The extraordinary life of Emahoy Tsegué-Maryam Guèbrou, the 93-year-old Ethiopian composer-pianist-nun
By Kate Molleson
I’m no great singer, but Emahoy Tsegué-Maryam Guèbrou only really trusted me after I had sung to her. “Something from your country,” she instructed. So I found myself in the tiny bedroom of this 93-year-old Ethiopian composer-pianist-nun, croaking my way through the verses of a Robert Burns song.
Given she does not agree to most interviews, I felt I should do what I was told. The room, at the Ethiopian Orthodox church in Jerusalem, was cramped and sweltering. In it was a small bed, an upright piano draped in Ethiopian flags, stacks of reel-to-reel and cassette tapes, and a jumble of handwritten manuscripts. On the walls were portraits ofEmperor Haile Selassie – Emahoy knew him in the 1930s – and her own paintings of religious icons. The door was propped open and, from the courtyard, came smells of food and the sound of monks chanting.
Emahoy is fluent in seven languages, but when I finished the Burns song (Ae Fond Kiss) she admitted the old Scots lyrics had been tricky to decipher. I gave her a potted translation – lovers meet, lovers part, lovers feel brokenhearted – and she gripped my arm and fixed me with one of her deep stares. “We can’t always choose what life brings,” she said. “But we can choose how to respond.”
If anyone is qualified to dish out such wisdom, it’s a woman whose choices were determined by religious self-exile, maverick gender struggles and Ethiopia’s dramatic 20th-century political history – and who became a singular artist in the process.
Most people familiar with Emahoy’s music come across it via her solo piano album released in 2006, as part of the Éthiopiquescollection. That series put her poised, bluesy, freewheeling waltzes together with the Ethio-jazz that emerged out of Addis Ababa in the 1960s – and although she smiles fondly at the mention of fellow Éthiopiques musicians such as Mulatu Astatke and Alemayehu Eshete, she insists she’s not a jazz artist. Her training is purely western classical; her inspiration comes from the ancient modal chants of the Orthodox church. It’s a unique fusion and it sounds like nothing else. Read more from the Guardian