حجر
for alto flute, Eb clarinet, soprano saxophone, violin, viola, cello, prepared percussion, and electronics
Hajir has its roots in the poem Anamu alla al’hajiri al’natayi from the Iraqi writer Nadeem Al-Aloosi. Here, text fragments from the transcription of Nadeem’s recitations are re-composed across various contexts, where they are treated not only as abstract material, but as unmovable “stone” objects within the temporal frame of the composition. The necessity to constantly work around and against these concrete objects becomes a secondary metaphor for the text.
Rachel C. Walker 