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Here’s a bit about my journey:

Age 7: Inspired by a book about Mozart, I knew I wanted to become a composer.
Age 15: Joined the Los Angeles Philharmonic’s Composer Fellowship Program, mentored by Steven Stucky.
Age 22: Earned my B.M. in Composition from USC, studying under Donald Crockett, Stephen Hartke, Frank Ticheli, and Bruce Broughton.
Age 24: Completed my M.M. at Juilliard under John Corigliano.
Age 29: Named Composer-in-Residence at the California Symphony.
Age 30: Graduated with a D.M.A. from Columbia University and joined their faculty.
Age 31: Premiered “Aysheen” with the Los Angeles Philharmonic.

Today, I have a growing catalog of over 50 compositions that have been performed in China, Brazil, Britain, Germany, France, Italy, South Korea, Austria, Sweden, Canada, and the United States. These works include pieces for orchestra, chamber ensemble, vocalists, soloists, and electronics.

It took me 25 years to get to where I am today. Loving music is not enough. It takes doing the work that no one sees in the hopes of attaining an outcome that is not guaranteed.

If you love to compose as much as I do, then you’ll never stop doing it.

"String Quartet, II. Fugha" (2017) for string quartet.
Composed by Saad Haddad.
Performed by JACK Quartet.
Video by David Bird: [ Ссылка ]

SCORE/PARTS: [ Ссылка ]

About this String Quartet:

This work is my first major string quartet which deals with a large architectural structure divided into three movements entitled Daf, Fugha, and Nashwa. The work traverses many areas of traditional Middle Eastern music as they relate to pitch, ornamentation, meter, and timbre, and seeks to amalgamate those characteristics with traits typically found in Western classical music, like development, modulation, and harmony.

About this movement:

II. Fugha, or ‘fugue’ in Arabic, borrows its structure from the harmonic motion of Johann Sebastian Bach’s Fugue in F-sharp minor, BWV 859, from Book 1 of The Well-Tempered Clavier. I have always wondered what it might have been like if Bach was born in Alexandria, rather than Eisenach, and what harmonic discoveries of sorts he might have made in pursuit of his perfect counterpoint. The movement is organized into several contrasting sections of “quasi-cadenzas” and “episodes” that directly correspond to the original fugue’s material, however told in my own personal way.

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