{"id":5810,"date":"2025-05-03T19:37:34","date_gmt":"2025-05-03T19:37:34","guid":{"rendered":"https:\/\/malekjandali.com\/ar\/?page_id=5810"},"modified":"2025-05-08T19:48:15","modified_gmt":"2025-05-08T19:48:15","slug":"8-symphony-no-8","status":"publish","type":"page","link":"https:\/\/malekjandali.com\/ar\/8-symphony-no-8\/","title":{"rendered":"8- Symphony No. 8"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"5810\" class=\"elementor elementor-5810\">\n\t\t\t\t<div class=\"elementor-element elementor-element-44655b6 e-flex e-con-boxed e-con e-parent\" data-id=\"44655b6\" data-element_type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e49e514 elementor-widget elementor-widget-heading\" data-id=\"e49e514\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Symphony No. 8<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1b783ae elementor-widget-divider--view-line elementor-widget elementor-widget-divider\" data-id=\"1b783ae\" data-element_type=\"widget\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-4d92c61 e-flex e-con-boxed e-con e-parent\" data-id=\"4d92c61\" data-element_type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-eb86116 elementor-widget elementor-widget-text-editor\" data-id=\"eb86116\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"color: #000000;\"><b>SYMPHONY NO. 8 | MALEK JANDALI<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">\u201cSymphony No. 8 is the most untraditional symphony of all I have composed,\u201d says Jandali. \u201cFirst of all, it is for just eleven players, and second, it features a lot of genre intersections. It is a symphony-concerto-suite at the same time, comprised of five movements.\u201d Composed in 2022, Symphony No. 8 is scored for flute, oboe, clarinet, bassoon, horn, piano, two violins, viola, cello, and bass. The ORF Vienna Radio Symphony Orchestra, conducted by Marin Alsop, made the world-premiere recording on January 25 and 27, 2023, at the RadioKulturhaus in Vienna, Austria.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">\u00a0<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">The realm of chamber symphonies or chamber concertos often encompasses genre-bending works\u2014think Schoenberg\u2019s two Chamber Concertos, Zwilich\u2019s Chamber Concerto, and Berg\u2019s Chamber Concerto\u2014calling for anywhere between six and dozens of players of widely different configurations. And yet Jandali uses simply \u201csymphony\u201d because the scope of his ideas seems too large for the connotation of a chamber work. Right from the outset of the first movement, with its powerful upward-surging motives through the climactic writing in the fifth movement\u2014notable contrasts notwithstanding\u2014Symphony No. 8 shouts \u201cconcert hall\u201d rather than \u201cchamber.\u201d<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">\u00a0<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">The title of the first movement, Overture, suggests neither a symphony nor a concerto, but a suite, though it quickly moves into the concerto realm when the piano and then solo violin take the spotlight. An oboe solo provides calm before the grand symphonic close based on the main theme now magnified.<\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">\u00a0<\/span><\/p><p><span style=\"color: #000000;\"><span style=\"font-weight: 400;\">The Andante\u2014which like the second theme in Jandali\u2019s Fifth Symphony (see above) integrates a motive from \u201cEsqi al etash\u201d (Quench the thirsty)\u2014begins in a hesitant hush that sets up the expressive flute solo. Taken up by others, the melody rises to a peak and a portentous silence before giving way to the theme\u2019s grand symphonic presentation and a masterful, chamber-like dissolution. Select passages suggest a kinship with Stravinsky\u2019s renowned theatrical <\/span><i><span style=\"font-weight: 400;\">Histoire du soldat<\/span><\/i><span style=\"font-weight: 400;\">\u2014famously not a symphonic work but scored for a septet of solo players.\u00a0<\/span><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">\u00a0<\/span><\/p><p><span style=\"color: #000000;\"><span style=\"font-weight: 400;\">The third movement presents motoric contrast, its insistent rhythmic motives admitting \u00a0 themes based on two <\/span><i><span style=\"font-weight: 400;\">waslas<\/span><\/i><span style=\"font-weight: 400;\"> (instrumental pieces)<\/span> <span style=\"font-weight: 400;\">of the same<\/span> <span style=\"font-weight: 400;\">anonymous Andalusian <\/span><i><span style=\"font-weight: 400;\">muwashshahat<\/span><\/i><span style=\"font-weight: 400;\"> (strophic poetic-musical form). The first is \u201cNamma dam\u2019ei\u201d (Tears exposed me) and the second, \u201cAhwa al ghazal alrabrabi\u201d (I love the lord\u2019s deer). The final fragmenting of the rhythmic pattern makes a satisfying conclusion.<\/span><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">\u00a0<\/span><\/p><p><span style=\"color: #000000;\"><span style=\"font-weight: 400;\">The fourth movement suggests a slow-moving dance or procession with its slowly unfolding rhythmic patterns over which various melodies unwind expressively. Here Jandali integrates an old <\/span><i><span style=\"font-weight: 400;\">bashraf<\/span><\/i><span style=\"font-weight: 400;\"> by Othman Baik (dates?).<\/span><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">\u00a0<\/span><\/p><p><span style=\"color: #000000;\"><span style=\"font-weight: 400;\">Despite the parameters dictated by the scoring for eleven instruments, the Finale takes on symphonic grandeur. Jandali accomplishes this by contrasting solo passages with full ensemble passages in the manner of a concerto grosso, given that many solo instruments participate. But more specifically, each instrument is treated to the doubly active role of distinctive solo as well as ensemble music-making, with different timbres constantly coming to the fore. Along the way, Jandali integrates a <\/span><i><span style=\"font-weight: 400;\">Sam\u0101&#8217;I Hijaz<\/span><\/i><span style=\"font-weight: 400;\"> by Abdul Rahman Jabakji (dates?). Dramatic pauses in the conclusing measures lend weight to the final chord.<\/span><\/span><\/p><p><br \/><br \/><\/p><p><span style=\"color: #000000;\"><span style=\"font-weight: 400;\">Instrumentation: fl ob cl fag cor piano violin1 violin2 viola vc cb<\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\">Duration: 22 minutes\u00a0<\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\">Symphony 7 is the most untraditional symphony of all I composed. First of all it is just for 11 players and it has a lot of genre intersections. It is a symphony-concerto-suite at the same time in Five movements:<\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\">\u00a0I. Allegro energico<\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\">\u00a0II. Andante\u00a0 Theme 115<\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\">\u00a0III. Presto\u00a0 Theme 56<\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\">IV. Moderato\u00a0 Theme 48<\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\">V. Vivace\u00a0\u00a0\u00a0 Theme 64<\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\">The power big orchestra gives is unreachable with such small number of instruments, so I decided to sharpen the timbres in chamber way, alternating it with tutti parts. It has 5 movements, those are 5 self-sufficient different character contrast pieces, a parts of the circle and a suite in the different proportions. It is more a game than a confession. Game is the widest way to understand. With harmony, rhythm, timbre and structure. At the same time it has Syrian motives as the main vocabulary.\u00a0<\/span><span style=\"font-weight: 400;\"><br \/><\/span><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Symphony No. 8 SYMPHONY NO. 8 | MALEK JANDALI \u201cSymphony No. 8 is the most untraditional symphony of all I have composed,\u201d says Jandali. \u201cFirst of all, it is for just eleven players, and second, it features a lot of genre intersections. It is a symphony-concerto-suite at the same time, comprised of five movements.\u201d Composed<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"inline_featured_image":false,"footnotes":""},"class_list":["post-5810","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>8- Symphony No. 8 - \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u0627\u0631 \u0645\u0627\u0644\u0643 \u062c\u0646\u062f\u0644\u064a | \u0627\u0644\u0645\u0648\u0642\u0639 \u0627\u0644\u0631\u0633\u0645\u064a<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/malekjandali.com\/ar\/8-symphony-no-8\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"8- Symphony No. 8 - \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u0627\u0631 \u0645\u0627\u0644\u0643 \u062c\u0646\u062f\u0644\u064a | \u0627\u0644\u0645\u0648\u0642\u0639 \u0627\u0644\u0631\u0633\u0645\u064a\" \/>\n<meta property=\"og:description\" content=\"Symphony No. 8 SYMPHONY NO. 8 | MALEK JANDALI \u201cSymphony No. 8 is the most untraditional symphony of all I have composed,\u201d says Jandali. \u201cFirst of all, it is for just eleven players, and second, it features a lot of genre intersections. 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\u0627\u0644\u0645\u0648\u0633\u064a\u0642\u0627\u0631 \u0645\u0627\u0644\u0643 \u062c\u0646\u062f\u0644\u064a | \u0627\u0644\u0645\u0648\u0642\u0639 \u0627\u0644\u0631\u0633\u0645\u064a","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/malekjandali.com\/ar\/8-symphony-no-8\/","og_locale":"en_US","og_type":"article","og_title":"8- Symphony No. 8 - \u0627\u0644\u0645\u0648\u0633\u064a\u0642\u0627\u0631 \u0645\u0627\u0644\u0643 \u062c\u0646\u062f\u0644\u064a | \u0627\u0644\u0645\u0648\u0642\u0639 \u0627\u0644\u0631\u0633\u0645\u064a","og_description":"Symphony No. 8 SYMPHONY NO. 8 | MALEK JANDALI \u201cSymphony No. 8 is the most untraditional symphony of all I have composed,\u201d says Jandali. \u201cFirst of all, it is for just eleven players, and second, it features a lot of genre intersections. 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