Commissioned by the Second Instrumental Unit for David Fulmer and Eliot Gattegno
MOHAMMED F AIROUZ Mohammed Fairouz FOUR CRITICAL MODELS Four Critical Models FOUR forCRITICAL MODELS Alto Saxophone and Violin for Alto Saxophone and Violin
for Alto Saxophone and Violin for Alto Saxophone and Violin
I. Catchword: A Modernists 'Dilemma' II. Intervention Une Musique Informelle III. Catchword: An Oriental(ist) Model IV. Intervention: A Dialectical Synthesis Commissioned by the Second Instrumental Unit for David Fulmer and Eliot Gattegno.
Commissioned by the Second Instrumental Unit for David Fulmer and Eliot Gattegno.
Notes: * In the second model: 167478329430
indicates an exaggerated vibrato to the extent of producing a slight glissando around the written pitch in the saxophone part indicates a very airy sound with a lot of breath but keeping a distinct sound of the written pitch
* Accidentals throughout the piece:
\ = ¾ flat b = flat 7 = ¼ flat B = ¼ sharp # = sharp a = ¾ sharp
* Score is at concert pitch
Mohammed Fairouz, born in 1985, is one of the most frequently performed, commissioned, and recorded composers working today. Hailed by The New York Times as “an important new artistic voice” and by BBC World News as “one of the most talented composers of his generation,” his large-scale works engage major geopolitical and philosophical themes with persuasive craft and a marked seriousness of purpose. Fairouz’s cosmopolitan outlook reflects his transatlantic upbringing and extensive travels. His catalog encompasses virtually every genre, including opera, symphonies, vocal and choral settings, chamber and solo works. Fairouz’s major works include his third symphony, Poems and Prayers; his fourth symphony, In the Shadow of No Towers for symphonic wind ensemble; the opera Sumeida’s Song; and the oratorio Zabur. Photo: Samantha West
Fairouz became the youngest composer on the Deutsche Grammophon label to have an album dedicated to his works with the 2015 release of Follow, Poet. The album includes two works that exalt the transformative power of language: his elegiac song cycle Audenesque and the ballet Sadat. Among the eminent singers that have performed his vocal music are Kate Lindsey, Sasha Cooke, Isabel Leonard, Nathan Gunn and Anthony Roth Costanzo. Performances of his instrumental music include the cellist Maya Beiser, the Del Sol String Quartet, Imani Winds, violinists Rachel Barton Pine and Chloë Hanslip, flutist Claire Chase and clarinetist David Krakauer, The Knights Chamber Orchestra, International Contemporary Ensemble, Ensemble LPR and the Metropolis Ensemble. Commissions have come from the Detroit and Alabama Symphony Orchestras, the Indianapolis Symphonic Choir and Indianapolis Symphony, Beth Morrison Projects, Dutch National Opera, Pittsburgh Opera, and the Metropolitan Museum of Art. His music has been performed at major venues around the country including Carnegie Hall, Lincoln Center, Boston’s Symphony Hall and The Kennedy Center, and at venues in the Middle East, Europe, and Australia. Recordings are available on the Deutsche Grammophon, Naxos, Bridge, Sono Luminus, Albany, GM/Living Archive, and GPR labels. Fairouz has been seen and heard on the BBC and on NPR’s The World; he has been profiled by the Wall Street Journal, Agence France Presse, Los Angeles Times, Symphony, Strings, and New Music Box; and is regularly featured on New York’s WQXR and SiriusXM Satellite Radio. His principal teachers in composition have included György Ligeti, Gunther Schuller, and Richard Danielpour, with studies at the Curtis Institute and New England Conservatory. Fairouz has lectured and led residencies across the country at the Festival of New American Music in Sacramento and at Columbia, Brown, New York University and University of California at Los Angeles. He has served on the faculty at Northeastern University in Boston.
Commissioned by the Second Instrumental Unit for David Fulmer and Eliot Gattegno
PROGRAM NOTE The Four Critical Models are comprised of two catchwords and two interventions. The controversial catchwords are mediated by the interventions so that the structure Mohammed Fairouz of the four-movement piece is: catchword/intervention/catchword/intervention. Each of the four models take, as their point of departure, a thought or musing that is open to question. The four quotes are placed above each model in the score.
FOUR MODELS FourCRITICAL Critical Models FOUR forCRITICAL MODELS Alto Saxophone and Violin —Mohammed Fairouz (2009)
for Alto Saxophone and Violin
CONTENTS
for Alto Saxophone and Violin
I. Catchword: A ................................................................ Modernists 'Dilemma' I. Catchword: A Modernist’s ‘Dilemma’ 3
II. Intervention Une Musique Informelle III. Catchword: An Oriental(ist) Model III. Catchword: An Oriental(ist) Model .................................................................. 16 IV. Intervention: A Dialectical Synthesis IV. Intervention: A Dialectical Synthesis ............................................................... 21 Commissioned by the Second Instrumental Unit for David Fulmer and Eliot Gattegno.
II. Intervention: Une Musique Informelle .............................................................. 14
Commissioned by the Instrumental Unit Duration: ca.Second 12 min. for David Fulmer and Eliot Gattegno.
PERFORMANCE NOTES
Notes: * In the second model: 167478329430
indicates an exaggerated vibrato to the extent of producing a slight glissando around the written pitch in the saxophone part indicates a very airy sound with a lot of breath but keeping a distinct sound of the written pitch
* Accidentals throughout the piece:
\ = ¾ flat b = flat 7 = ¼ flat B = ¼ sharp # = sharp a = ¾ sharp
* Score is at concert pitch
Commissioned by the Second Instrumental Unit for David Fulmer and Eliot Gattegno
Four Critical Models Score
M. Fairouz (2009)
"I think you can understand why those of us who dare to attempt to make music as much as it can be rather than as little as one can get away with- music's being under the current egalitarian dispensation- and who've entered the university as our last hope, our only hope, and ergo our best hope, hope only that we're not about to be abandoned." - Milton B. Babbitt, The Unlikely Survival of Serious Music
I. Catchword: A Modernist's 'Dilemma'
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"The problem, however, is not to restore the traditional categories, but to develop equivalents to suit the new materials, so that it will become possible to perform in a transparent manner the tasks which were formerly carried out in an irrational and ultimately inadequate way... The materials will emerge from every successful work they enter as if newly born. The secret of composition is the energy which moulds the material in a process of ever-greater appropriateness.” - Theodore . W. Adorno, Vers une Musique Informelle
II. Intervention: Une Musique Informelle for John Heiss
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Four Critical Models "The European is a close reasoner; his statements of fact are devoid of any ambiguity; he is a natural logician, albeit he may not have studied logic; he is by nature sceptical and requires proof before he can accept the truth of any proposition; his trained intelligence works like a piece of mechanism. The mind of the Oriental, on the other hand, like his picturesque streets, is eminently wanting in symmetry. His reasoning is of the most slipshod description. Although the ancient Arabs acquired in a somewhat higher degree the science of dialectics, their descendants are singularly deficient in the logical faculty. They are often incapable of drawing the most obvious conclusions from any simple premises of which they may admit the truth. Endeavor to elicit a plain statement of facts from any ordinary Egyptian. His explanation will generally be lengthy, and wanting in lucidity. He will probably contradict himself half-a-dozen times before he has finished his story. He will often break down under the mildest process of cross-examination." - Evelyn Baring, Lord Cromer, Modern Egypt
III. Catchword: An Oriental(ist) Model
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Modernȱthoughtȱandȱexperienceȱhaveȱtaughtȱusȱtoȱbeȱsensitiveȱtoȱwhatȱisȱinvolvedȱinȱrepresentation,ȱinȱstudyingȱtheȱ Other,ȱinȱracialȱthinking,ȱinȱunthinkingȱandȱuncriticalȱacceptanceȱofȱauthorityȱandȱauthoritativeȱideas,ȱinȱtheȱsocioȬ Ȭpoliticalȱroleȱofȱintellectuals,ȱinȱtheȱgreatȱvalueȱofȱskepticalȱcriticalȱconsciousness.ȱPerhapsȱifȱweȱrememberȱthatȱtheȱ studyȱofȱhumanȱexperienceȱusuallyȱhasȱanȱethical,ȱtoȱsayȱnothingȱofȱaȱpolitical,ȱconsequenceȱinȱeitherȱtheȱbestȱorȱ worstȱsense,ȱweȱwillȱnotȱbeȱindifferentȱtoȱwhatȱweȱdoȱasȱscholars.ȱAndȱwhatȱbetterȱnormȱforȱtheȱscholarȱthanȱhumanȱ freedomȱandȱknowledge?ȱPerhapsȱtooȱweȱshouldȱrememberȱthatȱtheȱstudyȱofȱmanȱinȱsocietyȱisȱbasedȱonȱconcreteȱhumanȱ historyȱandȱexperience,ȱnotȱonȱdonishȱabstractions,ȱorȱonȱobscureȱlawsȱorȱarbitraryȱsystems.ȱTheȱproblemȱthenȱisȱtoȱmakeȱ theȱstudyȱfitȱandȱinȱsomeȱwaysȱbeȱshapedȱbyȱexperience,ȱwhichȱwouldȱbeȱilluminatedȱandȱperhapsȱchangedȱ byȱtheȱstudy.ȱAtȱallȱcosts,ȱtheȱgoalȱofȱOrientalizingȱtheȱOrientȱagainȱandȱagainȱisȱtoȱbeȱavoided,ȱwithȱconsequencesȱ thatȱcannotȱhelpȱbutȱrefineȱknowledgeȱandȱreduceȱtheȱscholarȇsȱconceit.ȱWithoutȱtheȱȈOrientȈȱthereȱwouldȱbeȱscholars,ȱ critics,ȱintellectuals,ȱhumanȱbeings,ȱforȱwhomȱtheȱracial,ȱethnic,ȱandȱnationalȱdistinctionsȱwereȱlessȱimportantȱthanȱ theȱcommonȱenterpriseȱofȱpromotingȱhumanȱcommunity.Ȉȱ ȬȱEdwardȱWȱSaid,ȱOrientalismȱNow
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