The Prisoner to premiere at Cabrillo Festival
- On June 15, 2017
- By alzand@rice.edu
- In News, Reviews/Press
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Cristian Măcelaru, conductor and newly appointed director of the Cabrillo Festival of Contemporary Music, will present the world premiere of The Prisoner, a new work for bass voice and orchestra. The piece was commissioned by Măcelaru and the Cabrillo Festival and will feature renowned bass-baritone Jonathan Lemalu. The premiere performance of this 30-minute work will conclude the two week festival on August 12th, 2017.

Jonathan Lemalu, bass
The Prisoner tells the story of Adnan Latif, one of the first men imprisoned in the US Guantánamo Bay Detention Camp in 2002. Its text is drawn from Latif’s own letters, sent to his lawyer while in captivity, and from other literary sources, including poems of Rilke, Al-Ma‘arri, Rūmī and the Book of Psalms. Latif was unjustly imprisoned. Never charged with a crime, he was held at Guantánamo for more than ten years and endured daily torture and near constant abuse. Although cleared for release by several courts and military tribunals, he remained in custody until his death under mysterious circumstances in 2012. Latif’s affecting letters were collected by human rights lawyer David Remes, and
his poetry is contained in the 2007 anthology Poems from Guantánamo. The Prisoner alternates the words of Latif, set to music in a dramatic narrative style, with songs reflecting on his tragic plight.
Adnan Latif’s Story
In late 2001 Adnan Latif travelled to Pakistan from his home in Yemen seeking affordable medical treatment.The 26-year-old had been experiencing neurological problems brought on by head injuries suffered in a car accident. In December Latif was caught up in a dragnet of young Arab men along the Pakistan/Afghanistan border, undertaken by bounty hunters in the aftermath of 9/11. In exchange for a reward, he was handed over to us authorities in 2002 and transferred to the newly opened Guantánamo Bay Detention Camp.

Adnan Latif (1974–2012)
While there, Latif was subjected to repeated and prolonged torture, beatings, psychological abuse and extreme deprivation. With other prisoners he participated in an extended hunger strike, during which inmates were painfully force-fed, and he attempted suicide on numerous occasions. Latif was held for almost 11 years without charge. According to documents, military tribunals had concluded multiple times that he posed no threat, and that there was no evidence to justify his continuing incarceration. He was cleared for release by officials as early as 2004 and again in 2007. A further court ruling in 2010 ordered the administration to “take all necessary and appropriate diplomatic steps to facilitate Latif’s release.” On each occasion his release was denied, first by the Bush administration and later, by the Obama administration. In September of 2012 Latif was found dead in his cell, the ninth prisoner to die at Guántanamo. An autopsy was performed but its results are classified. A year later his body was returned to Yemen, to his wife and now 14-year old son. Forty-one prisoners remain at Guantánamo today. President Trump has pledged to add to its prison population, Attorney General Jeff Sessions calling it “a very fine place.”
Luctus Profugis featured on Houston Public Media
- On January 18, 2017
- By alzand@rice.edu
- In News
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The second episode of Encore Houston presents KINETIC, the conductorless ensemble in their season-opening concert of 2016, “Illuminations.” a concert which began with the premiere of Luctus Profugis. Encore Houston, hosted by Joshua Zinn, airs Saturdays at 10 pm, with a repeat broadcast Sundays at 4 PM, all on Houston Public Media Classical.
Duo for Flute and Cello performed at MFAH
- On January 18, 2017
- By alzand@rice.edu
- In News
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What characterizes American classical music today? The Da Camera Young Artists explore this question at the Museum of Fine Arts Houston in a concert entitled “Defining America”. The performance features the music of living American composers Angélica Negrón, Jason Treuting, and Karim Al-Zand’s Duo for Flute and Cello. Performances are free and take place in the exhibition’s galleries at 2pm and 3pm on Saturday, February 4th. Performers include Amanda Galick, flute and Sonya Matoussova, cello.
Ring the Bells at Break of Day premièred by the Shepherd School of Music Symphony Orchestra
- On December 16, 2016
- By alzand@rice.edu
- In News
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Ring the Bells at Break of Day was written to mark the 40th anniversary of the Shepherd School of Music, as part of a project to commission each of the school’s faculty composers on this auspicious occasion. The piece is a short, joyful and celebratory work, which commemorates the outstanding music-making that has flourished over the school’s history. The piece was premièred on December 2, 2016 under the direction of Larry Rachleff.
And, oh, the bells at break of day
That roused us, ringing merrily!
—John Morgan (1889)
I wrote Ring the Bells at Break of Day while living in Rome in 2016, and it features a stately chorale tune, Inni e canti [Hymns and Songs], which rang daily from a bell tower across the street. The graceful hymn is interrupted by a quick, punchy theme in the winds (and later, strings)—perhaps the sounds of street bustle and frenetic motor traffic. Eventually the majestic chorale returns: in a solo horn, a short fugato, and finally in combination with the ecstatic, lively music. The piece closes with the jubilant pealing of bells.
Kinetic presents premiere of Luctus Profugis
- On December 16, 2016
- By alzand@rice.edu
- In News
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Kinetic, the dynamic conductorless string orchestra led by Natalie Lin, performed the world premiere of Luctus Profugis on October 16, 2016. The performance, at the MATCH theater in Houston, was as part of its “Illuminations” concert, also featuring works by Britten and Schoenberg’s Verlärte Nacht. The concert was also attended by member of various Houston refugee relief agencies and advocates, including PAIR Houston.
Luctus Profugis is a lament that reflects on the current European refugee crisis. The title translates roughly from the Latin as “Grief for the Displaced.” The word “profugus” has a connection to the opening lines of Virgil’s “Aeneid,” which describes one of the earliest refugees: Aeneas fleeing the Trojan war to the shores of Italy. In Luctus Profugis, the percussionist at the heart of the ensemble plays a simple three-note motive that repeats for the duration of the piece. Its persistence symbolizes for me the refugees’ journey, their tenacity, courage and resilience.
The current European refugee crisis started in 2015, when tens of thousands of migrants began fleeing their war ravaged homes to seek asylum in the West. Displaced families, primarily from Syria and other areas of conflict, endured perilous journeys to reach safe destinations in the EU. The most dangerous routes have included crossings of the Eastern Mediterranean to ports in Greece and Italy. Thousands of migrants are estimated to have perished at sea. In the United States, which arguably has played the largest role in catalyzing the migration, the reaction to the crisis has been characterized politically by inaction and fear-mongering. Governors in 26 states (including Texas) have refused to settle Syrian asylum seekers. To date, the US has settled 0.05% of the total number of refugees. Canada and Germany have settled over 19 times that number. It is my hope that Luctus Profugis serves as not only an elegy, but also a call to action.