"Zarathustra" for Ensemble, Choir, Soprano
Category: Concert Music
SCORED for: Ensemble, Mixed Choir, Soprano Soloist (Optional Narrator, Tombak, and Tar)
INSTRUMENTATION: 1111 | 2111 | timp | hp | soprano | narrator and tombak & tar (opt) | 43221 strings
LYRICS: Gathas by Zarathustra, Houman Khalaj, Shahnameh by Abul-Qâsem Ferdowsi Tusi
LANGUAGE: Gathas and modern Persian
DURATION: 16 minutes
YEAR: 2018-2023
VERSION / ARRANGEMENT: Ensemble arrangement of the original large-scale Zarathustra
"Zarathustra – Part I" for Ensemble, Choir, and Soprano Soloistis an ensemble arrangement of Part I of Houman Khalaj's complete, large-scale, multi-part composition, Zarathustra, originally conceived for symphony orchestra, mixed choir, and multiple vocal soloists. This ensemble version was created to make Part I of the work suitable for performance by smaller instrumental and vocal forces.
PREMIERE PERFORMANCE: This ensemble version of Part I received its world premiere on 23 September 2023, performed by the Euro-Persian Art Ensemble.
COPYRIGHT HOLDER: Houman Khalaj
COMMISSION: The Euro-Persian Art Ensemble
PUBLISHER: Houman Khalaj
SCORES & PARTS: Available on a rental basis from the composer
RECORDINGS: Live recording by the Euro-Persian Art Ensemble, conducted by David Navarro Turres, is available.
DESCRIPTION:
In the realm of Western classical music, many composers have drawn inspiration from Zarathustra. However, few have set the original texts of the Gathas to music.
Houman Khalaj began his composition on Zarathustra by studying and drawing inspiration from the Gathas, relying heavily on the invaluable academic research and translations by Dr. Khosrow Khazaei (Pardis). To delve into the historical, linguistic, philosophical, and cultural roots of pre-Islamic Iran, as well as the profound cultural transformation Zarathustra brought to both Iranians and the Western world, Khalaj examined the cultural connections between Iran and the West, the equality of men and women in pre-Islamic culture, and concepts of truth, righteousness, and freedom. His work also explored Zarathustra’s influence on Western philosophy. Finding a kinship between the values expressed in the Gathas and those in the Shahnameh written by Abul-Qâsem Ferdowsi Tusi, and appreciating the fluidity and excellence of Ferdowsi's poetry, Khalaj incorporated these elements into his composition "Zarathustra."
In essence, the Gathas of Zarathustra and Ferdowsi's Shahnameh complement each other.
To better understand Ferdowsi, Khalaj began studying "On the Wings of Simorgh: Essays on the Shahnameh" by Dr. Mahmoud Kavir, published on Amazon.
The composer drew upon Ferdowsi's poetry together with the six principles presented in the Gathas, plus Wisdom (Mazda or Ahura Mazda), inspired by the scholarly work and research of Dr. Khosrow Khazaei (Pardis) on Zoroastrian studies.
The Gathas encompass six principles:
The first principle is Asha or Arta. Asha was used in Old Persian and later became Arta during the Achaemenid period, meaning truth and righteousness. It establishes the order of the world and guides humanity towards enlightenment, opposing any force that contradicts this universal law.
The second principle is Vohu Manah (good mind).
The third principle is Khshathra (sovereign power).
The fourth principle is Armaiti (serenity).
The fifth principle is Haurvatat (wholeness/perfection).
The sixth principle is Ameretat (immortality).
These principles are presented together with Wisdom (Mazda or Ahura Mazda).
"Ahura Mazda possesses six divine attributes, each fundamental in shaping the Avestan world's structure. These attributes, combined with wisdom (Ahura Mazda), are known in Avestan writings as the seven Amesha Spentas, or immortal holy ones."
Khalaj employed these principles as distinct, isolated words, occasionally integrating words like Spenta Mainyu, Yazdan, Iran, Persia, Zarathustra, Cyrus, and King of Kings, to create a cohesive musical structure reflecting Zoroastrian teachings and pre-Islamic Persian values.
"The Gathas of Zarathustra have remained intact for nearly 4000 years, preserved exactly as they were spoken by the great teacher Zarathustra. Despite being forgotten for over 2000 years, the text and pronunciation have been meticulously maintained. Zoroastrian priests memorized and passed down these hymns through generations to preserve their authenticity."
By request of the composer, The text of these hymns was recorded by a Zoroastrian temple, ensuring the accurate pronunciation of the Gathas at a slow tempo. This audio file was provided to the European chorus singers to ensure they could perform the words correctly as it used to be pronounced 4000 years ago.
Zarathustra was originally conceived as a large-scale, multi-part composition for a large symphony orchestra, large mixed chorus, and multiple vocal soloists.
Zarathustra – Part I for Ensemble, Choir, and Soprano Soloist is an ensemble arrangement of Part I of Houman Khalaj's larger, complete composition, Zarathustra. This ensemble version was created to make part I of the work suitable for performance by smaller instrumental and vocal forces while preserving the musical ideas, orchestral colours, and dramatic character of the original symphonic score.
Although this ensemble version can be performed independently, it remains an integral part of the complete Zarathustra.
The ensemble arrangement of Part I received its world premiere on 23 September 2023 at Bozar – Centre for Fine Arts in Brussels, Belgium, in support of the "Woman, Life, Freedom" movement.
The work was performed by the Euro-Persian Art Ensemble, featuring Iranian opera soprano Kamelia Dara, the Serenata Vocale choir from Brussels, conducted by David Navarro Turres.
Concertmaster: Sarah Oates
