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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.”

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Malek Jandali | Symphony No. 6 | The Desert Rose

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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

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VIII. Paysages: Andante

A set of three paysages, or landscape paintings, was inspired by the Qatari countryside starting with the desert theme that leads to windy sunrise on sand dunes, rain in the oasis, and the Dhal Al Misfir (Cave of Light) where gypsum crystals give rise to desert roses. All three “landscapes” are built on an ostinato pulse (repeating pattern) representing time.

Sudden changes of timbre and the low register of the contrabassoon represents the gloomy atmosphere of a lagoon that lies between the National Museum of Qatar and the nearby Corniche Promenade. The lagoon is enlivened by fountain sculptures by artist Jean-Michele Othoniel that are reminiscent of Arabic calligraphy.

The movement climaxes with the loud dissonant ticking of the everlasting power of time. According to Jandali, “Some of the images that I tried to paint in this and the last movement include Arabian horses, sand dunes, an eagle, a caravan of camels, rain drops in the oasis, and the eternity of time that it takes for nature to create the desert rose.”

Malek Jandali | Symphony No. 6 | The Desert Rose | Paysages - Andante VIII

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VII. Fete: Vivace

In the finale of the Qatari “suite” movements, a traditional children’s song, “Al Aydo,” celebrates the unity of a bride and groom’s family using a charming rhythmical pattern. This song inspired the second of the minor-key themes in this movement.

Malek Jandali | Symphony No. 6 | The Desert Rose | Fete - Vivace VII

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VI. Scherzo: Vivace

This playful movement is based on a lively regional folk tune, “Al Karnakouh,” sung by children celebrating the evening that marks the middle of the holy month of Ramadan. Sacks in hand, they happily collect candy and treats from family and neighbors. The first theme draws again on the harmonies of first movement, and a modified reprise suggests the “da capo” (return to the opening section) of a traditional scherzo.

Malek Jandali | Symphony No. 6 | The Desert Rose | Scherzo - Vivace VI

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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

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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

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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

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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

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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

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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

MALEK JANDALI | مـالـك جـنـدلـي