There are many ways to appear on the world stage, and there are many ways to represent political activity. Violist Noémie Chemali has chosen as an important first impression for her debut recording the music of a range of young composers whose traditions include political oppression. Profits from these albums are pledged to Doctors Without Borders (MSF). These works are not directly political, but are new works by carefully selected composers who, to varying degrees, have had the experience of dealing with friends and family or having lives negatively affected by political conflict and oppression. This is gorgeous music by emerging talent.
The good news is that these incredibly creative artists persevere to create great art, and this is a celebration of the creative drive at the heart of this great work. While the pieces here variously reference tunings, rhythms and melodies representative of their respective national traditions, they are not confrontational. Rather, the music here is evidence of the beauty of artistic invention contrasted with the brutality of oppression and war. This mild radicalism creates a kinder, gentler image of the terrorists more commonly seen in the media (actually a minority), whose culture has ancient roots and a strong artistic soul (more of a comparison to the actual majority) good description).
Click on the composer’s name to visit a link to the composer’s website.
The album content is as follows:
Wajdi Abu Diab (1991- )
1. “Dance of Moraba” (2020)
The composer’s Opus 13C, based on an Arabic rhythm called “Al Mouraba”. It was composed for solo viola, using the Arabic scale, and cast in an unusual 13/4 time signature. The music mimics the traditional music of the past that ostensibly enticed horses into dancing.
Sami Saif (1998- )
2. “La’ib an-nard / Dice Player” (2019)
This is the musical impression of a poem of the same name by Mahmoud Darwish. In the composer’s description, it is a meditation on the random factors that influence our lives. It is written for viola, cello and double bass.
Layer shaker (1990- )
3. Cadenza in “Brown Text”; Movement One (2017-2020)
4. Cadenza from “Brown Text”; second movement
The term “cadenza” is derived from the word “rhythm” and usually refers to an improvisation (by the soloist) in a concerto. As far as this listener was concerned, the concept of a solo cadenza did not emerge until the mid-to-late twentieth century. Penderecki’s viola cadenza is the only example that immediately comes to mind. Although the work is sometimes performed separately from the viola concerto from which it is derived, its origins are in the Classical/Romantic tradition of virtuoso works that showcase the soloist’s skill. Like the previous piece, this piece is a musical interpretation of the original poetic thoughts of the late Nadia Tueni. And, unlike any other cadenza I know, it consists of two separate movements. This work is a great showcase for Ms. Chemali’s technical and interpretive skills.
Noemi Chemary:
5. “Kadishat” (2021)
Happily, Ms. Chemary chose to include one of her own pieces. She describes it as a set of variations on the ancient Aramaic Trisagion “Qadishat aloho,” a piece that has been firmly ingrained in the composer/performer’s consciousness since she heard it as a child. One could describe it as one of the greatest works of Orthodoxy, and also one of its most profoundly moving. Chemali performed the work for violin, viola and cello. The author is reminded of another great example of the integration of sacred hymns into the classical music tradition, Carolyn Shaw’s excellent work “In Manus Tuas,” which taps into the composer’s memory of hearing sacred hymns. Both works reflect the composer’s inner process of listening and attempt to convey this spiritual experience to the listener.
Mary Kuyumjian (1983- ):
6. “Rebellion of the Stars” (2018/2020)
This piece is another musical expression of a literary work, the Armenian Fable, which provides the title for this work, which is performed for cello, voice and electronic music. It is presented here as a soloist’s arrangement for viola. This parable speaks of the power of numbers against those in power. It’s a delightful piece of work, but one with dark implications.
Saad Haddad (1992-):
7. “Dohree” (movements 1 and 2)
8. “Dore” (Third Movement)
This work for viola, harp and flute is cleverly divided into three movements, each providing a solo for each musician in turn, who in turn is accompanied by others in the orchestra. “Dohree” is an Arabic word that translates to “It’s my turn.”
Six of the eight works include chamber groups, ranging from solo viola to electric viola (in the Kouyoumdjian works) and other small chamber groups. All in all, the selection of beautiful and engaging music bears witness to the beauty and creativity of people living under oppression. This music reflects human experiences that can be erased simply by identifying with race.
In addition to Ms. Chemali, the recording features the following musicians: Shaleah Feinstein, violin; Rafi Boden, cello; Kebra-Seyun Charles, double bass; Lauren Scanio, flute; di Deanna Cirielli, harp. They really respect the spirit of this music and the album is beautifully recorded.
Kouyoumdjian was the only composer this reviewer knew of before hearing this album, but she’s clearly in good company here, and listeners would do well to pay attention to these rising stars. No doubt we will hear from them again. There is hope here.
Here is the artist’s biography, as shown on his website (link above):
French-Lebanese-American violist Noémie Chemali received her BA from McGill University’s Schulich School of Music, her Artist’s Diploma from Mercer University’s Robert McDuffie String Center, and her BA from Juilliard. The college earns a master’s degree. Her primary teachers include Becca Albers, Hsin-Yun Huang and Carol Rodland.
While at Juilliard, she made her Carnegie Weill Hall solo debut at the United Nations Chamber Music Society’s Arabic Language Day concert and collaborated with dancers from the New York City Ballet. While at the MacDuffie String Center, she performed with the faculty of the Cavani and Enes String Quartets. In 2019, she also participated in the “Georgia Music Nights” tour of the southern United States with violinist Robert McDuffie, REM guitarist Mike Mills, and Allman Brothers/Rolling Stones pianist Chuck Leavell. Some of McGill’s performance highlights include playing a concert with clarinetist David Krakauer in the Klezmer Music Program and being selected to play John Rea’s Chamber at a Société d’Musique Contemporain du Québec (SMCQ) concert with Schulich faculty and students. He also participated in the 2018 Musical Chairs Chamber Music Festival and collaborated with students from the Mozart Conservatoire (Austria) and the Yong Siew Toh Conservatory of Music (Singapore).
Noemi has spent time at music festivals such as Western Conservatory of Music, Sarasota Music Festival, Orford Music Festival, Lunenburg Academy of Musical Performance (LAMP), Scotia Music Festival, Manhattan in the Hills, and Green Mountain Music Festival summer vacation. While Ms. Chemary was a fellow at the Western Conservatory of Music, she conducted under esteemed conductors Larry Rachlev, Stefan Deneve, Gustavo Dudamel and James Conlon Play next. During the Sarasota Music Festival, she served as principal violist of the festival orchestra under the direction of Jeffrey Kahane and as a member of the quintet with bassoonist Frank Morelli. Frank Morelli performs at a faculty concert together. Over the years, she has worked with Joseph Silverstein, Ada Cavafian, Cynthia Phelps, Karen Dreyfus, Richard O’Neill, James Dunham, Jutta Puchhammer participated in various master classes with artists such as the Pacifica String Quartet.
Passionate about diversifying music audiences, she co-founded the Hildegard Project, which aims to bring music by female composers to women’s shelters in the greater Montreal area, and was invited to the Classical Evolution in Santa Barbara / Talking about her work at the Revolution Conference, California. Most recently, she founded Music@Daybreak, an interdisciplinary performance and research project that performs at homeless shelters in partnership with Mercer University’s Department of Sociology.
Nomi is a recipient of the Juilliard Career Grant, the George J. Jacobs Global Enrichment Grant, the Gluck Community Engagement Fellowship, the Juilliard Entrepreneurship Grant, the Barenboim-Said Foundation ( United States) grant and the Lower Manhattan Cultural Council Creative Engagement Grant. In January 2024, she will release Opus 961, her first album of music composed by contemporary Lebanese composers.
There are some YouTube videos on her website that reflect the artist’s fantastic track selections. In addition to her passionate activism, she also displays a very unique perspective on her chosen game. Her biography attests to an eclectic group of collaborators and influences that may come to characterize her career.
It’s an impressive first impression from an artist who greets us at the beginning of what critics believe will be a long and interesting career, representing a new generation of musicians with a unique and (hopefully more effective) ) method to solve the ills of our time. Great art inspires hope, if not action. We desperately need hope. Thank you Ms. Chemali.
