Symphony No. I

Bondari – Symphony No. 1 – Persepolis

My first symphony is complete, including extracted parts. This piece served as my Master’s thesis.

Here is the outline of the composition:

• I – Rytme (9:45)
• II – Taraneh (8:30)
• III – Alexander (6:30)
• IV – Azadi (9:15)

“Persepolis” was first performed on 2 October 2006 by the Valdosta State University Wind Ensemble, directed by Joe Brashier. Here is a live recording of this world premiere.

Abstract

Scored for large wind orchestra/symphonic band, Symphony No. I “Persepolis” draws heavily on Persian history and culture. Persepolis, the ancient capital of the Persian empire, was captured and destroyed by Alexander “the Great” of Macedon (c. 330 BC). “Rytme” embodies the bustling energy of the city and uses fragments of Persian folksongs as melodic material. “Taraneh” – a lyrical tune – is also based on a Persian folksong. “Alexander” represents the military commander’s leveling of the city. “Azadi” – a word for “freedom” or “liberty” – concludes the work.

At a time rife with political unrest in Iran, “Persepolis” contains a subtle political parallel. The destruction of Persepolis by Alexander easily compares to the current destruction of the heart of Iran by the hard-line, fundamental Islamic régime. This destruction is no more apparent than in the growing effort of the régime to eradicate Iran of its pre-Islamic past by constructing a dam that will flood the ancient sites of Persepolis and Parsargadae, burial place of Cyrus the Great, who founded the Persian Empire and is considered by many to be the father of human rights. Cyrus is hated by the Islamic régime.

Musically, the representation of the fall of Persepolis is subtle. During the third movement the theme of Alexander the Great, heavy and pompous, swells to a climactic point. What ensues is a lightly-scored, yearning statement of the opening “Persepolis” theme from the first movement. Instead of being stated in its entirety, the theme eventually morphs into the tail end of the “Alexander” theme. It has lost its independence and has been been conquered.

Instead of ending in despair, the fourth movement sets a tone of strength and hope. Combined with some vocal elements, the interpretation is “voices of freedom” – freedom from destruction, freedom from Alexander, freedom from tyranny. The concluding section of the symphony is subtitled “Kourosh Bozorg – Cyrus the Great.” Combined with the volatile word “Azadi”, this bold assertion of Iran’s pre-Islamic roots is the composer’s statement against the barbaric forces in power today.