date

2001

duration

10 minutes

instrumentation

baritone, guitar, 2 violins, viola, cello

premiere

February 7, 2001
Alea III:
Theodore Antoniou, conductor;
Mark Aliapoulios, baritone;
Luiz Mantovani, guitar;
Mark Berger & Kaveh Saidi, violins;
Sandra Nortier, viola;
Mark Simcox, cello

Tsai Performance Center
Boston MA

Leila

song cycle for baritone, guitar & string quartet

about the piece:

The name ‘Leila’ (or ‘Laila’) is a trope in classical Arabic poetry. She represents an ideal object of romantic love, but a love which is ultimately unrequited. The history of Leila, as this symbol of longing, begins with the 7th century poet Quais Ibn al-Mulawwah. As the story goes, the young poet became infatuated with his beautiful cousin, Leila. As their love for one another grew, Mulawwah began to express his romantic desire in poems of intense passion. These so angered Leila’s family that the two were never allowed to wed. Soon Leila was married to another man, an event which ultimately caused the sensitive poet to lose his sanity. He spent the rest of his days wandering the country in search of Leila and professing his love for her in verse. He has since became universally known as ‘Majnun Leila’ (‘majnun’ literally means ‘mad’). His poetry deals almost exclusively with his unrequited love for Leila. (Pictured at left is Leila and Majnun by Mohammad Hourian, Hourian Art Galleries)

The texts set here are ‘Leila poems’ from diverse sources, some attributed to Majnun Leila, others by later poets incorporating the symbol. The poems are arranged in a quasi-narrative fashion, divided into roughly three sections: Majnun’s initial affection for Leila; his despair at her loss; and the poet’s undiminished love for her in old age. The string quartet plays an important supporting role in the ensemble, rather like a continuo part. The guitar has the principle accompanying voice in the work.

Karim Al-Zand

composer