"The next piece was the Oriento Grosso for Clarinet/Cello and Orchestra, a complex composition by another young Syrian musician (Zaid Jabri). Jabri’s composition is one of those brilliant compositions were a predominant melodic sentence is less important than the whole of the composition. Starting quietly, the piece escalates, in a rather sudden manner to a complex mixture of forceful sounds with no sound being very dominant except for the technically demanding Clarinet and Cello solo segments. The piece highlighted the astounding technical abilities of Kinan Azmeh (Clarinet), who was accompanied on Cello by another and no less capable Syrian Musician Athil Hamdan (the dean of the prestigious High Music Institute). Both players were excellent and seemed well in place with the increasingly eminent Pacific Symphony. Initially, I had mixed feelings about Jabri’s composition. While it had a faint sub-conscious oriental moody ambiance, this demanding composition was in no way your average attempt to fuse a lyrical sound from oriental music (theme song) into a western classical framework. Perhaps, a more elegant description of Zaid’s approach to composition can be gleaned by reading the words of Ambassador Imad Mustapha , who wrote describing his friend’s and fellow intellectual originality “Naturally, Zaid who is quite original and creative did not fall into the trap of rewriting popular musical tunes from Syria and the Middle East in a more sophisticated western musical language” . The Ambassador was right on point. The more I contrast this piece with another master piece (Shahrazad), which was superbly played in the second segment of yesterday’s program, I am forced to deeply admire the musical talents of Jabri. When I hear Shahrazad, I imagine exactly what I am supposed to imagine, a sleepy bazaar with camels and caravans, a group of Sultan’s soldiers marching, and a Harem. All would probably be wearing cloths you see in movies but that were never worn in reality. Shahrazad is aesthetically pleasing and remains one of classical music most cherished treasures. But on the other hand, when I heard Zaid’s Oriento Grosso yesterday, which I admit was for the first time, I could easily imagine Syria as I know it, not as portrayed by an orientalist or by a visiting musical prodigy sailor who became mesmerized by a dancer. I could hear the noises at major intersections and market places of Aleppo or Damascus. I could imagine these market places where the residential and the commercial intermingle with no discernable boundaries, and where sounds of modern life and those of the traditional are stressed to a point where the origin of each of them becomes subdued in the whole and their counteracting themes, both strong and voluminous, are acting not in turns, or even in parallel, but in a non-linear fashion with neither achieving victory over the other. This work is no less skillful or original than the work of some of the modern masters. To me Zaid Jabri is not an oriental musician, he is a Syrian composer of good modern classical music with potentials for a place among the masters. Kinan, Athil, as well as St Clair and his outstanding orchestra clearly understood this dramatic piece and made it, as the OC Registrar critic wrote “the biggest surprise of the evening”. As we all stood in yet one more standing ovation, from my vintage point, I could see the look of confusion and surprise on the faces of many who were enthusiastically clapping. Had I been looking at a mirror, I would have seen the same look in my own eyes."
OC Register Concert Review (for the March 12 concert)
„As for Zaid Jabri, I can affirm without any hesitation that the future holds great promise for this astounding and incredibly gifted young composer. When I first heard his music, I couldn’t believe my ears, and felt so proud that out of a country with almost no western classical music tradition, a composer of world class standards would emerge on par with other composers who come from countries with deeply rooted musical traditions. What I particularly like about the music of Zaid Jabri is his seamless integration of the oriental music aesthetics; sounds that our subconscious taste is accustomed to and familiar with, and the most advanced musical idioms that are prevalent in the West today. Naturally, Zaid who is quite original and creative did not fall into the trap of rewriting popular musical tunes from Syria and the Middle East in a more sophisticated western musical language. When I first met Zaid in the summer of 2004, we became immediate friends. I had a lengthy and fascinating conversation with him, and subsequently I wrote an article about his music and published it in the Syrian weekly ‘Abiad wa Aswad’. I am still following the progress of his career, looking forward to the day that he will get the world recognition he rightly deserves."
Dr.Imad Mustapha
Weblog of a Syrian Diplomat in America
"Stunning the rapt audience, English soprano Mary Bevan sang in Polish to Syrian composer Zaid Jabri’s string compositions."
Alfarabi press release London 2007
