Mohammed FAIROUZ (b. 1985)
Tahrir (2013)* [10.16]
Symphony No 3 Poems and Prayers (2013) + [60.16]
David Krakauer* (clarinet), Sasha Cooke+ (mezzo), James Callon+ (tenor), David Kravitz+ (baritone), Nicole Sauder+ (violin)
UCLA Chorale+, UCLA University Chorus+
UCLA Philharmonia/Neal Stulberg
rec. Royce Hall, UCLA, Los Angeles, 4-8 December 2013
SONO LUMINUS DSL 92177 [CD + Blu-Ray Audio: 70.32]
It is bitterly ironic that this album containing Mohammed Fairouz’s
heartfelt plea for peace in the age-long conflict between Palestinians
and Israelis in the Middle East should appear at a time when that same
struggle is erupting in a new and bitter war of attrition. Perhaps it
is also timely. The symphony Poems and Prayers follows in a long
line of ‘political music’ which goes back for centuries. It
is not surprising to learn from the extensive booklet notes by Tamara
Levitz that the first performance on 8 December 2013 provoked a deeply
emotional response from the audience. This recording derives not only
from that performance but also from previous rehearsals over a period
of four days. Both works featured were premièred on the same occasion.
The disc begins with Tahrir for clarinet and orchestra, a piece
written to commemorate the rising of the people in Cairo during the period
of the Arab Spring in 2011. The title refers to the square where the populace
assembled over a period of weeks, progressively wearing down the resistance
of the Mubarak regime and forcing their resignation. Although the results
of that revolution have not been entirely happy, there is a definite sense
of rejoicing in this music. The clarinet indulges in a whole series of
klezmer-like gestures superimposed over a variety of marching
rhythms. Although some of these rhythmic accompaniments remain persistently
unchanged for rather too long — in the best minimalist style —
they have a relentless pulse which is most exciting. A sudden veering
away into Glass-like arpeggios hardly disturbs this onward progress. The
playing of David Krakauer is everything that could be desired as he squawks
away in his topmost register. This is a piece that one would be delighted
to encounter again.
The main interest in this disc resides in the Symphony. This is in four
movements. The first is a setting of the Jewish Kaddish, ending
with an impassioned prayer for piece. The central two movements are settings
of Palestinian laments, both of them leading into expanded settings of
the same prayer heard at the end of the first movement. The final movement,
by far the longest, illustrates the futile struggle between the Israeli
and Palestinian people before the final return of the prayer. This makes
for a satisfyingly symphonic structure in which the two elements are perfectly
balanced.
The main problem with the music lies, at any rate for this listener, in
its melodic style. Much of the vocal line is structured on the basis of
Jewish and Arabic chants, with their elaborate melismata. Although the
words and excellently readable translations are provided in the booklet
it is not always easy for the hearer to determine exactly where in the
text we have arrived — especially since some passages are repeated.
The melodic lines themselves lack the ideal degree of memorable quality,
so that thematic cross-references are not immediately apparent. Fairouz
makes some use of quotation from other composers: from Chopin’s
Funeral March and at one point – although unacknowledged
– from what sounds like the opening phrase from Mussorgsky’s
Old castle in Pictures at an Exhibition. As so often
in these circumstances those citations —— tend to obtrude
as the most obviously recognisable material here. I don’t want to
make too much of this – much of Fairouz’s music, especially
the developing material of the prayer for peace, is particularly beautiful
and emotionally affecting. However, one misses the overwhelming visceral
charge of a work like Bernstein’s Chichester Psalms or
Bloch’s Sacred Service - to cite two other works which
make similar use of Hebrew chants.
The release may be setting a trend in the way that the recording is provided
complete in two different formats: a standard CD and a Blu-Ray
audio one. I listened to the work on the Blu-Ray option, but comparisons
with the CD version using the same equipment did not reveal any substantial
differences in sound. The recorded acoustic is fine, although sometimes
the string players are slighted by the balance. One can imagine that this
symphony would be even more effective with a larger body of players in
this department. Perhaps Daniel Barenboim might consider it for his East-West
Divan Orchestra, a body devoted to the same cause?
The performances, apart from this slight reservation, are magnificently
assured and one would never suspect that this is a student body of singers
and players. Sasha Cooke and David Kravitz, who have the lion’s
share of the solo work in the symphony, are both committed and manage
their often awkward vocal lines with passion. Even better is James Callon,
who has a small part in the first repeat of the prayer for peace which
he floats beautifully. Neal Stulberg manages all his forces with conviction.
Fairouz’s biography states that he studied with Ligeti, Schuller
and Danielpour – all good models – and one looks forward to
his future development with eager anticipation.
Paul Corfield Godfrey
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