2018ISCM World New Music Days (United States Representative)Selected Work
2018Busan MARU International Music Festival Composer CompetitionWinner
2018BMI Student Composer AwardWinner
2017Minnesota Orchestra Composer InstituteSelected Work
2017New Jersey Symphony Orchestra Edward T. Cone Composition InstituteSelected Work
2017Sioux City Symphony Orchestra Composer of the YearSelected Work
2017ASCAP Nissim PrizeSpecial Distinction
2017ASCAP Morton Gould AwardWinner
2016Kaleidoscope Chamber Orchestra Call for ScoresSelected Work
Performances
Sep 22, 2023Marc Sosnowchik · UT Austin New Music EnsembleAustin
Apr 14, 2017conductorless · Kaleidoscope Chamber OrchestraLos Angeles
Oct 9, 2016conductorless · Kaleidoscope Chamber OrchestraRolling Hills Estates
Oct 7, 2016conductorless · Kaleidoscope Chamber OrchestraSanta Monica
Program note
Takht (pronounced in one syllable, takht), or ‘ensemble’ in Arabic, describes the typical Middle Eastern musical group that consists of most of the traditional instruments used in Arabic music, including the oud, qanun, kamanjah, ney, riqq, and darbakeh. In a way, the instrumentation for this work is the Western equivalent of that ensemble, employing one of each of the most commonly used instruments in the full symphony orchestra. Some of the instruments even overlap between the groups; for example the ‘ney’ is similar to the flute in construction, while the ‘kamanjah’ sounds very much like the violin. An ongoing muse in my output thus far is the voice of arguably the most famous Egyptian singer who ever lived, Umm Kulthum (1898–1975), the “Star of the East.” In this particular work, her voice, in a sense, is brought back to life as the woodwinds, brass, and harp instrumentalists literally sing and play into their instruments, transforming the hall into an abstract depiction of Umm Kulthum’s permeating presence in the lives of millions of people that continue to adore her today.
“Saad Haddad […] achieved a remarkable fusion of idioms in Takht, named for the Arabic word for ‘ensemble.’ He uses Western relatives of Arabic instruments to create a convincing equivalent of a Middle Eastern ensemble. The most striking effect, intended to evoke the voice of the Egyptian singer Umm Kulthum (1898-1975) and heard at the outset, is the harpist’s haunting vocalization of a drooping semitone through cupped hands into the instrument’s soundboard.”
James R. Oestreich, New York Times
“Arabic music is very vocally based, and Takht utilized this characteristic well. From deep within the orchestra, harpist Lynette Wardle began the work with actual singing (screened by the frame of her harp), matched by the flutes, who also vocalized into their instruments. Ms. Wardle controlled much of the changing chromaticism of the piece by sliding a piece of metal up and down the strings of the harp. Other instruments, especially oboist Melanie Feld, added typically Arabic wailing effects. The percussionists played with their hands, rather than sticks or mallets, creating a more natural effect. Throughout the piece, the audience was no doubt always looking to see where the sound was coming from, as Mr. Haddad’s work developed quite a majestic character.”
Town Topics
“Saad Haddad’s Takht has Middle Eastern influences which translate into a beautifully unconventional approach to the symphony orchestra.”
Steven Mackey, composer
“Courageous experiment of Egyptian music on western instruments…it would be worth performing this work.”
Heinz Holliger, composer
Programming Takht?Version A
The full score is for sale, and parts are available on rental. Saad is glad to talk through the piece with you.
