About this Recording
8.559803 - FAIROUZ, M.: Zabur (Coakwell, Kelly, Indianapolis Children's Choir, Indianapolis Symphonic Choir, Indianapolis Symphony, Stark)

Mohammed Fairouz (b. 1985)


Mohammed Fairouz: An Appreciation
by Rick Schultz

Zabur is Mohammed Fairouz’s first oratorio, a genre for large orchestra, choir and soloists going back centuries. Such rich musical soil allows Fairouz to create a sacred dialogue—a dialogue not just between characters, but also between the artist and his listeners.

From its powerful choral opening, Zabur doesn’t let up, placing us directly into a theater of war where a city is under siege. Like one of his literary predecessors, English poet William Blake, Fairouz rages against those “who would if they could, for ever depress Mental & prolong Corporeal War.”

Fairouz, an Emirati-American composer, once characterized himself as a “creature of the desert,” referring to his deep Middle Eastern roots. Dry desert winds often drift across his emotionally resonant musical landscapes. But Fairouz, one of our country’s most essential storytellers, isn’t out to lecture anyone. His mission, if he has one, is to beautify the world—to create art as a counterforce to dehumanization, as a bridge to our universal past.

One of Fairouz’s most aching and ravishing scores, Zabur conjures a timeless world in song settings of epic grandeur and shattering intimacy. Like his Symphony No. 3Poems and Prayers’, Zabur becomes an enticement to feel. By revealing our shared emotions and experiences, Fairouz allows us to recharge our humanity amid a surfeit of numbing images of disaster and atrocity.

At the conclusion of “Poems and Prayers,” Fairouz sets Yehuda Amichai’s poem “Memorial Day for the War Dead,” in which the poet hopes that behind so much sorrow, “some great happiness is hiding.” Paradoxically, what makes Zabur such a compelling war requiem is its optimism. Happiness can be found, Fairouz seems to be saying, if only we would stop, look and listen.

Rick Schultz writes about music for the Los Angeles Times, Jewish Journal and Musical America.

Composer’s notes

The premise for my latest oratorio, Zabur, is really very simple. A young poet, blogger and writer named Dawoūd (David) is stuck in a shelter with a group of men, women and children and also with his companion Jibreel (Gabriel) while the din of artillery surrounds them and their city. As a way of focusing his mind away from the unbearable sounds and endless grief Dawoūd takes to his writing. With parts of the city on generator power Dawoūd writes by candlelight but also has no way of sharing his writing with the world. The usual avenue of just publishing his words online is not available. The terror of daily life has become mundane. Dawoūd can only write music and poetry now: “songs of sorrow and sadness but also of praise and wonder”. The music and poetry cut to the core. They capture so immediately and acutely what the journalistic need to chronicle every last detail cannot seem to capture.

Not able to publish his creations online, Dawoūd is inspired to share them with the men, women and children of the shelter by his companion and muse Jibreel. Their voices rise in song.

Starting with this premise, Najla Said was able to construct a moving libretto that resurrects the legendary Middle Eastern figures of David and Gabriel into the contemporary Middle East. She humanizes Dawoūd and his psalms of sorrow, praise and wonder. The psalms are no longer relics but living human documents.

Zabur is the Arabic word for the Psalms and by setting the texts in Arabic we chose to return the Psalms to one of the original ancient languages of the Middle East.

Zabur is also a sort of war requiem, and documents the tragedy of war and how war touches all human beings and, most notably, the children. The oratorio begins with a flash forward of the terrible outcry in the last moments of the people in the shelter as they meet a violent fate. But by the time that this premonition returns as the actual moment of destruction in Part II, they’ve been working and creating for some time so that when the bombs finally come and destroy the shelter, all the pages of their collective labor are left and a full final hymn has been created. Zabur ends with them all “rising up” to sing their last song together and Dawoūd’s eternal, resonating final lines. These lines allow the people to move beyond their confused, disastrous present and touch something timeless and eternal:

Do not take me away, my God, in the midst of my days;
your years go on through all generations.
In the beginning you laid the foundations of the earth,
and the heavens are the work of your hands.
They will perish, but you remain;
they will all wear out like a garment.
Like clothing you will change them
and they will be discarded.
But you remain the same,
and your years will never end.
The children of your servants will live in your presence;
their descendants will be established before you.

Mohammed Fairouz

About the Commission

The Indianapolis Symphonic Choir commissioned this new musical work through a city-wide project that brought together leaders from the arts, educational, faith and philanthropic communities of Indianapolis, Indiana. It was the vision of this body to realize a work for chorus and orchestra that speaks not to our differences and what tears us apart, but of our shared values and unite us as humankind.

The Indianapolis Symphonic Choir would like to express its gratitude to the following for important contributions to the commissioning project: Jordan College of the Arts at Butler University, Charlie Wiles and the Center for Interfaith Cooperation, and Rabbi Faedra Weiss.

Close the window