Inspired by Ferdowsi’s Shahnameh (Persian Book of Kings), Feridoun is a loosely-programmatic work depicting the struggle and coming to power of one of ancient Persia’s earliest kings.
In Persian mythology, the lands were ruled by an evil tyrant named Zahhak. Two snakes grew from his shoulders, and Zahhak ordered that two people must die each day in order to satiate the snakes. Fear spread amongst the people, and they longed for justice and revenge. One night, Zahhak dreamed that a boy named Feridoun would eventually dethrone him. Terrified, he ordered that this boy be found and killed.
For years, Feridoun’s mother kept him one step ahead of Zahhak. When he was a teenager, he learned that Zahhak had sacrificed and fed his father to the ever-hungry snakes. Enraged, he joined a small uprising against Zahhak and led his envoy into battle. Singlehandedly he defeated Zahhak and bound him in a cave beneath Mount Damavand. The tyrant cast down, Feridoun ruled the earth with benevolence and justice for the rest of his long lifetime.
Musically, Feridoun is a through-composed piece, each section directly relating to an aspect from the story. Many of the sections have subtitles, a few of which are “Zahhak,” “Kaveh’s Revolt,” “The Battle of Zahhak and Feridoun,” and “The Divine Farr.”
* This work includes extended techniques for both flute and piano, plus the usage of some small percussion instruments.
About
Inspired by stories from Ferdowsi’s Shahnameh (Persian Book of Kings), Div is a work depicting the dual facets of these colorful beings.
A “div” (pronunciation: deev) often has negative associations, and in Persian mythology is an evil spirit akin to a demon that loves to cause harm and destruction. However, some divs may actually be helpful and benign. Unlike in Judeo-Christian tradition, a div is a physical being, often pictured with combined human and animal features. Though they have two arms and legs like humans, often they feature tufted tails like a lion, hairy, multicolored bodies, and bestial faces. Divs are frequently mentioned in the Shahnameh; one famous story involves the struggle between the Persian hero Rostam and the Akvan Div, a white demon whose name means “evil mind.”
Musically, the first half of the piece represents the malevolent side of divs, whereas the latter half represents their benign nature. Subtitled Ahura, a Farsi word representing the “right” kind of divinity and the moral opposite of evil, this latter half utilizes much of the same melodic content, though slightly transformed. Does the work end in a pure, righteous state, or do some elements of the “evil” div mischievously return? The listener may fully decide.
Div was commissioned by the KU Helianthus Contemporary ensemble.
Tomorrow morning I’m off to St. Louis to attend the premiere of my new composition, titled “Div.” It should be a fun trip since I’m traveling with some members of the KU Helianthus ensemble, namely Mike Kirkendoll, Mary Fukushima, and Nathanael May. I’ve worked with Mike and Mary before, since they performed a piece of mine in Carnegie Hall last year.
In other news, this is an exciting upcoming week. On April 1st, my 10-piece chamber ensemble composition, titled “Feridoun,” will be premiered on the “Stack the Dectet” concert in Atlanta with my friend Daniel Swilley conducting.
Also in early April is the run of the play “Keely and Du” at KU, for which I wrote some music for the beginning and the ending. I’ll attend the show on opening night. More on that later.
Here are the program notes that I wrote for “Div.”
Inspired by stories from Ferdowsi’s Shahnameh (Persian Book of Kings), Div is a work depicting the dual facets of these colorful beings.
A “div” (pronunciation: deev) often has negative associations, and in Persian mythology is an evil spirit akin to a demon that loves to cause harm and destruction. However, some divs may actually be helpful and benign. Unlike in Judeo-Christian tradition, a div is a physical being, often pictured with combined human and animal features. Though they have two arms and legs like humans, often they feature tufted tails like a lion, hairy, multicolored bodies, and bestial faces. Divs are frequently mentioned in the Shahnameh; one famous story involves the struggle between the Persian hero Rostam and the Akvan Div, a white demon whose name means “evil mind.”
Musically, the first half of the piece represents the malevolent side of divs, whereas the latter half represents their benign nature. Subtitled Ahura, a Farsi word representing the “right” kind of divinity and the moral opposite of evil, this latter half utilizes much of the same melodic content, though slightly transformed. Does the work end in a pure, righteous state, or do some elements of the “evil” div mischievously return? The listener may fully decide.
Div was commissioned by the KU Helianthus Contemporary ensemble.
It’s in! Yesterday I received a recording from the world premiere of “Persepolis.” For now, you can access the audio files on the left. See the page on “Symphony No. 1.” I have replaced the “mockups” with the live performance.
Ok, that title might be slightly dramatic, but it barely conceals my excitement about the world premiere of Persepolis.
Quite frankly, the performance was great. No, it was not flawless (are they ever?), but it was energetic and quite powerful. I’m pleased with the results, and have received lots of good feedback.
Here is an audio recording of the world premiere of “Kaykhosrow’s Ascension”, recorded in Carnegie Hall on 4 June 2006. The performers are Mike Kirkendoll and Mary Fukushima.
This is a large file (11.5 MB). It may take a while to start playing. Click on the “play” button to begin listening.
Program notes
Inspired by Ferdowsi’s Shahnameh (Persian Book of Kings), Kaykhosrow’s Ascension is a loosely-programmatic work depicting the suffering and eventual heavenly departure of Kaykhosrow, one of ancient Persia’s greatest kings.
After many years of honorable ruling, Kaykhosrow became sated with kingship. As the descendant of the righteous Kavus and the wicked Afrasyab, he began to feel the weight of his crooked heritage. For five weeks he locked himself away and prayed, anguishing lest he fall into wicked ways. One night the angel Sorush appeared to him in a dream and comforted him, saying “You will find a home beside the Source of Righteousness, there is no need for you to sojourn in this darkness any longer.” Kaykhosrow then gave away all of his riches and even his crown. With a party of his followers he made his way up a mountainside. During the night he disappeared, leaving no earthly trace.
Musically, the “ascension” of Kaykhosrow is found in the octatonic scale. Each section of the piece ascends by one note in the scale, though there is one slight alteration. There is one central theme – all thematic material grows out of the main idea. In the final section there is an eventual breakdown as the parts become disassociated with one another and eventually disappear, thus representing Kaykhosrow’s final moments and mystical renunciation of the world.
Kaykhosrow’s Ascension was commissioned by Mike Kirkendoll and Mary Fukushima.
Today I received a great e-mail from Mary Fukushima: NYCR (New York Concert Review) will soon publish a review of their performance in Carnegie Hall. She sent me a “preview” of what will be published. The publication is released only in NY as a hardcopy, so I don’t see the harm in posting it here. (more…)
After much toil, “Kaykhosrow’s Ascension” is finally complete. Written for flute and piano, this is a loosely-programmatic work inspired by the story “The Occultation of Kaykhosrow” as written by Ferdowsi in his great epic, the Shahnameh.
This is the piece that Mike and Mary will take to Carnegie Hall on June 4. Believe me, it is a massive relief to finally be done with this piece.
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