Fairouz - Piano Miniatures, Book 1 No. 1-8

MOHAMMED FAIROUZ PIANO MINIATURES Book 1, Nos. 1-8 for Solo Piano

Straddling Eastern and Western idioms, Mohammed Fairouz, one of the most frequently performed composers of his generation, has emerged as a force on the music scene.

Praised by the New York Times as “warmly sympathetic” and “brilliantly handled,” his music has been received at venues such as Carnegie Hall, Boston’s Symphony Hall, the Kennedy Center and throughout the United States, Europe, the Middle East and Australia. He has received commissions from Musicians for Harmony, Northeastern University, Reach Out Kansas, Inc., the Imani Winds (Legacy Commission), the Cygnus Ensemble, Counter)induction, Alea III (Boston University), Alwan for the Arts and the Second Instrumental Unit among others.

His music has been championed by such prominent artists as the Borromeo and Lydian String Quartets, the Imani Winds, members of the Boston Symphony Orchestra, violinists Rachel Barton Pine and James Buswell, and clarinetist David Krakauer, as well as conductors Gunther Schuller and Yoon Jae Lee. Among the eminent singers that have promoted his wealth of vocal music are Kate Lindsey, D’Anna Fortunato, Sasha Cooke, David Kravitz and Randall Scarlata. Fairouz has been recognized as an “expert in vocal writing” by The New Yorker and as a “post-millennial Schubert” by Gramophone Magazine.

He has been invited to lecture and lead residencies across the country at institutions such as Columbia University, Brown University, Chestnut Hill College, Grinnell College, Northeastern University (Boston), Humbolt State University and the University of Western Michigan.

Fairouz’s teachers in composition included György Ligeti in Vienna as well as John Heiss, Gunther Schuller, Halim El-Dabh and Richard Danielpour, with studies at the Curtis Institute and New England Conservatory. Fairouz has served on the faculty at Northeastern University in Boston and at several summer festivals, including SongFest.

The awards and honors that he has received include the prestigious Tourjee Alumni Award from the New England Conservatory, the NEC Honors award and awards from the Merit Funds of the New England and Boston Conservatories. In 2008 he was honored with a national citation from the Embassy of the U.A.E in Washington D.C. for outstanding achievement in artistry and scholarship.

Recordings of his music are available on the Sono Luminus, Albany and GM/Living Archive labels.

The music of Mohammed Fairouz is published by Peermusic Classical. He lives in New York City.

Table of Contents Nocturnal Snapshot..............................................................p. 4 Nocturnal Snapshot . . . . . 6 .

Piano Miniature #2...............................................................p.

Piano Miniature #2 . . . . . 8 .

Piano Miniature #3...............................................................p.

Piano Miniature #3 . . . . . .

Piano Miniature #4...............................................................p. 10 Piano Miniature #4 . . . . . .

Piano Miniature #5...............................................................p.

Piano Miniature #5 . . . . . 12.

Addio......................................................................................p.

Addio . . . . . . . . . .14.

Adagio....................................................................................p.

Adagio . . . . . . . . . .16.

Bargemusic............................................................................p.

Bargemusic . . . . . . . . 18.

. . . . . . . .

. . . . . . . .

. . . . . . . .

. . . . . . . .

4 6 8 10 12 14 16 18

The first Piano Miniature “Nocturnal Snapshot" was written in the middle of the night. When I realized that it was 2am and that I was still contemplating what to write, I pulled out the Hanon exercises to put my fingers to work. Hanon provided me with an unlikely source of inspiration (!) and crept into this first miniature as an accompaniment to the main tune.

Piano Miniature No. 2 was the result of a challenge to write a piece without dissonance. It's a slow dance of arpeggios.

The first Piano Miniature “Nocturnal Snapshot" was written in the middle of the night. When I realized that Piano Miniature No. 3 incorporates a snippet of Bach's “Art of the Fugue”. it was 2am and that I was still contemplating what to write, I pulled out the Hanon exercises to put my fingers to work. Hanon provided me with anMiniature unlikely source of inspiration (!) and where crept No. into3 this first Piano No. 4 is a musical joke that continues left off. miniature as an accompaniment to the main tune.

Piano Miniature No. 5 is a contrapuntal invention that uses a twelve-tone theme. It makes a musical joke out of two traditionally "academic" concepts.

Piano Miniature No. 2 was the result of a challenge to write a piece without dissonance. It's a slow dance of arpeggios.

Piano Miniature No. 6 "Addio" is a farewell on the departure of a beloved. He will remain nameless.

Piano Miniature No. 7“Art was written I was serving as a faculty composer at SongFest in Malibu, Piano Miniature No. 3 incorporates a snippet of Bach's of the while Fugue”.

California. It is a tender little song for solo piano that I wrote quickly while trying to capture the peace and warmth of the Pacific sunset.

Piano Miniature No. 4 is a musical joke that continues where No. 3 left off.

Bargemusic, our irreplaceable floating venue in New York, is the subject of Piano Miniature No. 8. The rock the barge in a flowing pattern while the Manhattan sky explodes in the background. I wrote the Piano Miniature No. 5 is a contrapuntalwaves invention that uses a twelve-tone theme. It makes a musical joke piece on travels in L.A. (and with the "clean" L.A. skyline in my eye). I found myself adding some "grit" to out of two traditionally "academic" concepts. the lines when I returned! Piano Miniature No. 8 is dedicated to Beth Levin, who premiered the work along with No. 7 at Bargemusic.

Piano Miniature No. 6 "Addio" is a farewell on the departure of a beloved. He will remain nameless.

Piano Miniature No. 7 was written while I was serving as a faculty composer at SongFest in Malibu, California. It is a tender little song for solo piano that I wrote quickly while trying to capture the peace and warmth of the Pacific sunset.

Bargemusic, our irreplaceable floating venue in New York, is the subject of Piano Miniature No. 8. The waves rock the barge in a flowing pattern while the Manhattan sky explodes in the background. I wrote the piece on travels in L.A. (and with the "clean" L.A. skyline in my eye). I found myself adding some "grit" to the lines when I returned! Piano Miniature No. 8 is dedicated to Beth Levin, who premiered the work along with No. 7 at Bargemusic.

Piano Miniatures Nos. 1-8 Mohammed Fairouz (2005-11)

1. Nocturnal Snapshot

bœ

Quasi andante con rubato

& 68 b œJ P & 68 ‰

œ

œ

œœœœ œ

>œ b >œ >œ ≈ &

6

œ œ œ

bœ

œ

œ

œ

œ b œ >œ

# >œ

œ œ

cresc.

bœ œ œ œ œ

œ b œ >œ

>œ # &

3

&

j œ

œ

œ bœ

œ bœ

œ

œ œ #œ. œ

œ ≈ ‰

œ

F

œ

œ ‰

ƒ

œ œ œ œ œ œ N œ b œ œ œ œ œ

œ œ J

œœœœœ œ #œ œ

œ J

œ

‰

‰

‰ f

>œ b >œ >œ

œ

‰

œ œœœ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ

‰

œ #œ œ

œ

‰

œ #œ œ œ œ œ œ #œ œ œ œ œ & œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ

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6

2.

Mohammed Fairouz

Slow Andante (with natural "breathing" rubato)

4 bœ œ #œ. &4 Œ œ bœ œ P Œ ? 44 ˙ œ b ˙ # # # œœœ #œ ˙ Ó #œ q = 75-90

4

&

?

7

&

#œ. #œ #œ œ bœ

?

# # # œœœ

bœ

˙ ˙

?˙

bœ bœ œ bœ bœ œ & > bœ bœ

10

? w w >

˙ ˙ œ bœ

#œ œ œ #œ œ œ #œ nœ œ. œ. >

œ œ J #œ œ

œ bœ œ

bœ.

bœ

œ œ

œ #œ œ œ #œ J & b œœ

bœ

bw bw >

˙

&

œ œ ‰ bœ œ œ bœ œ œ œ

bœ bœ œ bœ bœ œ > bœ bœ

œ #œ œ œ #œ J & b œœ

? #œ #œ

œ œ ‰ bœ œ œ bœ œ bœ œ œ œ œ œ bœ œ

#œ #œ J #œ #œ #œ

bœ.

j #œ #œ #œ

?˙

˙

bœ bœ œ bœ bœ œ > bœ bœ œ œ

b˙. b˙. >

#œ #œ #œ #œ #œ #œ #w #w >

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? #œ

#œ > >

8

3.

Mohammed Fairouz

Allegro {q = ca. 120}

& 44 N œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f bœ œ ? 44 œ bœ œ œ œ bœ œ 3 #œ œ ? & bœ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ ? œ bœ # œ b œ œ bœ #œ œ Nœ 5 œ œ œ œ œ œ œ œ œ œ œ ?

Nœ œ œ œ œ œ œ Nœ P ? œ œ

œ #œ

œ œ.

œ œ

œ

œ

œ œ.

œ œ

œ bœ œ œ bœ œ œ œ œ œ œ œ œ œ œ bœ

œ

œ

œ

œ

œ

œ

œ œ Aœ œ œ bœ œ œ œ œ Nœ œ œ œ œ

œ

œ #œ

œ bœ

nœ

œ œ œ œ œ œ œ œ œ œ œ œ œ

œ #œ

œ œ.

œ œ

œ

œ

œ œ.

&

& Nœ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ ƒ bœ œ ? œ œ œ œ œ œ œ bœ œ œ b œ œ bœ œ

7

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10

for Eric Ewazen

4.

Mohammed Fairouz

Allegro appassionato

2 & 4 bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ ƒ ˘œ œ̆ œ ? 42 œ & b bœ bœ

3 4 bœ œ œ œ œ œ œ œ œ œ œ œ P œ ?

34 b œ œ œ

2 4 bœ œ œ œ œ œ œ œ ƒ 42 b œ b flœ flœ bœ

3 2 & bœ œ œ œ œ œ œ œ 4 bœ œ œ œ œ œ œ œ œ œ œ œ #œ œ 4 œ #œ œ œ œ œ #œ œ œ œ π œ f bœ œ œ ?

3 ?

2 & 4 4 œ œ Nœ œ œ œ œ bœ > >

5

2 & 4 bœ > ƒ ? 42 bœ œ œ

8

13

&

œœ

? Nœ

œ œ. œ.

œ

œ œœœœœ œ >œ > œœœ

œ >

œ

œ œ. œ.

œœ f

œ œ œ œ œ œ œ bœ œ bœ œ œ bœ > > > œ œ

œ bœ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ

œ

œ œ

œ

>œ

œ

œ œ œ

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œ

œ œ

5.

12

Mohammed Fairouz

√ œ œ œ œ œ. œ. b >œ

Take any tempo you like

4 &4 & 44 4

& &

7

&

pp poco a poco cresc. al fine ∑

(√) b œ œ œ œ œ. œ. >œ . (√) œ (√) œ.

>œ

œ. ‰ J

‰

œ̆ b ˘œ œ̆ œ̆

nœ

œ J

œ

# œ. # œ. n œ. œ. b œ. ‰ J ∑

œ œ œ œ œ. œ. b >œ .

œ̆ n ˘œ # ˘œ œ̆

# >˙

œ bœ

& &

œ œ œ œ œ. œ. b >œ .

œ

# >˙

‰

œ n œ # œ œ. œ.

‰

>˙

‰

√ N ˘œ b ˘œ œ̆ œ̆

Ó

œ b œ œ œ. œ. >œ . nœ

#œ

‰

œ œ œ œ. œ.

b œ œ œ œ œ. œ. >œ . bœ œ œ #œ #œ œ œ

(√) b œ. . . b œ œ œ œ œ. œ. b œ. œ. œ. œ œ œ. n œ. b œ œ œ œ # œ. œ. n œ & 10

b œ œ œ œ œ. œ. # >œ .

œ

>˙

œ # œ œ œ. œ. n œ œ œ œ. . œ

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‰

# >˙

n ˘œ b ˘œ œ̆ œ̆

# >˙

œ œ œ œ. œ.

œ œ œ œ. œ. >œ

# >œ

14

6. Addio q = ca. 100 con rubato

4 &4 Ó ˙˙ π gentle ? 44 b œ œ b ˙ bœ

6

& b˙

b˙

11

& ww ? bw

bœ bœ ◊ b˙

b˙

Œ œ bœ œ bw b w-

Ó bœ bœ

p

w

b˙

bœ œ ? œ bœ w w

Ó

ww

Œ œ

bœ

dolce

&b

b˙ ˙-

˙ ˙ ˙

œ

& bœ

b˙ ˙-

ww

œ. bœ J

,

U

bœ

˙

œ bœ Œ œ ˙ ˙ ˙ -̇ bœ bœ

U

˙˙

w

?

˙

b˙

U

œ bœ ˙ œ b œ- b ˙ -

?

bw b w◊

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˙

,

b˙

π cantabile Œ œ bœ œ bw b wb˙

œ bœ œ œ w w

√ b wU̇ , b w

Mohammed Fairouz

bœ bœ

˙˙

œ bœ œ

bœ bœ œ bœ bœ π innocent, coy b w-̇ b ˙

16

for Justin Snyder

7.

Mohammed Fairouz Adagio (freely and tenderly)

& 44

p

4 &4 œ 3

&

#œ œ œ œ œ œ œ œ

9

&

œ œ

œ. #œ #œ œ œ œ # œ œ . # œ Uœ

√ #œ.

π ?œ œœ

# œ # œœ # œœ œ cantabile

œœ œ

& #œ

#œ œ œ œ J & ∏ Nœ ˙ œ œ &

œ œ œ

9

œ œ œ

Πw

˙ nœ

? #œ

œ

#œ

#œ #œ œ œ œ œ œ œ œ œ

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œ œ

œ Nœ

œ

œ

9

#œ œ œ. #œ œ

# œ # œœ œ œœ b œœ œ œ œœ œ◊

9

œœ œ œœœ

9

nœ

œ œ #œ

œ

#œ œ œ œ œ œ

U œ œ œ œ #œ œ œ

rubato molto

& 8

U , . œ # œ œ œœ œ œœœ J

œ

& 5

U œ œ ,

#œ œ

&

bœ

nœ #œ #œ

#œ œ #œ œ œ œ œ œ œ

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œ

œ œ

#œ #œ œ

p cantabile

18

for Beth Levin

8. Bargemusic Mohammed Fairouz

b & b 44

Presto

œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ π ww ww ? b 4 ẇ œ œ ∑ b 4 &b

b

&b

b

5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙ wœ œ ˙ w˙ ˙˙ ? b Ó ˙ Ó b 9

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙ ? b ∑ w ∑ Ó b w∏◊ 13 b ? &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? bb ∑ Œ œ ˙ ∑ ∑ œ- ˙ ∏◊

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