First Day

Opening – Lecture – Talk – Concert

Opening – Lecture – Talk – Concert

19 February 2022



Dariush Dolatshahi is a composer, performer, photographer, artist, writer and provocateur. He studied in Tehran, Holland and at Columbia University, where he earned his doctorate degree in electronic music and composition.
(He has no degree in writing, painting or photography)



Reza Korourian was born on November 5, 1971 in Tehran. He graduated from the Faculty of Art and Architecture with a Bachelor’s degree in Music. He was also a flutist, guitarist and pianist. He studied Music Theory, Harmony and basic lessons of Composition with Alireza Mashayekhi and continued studying Music Composition at university with Farid Omran and Kiawasch SahebNassagh. He then pursued his passion for composing more seriously with SahebNassagh. He completed his study of Electronic Music under the instruction of Shahrokh Khajenouri and Arvin Sedaghatkish. Korourian was one of the five participants who attended the first electronic music workshop in Iran which was held by Shahrokh Khajenouri. By 2008, he also participated in Joachim Heintz’s electronic music workshop and received conducting lessons by Manuchehr Sahbai. He presented his thesis in electronic music and spent years of his life translating reference books about electronic music and composition. His translation of Tom Holms’ article “The Most Impressive Electronic Music Pieces” was published in the 111th volume of “Art of Music” magazine. Two albums of his works have been published by “Contemporary Music Records” so far. The only official performance of his works was in “IC No.3” held by Yarava Music Group and with Khajenouri and SahebNassagh providing the speech, introducing Iranian and the world electronic music composers and presenting “In Dreams” by Korourian. A year later, “In Dreams” was introduced and performed at Hanover University of Music, Drama and Media. Reza Korourian departed this life in the morning of March 3, 2015.

Live Events


Microtonal Aspects in My Music

Caspar Johannes Walter
Saturday 19 February 2022, 17:30 Tehran Time

Pass code : TIEMF2021


was born in Frankfurt/Main in 1964. He studied composition with V. D. Kirchner (Wiesbaden) as well as with J. Fritsch and C. Barlow (Cologne Conservatory of Music, 1985-90). In 1985 he was cofounder of the Cologne-based Thürmchen Verlag (Publishing House). He has received several major composition awards, a CD with chamber music works by Caspar Johannes Walter released by the German Council of Music on the Label Wergo has been awarded the »Preis der deutschen Schallplattenkritik« in 1998. His interests as an interpreter - he is cellist in the Thürmchen Ensemble, which he also co-founded in 1991 - are focused primarily on young composers from the areas of experimental music and musical theatre. In 2002/2003 Caspar Johannes Walter was teacher of composition and composer in Residence at the University of Birmingham/UK, since 2006-13 he was professor for composition in Stuttgart/Germany and since 2013 at the Musikakademie Basel/Switzerland. In 2014 he was elected into the „Akademie der Künste, Berlin“, where he is at the moment curating the international project „Labor Beethoven 2020“, that focusses the view of the young generation of composers towards the renewing of intrinsic musical ideas in the spirit of Beethovens „laboratorium artificiosum“.
More Info


Harp and Electroacoustic Music
Alice Belugou and Elnaz Seyedi

Live on Instagram
Saturday 19 February 2022. 22:30 Tehran Time

Daily Report

A Short Report on the Past and Upcoming Events

Live on Instagram
Saturday 19 February 2022. 23:45 Tehran Time



A live experiment of conversing in the language of protest in the frame of FREIRAUM FESTIVAL 2020

Languages of the Unheard was commissioned by Common Lab-Goethe-Institut Excellency Initiative by Goethe-Institut Thessaloniki & ArtBOX in collaboration with TIF-HELEXPO, Freiraum and Institute Hypewerk for Postindustrial Design, in the context of the State of the Arts. 

‘WHAT WE MUST SEE is that a riot is the language of the unheard.’, Martin Luther King

Following a performance score, i.e. a list of instructions similar to those of a board game, Languages of the Unheard construct an online visual and auditory manifesto based on the language of signs and slogans coming from important protests in different European countries from the creation of the European Economic Community (EEC) or ‘Common Market’ in 1957 to 2020.

Playing with the performativity of zoom’s feature to ‘rename’ ourselves, we will change constantly our names using the language of those signs, producing a written dialogue in the language of protest. During this dialogue, parts of our words will be audio processed and fed back into the dialogue in different ways, creating a soundscape of languages of the unheard.

This ‘silent’ conversation aims to reveal the materiality of the language of protest in order to create an embodied experience of its social force. What stays from our common fights in public space when we don’t have the proximity of our bodies? How can we turn immaterial language into a material ‘action’ in the way Arendt defined the term as the human ability to initiate something in public space that addresses the many without being able to control its outcome in advance?

Dimitri Papageorgiou


Danae Theodoridou

Aperiodic Videos for Periodic Sounds Nr.2 and 3

Commissioned by Yarava Music Group / World Premiere

Alireza Amirhajebi


Interdisciplinary/ Multi Media artist
Studied IRCAM.Paris. 1995-99
Collaboration in mutual project between IRCAM and Cite de Paris for controlling audio Pollution. 1997
Collaboration in Joshua Fineberg and Stephan Mc Adams workshops (IRCAM) and Institute de Psychologies (Rene Descartes University. Paris 5). 1997
Solo Sound performance in FAO/UNISEFs project for Somalia childern.Paris.1998.

Los ninos rojos

The modern harp is the direct heir of the salon instrument of the French nobility of the 18th century. Pedro García-Velásquez and I wish to put into play the imaginary attached to the instrument and to do so, create a new visual and sound device: a harp transformed analogically by a set of electric guitar pedals and accompanied by the voice projected in the resonance box of the instrument.

Harp: Alice Belugou


Pedro Garcia Velasquez


Pedro Garcia-Velasquez (1984) is a French-Colombian composer and co-founder of Le Balcon ensemble and BabelScores. Born in Bogota, Garcia-Velasquez started studying composition at the Pontifical Xavierian University in Bogota with Harold Vasquez-Castaneda. He moved to France to continue his studies with Jean-Luc Hervé and was later admitted into the Conservatoire de Paris in the class of Frédéric Durieux, where he graduated in 2013. He has been artist-in-residence at Théâtre de l’Athénée,at IRCAM, ZKM, and since 2019 at the Fondation Singer-Polignac. 2016 he received the Prix Pierre Cardin from the Académie des Beaux-Arts.


Sometimes you do not belong to the light nor the shadow…. Just in a vague voice; you are a passenger
between these two words….

Commissioned by Yarava Music Group / World Premiere

Gelareh Soleimani


Gelareh Soleimani Lavasani, she is Setar player and a multimedia composer. She studied music in Iran and Italy. Her works have been performed in different festival and museums in world. In 2009, together with Maziar Bustan Doust and Alfenso Belfiore, she founded the 8arti Institute.

Traces XII

Traces XII is part of a cycle of works consisting of several Traces, which the composer sees as an open experimental laboratory, in which he dedicates himself to selected sonic and musical properties and investigates them. Traces XII is a journey into the sound of the harp and an exploration of the instrument. The piece moves in the extreme, mainly high and low and occasionally middle registers of the instrument. The limits of the harp register and the spectral sound space of the instrument are explored. The electronics allow for polyphony through the layers of sound, each with different content in time.

Harp: Alice Belugou


Martin Matalon


Martin Matalon (born Buenos Aires in 1958) is an Argentine composer and musician, and recipient of the 2005 Grand Prix des Lycéens and 2001 Prix de L'Institut de France Académie des Beaux Arts. He was a student of music during his early life, attending both Boston Conservatory of Music and the Juilliard School of Music. Since 2018, he is teaching composition in the Conservatoire National Supérieur de Musique et de Danse de Lyon.


Tileh in Farsi means a marble, a spherical tiny toy usually made of glass.
This piece attempts to create the feeling of looking at and through one of my favorite toys as a kid, a Tīleh. The feeling of playing with those little crystal balls, with different colors and sizes. And the wish to be able to touch the clouds trapped inside these little spheres.

Idin Samimi Mofakham


The music of Iranian composer/performer, Idin Samimi Mofakham (*1982) is deeply based on the traditional and regional music of his home country.
Since 2015, He develops his own musical language based on the medieval Persian tuning systems, just intonation, and Psychoacoustics.

Since 2019, Idin holds a Ph.D. in Artistic Research position at the Norwegian Academy of Music in Oslo (Norway), pursuing his research on Persian medieval tuning systems and their creative usage in contemporary composition.

Flatterecho III

Harp: Alice Belugou

Caspar Johannes Walter


Caspar Johannes Walter (1964) studied composition with V. D. Kirchner, J. Fritsch and C. Barlow. In 1985 he was cofounder of the Cologne-based Thürmchen Verlag. He has received several major composition awards, a CD with his chamber music works released by the German Council of Music on the Label Wergo has been awarded the »Preis der deutschen Schallplattenkritik« in 1998. Since 2013 he has been teaching at the Musikakademie Basel/Switzerland. In 2014 he was elected into the „Akademie der Künste, Berlin“.