Sound and Fury

for chamber orchestra

Artwork: Peter Paul Rubens (1611–1612); The Massacre of the Innocents.
Instrumentation: 1.1.1.1/1.1.1.1/perc./harp/piano/strings
Duration: 14'
Date: 30 December 2012Location: Tehran, Iran

This work embodies memories and events of the composer's life in Tehran, between 2005 to 2012. By practising 'free association and scattered thoughts' he was able to tap into the ego, and superego, which adds to the depth and extends the implications of certain facets of the piece, while other aspects are streamed from his subconscious in which new meanings can be found.

Throughout our life, we wield various masks; in this composition, every instrument takes the role of a mask and has a critical part in exploiting the entire unit. Various layers of the music work concurrently to be integrated into a representative of the whole character, and as the 'Gestalt' theory — many molecules are combined to create a greater and complete unit. As the principle of closure states, we tend to complete incomplete experiences. During the first few moments of "Sound and Fury," Samadi hints at the chaos which foreshadows a storm to come. The instrumental layers do not always harmoniously operate together; sometimes they are in discord while confronting each other. Within the storm and destruction, among the sound and fury, a cry suddenly occurs; a brief moment in which the music exhaustedly panting, whispering, all of which contain various aspects of the composer's inner side. This melancholic juncture occurs later again through multiple variations. Once again, a confrontation of scattered thoughts is represented. This stream of consciousness tells the composer's experiences; "I am embodied with assorted passions, fascinations and compulsions; I have assimilated through Persian traditional music to jazz and blues, from Bach to high modernism; I played my part in society; I have travelled the highly populated and congested streets of Tehran; I have seen many revolutionaries and protests on the streets, in uprisings towards the government; I have felt the chaos of the modern society…" he says. Towards the end of the piece, a demon sound laughs at the entire situation.

He chose the title of the piece from a passage in Shakespeare’s Macbeth which was written during the transition from Renaissance to Modernity. In 20th-century’s modern literature, Faulkner mentioned these words at the beginning of his novel “Sound and Fury”;

“Life’s but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.”



Notes by Taha Salmanpour, Tehran, 2013
Saman Samadi - Sound and Fury for chamber orchestra.pdf

Performance

'13. Samadi, Saman. Sound and Fury: an arrangement for piano and loudspeakers. Concert. Kristin Samadi, pianist. State University of New York at Stony Brook, Staller Center, Stony Brook, November 21. 2013.