| The Moral Acoustic of Sound: The Human Resonances of Musicians GIA Publications
SKU: GI.G-9759 A Companion to the Musician's Soul. Composed by Jam...(+)
SKU: GI.G-9759
A Companion to the
Musician's Soul.
Composed by James Jordan.
Evoking Sound. Music
Education. 208 pages. GIA
Publications #9759.
Published by GIA
Publications (GI.G-9759).
ISBN
9781622772629. Rehe
arsals should be
structured in a way that
trusts that human beings
are truly the miracle
workers and that if we
work on being human, the
magic of this thing
called “moral
acoustic†will
resonate in a powerful,
honest, and compelling
way. For at the very end
of the day, our goal in
harnessing the energy
contained in a moral
acoustic is to create the
most honest and direct
communicative voice
possible—a voice
that can change lives and
enrich our humanness just
by hearing it, feeling
it, and being touched by
its ‘moral
acoustic.’
—James
Jordan, from Chapter 4
This volume is a
continuation of the
journey James Jordan
began in his now iconic
book The
Musician’s Soul.
In The Moral Acoustic of
Sound, Jordan explores
and defines those factors
that create a
“moral
acousticâ€â€”th
ose human resonances
among and between
musicians. This book
delves into the nature of
authenticity and honesty
in choral sound and how
conductors and teachers,
through these new
understandings, can draw
forth that which is
living within each
ensemble of musicians no
matter their age or
experience. Using the
power of metaphor, this
book attempts to provide
answers to unlock the
magic and mysteries in
music making and human
expression. Specific to
the journey of The Moral
Acoustic of Sound:
Understanding trust
between and among
musicians The
relationship of
intonation and color as a
function of moral
acoustic Humility and its
role in music making
Thatching within an
ensemble Enfleshment as a
vital part of music
making Metaphors that
guide conductors to
deeper listening
Fostering generosity in
music making
Grammy-nominated
conductor and music
psychologist James Jordan
is Professor and Senior
Conductor at Westminster
Choir College in
Princeton, NJ, where he
conducts the acclaimed
Westminster Williamson
Voices and the
Westminster Schola
Cantorum. He is also
Artistic Director and
Conductor of The Same
Stream
(thesamestreamchoir.com).
He heads two of the
leading programs in the
world for mentoring
conductors, serving as
Director of the renowned
Westminster Conducting
Institute and Co-Director
of the Choral Institute
at Oxford, held annually
at St. Stephen’s
House, Oxford, UK. $21.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Being Stardust Orchestre d'harmonie - Intermédiaire Boosey and Hawkes
Score and Parts Concert Band (Score & Parts) - Grade 4 SKU: HL.48024533 C...(+)
Score and Parts Concert
Band (Score & Parts) -
Grade 4 SKU:
HL.48024533 Composed
by Edward Fairlie.
Windependence Master
Level. Concert.
Softcover. Boosey &
Hawkes #M051664085.
Published by Boosey &
Hawkes (HL.48024533).
ISBN 9781540043443.
UPC: 888680905088.
9.0x12.0x0.613
inches. Recognizing
the connection we all
have with the stars in
the universe, Being
Stardust presents a
magical and mystical
experince in sound and
mood. The surreal opening
represents a time before
the Earth came into
being, then with a
star-shattering crack, we
tumble through space to
find ourselves on a newly
created planet with the
promise of wonder and
self-realization as a
human race. Sure to be a
unique concert experience
for players and audiences
alike. $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Being Stardust Orchestre d'harmonie - Intermédiaire Boosey and Hawkes
Concert Band (Score) - Grade 4 SKU: HL.48024534 Windependence Series -...(+)
Concert Band (Score) -
Grade 4 SKU:
HL.48024534
Windependence Series -
Master Level (Grade
4). Composed by
Edward Fairlie.
Windependence Master
Level. Concert.
Softcover. 20 pages.
Boosey & Hawkes
#M051664092. Published by
Boosey & Hawkes
(HL.48024534). UPC:
888680905095.
9.0x12.0x0.067
inches. Recognizing
the connection we all
have with the stars in
the universe,
′Being
Stardust′ presents
a magical and mystical
experince in sound and
mood. The surreal opening
represents a time before
the Earth came into
being, then with a
“star-shatteringâ
crack, we tumble
through space to find
ourselves on a newly
created planet with the
promise of wonder and
self-realization as a
human race. Sure to be a
unique concert experience
for players and audiences
alike. $7.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Book of Urizen - Symphony No. 1 (CD incl.) Orchestre d'harmonie [Conducteur et Parties séparées + CD] - Intermédiaire De Haske Publications
The Book of Urizen is Jacob de Haan his first Symphony for concert band, ...(+)
The Book of Urizen
is Jacob de Haan his
first Symphony for
concert band, solo
soprano, and a male
narrator in which sound
collages of expressions
are used. The piece is
inspired by the
compelling visionary poem
of the samename (which
the poet illustrated
himself) by the
Englishman William Blake
(1757-1827). The
Vision, first
movement and The
Creation, second
movement of The Book
of Urizen are
available by following
editionnumber: DHP
1043551. The Web,
the third movement of
The Book of Urizen
is available by the
following edition number:
DHP 1125252. Download the
audio samples here: track
1, track 2, track
3
In The Book
of Urizen - Jacob de
Haan zijn eerste symfonie
voor harmonieorkest,
zangstem (sopraan) en een
mannelijke spreekstem -
wordt gebruik gemaakt van
geluidscollages. De
compositie is ge
nspireerd op het
gelijknamigegedicht van
William Blake
(1757-1827). The
Vision, het eerste
deel en The
Creation, het tweede
deel van The Book of
Urizen zijn
beschikbaar via volgend
editienummer: DHP
1043551. The Web,
het derdedeel van The
Book of Urizen is
verkrijgbaar via
editienummer: DHP
1125252. Download
audiofragmenten hier:
track 1, track 2, track
3
The Book of
Urizen ist Jacob de
Haan seine erste
Symphonie für
Blasorchester, Gesang
(Sopran) und
(männliche)
Sprechstimme, in welcher
Botschaften durch
Geräuschcollagen
wiedergegeben werden. Als
Inspirationsquelle
dienteder gleichnamige
Gedichtzyklus des
großen englischen
Dichters und Malers
William Blake
(1757-1827). The
Vision, erster Satz
und The Creation,
zweiter Satz von The
Book of Urizen sind
unter der
folgendenEditionsnummer
erhältlich: DHP
1043551. The Web,
der dritte Satz von
The Book of Urizen , ist
unter der folgenden
Editionsnummer
erhältlich: DHP
1125252. Laden Sie hier
die Audiosamples
herunter: track 1, track
2,track 3
En 1794,
l’écrivain,
peintre, graveur,
enlumineur, visionnaire
et philosophe mystique
anglais William Blake
(1757-1827) dénonce
dans The Book of Urizen
(Le Livre
d’Urizen), la loi
de fer du monde moderne.
Dans The Book
ofUrizen - la
première symphonie de
Jacob de Haan pour
Orchestre
d’Harmonie,
Soprano et un récitant
- des collages sonores
sont utilisés. The
Vision, la
première partie et
The Creation, la
deuxième partie de
TheBook of Urizen
sont disponibles sous le
numéro
d'éditionsuivant: DHP
1043551. The Web,
la troisième partie de
The Book of Urizen
est disponible sous le
numéro d'édition
suivant: DHP 1125252.
Télécharger
lesextraits audio ici:
track 1, track 2, track
3
The Book of
Urizen is a work for
concert band, solo
soprano, and a male
narrator in which sound
collages of religious
expressions are used. The
piece is inspired by the
compelling visionary poem
of the same name (which
the poet
illustratedhimself) by
the Englishman William
Blake (1757-1827), who
occupies a unique
position in western
literature and the visual
arts. He was not just a
poet and a writer, but he
was also a graphic
artist, a painter, an
illustrator, a
spiritualist, areligious
visionary, and a mystic
philosopher. For the
performance of this work,
a professional sound
system, including two
microphones and a CD
player, is needed. The
three sound collages are
three separate tracks on
the enclosed CD and can
beplayed easily at the
right moment. The Book
of Urizen bears
resemblance to Genesis
and Exodus, of which the
contents form the basis
of the Christian, Jewish,
and Islamic faith. Blake
adhered to the principle
that all religions are in
fact one,and that deities
reside in human beings.
In The Book of
Urizen this is
represented in “The
Net of Religion,â€
which is spanned over the
earth by Urizen. The
sound collages, compiled
by Jacob de Haan in the
studio, find their origin
inJerusalem, the Holy
City, where the
afore-mentioned faiths
“come
together.†In the
first movement of
this composition, The
Vision, Urizen
prepares his vision of
the world, and he
presents this to the
“Eternals.â€
His vision is
rejected,and Urizen locks
himself up in his own
abstract world. When he
does emerge again, he is
confronted with rage by
the gathered Eternals.
Urizen flees the wrath of
the Eternals, “the
flames of eternal
fury,†and enwombs
himself in his own world.
Whenthe Eternals see
Urizen in his
“stony
sleep,†they wonder
if this is death. The
blacksmith Los is torn by
grief because of the
isolation of Urizen. It
brings him to rouse his
fires, prepare his forge,
and to give
Urizen’s world
concrete form. In
thesecond
movement, The
Creation,
Urizen’s world,
but also man, woman, and
child are created. Los is
horrified with the
appearance of
Urizen’s body. He
mourns and pities Urizen,
and from his blood a
female form comes into
being, with thename
Enitharmon. The Eternals,
fearful of the female
form, decide to erect a
tent to obstruct their
view to eternity.
Enitharmon and Los beget
a son, called Orc. Los
baptizes him as a child
of the “fallen
world.†Orc is fed
at Enitharmon’s
breast,which makes a
girdle of jealousy
restrict Los’
chest. He takes the child
to the top of the
mountain and chains him
down. The cries of Orc
awaken Urizen, who
explores his world
creating instruments of
scientific measurement to
do so. Los encircles
theface of Enitharmon
from the sight of Urizen
and Orc. She then
populates the earth by
giving birth to an
enormous race.The
Web, third movement
of The Book of
Urizen is now
available: DHP 1125252
$533.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Musician's Being GIA Publications
SKU: GI.G-10014 Composed by Dominic Gregorio, James Jordan, and Mark Moli...(+)
SKU: GI.G-10014
Composed by Dominic
Gregorio, James Jordan,
and Mark Moliterno.
Evoking Sound. Music
Education. 210 pages. GIA
Publications #10014.
Published by GIA
Publications
(GI.G-10014). ISBN
9781622774494. May
this book serve to mend
with gold our individual
lives, and collectively
to sing together toward
the future.
—Makoto Fujimura,
from the Foreword Twenty
years after the
publication of his
landmark work The
Musician’s Soul,
James Jordan returns to
themes of musicianship,
human connection, and
artistry—but with
depth and insight only
possible with twenty
years of additional
perspective. Jordan
explores our need for
humility in music making
and the importance of
“slow artâ€
for all musicians and
teachers in this fast
information age. He
reflects on the
loneliness of musicians
and draws on yoga
concepts to explore our
deepest places. And he
advocates, with
contributions from
Dominic Gregorio and Mark
Moliterno, the gift of
abundances and learning
to breathe
“as†another.
The Musician’s
Being, like its
predecessor, is filled
with inspiring,
thought-provoking
quotations, enlightened
ideas and insights, and a
contagious passion for
the art of music making.
Jordan has written
another profound guide to
musicianship and to
“being†that
miracle of artistry and
human experience. James
Jordan is Professor and
Senior Conductor at
Westminster Choir College
in Princeton, New Jersey,
where he conducts the
acclaimed Westminster
Williamson Voices. He is
also Artistic Director
and Conductor of the
professional ensemble The
Same Stream Choir
(thesamestreamchoir.com),
and Co-Director of the
Choral Institute at
Oxford
(rider.edu/Oxford). He
has published over 60
books and resources for
music educators and
conductors that are read
around the world. Dominic
Gregorio
(1977–2019) served
as Associate Professor
and Director of Choral
Activities at the
University of Regina in
Canada. He collaborated
with James Jordan on
several notable
publications,
including Discovering
Chant, The Musician's
Spirit, and The
Musician's Being.Â
Mark Moliterno is an
accomplished professional
opera singer, voice
teacher, yoga teacher,
IAYT-certified Yoga
Therapist, workshop
leader, and author who is
known as a specialist in
helping people understand
and uncover their
authentic voices. Â
Enjoy this discussion of
The Musician’s
Being featuring Makoto
Fujimura, Irene Gregorio,
Alec Harris, Mark
Moliterno, and Mike
Scheibe. The hour is
filled with enlightened,
thought-provoking ideas
and insights, and a
contagious passion for
the art of music
making. $22.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| In The Style Of Schumann, For Trombone And Piano Trombone et Piano Leduc, Alphonse
Trombone SKU: HL.48185616 Composed by Michel Defaye Jean. Leduc. Classica...(+)
Trombone SKU:
HL.48185616 Composed
by Michel Defaye Jean.
Leduc. Classical.
Softcover. 8 pages.
Alphonse Leduc #AL29291.
Published by Alphonse
Leduc (HL.48185616).
UPC: 888680843205.
9x12
inches. “Fren
ch pianist, arranger,
composer and conductor,
Jean-Michel Defaye (b.
1932) entered the Paris
Conservatoire at the mere
age of ten years old. His
successful compositions
and arrangements are
mainly for brass, In the
Style of Schumann,
composed in 2000, being
no exception. With a
typical performance
lasting about four and a
half minutes, Defaye's In
the Style of Schumann is
so named due to the
composer drawing on
compositional techniques
of the great Robert
Schumann. Defaye's
understanding of the
Trombone is clear
throughout the work, with
use of exciting
techniques and contrasts.
Furthermore, Defaye's
passion to explore a
variety of preceding
composers is clear with
In the Style of Schumann
being a part of a series
which explores the music
of many great composers.
For all aspiring
trombonists wishing to
vary and expand their
repertoire, In the Style
of Schumann by
Jean-Michel Defaye is
essential.&rdquo. $22.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Symphony No.3 [Conducteur] Promethean Editions
Orchestra orchestra SKU: PO.UME01 Composed by Anthony Ritchie. This editi...(+)
Orchestra orchestra
SKU: PO.UME01
Composed by Anthony
Ritchie. This edition:
perfect bound, softcover.
Perfect. University Music
Edition. Full score.
Promethean Editions
#UME01. Published by
Promethean Editions
(PO.UME01). ISBN
9780877564000. 305 x
220mm inches. The
driving force and subject
of Anthony Ritchie's
third symphony is the
idea of being human,
which encompasses the
full range of highs and
lows of extreme emotions.
Winner of The Supreme
Achievement Award by The
Listener magazine in New
Zealand (2010) for the
first performance, the
work is bold in colour
and gesture with
challenging
orchestrations that
interweaves soloistic
passages throughout all
sections of the
orchestra. The symphony
portrays two sides of
human personality,
represented by the two
movements of the work: Up
and Down. Ritchie writes:
the music depicts the
constant struggle to find
balance in one's life, in
terms of mood and
relationships with other
people. The work is rich
with layers of textures
and colour, Up
underpinned by continual
momentum forward, driven
by the prominent log drum
and tom toms of the
percussion, bright brass
and the upper registers
of the woodwind. The
second movement, Down,
contrasts markedly with
the first by being
melancholic, slow and
mournful in mood with
interjections of agitated
gestures. The tension
that they create
ultimately subsides as
melodies of the strings
emerge. This work reveals
Ritchie's highly personal
and compelling writing,
and extracts the inner
world of human emotion as
a heightened experience
through the orchestra.
This publication is the
first of the University
Edition New Zealand
Series, which showcases
important works by
leading composers in New
Zealand. $122.50 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Prophesies [Conducteur et Parties séparées] Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score...(+)
Chamber Music Cello,
Viola, Violin 1, Violin 2
SKU: PR.114419030
Score and Parts.
Composed by Mohammed
Fairouz. Sws. Score and
parts. With Standard
notation. 68 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41903. Published by
Theodore Presser Company
(PR.114419030). ISBN
9781491114124. UPC:
680160669851. 9 x 12
inches. A
fascination with
polycultural synergy
between diverse literary
textsdrives the
inspiration for much of
Mohammed Fairouz’s
prodigiouscreative
output, including
instrumental music as
well as vocal. Inhis
profound and extensive
essay preceding the
score, Fairouz shedslight
on how Edgar Allen
Poe’s “Israfel”
relates to the
prophetsand prophesies of
the Quran, Old Testament,
and New Testament.The
eight-movement quartet
may be heard as a
dramatic galleryof
portraits and of
story-telling,
flourishing in a
post-traditionallanguage
that is at once
vernacular and spiritual,
Middle Easternand
Western. The complete set
of score and parts is
included in
thispublication. (See
pages 2-3 of score for
clear distinction of
paragraphs,
etc.)Prophesies, by
Mohammed FairouzEdgar
Allen Poe’s rendition
of Israfel was the point
of departure for the
final movement of my
previous stringquartet
which is titled The Named
Angels. At the opening of
his poem, Poe evokes the
Quran:“And the angel
Israfel, whose
heartstrings are a lute,
and who has the sweetest
voice of all God’s
creatures.”This informs
the first lines of the
poem that, in turn, gave
me the title for the
final movement of The
Named
Angels,“Israfel’s
Spell”:In Heaven a
spirit doth dwell“Whose
heartstrings are a
lute”None sing so
wildly wellAs the angel
Israfel,And the giddy
stars (so legends
tell),Ceasing their
hymns, attend the spellOf
his voice, all mute.It is
the end of that poem,
however, that is the
starting point for the
current quartet,
Prophesies, which
concernsitself with
mortal prophets rather
than eternal Angelic
spirits.If I could
dwellWhere IsrafelHath
dwelt, and he where I,He
might not sing so wildly
wellA mortal melody,While
a bolder note than this
might swellFrom my lyre
within the sky.Islamic
thought has asked us to
look at the example of
the prophets. That’s
significant because of
the fact thatJoseph and
all the prophets were
human beings with the
flaws of human beings. No
prophet was perfect,
andIslamic tradition has
never asked its followers
to aspire to the example
of the Angels, the
perfected ones. Instead
weare given the gift of
our prophets. While The
Named Angels drew on the
motion and energy of
everlasting
spirits,Prophesies is a
depiction of the
movements within our own
mortal coil.This quartet
is a continuation of a
long tradition of Muslim
artists telling their
stories and singing their
songs.Many of these
renditions are, in fact,
figurative and (contrary
to popular belief) the
Quran contains no
“Islamicedict”
prohibiting figurative
renditions of the figures
described in the Old
Testament, New Testament,
or Quran.The majority of
artists, however, have
preferred eternal and
abstract forms such as
words and their
calligraphicrepresentatio
ns, poems (Yusuf and
Zuleikha or the
Conference of Birds come
immediately to mind),
architecture,and many
other non-figurative art
forms to the
representation of man.
These cold, ancient, and
everlasting shapesof
unending time flourished,
and the divine infinity
of representing geometric
forms gained favor over
the placementof the
explicit representation
of mankind and our own
likeness at the center of
the universes.Adding the
string quartet to these
forms which express the
recursive spheres of
heavens and earth
abstractly shouldexplain
why I have chosen to
render higher things
through the use of music
without the addition of
words or anyother
art-form. It is the
abstract art of pure
form, in which all is
form and all is content,
which compels me.
Thisquartet should be
seen as no more
programmatic than the
arches of the Great
Mosque at Cordoba.The
first movement, Yāqub
(Jacob), is slow, quiet
and prayerful. It evokes
the patient sorrow of a
slow choraledeveloping
over time as it coaxes
our pulse out of the
ticking of a clock-like
meter that defines our
day-to-day livesand into
a divine eternity.The
second, Saleh, imagines
the spirit of that
desert-prophet through
the use of a Liwa; the
dance-sequence that
hasbeen such a prevalent
form of expression in the
Arabian Peninsula for
much of our recorded
history.The third
movement is titled
Dawoōd, and it is
emblematic of the beloved
Prophet, King, and
Psalmist, David.Though it
has no lyrics, the
movement functions as a
dabkeh (an ancient dance
native to the Levant) and
also “sets”the
opening of Psalm 100
(Make a joyful noise unto
the Lord, all ye lands).
This line is never set to
music or sung inthe
quartet but is evoked
through the rhythmic
shape of the violin part
which imitates the
phonology and rhythmof my
speaking the opening line
in the Hebrew and
develops the contours of
that line incessantly
throughout
themovement.3The fourth
movement is an ode to
Yousef (Joseph) and
relates to the first
movement in tempo and
tone just as
Josephrelates to Jacob,
his father. Together, the
first and fourth
movements provide a sort
of Lamentation and
relief.Joseph had the
appearance of a noble
angel, but he was very
much a human being. And
the story of this
particularprophet had
tragic beginnings many
years before he found
himself in a position of
power in Egypt. Back in
his youth,still among the
Israelites, Joseph
experienced a series of
revelations through his
dreams that spoke of his
impendingcareer in
prophecy. He confided his
dreams to his father, the
Prophet Jacob, who told
his son of the greatness
thatawaited him in his
future only to have his
brothers throw him into a
well and leave him for
dead. Joseph
eventuallyfound his way
from Israel to Egypt and
rose out of slavery into
a position of power.
Meanwhile, famine engulfs
Israel.Forty years pass,
and back in the land of
Jacob and Rachel, of
Joseph’s brothers and
Abraham’s tribe, Israel
wasnot spared the effects
of the famine. They
sorely lacked Joseph’s
prophecy and his vision.
The Qur’an then tells
usthat Jacob, sensing
Joseph, sends the other
brothers to Egypt
instructing them to come
back with food and
grain.Arriving in Egypt,
they unwittingly appear
before Joseph. They
don’t recognize their
little brother who has
risen toa position of
might, dressed in his
Egyptian regalia. They
ask for the food and the
grain.After some
conversation, Joseph is
no longer able to contain
his emotion. Overcome, he
reveals himself to his
nowterrified brothers. He
embraces them. He asks
them eagerly, “How is
our father?” Joseph
gives them the gift of
thefood and the grain
that they came in search
of. He relieves them from
hunger and alleviates
their fear. He sendsthem
back with proof that he
is alive, and it is this
joyful proof from the
miraculous hands of a
prophet that bringsback
the ancient Jacob’s
vision after 40 years of
blindness.In this story,
I am struck by the fact
that Joseph may not have
made the decision to
forgive his brothers on
thespot, but that
something inside the
prophet’s soul found
forgiveness and peace for
the brothers who had so
gravelywronged him at
some point along his
journey. I would suspect
this point to have been
present at Joseph’s
inception,even before he
had ever been
wronged.This is proof, if
we needed it, that
Joseph’s angel-like
beauty was not only
physical and external,
but also internalas well:
Joseph possessed a
profound loveliness of
spirit that bound his
appearance and his soul.
In Joseph, formand soul
are one.Time is to
musicians what light is
to a painter. In this
way, the story of Joseph
also shows us that time
can affectour perception
of even the most tragic
wounds. In fact, the most
common Arabic word for
“human being” is
insaan,which shares its
roots with the word
insaa, “to forget.”
While our ability to
remember is essential to
how we learnabout
ourselves, our capacity
to “forgive and
forget” may also be one
of our great gifts as
human beings.The fifth
movement follows my ode
to Joseph with a
structural memory of
Mūsa (Moses). The
movement consistsentirely
of descending motifs
which I constructed as an
indication of Moses’
descending movement as he
emergedto his people from
the heights of Mt. Sinai.
The music is constructed
in five phrases which
function as a
formalreference to the
five books of Moses, the
Pentateuch. The movement
is placed as the fifth of
the quartet for the
samereason.While Joseph
is always evoked as
supremely beautiful in
the Books of Judaism,
Christianity, and Islam,
Suleiman(Solomon) is
described as surpassing
in his quicksilver
intelligence. This
movement is composed of a
seven-partriddle which
passes by in an instant
but can be caught by the
attentive listener. From
Solomon, we work our
wayback to Yishak (Isaac)
in a seventh movement
that evokes Isaac’s
literal meaning in Arabic
and Hebrew: laughter.The
eighth and final movement
of this quartet is named
for the Patriarch of the
entire Book: Ibrahim
(Abraham). Itrelates to
Isaac just as Joseph
relates to Jacob; they
are father and son. The
lines are prayerful and
contemplative;the form of
the music evolves from a
fugue joining together
many different forms of
prayer into a single
tapestry ofcounterpoint,
to the cyclical form of
this entire quartet which
is rendered through the
motion of pilgrims
circling theKaaba (cube)
in Mecca — a structure
which was built by
Abraham for Hagaar and
their son Ismail.These
are just some of the
figures that are
cherished by all three of
the Middle Eastern
monotheisms
(Judaism,Christianity,
and Islam) that the
Qur’an refers to
collectively as Ahl
Al-Kitab. This Arabic
phrase is most
commonlytranslated as
“The People of the
Book,” but here the
most common translation
is a flawed one: the
Arabic word“ahl”
means “family” and
not just “people.” A
better translation would
be “Family of the
Book.” Each of the
eightmovements of
Prophesies grows from a
single musical cell.This
quartet is a family
album.—Mohammed Fairouz
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