ZAKI NASSIF
1916-2004
Born in Mashghara , in the southwest Bekaa region of Lebanon on July 4th 1916, Zaki Nassif was the son of Chaker Nassif, an industrial merchant, and Rashideh Ibrahim, a musically-sensitive mother. She nurtured Zakis musicality in early life with her singing at home, and her words and rhythms affected his consciousness strongly. His musical sensibilities were also influenced by Egyptian Sheikh Salama Hijazi's reciting of the Holy Qur'an, and by his attendance at Syriac and Byzantine (Greek Orthodox) church services. His exposure to traditional mountain dabkeh developed his conviction that these Lebanese folkdances could be a true expression of collective celebration, of joy, and of solidarity, or dalouna.
In 1920, during the early days of the French mandate in Syria and Lebanon, his family moved to the capital Beirut. As the youngest of two girls and three boys, his childhood was happy during the years 1922 - 1933, despite the first family bankruptcy in 1925. During that period, he had his initial exposure to regional instruments, including the plucked-string oud and the mejwez flute. In 1933, a serious foot condition left him with a life-long handicap. It forced him to leave his high school studies at the French Lay Mission (presently the Lyce Franais) at an early age.
Zaki Nassifs study of music began at the Institute of Music at the American University of Beirut in 1936. His instructors were made up largely of members of the Kouguell family: Arkadie and his wife taught him voice and piano, and Arkadies brother Rudolph taught 'cello. The noted composer Toufic El Bacha was also a close friend and classmate of Zaki Nassif during these days of study at AUB. In spite of some interruptions caused by the family business, he remained at AUB until 1941. As were many other students at AUB, he was affected by prevailing social and political ideas. These ideas would deeply influence his patriotic and social beliefs throughout his life.
A second family bankruptcy in 1949 had a strong effect on the composer, and following it, he dedicated himself to the music profession. In doing so, he contributed significantly to the so-called "Lebanese Renaissance." Through his mentor Khalil Maknieh, uncle of Toufic El Bacha, he met composers the Rahbani Brothers and their producer Sabri El Charif in the early 1950s. This was the beginning of a golden age for Lebanese-produced music in general and Lebanese folk-dance-influenced works in particular. There were five main exponents of this music: Zaki Nassif, Toufic El Bacha, Philemon Wehbeh, Assi (husband of the famous singer Fairouz) and Mansour Rahbani. Their focal points were first Radio Orient and Radio Liban in Beirut, then the Baalbeck festival in 1957, in collaboration with Marwan and Wadiha Jarrar. These collaborations also played a significant role in the development of regional dance, in the form of formalized stage choreography for the dabkeh. In the early 1960s, performances were given at the Anwar festivals, but this time with only Zaki Nassif and Toufic El Bacha participating. Wadi El Safi, Nasri Chamseddine and Sabah were the principle interpreters of their songs during this time.
After 1965, Zaki Nassif worked alone, composing many songs for famous singers, including Fairouz, Sabah, Wadi El Safi, Nasri Chamseddine and Majida El Roumeh. One of his most important and influential songs of the late 1980s was Raje'h Yit'Ammar Loubnan, for which he wrote both words and music. In Lebanon, it became an extremely popular song, rivaling even the national anthem. This afforded him nation-wide recognition, and generous and significant royalties from the Lebanese Broadcasting Corporation which would support him for the remaining years of his life Zaki Nassif died on March 11, 2004, leaving a rich musical heritage consisting of hundreds of songs and other compositions. He may be considered the founder of a new Lebanese/Arabic school of composition, unique in its expressive combination of words, music, instruments, rhythms and dance.
Arabic Version (pdf file)