1770* For Claviton and Ensemble
Commissioned by Janus Ensemble
Conductor: Christoph Cech
This piece was a commissioned composition by the Janus Ensemble under the direction of Christoph Cech, and it was my first encounter with the 31-tone keyboard. The neutral intervals, which are often found in Maqam music, are distributed here among the claviton, flute, and saxophone. The neutral second, 12:11, the neutral third, 11:9, and also the septimal minor third, 7:6, are the most frequently occurring intervals. This piece was supported by Bmkoes and SKE.
Violin & Claviton (31-Tone Keyboard)
The project offers a fresh perspective on the Arabic and Iranian Music by shedding new light on its rich musical traditions. At the core of their project is the remarkable instrument known as the “Claviton,” built by Georg Vogel, offering 31 tones per octave. This instrument serves as a highlight, enabling me to apply a tuning system I developed based on Iranian and Arabic music. The aim is to redefine the narrative surrounding the music of this region. Adding to the musical prowess is the inclusion of Sarvin Hazin, an experienced classical violinist with a deep expertise in Iranian Dastgah music.
Composed by Kurdophone
Vocals & Tanbour – Omid Darvish
Kamanche – Sarvin Hazin
Piano – Amir Abbas Ahmadi
Double bass – Helene Glüxam
Drums – Sebastian Simsa
Commissioned by Baubo Collective & PUC
“Dreamscraper,” also known as “Green Phantasm,” is a scenic composition by me that developed as part of the Huggy Bears Artist-in-Residence program. It is a music theater piece that brings together various artistic disciplines, ranging from music (acoustic and electronic) to dance and staging. The production is created by PUC (puccollective.org), a collective that I co-founded. The centerpiece of the piece is the poem “Green Phantasm” by the Persian poet Forough Farrokhzad. The work portrays the image of women in a capitalist society, serving as a meeting point for the plurality of external forces while simultaneously expressing a desire for ultimate freedom and independence. The voice is singular outwardly but plural internally. This piece has received composition support from MA7.
SOUG for Chamber Orchestra
Bruckner University Orchestra
Conductor: Christoph Cech
Ælæst A Cappella
written for die neuen Vokalsolisten Stuattgart
Caramel (Rise above the Senses)
Clarinet, Composer: Ulrich Drechsler
Piano: Amir Ahmadi
Bass: Oliver Stegner
Drums: Raphael Keuschnigg
written for Ensemble airborne extended
Live Performance at Gallus Theater Frankfurt
Bauhaus Tanzt is an experimental reflection on the Triadic ballet created in 1922. In our approach, we relate to the method that Oscar Schlemmer suggested himself: a practical study of artist’s theory towards the historical context on stage. Most of Schlemmer’s performative works are based on very simple and classical steps and techniques. What challenges aesthetics is the context in which the dance is being presented. We neglect the traditional approach to Schlemmer’s work that presents a dancer as a tool for bringing a costume alive and we believe that the body is a central medium in artist’s work.