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.”

Spotify

Malek Jandali | Symphony No. 6 | The Desert Rose

Dance Of The Scarves - Marcel Khalife

Semaai Bayat - Twais Quartet

مزّيكا لـ مارسيل خليفة .. 

Tango | تانجو لعيون حبيبتي ~ مارسيل خليفة

The one for whom the sun shines

to take . . .  to hold .

http://MalekJandali.com

IX. The Desert Rose: Con moto

Jandali grandly concludes his Qatar “symphony” with an epilogue in the form of a chaconne or passacaglia (a set of variations on a short subject, usually introduced in the bass, but which can weave itself elsewhere into the texture). Based on the first movement’s theme, his five variations represent how very slowly over time the desert creates the astounding beauty of the desert rose.

Adds Jandali, “I created multiple arches by integrating the motives and rhythms of Movement II, the ticking of time from Movement VIII, and a poly-ostinato rhythm by combining both traditional Qatari patterns with the pulse of time. I also replaced one of the variations with an ‘intermezzo’ that fades to silence before the final ‘variation’—a return to Movement I. This final movement contains a total of 539 measures in different time signatures, resembling the exact number of interlocking disks of differing diameters and varying curvatures that comprise the walls and ceilings of Jean Nouvel’s National Museum of Qatar.”

Malek Jandali: The Desert Rose

August 22, 2022

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

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 | 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

Watch our video here: https://www.youtube.com/watch?v=jGpWTQq9A04

Lamma Bada Yatathanna
Suad Bushnaq and Friends

Suad Bushnaq, recomposition and piano
facebook.com/SuadBushnaqComposer

Didem Basar, qanoun
duoturco.com/duoturco.com/DUOTURCO.html

Ali El Farouk, guitar
facebook.com/alielfaroukmusic

Amar Lazam, riq

Sound Engineer 
Stuart Bremner

Mastering Engineer
Wim Bult

Produced by Silk Road Institute Canada
silkroadinstitute.ca

Recorded live at McGill University Studios
Montreal
©2014

Lamma Bada Yatathanna | لما بدا يتثنى | Suad Bushnaq

The Curve
A Film by Rifqi Assaf
World Premiere Dubai International Film Festival 2015
Composer and Arranger: Suad Bushnaq
Oboe: Dom Kelly | London
Accordion: Tom Szczesniak | Toronto
Bouzouki: Chronis Vasiliou | Chapel Hill
Strings: Watariyyat Souria (Syria String Ensemble) | Damascus
Live String Recording: Hazem Jabbour | Gaya Studios | Damascus
Music Mixer: Tristan Capacchione | Banff

©2015 All Rights Reserved. 

Soulmate | رفيق الروح

Under the stars - Pera Classic

music by Ibrahim Shamel || موسيقي ابراهيم شامل

No Music In Al-Ahmadi - لا موسيقي في الاحمدي

Lighthouse walz

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 | Symphony No. 6 | The Desert Rose | Con - Moto IX

MALEK JANDALI | مـالـك جـنـدلـي

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