Sound and Fury

for large ensemble

Artwork: Peter Paul Rubens (1611–1612); The Massacre of the Innocents.
Duration: 13' 20"
Date: 30 December 2012Location: Tehran, Iran

"To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
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."

(William Shakespeare. Macbeth, 1603)

This work embodies memories and events of the composer's life. By practicing 'free association and scattered thoughts' he was able to tap into the ego, and super-ego, which adds to the depth and the meanings of certain aspects of the piece. The other sections are streamed from his subconscious in which new meanings can be found.

Throughout our life, we use many different masks. In this work, every instrument takes the role of a mask and has an important part in influencing the entire unit. Different layers of the music are represented and add up to a whole character. The 'Gestalt' theory states that many molecules are combined to create a complete unit. Gestalt psychologists say: “We have a tendency 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 the instruments are in discord while confronting each other. Within the storm and destruction, among the sound and fury, a cry suddenly occurs; a brief moment, tired and panting, whispering, all contain various aspects of the composer's inner side. This melancholic sound will be heard later again through multiple variations. Once again, confrontation and scattered thoughts are presented. This stream of consciousness is telling us about the composer's experiences: 'I am embodied with many passions; I have listened to jazz and blues; I played my part in society; I’ve traveled 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...' At the end of the piece, we can hear a demon-sound laughing 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.”

The composer continues the path of this modern movement, and also stands at the front of the line, avant-garde, and schizophrenic; full of sound and fury.

After listening to the piece, you can get a general impression of the composer’s inspirations, and his thought process. We can witness the confession of his life, interspersed with thought, philosophy, psychology, and avant-garde art.



Notes by Taha Salmanpour, Tehran, 2013