Embedded Files
Concertino for Piccolo, Flute, Timpani & String Orchestra (2006)
Genres: Kammerorchester
Instrumentierung: für Flöte, kleine Flöte, Pauken und Kammerorchester - Pdf
Dauer: 9'
Solist:innen: flute; piccolo; timpani
Concertino for Piccolo, Flute, Timpani & String Orchestra is organized in a general ABA form, with an introduction at the beginning and a coda functioning as the final cadence. The introductory material returns dramatically in the middle section, establishing a clear relationship between different parts of the form. Harmonically, the composition explores chromatic harmonies as a form of musical punctuation, while the rhythm and syncopation of the timpani maintain a continuous sense of movement. The organization of these elements reflects my interest in making the relationships between musical materials and formal processes perceptible, an approach closely related to Clearnessism.
The piccolo, flute, and timpani precede the orchestra, while the cello section creates a contrasting relationship with the orchestra and establishes a clear dialogue with these instruments. The distinction and interaction between the instrumental groups give the materials a recognizable identity within the overall structure. The work can therefore be understood as Neoclassic, A Return to the Past!: rather than reproducing the past as a fixed style, it uses recognizable historical qualities as musical material and reorganizes them within a personal compositional process.
Falling Clouds (2017)
Genres: Ensemble (10+ SpielerInnen)
Instrumentierung: für Viola, Violoncello, Kontrabass, 8× Flöte und Ensemble (10+ Spieler:innen) - Pdf
Dauer: 4'
Solist:innen: viola; violoncello; double bass; 8× flute
Falling Clouds for 8 Flutes, Viola, Cello and Contrabass is a clearly postmodern work. Its unusual combination of eight flutes with viola, cello, and contrabass explores the distinctive timbral possibilities of the flute while responding to the limited abilities of the available performers. Rather than treating these limitations merely as obstacles, I consider them an impetus for composition: a condition that encourages closer observation of the available materials and the possibilities that can be discovered within them. The aesthetic balance of the work therefore emerges between the particular timbral character of the flutes and a clear structure, reflecting an important aspect of Clearnessism.
The composition follows a general AB form and uses a mode together with its transposition or modulation within the phrase to move the music forward. Dynamic changes, particularly sudden changes in intensity, play an important role in creating the climax. The work demonstrates how the limitations of performers, the characteristics of instruments, and the composer's available materials can become part of the compositional process itself. In this sense, Falling Clouds reflects my broader view that composition can emerge through the careful observation and organization of what is available, rather than through the search for ideal or unrestricted conditions.
For Violin (2010)
Genres: 1 Instrument
Instrumentierung: für Violine - Pdf
Dauer: 9'
Solist:innen: violin
For Violin is a three-movement composition conceived as a historical journey from Baroque music toward contemporary one. Dedicated to Siavash Sabetrohani, whose performance can be heard here, the work begins from Baroque music because of Siavash's particular interest in that period and gradually moves toward a more contemporary musical language. In this sense, the composition represents a musical journey through different historical materials rather than a simple imitation of a single style. The unexpected harmonic relationships that appear throughout the work also contribute to this process of reinterpretation, connecting historical material with my compositional language.
The composition also has a direct relationship with the composer's personal musical history. I studied violin alongside guitar during my early musical education and once had strong ambitions to become a violinist, but left the instrument for nearly twenty years because of practical limitations, including the lack of a suitable place for practice. Returning to the violin through composition therefore becomes an encounter with an earlier part of my musical identity. Writing for solo violin requires close attention to bowing and fingering, and this knowledge of the instrument becomes part of the compositional material and process. In this respect, the work reflects the broader interest in discovering musical possibilities through the particular characteristics of an instrument.
Shout (2009)
Genres: Orchestra
Instrumentierung: für Orchester - Pdf
Dauer: 6'
Solist:innen: ...
Shout for symphony orchestra is based on the controlled use of musical material. As in several of my compositions, every material is controlled and developed toward the highest level of possibility. This creates a central compositional challenge between the similarity produced by repetition and the dissimilarity of contrasting materials. The work focuses particularly on the possibilities of orchestral timbre and on the dramatic role of individual tones, whose identities become increasingly perceptible and are brought into focus toward the end. This approach can be understood through Clearnessism, where the complexity or simplicity of musical materials is secondary to making the relationships among them perceptible.
Conceptually, Shout is a protest against everything that narrows or restricts life. The work therefore places the controlled organization of musical materials alongside a broader tension between restriction and freedom. For me, human beings are free to choose the manner of their lives and must sometimes struggle to preserve that possibility. The act of shouting consequently becomes a musical expression of identity and resistance: a way of making a condition perceptible and affirming the right to be heard and to remain alive.
Train (2007)
Genres: 1 Instrument
Instrumentierung: für Gitarre - Pdf
Dauer: 5'
Solist:innen: guitar
Train is a composition for classical guitar based on the idea of life as a journey. The changing tempo in several passages, particularly through accelerando, evokes the movement of a train as it begins to travel. The work is technically demanding because of its extensive use of the guitar neck and its exploration of harmonic chords intended to suggest the sound and character of a modern-day train. Here, the physical possibilities of the instrument become part of the musical material, while the controlled organization of these materials contributes to the clear structure of the work considered in relation to Clearnessism.
The composition follows a general AB form with a repeat, followed by a coda as the final cadence: during the first A section, the player moves from outside into the imagined cabin, while its repetition suggests a movement from inside the cabin back outside. This repetition therefore creates a second possibility within the journey, suggesting a philosophical dimension of life that may not be available to everyone. At the end, the rapid arpeggios of the coda suggest the uninterrupted rhythm of life and the Aeon Road, extending the musical idea beyond the sound of the train toward a broader conception of movement through time.
To anyone at Universal Edition who cares,
Universal Edition seems to have stopped at the beginning of the twentieth century. Most of your attention is still directed toward the past. Once, you stood at the summit of the classical music world. Today, however, you seem more interested in preserving your legacy than in helping create the next one.
The future of music depends on living, visionary composers, not Schoenberg, Bartók, Pärt, and the great composers who came before us. Honoring the past is essential, but shaping the future is even more important.
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