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In the heart of the Mseitbeh neighborhood, hidden in the basement of a small alley, lies a treasure of Lebanese craftsmanship. Away from the daily hustle and bustle, the sound of woodworking echoes like a melody in the making. Albert Mansour, a former mechanic turned luthier, carefully inspects every step of the oud-making process.
His “babies,” as he calls them, have been crafted by his assistant, Jamal, ever since he suffered a stroke in 2019. Seated on his leather couch, he has hosted some of the most renowned Arab musicians, including his friend Marcel Khalifeh and Egyptian oud player Mustafa Said.
Considered the ‘sultan of instruments’, the oud is an iconic instrument of Arab music. Likely originating from the Persian barbat, it spread throughout the Umayyad Caliphate before making its way to Europe, giving rise to the Western lute.
The oud has evolved in shape over the centuries and across different regions, particularly in the number of strings. “The five-string oud is very ancient,” explains Albert Mansour, “then came the six- and seven-string ouds.” The additional strings alter the way the instrument is played, he explains while showing his various creations.
There are Egyptian, Syrian, Iraqi, and Lebanese ouds, primarily distinguished by the length of the neck, which changes the playing technique for musicians. But for Albert Mansour, this difference is of little importance. “An oud is an oud,” he insists, adding that “the oud is mostly what the craftsman makes of it.”
He is joined by his friend Oussama Abdelfattah. A graduate of the music conservatory and Antonine University, Oussama has become a professional musician and a devoted fan of “Uncle” Albert’s work. He never misses a chance to test the new ouds in the workshop.
Yet nothing originally destined him to dedicate himself to this instrument. “It was by chance,” says Oussama Abdelfattah. “During the summer holidays when I was thirteen, my father asked me what I wanted to do, and I replied that I didn’t know.” “He suggested I learn the oud, and I agreed, and within a few weeks, I became attached to the instrument,” he adds.
Specializing in traditional music, Oussama has performed in numerous Arab music concerts but has also opened up to other musical influences. “In France, I toured with a folk group,” he explains. “We played traditional dances, albeit with the oud.” This cultural exchange lasted four years across the country.
Deeply tied to Arab music, the oud has opened itself up to foreign influences, asserts André Msane, composer and coordinator of the oud department at the National Higher Conservatory of Music. “Over the past 20 or 30 years, the oud has been experimented with alongside other instruments such as the guitar, drums, or piano,” he explains. “Many ensembles now include the oud in their formations, and some even use it in Western music,” he adds.
Though often compared to its Western cousin, the oud differs from the guitar in many aspects. “In a guitar, individual strings or notes are separated,” highlights André Msane. “But with the oud, each note is produced by two strings played simultaneously.” Differences also exist in the way the instruments are played. “Unlike the guitar, the oud’s neck is not divided by frets. On a guitar, the notes are separated by metal bars, whereas the oud’s neck is a flat surface. You play the notes by positioning your fingers precisely where you want to play,” Msane explains. “The oud is a melodic instrument that allows for the exploration of varied melodies,” he adds.
A very ancient stringed instrument, the oud has long been associated with men. The professional oud scene remains largely male-dominated. However, in recent years, many women have taken up playing the oud, particularly at the conservatory.
The passion for the oud remains strong, both in Arab countries and abroad. This is evidenced by UNESCO’s decision in 2022 to inscribe “the craftsmanship and practice of the oud” on the list of Intangible Cultural Heritage of Humanity.