Gallery

LCM final Rehearsal (19th October 2018)

Inception

To trace the origins of Hhumann X, it’s necessary to revisit my two previous works: “Life from Light” (2012) and “2045: The Year Man Becomes Immortal” (2016).

“Life from Light” raised awareness of the miracle of life—how it appeared and flourished on Earth, a rarity in the known universe. This precious and fragile gift, however, is taken for granted. Humanity’s irreversible destruction of the planet and its ecosystems serves as evidence of this behavior, threatening not only our survival but the survival of all life. The piece highlighted the urgent need for sustainable living.

“2045: The Year Man Becomes Immortal” shifted focus to death and humanity’s pursuit of immortality through technological singularity, where man and machine merge. This dystopian vision reflects on what it means to be human, questioning whether there is a purpose to dying and to life’s natural cycles. The piece argued that the technocratic path we’re on may alienate us further from our humanity and true purpose, echoing concerns raised by thinkers like Stephen Hawking.

Having explored both the creation of life and its end, I turned to the experience in between—the human experience itself. This became the focus of “Hhumann X” (2018), completing a thematic trilogy.

The Human Journey

Hhumann X reflects on life’s greatest enterprise—one’s own life, a journey shared with others but also undertaken within ourselves. At its core, the piece examines solitude, which often stems not from disconnection with others, but from a disconnection with our true selves—our essence as humans.

While modernisation and progress have raised living standards, anxiety and depression have reached epidemic levels, particularly in the Western world. At the same time, technology has enabled unprecedented hyper-connectedness, yet loneliness and social isolation are rising. This raises the question: Are we distancing ourselves from what it means to be human? If we adopt the Aristotelean view that happiness is life’s ultimate goal, one might argue that something is missing.

Personal Resonance

I identified deeply with findings from the Jo Cox Commission on Loneliness (2017), which revealed that more than 9 million people in the UK report feeling often or always lonely. My own life in London since 2000 has been filled with incredible achievements but also moments of doubt, loneliness, and disconnection.

In Hhumann X, the idea of building bridges resonates throughout:

• Bridges that end isolation by creating meaningful connections with others.

• Bridges within ourselves, connecting to our true nature and purpose.

The recurring mantra, “Do you know what you are?”, borrowed from Rumi, serves as the central question posed to the audience. The piece also bridges Western and Eastern influences, incorporating the Hindu mantra “Soham” at its climax, meaning “I Am That” or “I Am.” Despite originating from distant cultures and eras, these words remain timeless.

The Title: Hhumann X

The doubled H and N emphasize the importance of the human element within the name. Repetition reflects significance, much like double-underlining. The X pays homage to Leonardo da Vinci’s Vitruvian Man, a symbol of symmetry, proportion, and the Renaissance ethos of placing humanity at the centre of all things. Symmetry, inherent in life and the human form, is also a guiding principle in the piece’s construction.

A New Renaissance

I often describe the current era as a Technological Middle Ages, where technology often serves to control, oppress, and enslave. While technology also has the power to report and expose abuse, I believe humanity is due for a new Renaissance, where man regains his place at the centre, and technology serves humanity rather than subjugating it.

Main Theme: Whoami

The main theme of the piece, titled Whoami, is built around a kernel comprising a sequence of seven chords in the key of B♭ Major. This kernel is expanded into four variations—Whoami A, B, C, and D—each utilizing different instrumentations and harmonic variations. The harmonic progression follows the sequence: III - IV - V - VI - I - III - IV.

The melodic line, derived from the top notes of the chords, forms the sequence: F, G, A, B♭, D, F, G. The first five notes ascend, creating a sense of progression, while the final two repeat the first two, lending the theme a sense of symmetry and resolution.

In developing this theme, I drew inspiration from the New American Cursive calligraphy I learned as a child in school. While much of what I learned during those years has faded, this calligraphy has stayed with me, leaving a lasting impression that influenced the structure and flow of Whoami.

Symbolism and Morphology of the Main Theme

If we trace the top line of the seven chords in the main theme and connect the notes as if in a “connect the dots” game, the resulting shape resembles the letter “i” in New American Cursive Calligraphy. This symbolic shape is formed by the ascending pitch of the first five chords, grouped in pairs, with the fifth chord left resonating at the top like the dot on the “i.” The final two chords repeat the first two, mimicking the base of the letter and completing its structure.

The letter “i” holds profound significance within the piece. It is the first letter of the word “isolation”—one of the core themes explored. At the same time, it symbolizes breaking isolation, not necessarily through others, but by turning inward in search of the “I AM”—the “i” within each of us. This duality makes the letter a central motif, representing both disconnection and the journey toward self-discovery and unity.

Structure

The piece spans 55 minutes and 55 seconds, with the number 5 carrying significant symbolic weight. For the Pythagoreans, it represented human life. By repeating the number four times, I emphasize its importance, similar to the way I doubled the H and N in the title Hhumann X.

The piece’s structure draws heavily from the Fibonacci Sequence (0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 45, 55), mirroring the proportions found in biological and natural settings. The final section begins at 34 minutes, aligning with the Golden Ratio, and the total duration of 55 minutes further reinforces this mathematical and symbolic framework.

Three Main Sections

The composition is divided into three main sections: Fast - Slow - Fast. While classical pieces traditionally include contrasting movements with clearly marked transitions, my work flows seamlessly from start to finish, with movements subtly blending into one another. Despite the absence of clear breaks, the Whoami theme—in its various forms and arrangements—acts as a divider, marking the transitions between sections.

Symmetry and Soundscapes

The piece is bookended by two identical sections: Intro and Outro. These soundscapes are formed from the sounds of my heartbeat, breath, and voice, representing the three elements that uniquely define us as human. My voice is embodied by a single note at 207 Hz, chopped and sliced to create an interrupted effect. This combination of heartbeat, breath, and voice symbolizes the essence of humanity.

Symmetry is further reinforced through the placement of Whoami A and Whoami D, which flank the entire composition. Additionally, two distinct versions of the same fragment, Just a Whisper A and B, create another layer of symmetry. This structural balance is integral to the piece and reflects my broader compositional style, where symmetry and Fibonacci-based timings are recurring themes. Symmetry, being characteristic of all life, plays an especially important role in Hhumann X.

Instrumentation

The human voice takes center stage in Hhumann X, represented by two female voices—a high soprano and a Persian soprano—as well as a chorus. The high soprano, singing an invented language at the top of her register where she feels most uncomfortable, embodies isolation from the ensemble. In contrast, the Persian soprano introduces Eastern influences, creating a cultural and emotional bridge through which the high soprano can travel. The interplay between the two voices occurs throughout sections 1 and 2, with moments of dialogue and introspection. In section 3, the chorus is introduced, emerging from the audience to join the ensemble and symbolize the power of community. The bridge laid out by the Persian soprano finds its purpose here, as the high soprano uses it to connect with the choir, discovering a path out of isolation through direct experience of unity and support.

For the premiere, the More Than Just a Choir ensemble was selected. This North London-based community choir works with individuals facing mental health challenges and social isolation, helping them build confidence and forge connections. Their participation strengthened the piece’s meaning, bringing individuals who are overcoming isolation through music and community into the core of the performance.

Accompanying Ensemble

The voices are supported by a string trio, featuring a violin and two cellos. The cello plays a pivotal role, resembling the human body and possessing a register and timbre closest to the human voice. On stage, the two cellos face each other, creating a sense of duality that recurs throughout the ensemble.

The piano is another key element, its acoustic notes introducing the piece in Whoami A. Percussion is represented by two “bastoners”, members of a troupe performing the Ball de Bastons, a ritual weapon dance with origins in the 12th century. This tradition, prominent in Catalonia, involves dancers wielding holm oak sticks, creating intricate patterns of stick-clashing. In Hhumann X, the bastoners perform against each other, echoing the duality of the cellos. Their interaction is physical, and their sound is produced by the rhythmic clashing of their sticks.

Electronic Elements

The ensemble is further enriched by modular synthesizers, an Eventide H9 Max, and an electric guitar with distortion. A backing track featuring electronic elements and sound effects accompanies the live performance, blending acoustic and electronic textures to enhance the piece’s emotional and sonic landscape.

Staging

The stage plan for Hhumann X is designed with a strong focus on symmetry and symbolic connections, creating invisible bridges between the left and right, as well as the front and back of the stage. The placement of instruments and performers within the stereo field is carefully devised to reflect the thematic and philosophical underpinnings of the piece.

Left/Right Symmetry

The stage is divided along a vertical axis, representing the dialogue between opposites.

• High Soprano and Persian Soprano:
  The high soprano is positioned on the left, symbolizing the West, while the Persian soprano occupies the right, symbolizing the East. This placement reflects their cultural and vocal origins, emphasizing the East/West dialogue central to the piece.

  • The Western perspective explores isolation as something overcome through community, while the Eastern perspective addresses it through self-discovery and connecting with one’s true self.

• Cellos:
  The two cellos are also placed in opposition across the axis.

  • The left cello, in a higher register, mirrors the female voice.

  • The right cello, in a lower register, reflects the male voice.
    Together, they represent the male/female duality, with their melodic lines in continuous harmonious dialogue.

• Bastoners:
  Behind the cellos, the two bastoners (one male and one female) perform the Ball de Bastons, a ritual weapon dance. Unlike the harmonious dialogue of the cellos, the bastoners represent conflict and separation through the rhythmic clashing of their wooden sticks.

• Piano and Electronics:
  On the left flank of the stage, the piano symbolizes the acoustic world, tradition, and the past. On the right flank, the electronics and electric guitar represent the electronic world, innovation, and the future.

  • These elements engage in dialogues throughout the piece, symbolizing the collision of past and future to create the present, embodied in the performance itself.

  • The interaction between acoustic and electronic elements is crucial, with the piano and voices processed through real-time FX and tape delays, blurring the boundaries between tradition and technology.

Front/Back Bridges

The high soprano, placed at the front, symbolizes isolation, singing in a high register and a wordless language that isolates her from both the ensemble and the audience. At the back, the chorus symbolizes community.

• As the piece progresses, the high soprano’s register gradually lowers to meet the chorus, culminating in her joining them and singing her first intelligible word, “Soham”, alongside the choir. This transformation embodies the journey from isolation to connection.

Staging Metaphors

1. Invisible Isolation:
   Initially, members of the choir are seated among the audience, blending in and appearing as spectators. During the third section, they rise and join the stage after hearing the high soprano’s call for help. This metaphor highlights how isolation and mental illness are often invisible to the outside world.

2. Bridges:
   The stage design creates multiple invisible bridges:

   • Between the left and right, connecting opposites (e.g., East/West, male/female, past/future).

   • Between the front and back, bridging isolation (high soprano) with community (choir).

Conclusion

The staging of Hhumann X is as integral to the piece as its musical and thematic content, using symmetry, positioning, and movement to represent the complex dynamics of isolation, connection, and transformation. The interplay of acoustic and electronic elements, combined with symbolic staging choices, underscores the work’s central message: building bridges within and around us to overcome isolation.

Rumi

Rumi, a 13th-century Persian poet, jurist, Islamic scholar, theologian, and Sufi mystic, is a central influence in Hhumann X. His poetry, celebrated worldwide and translated into numerous languages, provides the backbone of the piece. One of his most famous poems introduces the main question of the work: “Do you know what you are?” It also offers an answer, one that invites deep reflection from the audience:

“Do you know what you are?
You are a manuscript of a divine letter.
You are a mirror reflecting a noble face.
This universe is not outside of you.
Look inside yourself;
everything that you want,
you are already that.”

Rumi’s words challenge us to look within for meaning and connection, reinforcing the theme of discovering our true nature as a pathway out of isolation.

Soham

Soham (सोऽहम्) is a Hindu mantra meaning “I am He/That” in Sanskrit. In Vedic philosophy, it symbolizes the identification of oneself with the universe or ultimate reality. The mantra’s use in mystical Sanskrit literature dates back to the 14th century, but its essence predates this. A similar concept appears in the Torah—a sacred text shared by Judaism, Christianity, and Islam—in the phrase “I Am That I Am”. This occurs during the encounter of the burning bush in Exodus 3:14, where Yahweh responds to Moses’ question of divine identity: “I Am That I Am.”

This phrase carries profound symbolism and power, uniting humanity with the universe and everything that is. In Hhumann X, Soham answers the question posed by Rumi: “Do you know what you are?” It also echoes Rumi’s guidance to look within:
“This universe is not outside of you. Look inside yourself. Everything that you want, you are already that.”

The Choir and the Mantra

At the climax of the piece, the choir sings Soham in unison, symbolizing the unity and connection that transcend isolation. The choir, which represents the power of community to overcome disconnection (a Western perspective), simultaneously introduces the mantra, reminding us of the Eastern perspective: that isolation can also end by connecting with our true nature.

Through Soham, the work suggests that isolation is impossible when we recognize our inherent connection to the universe within us. The choir’s collective voice bridges these perspectives, reinforcing the theme of inner and outer connection.

More Than Just a Choir

Hhumann X was conceived with a chorus part at its heart, and I specifically envisioned a choir comprising individuals experiencing mental illness and social isolation—people who use music and the sense of community within a choir to overcome these challenges. In recent years, many such choirs have emerged to address the growing epidemic of loneliness and isolation, with several in London alone and countless more worldwide.

Collaborating with a choir of this nature presents unique technical and artistic challenges, but for me, it was vital to work with such a group. Their participation would not only strengthen the meaning of the piece but also bring a powerful energy to the performance—their pain, resilience, and humanity. Music, I believe, is a transformational tool, and through Hhumann X, I hoped to help them realize that everything they need is already within them. On another level, their involvement could be seen as an intervention, providing them with an opportunity to step out of their comfort zone and connect with a wider community by performing alongside professional musicians on a world-renowned stage. While this ambitious goal offered potential for growth and empowerment, I was mindful of the pressure it could place on them and the risk it might pose to the incredible work these choirs already accomplish.

Collaboration with More Than Just a Choir

In early 2018, I reached out to several London-based choirs working with individuals facing mental health challenges and isolation. Among the first to respond was David Phelops, the enthusiastic director of More Than Just a Choir, a community choir in North London. The choir helps its members build confidence while fostering connections with the wider community—a mission that aligned perfectly with the themes of Hhumann X. David expressed interest in the project and invited me to meet the choir during one of their rehearsals in Harrow.

On May 1, 2018, I attended my first rehearsal with the choir at the Harrow Leisure Centre, where they gather every Tuesday evening. The rehearsal begins with food and social time, creating a warm and welcoming environment before the music starts. Witnessing David’s work firsthand was a transformational experience for me. The passion and enthusiasm radiating from the choir members was profoundly moving, a testament to the power of music to unite voices and souls. It became immediately clear that they are indeed more than just a choir.

Midway through the rehearsal, David introduced me, and I explained the vision behind Hhumann X. The choir embraced the idea enthusiastically, and we agreed to proceed with the collaboration.

Adapting for the Choir

To suit the choir’s abilities and reinforce the theme of unity, I wrote a monophonic line, emphasizing unison to symbolize many voices becoming one. To accommodate members who were unable to read sheet music, I created custom music maps to guide them. Additionally, I provided MP3 tracks—with and without the choir part—for practice and learning.

The song maps contained a basic timeline outlining the structure and instrumentation of each song. The choir's parts were represented using blocks that graphically depicted their melodies, with lines indicating the duration and reference pitch of each note. Dynamics were also notated on the timeline, providing clear guidance. These maps proved to be an effective tool, allowing the choir to understand and reproduce their parts with confidence.

This approach ensured that every member could participate fully, embodying the message of the piece: that music and community can bridge isolation and create profound connections.