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“Critical Models,” Mohammed Fairouz CD, Bring New Classical Fire
by Sherri Rase     |      Bookmark and Share
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photo provided by Sherri Rase
“Critical Models cover
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“Critical Models” is Mohammed Fairouz’s latest release on Sonos Luminus and the selections on it are a delicious sample of the composer’s work in various media, from small string and orchestral groupings to airs for guitar. Each piece invites a different sort of attention.
“Litany” takes inspiration from the Azan, the call to prayer that varies from Muezzin to Muezzin, or leader, based on location. Very distinct and happening at five times throughout the day, this combines the melody of the Azan with the awakening of the town where it occurs, according to the composer. It is very easy to imagine an Arab-esque “Handel in the Strand.”
“Four Critical Models” takes us in a very different direction. What the composer calls catchwords and interventions alternate, and the catchwords are characterized by a frenetic energy, with a bit of reality interjected in the accompanying intervention. First, “A Modernist’s ‘Dilemma’” is an aural pun, in which modern classical music is sent up for its laborious self-consciousness and showy virtuosity, causing wonder at how it must be notated–what comes after “hemi-demi-semi-quaver?” The related intervention is “Une Musique Informelle,” a more contemplative piece, which is more spare and moves more lightly on its feet, evoking a thoughtfulness that is a large contrast to the piece before. “An Oriental(ist) Model” is the third piece and takes the stereotypical notion of what might be a Middle Eastern sound, but bears the resemblance that a cartoon does to an oil painting in realizing the actual timbre of the region. The fourth work, “A Dialectical Synthesis,” uses string and saxophone technique literally to bend the sound to the composer and musicians’ will, while bringing more of what the composer has experienced as a more realistic understanding of what a visitor would actually hear rather than a floridly imagined overabundance of clichés.
The next series is a set of “Piano Miniatures” beginning with “Nocturnal Snapshot” and ending with “Addio.” These pieces are minor-key, bittersweet works that sound like they would be as interesting for the pianist to play as for us to listen. There seems to be a bit of Brahms and you’ll hear as well what seem like quotes à la Chopin, the Romantics, the Classicals and the Neo-Classic, as well as Baroque throughout—delightful!
Next, “Lamentation and Satire” is written for string quartet and consists of two movements that flow into one another. “Lamentation” permits each instrument to establish its own voice, then embarks on first duets, then culminates in all voices, then is linked with “Satire” by a stark single line, which then progresses into what sounds like a sharp altercation. Is this arch conversation? sarcasm? Fairouz sees “Lamentation and Satire” as a dark view of what is happening presently in the Middle East. Dissonance clashes as ideologies clash. This is a technically and aurally difficult piece, but when the world has gone awry, music follows.
“Three Novelettes” is a perfect contrast to the previous pieces. This grouping is set for alto saxophone and piano, an unusual pair to be sure. “Cadenzas” shows a sense of humor, almost Klezmer-esque but also questioning. “Serenade” has an evening feel to it, where each instrument has its own phrases, but there is no conversation early on. Later, they do finally come together, but they add grace notes of their own, while the other instrument speaks … almost like when we have thoughts while someone else is speaking, thoughts that are unrelated to the conversation, so there is really no communication going on. Fairouz calls these pieces “a commentary on relationships” and the final piece, “Dance Montage,” pays homage to some very familiar theatrical composers, as the parties to the relationship come back together after their estrangement in a joy that hearkens to a bit of “Sweet Charity” with a bit of a Latin lilt–you’ll hear some favorite influences. Returning to one another, life is good once again.
Finally, come the four “Airs.” Contemporary music for the guitar is not so common, and as well as Fairouz writes for so many voices–instrumental and human–this writing for guitar is virtuosic and moving. The “Prelude” is very short, but sets the tone and the ear for the delights of the “Fantasy”–smooth but with an undercurrent of energy, it is a conversation—whether with oneself or with another is difficult to say. “Intermezzo” sounds almost angry as it uses the hand to deliver blows of harmonic resonance, which alternate with lyrical passages that shape the invitation to know more. Finally, “Toccata” is Fairouz’s avowed homage to Benjamin Britten’s “Nocturnal,” a renowned guitar piece for a soloist. “Nocturnal” is not quoted directly, but Fairouz wanted the feeling to be of someone dismantling the Britten piece and then reassembling it without the benefit of the directions. It is thoughtful, contemporary and, if you play, will encourage you to pick up your guitar again. At the very least, you’ll search out the Britten in your collection or online for the frisson of emotion at the connection with “Toccata.”
Spend an hour with this composer, with “Critical Models.” Lovers of modern classical music will have much to chew upon and, if musicians are interested in an addition to the repertoire, Fairouz music is published by Peermusic Classical. Each section is so different that you’ll feel you’ve traveled a great distance, while going no further than where you sit. This CD is available wherever fine classical music recordings are sold.





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