing the violin as a small child, just like my younger brother Karim. My dad was our first teacher; he was quite strict. I entered the Cairo Conservatory after secondary school, studying under Marlis Younishkan.' In his early twenties, Saleh joined the Cairo Symphony Orchestra in 2004, and began working in the Conservatory two years later. 'I didn't know life beyond music. Though I grew and learned so much in those years, there were moments when I questioned my path... Perhaps I hadn't yet realised the endless possibilities that music truly holds.' Then came the day he noticed an announcement of the Fulbright Egyptian Student Program – Master's Degree, posted on one of the Conservatory's walls. 'I had ten days to apply. It seemed completely crazy, but I thought, 'There's nothing to lose'.' He was awarded the grant to pursue his masters at the Indiana University's Jacobs School of Music (Bloomington, Indiana, USA), one of the top music institutions in the United States. Between 2009 and 2011, Saleh followed the rigorous standards in theory and performance, describing the experience as a turning point in his musical and educational journey. His professors included Mark Kaplan and Mimi Zweig (who also taught the celebrated American violinist and conductor Joshua Bell in his early years). Zweig guided him through music pedagogy, with Saleh assisting her in working with younger University students. In Bloomington, Saleh also studied under Brenda Brenner in the strings department. She introduced him to the Fairview Violin Project, an initiative that focused on working with young children in public schools. 'Professor Brenner was the first to expose me to working with amateur string musicians, from violin to double bass. I learned how to create programmes, prepare rehearsals, etc,' Saleh reflects on the knowledge that years later became one of the foundation stones of his own orchestra of amateur musicians. 'This exposure to amateur musicians in the USA drew me to this trajectory. I also started pondering its boundless values, and how Egypt lacks amateur orchestras. At the same time, I completely lost interest in returning to the Cairo Symphony.' Khaled Saleh with his mother, Tatiana Saleh, on the left Quartet with a mission But work with amateur musicians needed more time to come to fruition, as Saleh was to go through one more creative stepping stone: the Awtar Quartet, an ensemble he launched in 2012 and which continues to perform until today. Besides Saleh, the quartet also involves other like-minded professional musicians: violinist Yasser Ghoneim, violist Essam Abdel-Hamid and cellist Mohamed Abdel-Fattah. Revolutionary in its own right, Awtar filled a vital gap in Egypt's musical landscape, answering the need for innovative small ensembles that not only performed serious music at prestigious venues but also brought this art to diverse communities. The quartet remained committed to concerts at venues such as the Cairo Opera House, the Russian Cultural Centre and the Bibliotheca Alexandrina, but more importantly, it began reaching out to audiences in cities and villages located far from the capital, often performing in unexpected places where music could ignite connection and joy. While relying mainly on classical music, the ensemble also spanned various other genres including jazz, tango, Latin, Arabic and pop music – many arranged by Saleh for the quartet – captivating audiences of all ages and backgrounds. Photo: Doaa Shahin "At Awtar, we are close friends united by a desire to spread the values of music. We wanted to challenge the perception that classical music is reserved for the elite. Our concerts at Alrabaa,' a cultural hub located in the heart of Fatimid Cairo, 'attracted large audiences. We fostered a relaxed atmosphere, too: no suits or ties, with people freely seated all across the space. At Darb 1718, we launched the Classic on the Roof series, which found a very receptive audience even though the venue was more accustomed to pop and rock concerts." "We brought interactive musical performances fused with storytelling to children in underprivileged neighborhoods like Ard El-Lewa and Establ Antar, and to hospitals such as the Children's Cancer Hospital 57357. We toured different governorates with Mahatat for Contemporary Art, often performing on the streets. We visited orphanages, public schools and underprivileged communities with projects tailored especially for each group,' Saleh enumerates, recalling the surprisingly warm reception the quartet received in every venue. He then recalls a performance with Mahatat on streets that buzzed with tuktuks. 'We couldn't compete with the loud mahraganat music blaring from the tuktuks. But as we started playing, I began to notice how they would turn down their volume as they approached us, glance over, or even stop to listen. Then they'd drive off quietly, without turning the music back up, as if not to disturb those still listening.' Saleh offers countless examples of how classical music can touch anyone – even if just for a moment – and how, over time, it has the power to instill new and beautiful values, not by replacing people's own but by adding different depth to their lives. 'This experience taught me a lot about those communities. Their music speaks of their lives, their realities, which are so different from ours. Many professional musicians tend to criticise those people and their music, bluntly rejecting them. If we want them to approach us, we should approach them, give them the opportunity for exposure to something different, create interaction,' he says, rejecting musical classism. Photo: Doaa Shahin Full circle of music While the Awtar Quartet established itself as Egypt's most compelling community-focused ensemble, Saleh discovered yet another personal calling. 'Our repertoire was ambitious. It was through Awtar that I began creating arrangements for strings, for which demand only multiplied.' This combination of community engagement and skillful arranging laid the foundation for an orchestra with a distinct vision: first, the Osiris String Orchestra (2016-2018), born of collaboration with Osiris for Art Production and Training, and later the bigger project, the Isis String Orchestra for Amateurs, operating independently. 'Of course writing arrangements for a small ensemble of highly professional musicians is very different from composing for an amateur orchestra. With professionals, there is much more freedom – I don't shy away from technically challenging passages. However, arrangements for amateurs, or even children, come with a distinct set of limitations. One of the main challenges is to create a piece that would become a meaningful part of their musical development. This carries a great educational responsibility.' Moving fluidly between classical music and other genres, among audiences in tuxedos arriving in polished cars and shoes, curious young people dreaming of playing the violin, and barefoot children chasing sound through narrow alleys, Saleh stands at the very heart of humanity. What is often viewed as an elitist education, he reclaims as a tool for connection, using it not to exclude but to invite. Regardless of the project at hand, Saleh's journey, rooted in both discipline and imagination, always has the same unwavering purpose: to share classical music, and all the values it carries, with everyone. As he continues to nurture new generations of musicians through the Isis String Orchestra, or invites audiences to Awtar Quartet's concerts, Saleh reminds us that music doesn't belong to any one class or culture. It belongs to those who listen, who feel, and who learn. And in that shared space between skill and sincerity, he creates not just performances but possibility. Photo: Doaa Shahin * A version of this article appears in print in the 10 July, 2025 edition of Al-Ahram Weekly Follow us on: Facebook Instagram Whatsapp Short link:
