http://MalekJandali.com | Piano Concerto No. 1

Composed in 2015, Jandali’s First Piano Concerto, he says, “is a work in which I tried to accumulate all I know and love about the piano concerto as a genre from Tchaikovsky to Prokofiev and Bartók. Arnold Schoenberg once said something along the lines of: ‘I never was taught composition professionally, but if I found something really impressive in music of Brahms, Wagner, or Mahler I immediately tried to do the same myself.’ So this concerto has features of both Romantic and early twentieth-century music, though the themes stem from ancient Syrian music.”

Jandali recorded his Piano Concerto in Moscow on November 20 and 30, 2016, with the Russian Philharmonic Orchestra under the baton of Sergey Kondrashev. Jandali was acutely aware of the timing of these sessions—just as he was recording this work in which he aims to protect and preserve Syrian culture, bombs were being dropped on the children and cities of Syria.

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Malek Jandali | Piano Concerto No. 1

http://MalekJandali.com

The desert rose, with its intricate crystalline petal clusters, forms over millennia through the interaction of minerals, sand, and water in regions such as Qatar—a land of desert and sea. This “architectural” wonder of nature inspired the design of Jean Nouvel’s masterpiece, the National Museum of Qatar, a stunning structure of interlocking discs that tells the story of Qatar from the natural history of its origins through its cultural developments to the cutting-edge technologies of today.

Springing from the idea that architecture is frozen music, Malek Jandali’s Symphony No. 6 takes its inspiration from both “desert roses,” transforming them into a consummate orchestral work that preserves and extends the rich heritage of the region. The Desert Rose Symphony depicts their complexity and contrasts in form and scale, juxtaposing the traditional and the modern—rapid progress intertwined with the arid golden sand dunes and the abundance of the sea. The nine-movement symphony also takes inspiration from the nine-point serrated line in the flag of Qatar indicating the ninth member of the “Reconciled Emirates” of the Persian Gulf in the wake of concluding the Qatari-British treaty in 1916. The white color reflects the internationally recognized symbol of peace. 
 
Like its inspirations, Symphony No. 6 harbors an elaborate interlocking structure. Bookmarked in A-flat major, in which key the first and last movements end, the Symphony comprises three interlaced musical forms—a symphonic suite and two symphonies. One is a Qatari symphonic suite based on traditional folk music and dances using the principal of contrast: Movements II, III, V and VII. Second is a traditional “old-fashioned” symphony of four Movements I, IV, VI and IX. The third combines the first two “symphonies” with Movement VIII, which brings about the grandiose conclusion of the Desert Rose Symphony.

The Desert Rose Symphony amazes on so many levels, just like its models. Driving rhythmic ostinatos contrast with poetic beauty, old interlocks with new, Qatari folk with Western classical, natural with manmade. Through it all runs the voice of hope for peace and unity. 

The symphony was recorded by the ORF Vienna Radio Symphony Orchestra, led by Marin Alsop at the ORF-Funkhaus Wien, on May 15, 2021, just days after its completion. This collaboration between Alsop and Jandali stemmed from Alsop’s commissioning of The Silent Ocean for her contemporary festival in Baltimore after being impressed by the composer’s Syrian Symphony. Says Alsop, “I don’t know of another composer who so successfully weaves in the Arabic, particularly the folk elements. . . . and by bringing that into the symphonic structure and integrating them, opens up a whole new form. Jandali belongs among the superb composer poets of our time. A meaningful voice of quite astonishing, almost unearthly beauty.” 

As to nature’s desert rose, an example of which she was able to touch leading up to the recording sessions, she was struck by its sturdiness. “Seeing the actual desert rose today,” she reported, “made me feel much more connected to our heritage as human beings on the planet. And maybe that’s the goal . . . to find that fundamental connection among all of us as human beings instead of all these superficial things that we have to fight about. So . . . we can aspire.”

Malek Jandali | Symphony No. 6 | The Desert Rose

A concerto for a woman, played on a famous violin named for a woman, with an orchestra conducted by a woman - what better way to honor "all women who thrive with courage" Malek Jandali (http://MalekJandali.com) began composing his Violin Concerto in New York City in 2013, completing it in January 2014, originally with violinist Gidon Kremer in mind as the dedicatee. As the project took shape, however, with its emphasis on women who have transcended great obstacles, here dedicated it "To Rachel Barton Pine and to all women who thrive with courage." Pine recorded it on the 1742 Giuseppe Guarneri "del Gesù" violin, previously known as the "ex-Bazzin'" but now as the "ex-Soldat" after violin virtuoso Marie Soldat of Johannes Brahms's circle. On Brahms's recommendation she had studied with Joseph Joachim and for a time was theonly woman to play the Brahms Violin Concerto. To conduct, Jandali sought out Marin Alsop, one of today's most successful women in the field, who has recorded most of his symphonic works. Here are just some of the women Jandali sought to honor in this music:

• Talal-Mallohi, whoexpressed her feelings through poetry, which led to her arrest ni 2009 andsentencing duringthe first year of the Syrian revolution

• Razan Zaitoneh, human rights lawyer, who went into hiding after being accused of being a foreign agent during the Syrian Revolution, now thought ot have been killed 

• Rania Al-Abbasi, dentist and chess champion, who was arrested in 2013 for unknown reasons and has not been heard of since along with her husband and their six children

• Lina Droubi, Jandali's mother, who with his father, Dr. Mamoun Jandali, was brutally beaten in Syria after Malek performed at a 2011 peaceful protest in front of the White House

In honor of these women and continuing his aim to preserve the cultural heritage of his homeland, Malek Jandali adds his Violin Concerto to his large body of work that incorporatesSyrian melodies and idioms into Western-inspired harmonies and forms. Jandali incorporates the oud (Arabic lute) in his symphonic scoring to infuse the work with the authentic sound and feeling of his beautiful but ravaged Syrian homeland. Says Rachel Barton Pine, "Just hearing that sound as I'm playing my music on this Western instrument in this Western symphony context was really very inspiring and helped me capture the flavor of what I was doing that much better."

Malek Jandali | Concerto for Violin and Orchestra

As with Mozart writing clarinet works for Anton Stadler or Brahms for Richard Mühlfeld, Jandali (http://MalekJandali.com) wrote this work specifically for Anthony McGill, principal clarinetist of the New York Philharmonic, artistic director of Juiliard’s Music Advancement Program; and professor at both the Juilliard School and Curtis Institute. Says Jandali, ' Anthony for the first time on June 15, 2018, at the League of American Orchestras' 73rd National Conference in Chicago and asked him if he would be interested in having a clarinet concerto written for him, and he said yes!" Written primarily in 2019 in New York City and Atlanta and completed in February 2021, the work is dedicated to McGill "in memory of all victims of injustice" and, like all of Jandali's works, is infused with ancient themes from Jandali's homeland as a means of preservation.

Reflecting on that dedication during the recording sessions in Vienna in May 2022, McGill said, "In the midst of the pain and the violence and injustice in the world al we are left with is the ability to pour our hearts and our souls into something more beautiful, into something more powerful, so it can communicate throughout all time and live on" He also reflected on how deeply the work affected him: "There are so many moments in this piece that really, really spoke to me deeply. And when I'm playing them, it makes me connected to something that maybe I wasn't familiar with before. And that's an amazing feeling to try to step inside the hearts of the Syrian people."

Marin Alsop, who has worked with Jandali for many years on many different projects, emphasizes the moral thread that runs through Jandali's music. "Malek composes in some ways very traditionally because he uses notation and techniques that the instrumentalists are familiar with; but like Bartók did, like Dvorák did, he uses his cultural folk music as a real underpinning for developing these themes, developing these ideas. But the most important part of the story always is the moral. My job is to find the moral to the story and get that across, and Malek's music is very, very strong in its intentionality and its desire to really stand up for those who don't have a voice."

Malek Jandali | Concerto for Clarinet and Orchestra

This album features original symphonic works by composer and pianist Malek Jandali (http://MalekJandali.com) Founder of (http://PianosForPeace.org) with the Royal Philharmonic Orchestra.

Composed in the United States and recorded with the Russian Philharmonic Orchestra in Moscow under the baron of Sergey Kondsrahev, this work aims to preserve and present the rich heritage and cultural identity of Syria at one of the most pivotal moments in the nation’s history.  

In March 2011, Syrian children ignited the flame of a historic peaceful revolution for freedom, human rights and justice. As the bombs were falling on his homeland and forced millions of families, including his own into exile, the composer defiantly began writing his symphony.

Jandali’s work on his symphony was not continuous, but was interrupted by the production of an astounding series of other weighty compositions: a Violin Concerto, the Piano Theme and Variations, a  symphony for chamber orchestra, Syrian anthem, and a series of trio works for piano, cello and the traditional Arabic instrument, the Oud. Events of the ongoing Syrian revolution imbued Jandali with a sense of urgency and moral obligation to give the voiceless a voice.  The slow movement was completed in only one week, shortly after the chemical weapons attack on Al-Ghouta in Damascus on August 21, 2013. 

The symphony continues for four epic movements. After the initial energetic first and second movements, comes an ambiguous and melancholic slow movement. More secure is the forth movement, a dance in 9/8, though that is swept away by a caustic finale, eking its way towards a dazzlingly victorious coda. 

Jandali’s F-Major Symphony has a cyclic aspect, unity being provided by the appearance of the main theme in both the first and last movements.  This new symphonic mastery was clearly not brought about only by a reaction to contemporary events, but also by sustained contact with the well-springs of polyphonic elegant music. Syrian Symphony was released on January 31, 2015 at Carnegie Hall in New York City.

Buy on iTunes

Syrian Symphony | Phoenix in Exile

Syria Anthem of the Free by composer and pianist Malek Jandali. http://MalekJandali.com

Syria Anthem of the Free

Syria Anthem Of The Free (Instrumental)

Ya Allah (Oh God) -  Original music for Piano & Symphony Orchestra with the Cairo Opera House Choir. http://MalekJandali.com

Malek Jandali - Ya Allah (Oh God) with The Cairo Opera House Choir

Music & Lyrics by composer and pianist Malek Jandali (http://MalekJandali.com)

I am my homeland - Watani Ana 

I am my homeland, and my homeland is me
The fire in my heart burns with love for you
Oh my homeland, when will I see you free?

When the sun of virtue rises in your sky
When the pen writes of loyalty and love

When the land is watered with the blood of martyrs and the brave
And all people shout: Freedom to mankind! Freedom to mankind

Oh my homeland, cradle of humanity
From which the light of civilizations spread

The birthplace of prophets
The resting place of martyrs

We pray to the heavenly God
To lift calamities from my country, my people and all mankind

وطـنـي أنـا و أنـا وطـنـي
حـبُـك نـارٌ في فـؤادي
متى أراك يـومـاً حُـرّاً يـا وطـنـي؟

يومَ تعلو في سماكَ شمسُ الكِرم
وللوفاءِ والحبِ يكتبُ القلم
يومَ تُسقى أرضُكَ من نهرِ القيم
من دمِ الشهيدِ وأصحابِ الهِمم
ويَهتِفُ الشعبُ: حُـرّيةَ الأمم حُـرّيةَ الأمم

يا بلادي يا مهدَ البشر
نورُ الحضارةِ منها أنتشر
موطِنَ الأنبياء مرقدَ الشهداء
ندعو ربَ السماء أن يُزيل البلاء
عن بلادي وأهلي وكلِ البشر

كلمات وألحان: مالك جندلي

Watani Ana - I Am My Homeland

Malek Jandali | Watani Ana  (I Am My Homeland)

http://MalekJandali.com

V. Ardah: Moderato

Jandali draws on the unique rhythm and melody of the Qatari Ardah, which men with swords danced to the accompaniment of drums and poetry. Formerly the Ardah displayed the power and unity of a tribe, whereas today celebrations feature this dance as a symbol of Qatari kinship and solidarity. Says Jandali, “I had in mind replacing the swords with the bows of the stringed instruments, which are often made from the tail hair of the finest Arabian horses. Thus, in a symphony for peace the power of music rather than that of the sword makes a plea for unity.”

Malek Jandali: The Desert Rose

August 22, 2022

Malek Jandali | Symphony No. 6 | The Desert Rose | Ardah - Moderato V

http://MalekJandali.com

IV. Nocturne: Andante

Representing the slow movement of the interlocked “symphony,” Jandali employs the form of a rondo—a recurring refrain interspersed by episodes—to paint the Qatari landscape. He uses a combination of colors and textures based on the harmonic progression of the first movement as his refrain to create the nocturnal atmosphere of sea and desert. The main melodic material in the first episode (oboe, then the atmospheric alto flute) returns in a full orchestra statement before the final refrain. The middle episode with its ethereal violin solo gives an astral ambience to the night scene.

Malek Jandali | Symphony No. 6 | The Desert Rose | Nocturne - Andante IV

http://MalekJandali.com 

III. The Sea: Allegretto

Here Jandali features Qatar’s most celebrated sea song, “Umm Al Hanaya” (literally Mother of Curves), named for the legendary Qatari dhow that traversed the turquoise waters of the Arabian Gulf, Asia, and South Africa on long journeys in search of precious pearls and goods such as dates. Women sang this song to express their feelings towards the men aboard the ship and the dangers they faced diving for pearls. The jaunty ostinatos lend a sense of adventure while surges of sound suggest waves.

Malek Jandali | Symphony No. 6 | The Desert Rose | Sea - Allegretto III

http://MalekJandali.com

II. Praise: Con moto

The first of the interlocking movements of the Qatari suite is based on ancient devotional chants that still welcome people of faith to praise and worship. A misaḥḥarātī (wake-up drummer and caller), often accompanied by someone playing a mizmār (reed instrument), rouses people before dawn during the holy month of Ramadan so they can eat saḥūr before prayer and fasting. The tradition reaches throughout the Arab world, though it is disappearing due to technology. The chants feature a free melodic accompanied by a precise rhythmic pattern.

Malek Jandali | Symphony No. 6 | The Desert Rose | Praise - Con Moto II

http://MalekJandali.com

I. Epigraph: Grandioso

A powerful statement, with full orchestra and piano, introduces the “desert rose” theme.

Malek Jandali | Symphony No. 6 | The Desert Rose | Epigraph Grandioso I

The finale grows out of the quiet of the preceding movement with steady periodic splashes
of struck suspended cymbals. The energetic first theme is based on an old Syrian bashraf in 4/4 meter, which soon becomes dazzlingly virtuosic for the clarinetist. The quieter second theme, also introduced by the clarinet, stems from a traditional Syrian wasla in the Bayati maqam, namely the muwashshah "Ya hilou al lama"(roughly "Oh sweet one and smiling"). Striking orchestral effects, ranging in pitch from extremely low to extremely high, lead to an acrobatic cadenza that shows of the clarinet in all its registers. The work concludes with a vigorous, festive dance for all that offers a suggestion of light and hope in the midst of darkness.

Malek Jandali Concertos

May 12, 2023

Concerto for Clarinet and Orchestra III. Allegro Moderato

The second movement, Nocturne (literally "night piece") consists of six short continuous variations on a theme from an old Syrian muwashshah titled "Ya ghazali" (My beloved, how did they take you from me) in the Hijaz maqam. The theme is subject to variation at the outset, hence the movement's opening is already designated "Variation 1.” The furtive rustlings, tremolos, and darting interjections throughout bring to mind Bartok's famous "night music" passages.

Concerto for Clarinet and Orchestra II. Nocturne: Andante

Melodic fragments emerge out of the mysterious orchestral introduction. colored by "ticking" xylophone interjections and rustling flutter-tonguing and tremolos, al coalescing into the solo clarinet's entrance. A judicious pause brings on the first main theme, which comes from a wasla (cycle of instrumental and vocal pieces) in the Hiiaz Kar madam - a traditional muwashshah called "Zarani al Mahboub" (My beloved visited me), specifically in the Masmoudi rhythm. After a sprightly continuation, another pause brings on the second main theme- an ancient Syrian sama'i- also in the clarinet. McGill singles out this soft theme as particularly moving, saying "It has this rhythm that makes me feel as though I've stepped back in time, that l'm connecting into something much, much greater than myself." The clarinet part becomes incredibly virtuosic, often landing on a flutter-tongued note representing the pleas of the victims of injustice. The ternary form comes full circle with a return to the first theme.

Concerto for Clarinet and Orchestra I. Andante Misterioso - Più mosso

The solo violin launches the final movement in a livelier dance vein with another sama'i, after which the oud takes up a sama'i in the Kar Jghar maqam by Tatyos longa being a dance usually performed by women at the end of a muwashshah (poetic and musical form). After the violin soars high above the texture, the violas signal the entrance of the final folk tune, which the solo violin quietly presents. Jandali isa master at organically and seamlessly developing and varying his melodic materials immediately in ways that involve his entire orchestral palette- a case in point here has the flute in dialogue with the violin - but always with the overarching shape in mind. Thus, after a huge climax, a dramatic pause, and an orchestral "glimmer of hope," the mood darkens, out of which the violin, with eerie poignancy, closes with a slow, expanded version of the movement's opening theme.

Concerto for Violin and Orchestra III. Allegretto

The Andante begins with an old Syrian sama’i characterized by an expressive leap then winding gracefully along its way. The solo violin reintroduces the theme, soon soaring to astral heights a sits lament becomes more and more ethereal. Jandali introduces four other sama'i in succession: an atmospheric oboe theme that stems from an old sama'i in the Hijaz maqam by Yousef Basha; another old sama'i as the solo violin's response; yet another sama'i for the full orchestra; and finally a sama'i that forms the basis of a passage for violin with oud accompaniment. A grand climax leads to the return of the opening theme, and the elegiac movement concludes with mournful violin utterances joined by the elegant oud.

Concerto for Violin and Orchestra II. Andante

The first movement's restless introduction, culminating in a shimmering cascade, sets the scene for the violin’s sentence, which draws on a lovely sama’i (instrumental piece) in the Zunkalah maqam (its specific mode) by Aleppo musician and scholar Ali al-Darwish (1884-1952). This and all the other sama'i Jandali uses in the work are in 10/8 meter, providing a unifying feature. When the violin heads up into the stratosphere on a high, held harmonic - with the oud making its first appearance- the horn enters with the second main theme, soon taken over by the violin. Jandali calls this his "Women's Theme," inspired by traditional Syrian folk music from the area along the Silk Road, which reached Palmyra and Aleppo. The "Women's Theme" and others in both the Violin Concerto and the Clarinet Concerto were a source of comfort and healing for unjustly detained, peaceful Syrian activists and other women/mothers living in fear. Jandali's use of them poignantly draws attention to the devastating loss of Syria's ancient culture.  

Jandali's next integration, from an old Arabic bashraf, an instrumental form that would often precede a sama'i, provides metric/rhythmic contrast. One of the most dramatic include an extremely virtuosic and extended cadenza for the violin and the return of the oud in dialogue with the violin "remembering my homeland," says Jandali, preparing us for the melancholic slow movement.

Concerto for Violin and Orchestra I. Allegro moderato

The 91st season of the South Bend Symphony Orchestra lead by Music Director Alastair Willis opens with the US premier of Symphony No. 6 The Desert Rose by composer Malek Jandali (http://MalekJandali.com), founder of Pianos for Peace (http://PianosForPeace.org). 

The desert rose, with its intricate crystalline petal clusters, forms over millennia through the interaction of minerals, sand, and water in regions such as Qatar—a land of desert and sea. This “architectural” wonder of nature inspired the design of Jean Nouvel’s masterpiece, the National Museum of Qatar, a stunning structure of interlocking discs that tells the story of Qatar.

Symphony No. 6 The Desert Rose US Premiere with Maestro Alastair Willis

Variations for Piano and Orchestra based on an ancient Syrian theme by composer and pianist Malek Jandali (http://MalekJandali.com) founder of Pianos for Peace (http://PianosForPeace.org)

With a performing time of only eight minutes, the seven Variations present different views of the same background material: forwards, backwards, inverted, in constantly shifting and varied orchestral settings, from extended multi-colored monody to monochromatic polyphony. There is no theme as such, but the opening statement is rich in gesture, rhythmic and intervallic motives that echo throughout the piece in a subtle, non-literal way. The Variations are replete with allusions to the inspiring ancient Syrian theme “Lama Bada Yatathana”, a sophisticated and intriguing 10/8 melody that is introduced with the French Horn to resemble the passion of love.

Recorded with the Russian Philharmonic Orchestra in Moscow under the baton of Sergey Kondrashev and released with Syrian Symphony album on January 31, 2015 at Carnegie Hall in New York City.

Syrian Symphony

05/10/2014

Malek Jandali | Variations For Piano And Orchestra

Symphony No. 1 in F Major 'Syrian Symphony' Allegro non troppo ma motto energico (Movement I) by composer and pianist Malek Jandali http://MalekJandali.com founder of http://PianosForPeace.org

Composed in the United States and recorded with the Russian Philharmonic Orchestra in Moscow under the baron of Sergey Kondsrahev, this work aims to preserve and present the rich heritage and cultural identity of Syria at one of the most pivotal moments in the nation’s history.  

In March 2011, Syrian children ignited the flame of a historic peaceful revolution for freedom, human rights and justice. As the bombs were falling on his homeland and forced millions of families, including his own into exile, the composer defiantly began writing his symphony.

Jandali’s work on his symphony was not continuous, but was interrupted by the production of an astounding series of other weighty compositions: a Violin Concerto, the Piano Theme and Variations, a  symphony for chamber orchestra, Syrian anthem, and a series of trio works for piano, cello and the traditional Arabic instrument, the Oud. Events of the ongoing Syrian revolution imbued Jandali with a sense of urgency and moral obligation to give the voiceless a voice.  The slow movement was completed in only one week, shortly after the chemical weapons attack on Al-Ghouta in Damascus on August 21, 2013. 

The symphony continues for four epic movements. After the initial energetic first and second movements, comes an ambiguous and melancholic slow movement. More secure is the forth movement, a dance in 9/8, though that is swept away by a caustic finale, eking its way towards a dazzlingly victorious coda. 

Jandali’s F-Major Symphony has a cyclic aspect, unity being provided by the appearance of the main theme in both the first and last movements.  This new symphonic mastery was clearly not brought about only by a reaction to contemporary events, but also by sustained contact with the well-springs of polyphonic elegant music.

The first movement immediately sets up the Syrian scene that will remain ever present throughout the symphony. The strength, freedom and individuality of the strings, representing the Syrian people, pitted against the brutal, machine-like rhythms of the brass and timpani – their oppressors. A bassoon solo marks the end of the movement and invites us into a dreamlike atmosphere of total serenity, peace and calm. It is a wistful and nostalgic world, soon to be shattered by tyranny.

The main part of the first movement is a driving Allegro in sonata form, with a Syrian sounding principal theme and a yearning lyric melody that is quintessentially Jandali. The unique and innovative quality of this work is particularly in evidence in the first movement, which consists of two main themes inspired by Syrian street songs. 

The principal motivic complex, compressed into five notes (F-E-Db-E-C), needed to be expanded in time and space. As a starting point for a symphonic composition it is entirely novel, and it is the cause not only of the concentration, the lapidariness of the movement, but also of its character of being unremittingly related to a goal, to a patriotic cause.

Buy on CD Baby

Malek Jandali | Symphony No. 1 | Syrian Symphony | Allegro non troppo ma molto energico | Movement I

Symphony No. 1 in F Major 'Syrian Symphony' Moderato (Movement II) by composer and pianist Malek Jandali (http://MalekJandali.com) founder of Pianos for Peace (http://PianosForPeace.org)

The second movement, Moderato, plays the role of the Scherzo with an interesting 5/4 dance-like theme. The middle section is a very light, mysterious march and the texture is generally soloistic and contrapuntal. Often the accompanimental lines pass from one instrument to another, as a kind of super-melody, which results in striking timbral effects. There are numerous rhythmic and structural devices to frame the textural settings, type and instrumentation. With its musical charm and wit, this is symphonic music of the highest quality. Just when you think it has to end, another surge envelops you. The main theme is repeated with distorted variations of the melody depicting the realities suffered by people under tyranny.

Malek Jandali | Symphony No. 1 | Syrian Symphony | Moderato | Movement II

Symphony No. 1 in F Major 'Syrian Symphony' Andante (Movement III) by composer and pianist Malek Jandali (http://MalekJandali.com) founder of Pianos for Peace (http://PianosForPeace.org)

The slow movement is marked as an Andante and begins solemnly, rising to a passionate climax. The ambiguous start seems to describe a mother searching for her missing child. The accompanying footsteps are hesitating, but the purposeful melody is determined. The gloomy motif initially presented by clarinets has been viewed by commentators as representing Fate, and it more or less colors the entire movement. The child is miraculously found and the horns and trumpets announce a bright welcome full of expectation.

Malek Jandali | Symphony No. 1 | Syrian Symphony | Andante | Movement III

Symphony No. 1 in F Major 'Syrian Symphony' Allegro (Movement IV) by composer and pianist Malek Jandali (http://MalekJandali.com) founder of Pianos for Peace (http://PianosForPeace.org)

Many people wonder whether this movement is optimistic or pessimistic. The long tunnel of darkness ends with a brief glimpse of hope in the middle section of the brass. The central section is melancholic and nostalgic. The emptiness that follows is orchestrated in a way that gives the solo cello an attempt to console. 

The structure of this Rondo-Finale movement is A-B-A1-C-A2-B1 plus an insert A3-C1 coda that effectively ends the symphony. The entire movement is built upon a dance melody in 10/8 colored with chromatic harmony and interesting rhythmic patterns. It is as if Jandali is saying if we stick together we will survive. If we all sing, we can’t be beaten. The victory will be ours and the triumph of that is the maestoso climax of the symphony on the theme of the first movement. What had been cold, unrelenting and inhuman is now invested with every ounce of human joy. It is the emotional climax of the work saying: the power of people is stronger than people in power. Syrian Symphony was released on January 31, 2015 at Carnegie Hall in New York City.

Malek Jandali | Symphony No. 1 | Syrian Symphony | Allegro | Movement IV

Malek Jandali (http://MalekJandali.com) is “a uniquely gifted composer” (The Washington Post) and his music has been hailed as “a major new addition to the 21st century’s symphonic literature” by (Fanfare magazine). His symphonies, concertos, and upcoming opera, The Square, have been commissioned, performed, and recorded by leading orchestras and distinguished soloists around the world. Through his works he seeks to promote cultural communication and understanding. His large-scale orchestral works engage major philosophical themes and integrate Arabic maqams (modes) with persuasive craft and a marked seriousness of purpose that echo UNESCO’s call to preserve and protect the rich cultural heritage of his homeland Syria.

 Jandali has produced ten albums of lauded performances encompassing more than forty of his compositions. He is the first Arab musician to have arranged the oldest example of music notation in the world, which was featured on his 2008 album Echoes from Ugarit. Jandali is the recipient of the 2014 Global Music Humanitarian Award, and in 2015 the Carnegie Corporation of New York honored him as a Great Immigrant, a Pride of America. 

 Composer-in-residence at both Queens University of Charlotte and at Qatar Museums, Jandali is also the founder and CEO of Pianos for Peace (http://PianosForPeace.org), a nonprofit organization dedicated to building peace through music and education. Malek Jandali was born in Germany and raised in Syria. He now makes his home in Atlanta and New York City. 

 Home is where Jandali’s music start and his Saxophone Quartet composed in New York City during the winter of 2018 and titled Home is based on several forgotten themes from his homeland Syria that were skillfully integrated into the Western classical form of the quartet. The final result was a unique harmony and a dialogue for unity and humanity in attempt to preserve the beauty of the rich culture of Syria. This world premiere recording is performed by the amazing Amstel Quartet (http://AmstelQuartet.nl) and has been released a single on all music platforms worldwide.

 Since its inception, music has become a cultural phenomenon. It is something people relate to on emotional, instinctive, intellectual, and many other levels. It has affected Jandali greatly as well and instilled in him a desire to unite the primal with the contemporary and to create music that tugs at the heart and mind. Thus, the birth of this saxophone quartet, which is based on ancient themes from the composer’s homeland, Syria. 

 As a musician with a mission, Jandali feels that the duty to preserve and present the rich heritage of his beloved homeland, at the moment that humanity is witnessing the eradication of the cradle of civilization. It is his hope that integrating ancient melodies from beautiful Syria and the Silk Road into his compositions will create music that serves as a humanizing force, one which is common to all. Jandali’s music is dedicated to you, the listener. May you find harmony and peace.

Malek Jandali | Home | Saxophone Quartet III

Malek Jandali (http://MalekJandali.com) is “a uniquely gifted composer” (The Washington Post) and his music has been hailed as “a major new addition to the 21st century’s symphonic literature” by (Fanfare magazine). His symphonies, concertos, and upcoming opera, The Square, have been commissioned, performed, and recorded by leading orchestras and distinguished soloists around the world. Through his works he seeks to promote cultural communication and understanding. His large-scale orchestral works engage major philosophical themes and integrate Arabic maqams (modes) with persuasive craft and a marked seriousness of purpose that echo UNESCO’s call to preserve and protect the rich cultural heritage of his homeland Syria.

Jandali has produced ten albums of lauded performances encompassing more than forty of his compositions. He is the first Arab musician to have arranged the oldest example of music notation in the world, which was featured on his 2008 album Echoes from Ugarit. Jandali is the recipient of the 2014 Global Music Humanitarian Award, and in 2015 the Carnegie Corporation of New York honored him as a Great Immigrant, a Pride of America. 

Composer-in-residence at both Queens University of Charlotte and at Qatar Museums, Jandali is also the founder and CEO of Pianos for Peace (http://PianosForPeace.org), a nonprofit organization dedicated to building peace through music and education. Malek Jandali was born in Germany and raised in Syria. He now makes his home in Atlanta and New York City. 

Home is where Jandali’s music start and his Saxophone Quartet composed in New York City during the winter of 2018 and titled Home is based on several forgotten themes from his homeland Syria that were skillfully integrated into the Western classical form of the quartet. The final result was a unique harmony and a dialogue for unity and humanity in attempt to preserve the beauty of the rich culture of Syria. This world premiere recording is performed by the amazing Amstel Quartet (http://AmstelQuartet.nl) and has been released a single on all music platforms worldwide.

Since its inception, music has become a cultural phenomenon. It is something people relate to on emotional, instinctive, intellectual, and many other levels. It has affected Jandali greatly as well and instilled in him a desire to unite the primal with the contemporary and to create music that tugs at the heart and mind. Thus, the birth of this saxophone quartet, which is based on ancient themes from the composer’s homeland, Syria. 

As a musician with a mission, Jandali feels that the duty to preserve and present the rich heritage of his beloved homeland, at the moment that humanity is witnessing the eradication of the cradle of civilization. It is his hope that integrating ancient melodies from beautiful Syria and the Silk Road into his compositions will create music that serves as a humanizing force, one which is common to all. Jandali’s music is dedicated to you, the listener. May you find harmony and peace.

Malek Jandali | Home | Saxophone Quartet II

Malek Jandali (http://MalekJandali.com) is “a uniquely gifted composer” (The Washington Post) and his music has been hailed as “a major new addition to the 21st century’s symphonic literature” by (Fanfare magazine). His symphonies, concertos, and upcoming opera, The Square, have been commissioned, performed, and recorded by leading orchestras and distinguished soloists around the world. Through his works he seeks to promote cultural communication and understanding. His large-scale orchestral works engage major philosophical themes and integrate Arabic maqams (modes) with persuasive craft and a marked seriousness of purpose that echo UNESCO’s call to preserve and protect the rich cultural heritage of his homeland Syria.

Jandali has produced ten albums of lauded performances encompassing more than forty of his compositions. He is the first Arab musician to have arranged the oldest example of music notation in the world, which was featured on his 2008 album Echoes from Ugarit. Jandali is the recipient of the 2014 Global Music Humanitarian Award, and in 2015 the Carnegie Corporation of New York honored him as a Great Immigrant, a Pride of America. 

Composer-in-residence at both Queens University of Charlotte and at Qatar Museums, Jandali is also the founder and CEO of Pianos for Peace (http://PianosForPeace.org), a nonprofit organization dedicated to building peace through music and education. Malek Jandali was born in Germany and raised in Syria. He now makes his home in Atlanta and New York City. 

Home is where Jandali’s music start and his Saxophone Quartet composed in New York City during the winter of 2018 and titled Home is based on several forgotten themes from his homeland Syria that were skillfully integrated into the Western classical form of the quartet. The final result was a unique harmony and a dialogue for unity and humanity in attempt to preserve the beauty of the rich culture of Syria. This world premiere recording is performed by the amazing Amstel Quartet (https://AmstelQuartet.nl) and has been released a single on all music platforms worldwide. 


Since its inception, music has become a cultural phenomenon. It is something people relate to on emotional, instinctive, intellectual, and many other levels. It has affected Jandali greatly as well and instilled in him a desire to unite the primal with the contemporary and to create music that tugs at the heart and mind. Thus, the birth of this saxophone quartet, which is based on ancient themes from the composer’s homeland, Syria. 

As a musician with a mission, Jandali feels that the duty to preserve and present the rich heritage of his beloved homeland, at the moment that humanity is witnessing the eradication of the cradle of civilization. It is his hope that integrating ancient melodies from beautiful Syria and the Silk Road into his compositions will create music that serves as a humanizing force, one which is common to all. Jandali’s music is dedicated to you, the listener. May you find harmony and peace.

Malek Jandali | Home | Saxophone Quartet I

The BBC World Service interview with composer Malek Jandali (www.MalekJandali.com), founder of Pianos for Peace (www.PianosForPeace.org)

Malek Jandali  BBC World Service Interview

Composer and pianist Malek Jandali (http://MalekJandali.com). founder of Pianos for Peace (http://PianosForPeace.org) NPR Weekend Edition interview with Scott Simon discussing Syria, its rich heritage, resilience and challenges for peace.

Malek Jandali NPR Weekend Edition Interview with Scott Simon

"A Candle" for orchestra and chorus by composer Malek Jandali (http://MalekJandali.com), founder of Pianos for Peace (http://PianosForPeace.org) based on a poem by Rumi.

"A candle as it diminishes explains:
Gathering more and more is not the way 
Burn, become light, heat and help. Melt." 
~ Rumi


A Candle

Composer and pianist Malek Jandali presents “Woman”, a new composition for piano and orchestra, recorded in Moscow with the Russian Philharmonic Orchestra. Released on March 8, 2025 honoring International Women’s Day in collaboration with Qatar Museums and the Years of Culture.

Jandali’s “Woman” is part of his broader artistic mission to use the soft power of music to challenge stereotypes and reshape Western perceptions of Arab and Islamic culture. Through this lyrical, four-minute symphonic piece, Jandali celebrates the dignity, strength, and tenderness of women, drawing on the rich values of Arab-Islamic heritage that honor and uplift women — principles sometimes overlooked in global narratives.

This composition integrates Arabic Maqams (modes) in a symphonic structure with a flowing orchestration like a river with gentle yet powerful waves, “Woman” carries a universal message of appreciation, respect, and solidarity, positioning Arab culture as an essential partner in global civilization.

Apple Music

Woman

The symphony of stars glows in The Moonlight of hope. The Moonlight is an original symphonic work for piano and orchestra by composer and pianist http://MalekJandali.com based on one of the oldest songs in Islamic culture, Tala Al Badru Alayna, dating back more than 1400 years. Recorded in Moscow with the Russian Philharmonic Orchestra. Click http://youtu.be/UlJ-ssFUavs to watch The Moonlight.

Buy on iTunes 

The Moonlight - طلعَ البدرُ

Composer and pianist Malek Jandali (http://MalekJandali.com) founder of Pianos for Peace (http://PianosForPeace.org) interview with The National discussing his vision for Arabic symphonic music and the sound of legacy. This conversation explores art as activism and the future of Arab orchestral music.

A classically trained pianist with performances spanning Vienna, Sydney, Chicago and London, Syrian-American composer Malek Jandali has dedicated his career to preserving and elevating Arabic symphonic music on the global stage.

Jandali speaks about the inspiration behind his non-profit Pianos for Peace, a movement that transforms pianos into public artworks before they are donated to schools, hospitals and refugee centers. Jandali also reflects on art’s duty, which he says goes beyond entertainment, as well as its power to unite, heal and archive culture for generations to come.

Jandali shares how he integrates Arab melodies into the classical canon, and composes with a view towards a legacy he hopes will last “for a hundred years after my death”.

The National: Malek Jandali's vision for Arabic symphonic music and the sound of legacy

Composer and pianist Malek Jandali presents Syrian Waltz, a new symphonic work recorded in London with the Royal Philharmonic Orchestra. This composition continues Jandali’s artistic mission to harness the soft power of music in preserving and illuminating Syria’s rich cultural heritage.

Through this lyrical six-minute symphonic journey, Syrian Waltz celebrates the dignity, strength, and enduring spirit of the Syrian people. Drawing upon the profound values of Arab heritage, Jandali honors their resilience and hope in the ongoing pursuit of rebuilding their homeland.

Blending traditional Arabic maqams (modes) within a Western symphonic framework, the composition unfolds with orchestration as fluid and evocative as a river—gentle yet imbued with quiet strength. Syrian Waltz carries a universal message of appreciation, respect, and solidarity, positioning Arab culture as an indispensable partner in the shared fabric of global civilization.

Syrian Waltz (PRIVATE & CONFIDENTIAL) UNPUBLISHED

Original music composed, orchestrated and produced by MalekJandali (http://MalekJandali.com) founder of Pianos for Peace (http://PianosForPeace.org), inspired by At Whom in Both Places from The Big Red Book of Rumi. From the Silk Road to Manhattan's Little Syria to the cobblestone streets of SoHo, this album features the Malek Jandali Trio and the art of Taqasim, combining the Eastern sounds of oud with the Western harmonies of piano and cello.

Malek Jandali - At Home In Both Places

Original music composed, orchestrated and produced by MalekJandali (http://MalekJandali.com) founder of Pianos for Peace (http://PianosForPeace.org), inspired by An Ocean Without Shores by sufi mystic, philosopher, poet sage, Muhyiddin Ibn 'Arabi (1165 - 1240).  From the Silk Road to Manhattan's Little Syria to the cobblestone streets of SoHo, this album is a continuation of Jandali's musical journey featuring the Malek Jandali Trio and the art of Taqasim, combining the Eastern sounds of oud with the Western harmonies of piano and cello.

Malek Jandali - An Ocean Without Shores

Malek Jandali (http://MalekJandali.com) The Jasmine Tree. The old neighborhoods of the ancient cities of Damascus, Homs and Aleppo echo with memories of authentic Syrian music and Arabic maqamat, as well as with the perfume not only of orange and lemon trees but of the distinctive fragrance of the beautiful white jasmine flower. “Yasmine” in Arabic, the jasmine flower is soft, feminine, romantic, and so luminous that it seems to glow in the moonlight. Damascus, known as the “city of jasmine,” is the oldest continuously inhabited capital in the world, known for centuries as a cultural hub of the region.
Says Jandali, “As a child I would string together necklaces of jasmine flowers for my mother and grandmother, and even now the scent brings back these special memories of my youth in Syria. In Farsi ‘yâsamin’ means ‘gift from God,’ and one of God’s gifts to me has been my beautiful wife Yasmine and our daughter Maya who inspired this album and to whom it is dedicated.”

Beginning with alternately dramatic and introspective phrases in the piano, Jandali builds to the entrance of the rhythmically distinct main melody in 5/4 meter. The oud takes over, soon joined by the cello, and the three instruments engage in imaginative contrasts of homophony and interplay, with the main melody returning periodically.

The Jasmine Tree incorporates the authentic Saba maqam on F in the oud taqasim. Ethereal passages and a grand pause bring on the first oud improvisation, which skillfully integrate a number of maqamat on variations of the work’s basic motives.

The Jasmine Tree

Caravan from the album Homs - Emessa. Original Piano and Orchestra music by composer/pianist Malek Jandali (http://MalekJandali.com)

Emessa

05/02/2012

Caravan

The title track Emessa (Homs) from the album Emessa recorded with the Russian Philharmonic Orchestra. Original music by composer and pianist Malek Jandali (http://.MalekJandali.com)

Emessa (Homs)

Mawal from the album Emessa - Homs recorded with the Russian Philharmonic Orchestra. Original music by composer and pianist Malek Jandali (http://MalekJandali.com)

Buy iTunes

Mawal

Freedom: Qashoush Symphony from the album Emessa (Homs) recorded with the Russian Philharmonic Orchestra. Original Piano music composed and performed by Malek Jandali (http://MalekJandali.com)

Freedom (Qashoush Symphony)

Amal (Hope) from the album Emessa - Homs recorded with the Russian Philharmonic Orchestra. Original music composed and performed by Malek Jandali (http://MalekJandali.com) founder of (http://PianosForPeace.org)

Amal (Hope)

Salam (Peace) from the album Emessa - Homs recorded with the Russian Philharmonic Orchestra. Original music composed and performed by Malek Jandali (http://MalekJandali.com)

Salam (Peace)

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Andalus from the album Echoes from Ugarit. Recorded with the Russian Philharmonic Orchestra. Original music composed and performed by Malek Jandali 

http://www.MalekJandali.com 

Malek Jandali - Andalus

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Sulaima from the album Echoes from Ugarit recorded with the Russian Philharmonic Orchestra. Original music composed and performed by Malek Jandali 

http://www.MalekJandali.com 

Malek Jandali - Sulaima

Piano Dream from the album Echoes from Ugarit recorded with the Russian Philharmonic Orchestra. Original music composed and performed by Malek Jandali 

http://www.MalekJandali.com

Malek Jandali - Piano Dream

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Leil from the album Echoes from Ugarit recorded with the Russian Philharmonic Orchestra. Original music composed and performed by Malek Jandali 

http://www.MalekJandali.com 

Malek Jandali - Leil

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Yafa from the album Echoes from Ugarit recorded with the Russian Philharmonic Orchestra. Original music composed and performed by Malek Jandali 

http://www.MalekJandali.com 

Malek Jandali - Yafa

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Echoes from Ugarit based on the oldest music notation in the world recorded with the Russian Philharmonic Orchestra. Original music composed and performed by Malek Jandali 

http://www.MalekJandali.com 

Malek Jandali - Echoes from Ugarit

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Arabesque from the album Echoes from Ugarit recorded with the Russian Philharmonic Orchestra. Original music composed and performed by Malek Jandali 

http://www.MalekJandali.com 

Malek Jandali - Arabesque

Syria Anthem of the Free - Music and Lyrics  by composer and pianist Malek Jandali (http://MalekJandali.com)with the Cairo Opera Arabic Choir.

09/04/2013

Syria Anthem of the Free (Orchestra & Choir)

Movement I: Moderato—Allegro moderato

The Piano Concerto’s first movement unfolds in a full-fledged sonata form, launched by a dramatic introduction of imposing solemnity, in which Jandali draws inspiration from two genres of vocal music. The mawwāl is one of the most widespread genres of sung poetry in the Arab world—especially popular in the Syrian cities of Homs, Ḥama and Aleppo—performed in improvisatory style often with its rhymes extended by elongation of its vowels. The adhān is the call to prayer that can be heard five times a day from mosques throughout the Muslim world. Jandali colors these improvisatory-sounding melodic phrases with drumrolls, piano flourishes, and gut-pounding chords. These subside into a sparer texture highlighting the piano and plaintive string fragments led by cellos resonating in their lowest register.

The somber drama of the introduction provides the perfect foil for the dance-like first theme of the exposition, bringing to mind the age-old concept of “laughter amid tears” so often depicted in the music of Eastern Europe, of the Middle East, and of persecuted peoples of many cultures. The piano presents both this lively theme, based on a samā'i (instrumental piece) in the Bastah Nikar maqām (melodic mode) by Alī Darwīsh (1884–1952), as well as the lovely, lyrical second theme, which draws on an old samā'i in the Shahnaz maqām. Such a thematic contrast is not only typical of Western sonata form but also helps to convey the great spectrum of emotions that relate to the Syrian experience. Jandali heightens the contrast with a pronounced slowing during the transition that stems the rhythmic pressure of the first theme.

A compact development section builds gradually from a mysterious hush to a tremendous climax and the powerful return of the first theme. Quiet descends again to introduce an extended piano cadenza, which shows just as wide a range of emotions as the entire movement. The coda, containing a haunting recall of the main theme by the violins in octaves, begins slowly and, like folk dances of many cultures, builds momentum to a whirlwind conclusion.

Piano Concerto

03/01/2021

Malek Jandali | Piano Concerto No. 1 Movement I Moderato—Allegro moderato

Movement II: Andante
The slow movement creates a melancholic dreamworld in an extended three-part form whose main theme is based on an old samā'i in the Nakriz maqam. The first section grows out of a rising motive that the piano takes up under its poignant spinning-out of the melody. When the clarinet takes up the theme, the piano provides delicate elaboration. A gradual surge comes to a great peak as the orchestra adds sonorous bits of color and texture—sometimes graceful, sometimes searing. The middle section creates a kind of nocturnal atmosphere—perhaps a bow to some of Bartók’s famed “night music” as in the slow movement of his Third Piano Concerto—from which a lovely flute solo emerges as well as a poignant cello melody based on a samā'i in the Ajam maqām by Sisak Afandī. The latter becomes the starting point for a piano cadenza that begins introspectively but eventually unleashes great power, which in turn sets up the impassioned outpouring of the main theme by the whole orchestra—replete with tam- tam crashes as the piano reinforces. The veiled dreamworld gradually returns, and another brief cadenza leads directly into the finale.

20/02/2021

Malek Jandali | Piano Concerto No. 1 Andante II

Movement III: Vivace

A wave of phrases in varied textures banishes the spell, and an energetic dance breaks out, based on the popular Syrian folk tune “My Grandmother’s Dance.” As with a host of Classic and Romantic concertos, Jandali’s finale combines elements of sonata and rondo form in a way that provides plentiful opportunities for the soloist to show dazzling skills. But with such a pronounced folk element one immediately thinks of national schools represented by such composers as Sibelius, Khachaturian, and Bartók. By
taking up this tradition of a folk-themed virtuoso finale, Jandali creates a new Syrian national school.

The finale’s second theme, too—which begins like a capricious march in the vein of Prokofiev or Shostakovich—borrows a motive from an old Syrian folk tune of unknown origin, which people have often fit with words to cheer on their favorite sports team. The main theme returns in developmental permutations that culminate in a grand pause. This sets up the entrance of the entire orchestra soaring majestically in the manner of a Tchaikovsky or Rachmaninoff “big tune,” here employing another old Syrian melody, a samā'i in the Bayati maqām. Jandali concludes with a return to the second theme, which builds in sound and speed to another dramatic pause and final emphatic chord.

02/20/2021

Malek Jandali | Piano Concerto No. 1 Vivace III

The Moonlight

Jandali composed The Moonlight for piano and orchestra in 2015 and recorded it in Moscow on April 4, 2016, with the Russian Philharmonic Orchestra conducted by Sergey Kondrashev. The composer also made a version for piano, oud, and cello, which the Malek Jandali Trio recorded in New York on November 15, 2015, and released on The Jasmine Tree album in 2018.

The Moonlight is based on one of the oldest songs in Islamic culture, “Tala'al-Badru 'alaynā” (The full moon rose over us), dating back more than 1,400 years. The people of Madinah received Prophet Muhamad with this song, a sign of the value that the first Muslims placed on art and music in their daily lives. Featuring the Nahawand maqam, the piece begins quietly with steady rhythmic patterns that accumulate and subside but eventually wind up to a powerful conclusion.

The full moon rose over us
From the valley of Wada'
And it is incumbent upon us to show gratitude.
For as long as anyone in existence calls out to God Oh our Messenger (Emissary) amongst us
Who comes with the exhortations to be heeded You have brought nobility to this city.
Welcome you who call us to a good way.

The Moonlight

Ya Allah | Oh God

Composed in Atlanta, Georgia, in 2012, Ya Allah for piano and orchestra is based on two chants employed by the Syrian people in their peaceful quest for dignity and freedom. Jandali recorded the work in Moscow on February 5, 2013, with the Russian Philharmonic Orchestra, led by Sergey Kondrashev. He then produced a shorter version with chorus joining in on the phrase “Oh God, we have only you, oh God” in Arabic. He recorded this version with members of the Arabic Choir of the Cairo Opera House and
employed a portion of it in a music video that he released in May of 2013. The present album features the complete work in its original version for piano and orchestra.

The piece begins in an atmosphere of deep foreboding, out of which emerges the powerful main theme, which Jandali based on a popular chant that the Syrian people adapted to sing at soccer games in support of their favorite team. (See also the second theme in the Piano Concerto’s finale.) They changed the lyrics to “Oh God, we have only you, oh God” when they realized that the international community had abandoned them. In 2014 the United Nations stopped counting Syrian casualties. Using a well- known tune was immensely helpful to mobilize and engage all people. Says Jandali, “While marching in the streets in peaceful protest, demonstrators used to chant together and clap their hands as proof that they were not armed to avoid being shot at by the regime snipers and soldiers on top of buildings.”

After the mood quiets, a fleeting reference steals in, unconscious but lovely, evoking Wagner’s “Fate motive,” in turn inspired by Beethoven’s famous motive “Muss es sein?” (Must it be?). This luminously prepares the way for the solo piano’s presentation of the main theme, which becomes gradually enlivened by orchestral interjections and leads directly into the energetic second theme. Derived from the chant “The People Want Freedom,” this theme receives all manner of variations and combinations with the main theme, rising to an almost brutally martial treatment before turning quasi-fugal. The composer writes, “I integrate polyphonic techniques in the juxtaposition of both chant themes to emphasize the unity and harmony of the people and their noble quest for human rights, dignity, and freedom.” The piece concludes with a broadened peroration of the main motive.

Ya Allah

Elegy
The warmly nostalgic Elegy, the only work on this album without piano, dates from the summer of 2013, composed in New York City and recorded in London on May 21, 2014, with the Royal Philharmonic Orchestra under the baton of David Firman. Again, following his basic aim to preserve Syrian culture, Jandali bases the piece on an old Syrian tune, in this case drawing on the form of a tahmīla in the Saba maqām. A tahmīla is a dance form in a simple 4/4 or 2/4 meter that alternates between short improvisational solos and composed ensemble refrains in a call and response format. In this context flute, clarinet, and horn take on significant roles, with an especially lovely flute solo making a tender statement over steady pizzicato midway through the piece. Gently sustained countermelodies add texture, leading to a lush presentation of the main melody. Toward the end Jandali introduces a heartrending violin solo, which dies away to an ethereal final utterance by the flute.

Elegy

www.MalekJandali.com | www.PianosForPeace.org
Hailed by Fanfare Magazine as “a major new addition to the 21st century’s symphonic literature,” Malek Jandali’s symphonic works have been described by Gramophone as “deeply enigmatic with voices and in tongues emerging from the composer’s Syrian heritage that generously repay more reflective listening” with “heart-rending melodies, lush orchestration, clever transitions and creative textures.” American Record Guide.

His large-scale orchestral works integrate Arabic maqams (modes) with persuasive craft and a marked seriousness of purpose that echo UNESCO’s call to preserve and protect the rich cultural heritage of his homeland Syria at a time when it is being eradicated. “Jandali captures the struggle, trauma and triumph of our displaced brothers and sisters, through the voice of a child. It is a beautiful and important message.” Marin Alsop

Recent commissions and premieres include a Viola Concerto for Roberto Diaz, a String Quartet for the Nashville Symphony Orchestra, and a world premiere by Baltimore Symphony Orchestra under the baton of Marin Alsop who described The Silent Ocean as “an evocative and emotional journey for musicians and audience members. In this piece Jandali captures the struggle, trauma and triumph of our displaced brothers and sisters, through the voice of a child. It is a beautiful and important message.” 

His causes go beyond those of humanitarian activism, as he is regularly recognized by and invited to speak to key academic institutions such as Harvard University, the Skoll World Form at Oxford, Duke University, Aspen Ideas Festival, Fordham University, the United Nations headquarters in New York City and the Doha Debates at Georgetown University in Qatar, TEDx Talk at Georgia Tech and Sydney Ideas talk at the University of Sydney.

Mr. Jandali also has self-produced seven albums representing excellent performances of 40 of his compositions. His albums Syrian Symphony, SoHo, Hiraeth, and The Jasmine Tree were released at Carnegie Hall’s Weil Recital Hall in 2015, 2016, 2017, and 2018 respectively. The Huffington Post described his work as “inspiring” and Bob Stevenson of NPR stated that his music is both “moving and thought provoking.” 

Mr. Jandali is the recipient of the 2014 Global Music Humanitarian Award and in 2015, The Carnegie Corporation of New York honored him as a Great Immigrant. He is a strong advocate for peace and was selected as a Visiting Scholar for the 2017/2018 academic year in the Center for the Study of Genocide and Human Rights at Rutgers University. Mr. Jandali is very passionate about making the arts accessible to all and is the founder and CEO of (www.PianosForPeace.org), a non-profit organization dedicated to building peace through music and education. He embraces young talent from all over the world through the annual Malek Jandali International Youth Piano Competition. Mr. Jandali makes his home in both Manhattan and Atlanta. His music is published exclusively by Soul b Music and his discography is available on iTunes, Amazon and at Virgin Megastores worldwide.

MALEK JANDALI | مـالـك جـنـدلـي

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