"Zarathustra" for Symphonic Orchestra,T, S

DESCRIPTION :
In the realm of Western classical music, many composers have drawn inspiration from Zarathustra. However, few have set the original texts of the Gathas to music.

Houman Khalaj began his composition on Zarathustra by studying and drawing inspiration from the Gathas, relying heavily on the invaluable academic research and translations by Dr. Khosrow Khazaei (Pardis). To delve into the historical, linguistic, philosophical, and cultural roots of pre-Islamic Iran, as well as the profound cultural transformation Zarathustra brought to both Iranians and the Western world, Khalaj examined the cultural connections between Iran and the West, the equality of men and women in pre-Islamic culture, and concepts of truth, righteousness, and freedom. His work also explored Zarathustra’s influence on Western philosophy. Finding a kinship between the values expressed in the Gathas and those in the Shahnameh written by Abul-Qâsem Ferdowsi Tusi, and appreciating the fluidity and excellence of Ferdowsi's poetry, Khalaj incorporated these elements into his composition "Zarathustra."

In essence, the Gathas of Zarathustra and Ferdowsi's Shahnameh complement each other.

To better understand Ferdowsi, Khalaj began studying "On the Wings of Simorgh: Essays on the Shahnameh" by Dr. Mahmoud Kavir, published on Amazon.

The composer drew from Ferdowsi's poems as well as the seven principles of Zarathustra described in the Gathas, inspired by the scholarly work of Dr. Khosrow Khazaei on Zoroastrian studies.

The Gathas encompass six principles:

1. The first divine attribute is Asha or Arta. Asha was used in Old Persian and later became Arta during the Achaemenid period, meaning (truth/righteousness), which establishes the world's order and guides us towards enlightenment, opposing any force that contradicts this universal law.

2. The second attribute is Vohu Manah (good mind).

3. The third attribute is Khshathra (sovereign power).

4. The fourth attribute is Armaiti (serenity).

5. The fifth attribute is Haurvatat (wholeness/perfection).

6. The sixth attribute is Ameretat (immortality).

7. plus wisdom (Mazda or Ahura Mazda).
   

"Ahura Mazda possesses six divine attributes, each fundamental in shaping the Avestan world's structure. These attributes, combined with wisdom (Ahura Mazda), are known in Avestan writings as the seven Amesha Spentas, or immortal holy ones."

Khalaj employed these principles as distinct, isolated words, occasionally integrating words like Spenta Mainyu, Yazdan, Iran, Persia, Zarathustra, Cyrus, and King of Kings, to create a cohesive musical structure reflecting Zoroastrian teachings and pre-Islamic Persian values.

"The Gathas of Zarathustra have remained intact for nearly 4000 years, preserved exactly as they were spoken by the great teacher Zarathustra. Despite being forgotten for over 2000 years, the text and pronunciation have been meticulously maintained. Zoroastrian priests memorized and passed down these hymns through generations to preserve their authenticity."

By request of the composer, The text of these hymns was recorded by a Zoroastrian temple, ensuring the accurate pronunciation of the Gathas at a slow tempo. This audio file was provided to the European chorus singers to ensure they could perform the words correctly as it used to be pronounced 4000 years ago.

"Zarathustra" was Initially composed for a large symphonic orchestra, a grand chorus, and several soloists. Later, Houman Khalaj rearranged the piece for a smaller ensemble. On September 23rd,2023 a segment of this multi-part composition was performed by the Euro-Persian Art Ensemble, featuring Austrian-Iranian opera soprano Kamelia Dara and the Serenata Vocale choir from Brussels, conducted by David Navarro Turres. This performance took place in the Bozar concert hall in Brussels, Belgium, in support of the "Woman, Life, Freedom" movement.