YOU ARE HERE: LAT HomeCollections

Mohammed Fairouz is a composer of the world

An Arab American raised mostly in New York and trained in Western conservancies, Mohammed Fairouz proudly defies labels. His work will be performed at UCLA.

November 30, 2013|By Jeffrey Fleishman
  • Arab-American composer Mohammed Fairouz at the Schoenberg Music Building at UCLA in Westwood.
Arab-American composer Mohammed Fairouz at the Schoenberg Music Building… (Genaro Molina / Los Angeles…)

Voices rose in a soft hum, as if bees buzzing in a distant jar. The chorale conductor awakened the air with his baton and the composer, wearing a Batman T-shirt and blue suede shoes and looking disheveled after a flight from New York, closed his eyes and listened to a poem of war.

The voices struggled and turned timid. The conductor hushed the choir. Hands riffled through the text of Symphony No. 3: "Poems and Prayers." Something was amiss — a piercing sound not summoned — in Room 1325 at UCLA's Schoenberg Hall.

"All I'm hearing right now is pretty music," said Mohammed Fairouz, the composer, who at 28 was not much older than the 70 or so faces staring back at him. Skateboards tilted against a wall, a late-arriving baritone took his seat. "Could you sing the words as if you are the mothers of this tribe? This is one of the great Israeli poems. 'Memorial Day for the War Dead.' Use the consonants, use the vowels. Enjoy the way this guy manipulated language. It's chilling.... Don't be nerdy about this."

PHOTOS: Arts and culture in pictures by The Times

The conductor, Don Neuen, his face animated, again raised his baton. The voices lifted; the tribal mothers sang out and were heard.

"That's very, very good," said Fairouz, adding with unabashed earnestness. "This is like one of the hardest passages of choral music ever written."

"We've noticed," said Neuen.

Fairouz is a talented, eclectic — often arrestingly so — and quite busy composer. His work is at once classical, current and global, a mingling of rhythms and tones, as attuned to Brahms and other "dead white men" as they are to the inflections of Middle Eastern melodies. The composer, a shrewd reader of politics, is working on an uncommissioned opera on the life and assassination of former Pakistani leader Benazir Bhutto.

"I don't borrow, I steal," said Fairouz, who has the confidence, and at times the brashness, born of intuitive passion and early success. "You step out of a cab and you listen to the Punjabi beats coming from a radio and then you hear Greek music while passing a deli.... How can you separate yourself from what you hear?"

CRITICS' PICKS: What to watch, where to go, what to eat

He bristles at the mention of cultural categorization, fixed national identities and musical boundaries. An American of Arab descent who was raised mostly in New York — his parents, both doctors, are of Palestinian heritage — Fairouz studied at the Curtis Institute of Music and the New England Conservatory. He has written operas, symphonies, chorals, chamber works and hundreds of songs. He has penned works for Imani Winds, Borromeo String Quartet and clarinetist David Krakauer.

"I'm not some exotic thing who flew in on a magic carpet," he said, sitting in a lounge in Schoenberg Hall. "I went to Western conservatories and got classical training.... Maybe identity shouldn't matter. We can move beyond the ideas of people being tokens.... I'm not drenched in [historical] baggage. A future of nihilism and cynicism. How would that be appealing to someone today in their 20s? It's not sexy at all."

The BBC has called Fairouz "one of the most gifted composers of his generation." The New York Times described him as an important new artistic voice, and a review in September noted: "[H]is Middle Eastern roots show through in the music itself, which skillfully blends Arabic maqam modes with Western forms. There is much to like about Mr. Fairouz's unfailingly melodic music, but there was a lack of structural vigor and dramatic tension in many of the works presented here that resulted in moments of aimless drift."

Cultural crosscutting infuses his work, and his music, notably through voice and clarinet, embodies the dispossession and mournfulness as well and the tumult and rage of the Middle East not only through the centuries but amid today's bloodshed and unfinished revolutions. "Tahrir," inspired by the 2011 Egyptian uprising, features a solo clarinet that dips and soars, scats and swoops as if a herald unshackled to call forth a new era. In "Poems and Prayers," the clarinet is a wavering voice — a kind of lullaby — between a mother and her dead son.

PHOTOS: Conductors' pop music favorites

The work will be performed by the UCLA Philharmonia, the university's Chorale and Chorus and guest soloists at Royce Hall on Dec. 8, preceded by a recital Dec. 5 on campus that will feature two other Fairouz pieces. The music is part of weeklong program called "Listening to the Other," which includes works by Israeli composers Tsippi Fleischer and Betty Olivero, whose work Fairouz came to admire as a teenager. He has also been influenced by Schubert, Stravinsky, Stephen Sondheim, Ravi Shankar, Kurt Weill and the Egyptian singer Umm Kulthum.

Los Angeles Times Articles