If Orpheus took a harp with him when he visited Hades, then,  having lost Eurydice a second time, he probably played Witold  Szalonek’s Three Sketches. Jokes aside, what continues to fascinate  us in modern virtuosity is perhaps precisely the promise of  transgression. It resounds beautifully in Saad Haddad’s Tasalsul  cycle, which dialogues, not only through its title, with Luciano  Berio’s famous Sequenzas. In Tasalsul II, ancient maqams visit  worlds the Prophet never dreamed of.