Concert review: Galilee Quartet

‘I must admit … I am stressed!’ First violinist and composer Mostafa Saad began the Galilee Quartet’s debut at Milton Court Concert Hall with cheerful authenticity. Four siblings from Maghar in Galilee, Palestine, brought together influences from their homeland, Arabic music and Western classical style before a sold-out audience.

The concert opened with Webern’s Langsamer Satz. Musical fellowship within the quartet is undeniable, but the work exposed some weaknesses, particularly intonation issues in the ensemble’s centre.

The remainder of the first half featured quartets by Mostafa and second violinist Gandhi Saad. Most affecting was Tour in Galilee by Mostafa, written for violist Omar after his release from prison following his refusal to serve in the Israeli army.

Mostafa’s music often begins in a familiar Romantic idiom, recalling Borodin or Dvořák, before Arabic influences emerge. Some ideas feel underdeveloped, but the overall atmosphere is compelling.

Gandhi’s Zokhrufaa’ was occasionally unclear, yet created an impressive soundscape, including a drone section underscored by his resonant vocals.

The second half let Arabic music flourish in a sequence of connected works. Mostafa swapped violin for oud while Omar took on percussion duties. Syrian singer Asmahan’s Ya Habibi Ta’ala was a highlight, with cellist Tibah displaying vocal virtuosity through intricate melisma. Mostafa’s Airport closed the evening powerfully, its vision of freedom beyond borders giving the programme a sense of wholeness.

Most heartwarming was the quartet’s clear, realistic sibling bond; despite imperfections, they possess many ingredients for future greatness.

HATTIE BUTTERWORTH