Fourth Day

Workshop – Lecture – Concert

Lecture – Talk – Concert

9 September 2025

Events

Sohrab Motabar - Workshop

SuperCollider for Beginners

10:00 - 13:00 | Tehran Time

Yuko Katori - Lecture

Acousmatic and Me

13:30 - 14:30 | Tehran Time

Joachim Heintz - Lecture

Do Algorithms Destroy Musical Expression?

15:30 - 17:30 | Tehran Time

Introduction

Stéphane de Gérando

Concert 5

Curated by Stéphane de Gérando
19:00 - 20:00 | Music Museum

Introduction

Composer Portrait:
Stéphane de Gérando

Concert 6

20:15 - 21:15 | Music Museum

Events

Workshop

SuperCollider for Beginners

Location: Music Museum

Summary

Programming Electronic Music with SuperCollider.

SuperCollider is a programming language and also an application that is made for music composition. It is very powerful, under development, and it is free. It is relatively easy to learn for those who are in programming, yet, with proper guidance and practice, it is easy for everyone. The aim of this two-day workshop would be to open a path through this field. The assumption is that the participants have no background in coding. Therefore, we begin by learning how to code on a computer in general. Then, we will practice with simple ways of sound synthesis. On the second day, we will go further through the subjects and try to compose an etude. This workshop’s goal would be to encourage the participants to start their path to the world of computer music.

The Language of this workshop is Persian and will be held in person in Music Museum.
For free registration please contact via: +989377867630 in Telegram, or Instagram direct.

Biography

Sohrab Motabar (b. 1984) is a composer from Tehran. With regards to states of suspension and dazzled motion his music resonates like a maze for the listener. He composes with algorithms, chaotic functions, and non-standard synthesized sounds as a way to give rise to obscured dimensions and experimental modes of perceiving and listening. In 2018 he graduated from the Institute of Sonology in The Hague, Netherlands. Since then, he is teaching, giving workshops, and keeps developing his research further. In addition, he also actively collaborates in selected projects with artists and other musicians.

Website

Biography

She studied composition at TOHO Gakuen school of Music (BMus) at her native Tokyo, Japan, and at Guildhall School of Music and Drama (MMus) in London, UK. Her composition teachers include Y. Sueyoshi, M. Mamiya, Diana Burrell & Peter Eotvos. She was one of the creative teams in residence at OperaGenesis, Royal Opera House in London, UK from 2006 to 2009, where she developed two Theatre pieces. She was also commissioned for the Royal Ballet’s new works programme, held at the Linbury Studio Theatre, ROH (2009). In 2013, she was accepted to participate in a masterclass for opera composition held in Budapest.

Website

Lecture

Acousmatic and me

Summary

The lecture would contain my biographical details concering my compositional works, from 1990s (pre-digital era) to the present.
I would like to diffuse, as my acousmatic work examples, Kurakake 3, 2 and 1 which I composed in 2017/18.

Lecture

Do Algorithms Destroy Musical Expression?

Summary

Musical expression, in particular its emotional side, seems to be something which is opposite of machines, mechanics, algorithms. We will discuss some aspects of expression in general and in music, and ask for its relationship to conventions, rules, algorithms. We will then go into one example of algorithmic music, change some parameters and discuss the resulting effects on expression.

The Language of this Lecture is English and will be held online in Google Meet.
For free registration please contact via: +989377867630 in Telegram, or Instagram direct.

Biography

Joachim Heintz is a composer and writer living in Hannover, Germany. He tries to understand a minor part of the overwhelming reality (to hear a sound, to see faces and gestures, to go shopping, to watch news) in his compositions and texts. For practicing meditation, he spends some time in programming in the old-fashioned way: Thinking, writing code, understanding error messages, and contributing to some Open Source activities, in particular Csound. He loves teaching, as a shared activity of being creative, together, perhaps for the benefit of something unknown.

Website

Introduction

Electroacoustic concert, Imaginary Sound Imagined

This concert is designed as a journey without borders through sound, cultures, nationalities, generations, and practices. It opens and closes with two strong personalities with free and atypical careers, Detlef Kieffer, a French composer born in Silesia, and Gérard Pape, an American composer living in France since 1991. Alexandre Menexiadis, a French composer of Greek origin, Kaori Tsutsui, a Japanese composer, Karan Salajegheh, an Iranian composer, and Liburn Jupoli, an Albanian composer, are all former students of mine in composition at the CRR in Paris or the CMA5, professionals who are now more involved than ever in the field of creation. Tobias Feierabend is a young French-American composer with a varied and already rich career, notably a graduate of the Conservatoire National Supérieur de Musique et de Danse de Paris. For this program, these diverse sequences of excerpts from pieces or works ultimately form, in a strange way, a continuity articulated around the evolution of concrete music and instrumental writing. In addition to the imprint of history, these works are each an expression of multiple journeys, reflecting their creators, life choices as if to reinvent the present, imaginary sound imagined.

June 3, 2025 Stéphane de Gérando, Mulhouse, France

Concert 5

Curated by Stéphane de Gérando

Biography

Détlef Kieffer, born in Silesia in 1944, is a French composer. From the age of 16, he devoted himself to music after hearing Pierre Boulez's Marteau sans maître. He has been an instrumentalist (Percussions de Strasbourg, Philharmonic Orchestra), conductor, and professor at the Strasbourg Conservatory (chamber music, cymbalum, conducting) as well as at the University (composition). For several decades, he has enlivened the musical life of Alsace by giving numerous premieres. This activity led him to participate in the creation of the Musica festival. He has over 120 works in his composer's catalog: oratorios, operas, chamber music, symphonic and acousmatic works. He is the author of numerous poems, including the book "L'Ange Sombre." Détlef Kieffer was promoted to Chevalier in the Order of Arts and Letters by the Ministry of Culture.

Website

Program Note

Les Psittaques, Prelude (duration 4’30)

“The Psittacus” is a cycle of poems featured in my book:
“The Dark Angel, Poems,” published in 1996 by l’Avant-Mur, Paris.
Who are the “Psittacus”? Imaginary, phantasmagorical birds? Or hallucinated human animals, certainly less fanciful, but “drunk with tinsel”?
Many years later, I composed acousmatic music based on these poems, the sounds accompanying the spoken text. Here is the prelude.

Program Note

Bruxellisation (duration 8′)

Bruxellisation is composed from music created for the fictional document zone 58 by Jacques Lemaire, Gaspard Audouin, and Maxime Renaud.

Biography

Alexandre Ménéxiadis studied music at the Brest Conservatory and then at the Paris Conservatory, while pursuing a master's degree in musical and sound creation at Paris 8 and a two-year degree in mechanics at UPMC. He creates sound installations (Aix Biennale 2022, Nuit Blanche in Paris 2020, 48h NeuköIln 2019 in Berlin, etc.), electroacoustic music ("bruxelisation" supersonic festival in Marseille, "dragon du poitou" instrumental proto-techno group), and numerous sound designs for theater (still in production: "Platonov" by Mathias Borssard, "Bundrenn!" and "intelligent" by Loic Le Manac'h, "autostop" by Floriane Mesange, "Jouk" by Militsa Gorbatchevsky). His recent compositions are influenced by the site-specific art movement and the spatialization of sound. Alexandre has performed in Germany, Belgium, Switzerland, France, Holland, the United Kingdom, and Japan in contemporary art and alternative music venues.

Biography

Kaori Tsutsui (1973-) Composer and Clarinetist, professor of composition at SENZOKU GAKUEN College of Music. She collaborated with NHK International, Sony, Nintendo and NAXOS etc. for game software, TV animation, etc. and her music was commissioned by Gabriel Faure Conservatory and the Paul Claudel's Birthday Festival in the 15-arrondissement municipal oﬃce of Paris, International clarinet festivals in Belgium, Hungary and Japan, etc. and was presented in Japan, France, Germany and other European countries. Since 2022, She organized many concerts of early music and contemporary music in Tokyo with support from the Agency for Cultural Aﬀairs, Arts Council Tokyo, and the Kakehashi Foundation, etc. She started the Piano at the age 4, right after Recorder in the baroque ensemble, and Clarinet at the age 11. In 1998 she graduates at Musashino Academia Musicae Master of clarinet. In 2015 Ecole Normale de Musique de Paris composition high diploma with 1st praise from the judges. She has received numerous diplomas including improvisation, MAO and orchestration etc. She studied electronic music and 3D sound art at the Paris Conservatoire, INA with Sorbonne University, IRCAM, CM19&5, CRR93, etc. She mainly studied Clarinet under Ishikawa Takashi, Kálmán Berkes, and Guy Deplus, Advanced musical techniques under Stéphane de Gérando, Composition, Orchestration, Counterpoint and Fugue under Michel Merlet.

Program Note

La Grotte dans la Forêt, pièce 2 (duration 5’31)

Cave Forest is a suite of 12 pieces for computer, ﬂute, bassoon, clarinet and recorder written for an electronic music recital in Tokyo in 2024. The motif is the sounds and words that composer heard in her dream since her childhood. Those sound was analysed spectrally and reconstructed and composed using ancient dance forms. Programmed for the 4-channel independent speaker and the triangle spatialisation of the performer. This suite totally 60 minutes.

Program Note

Bestiaire (duration 7’53)

Bestiary is the second part of an electroacoustic saga currently in development, which I have called Dystopia. It follows the first part, Project of Burial (2019), in which the sounds of a lyre were eroded by increasing digital erosion, until they were completely destroyed. Paradoxically, the more the sounds were damaged by the machine, the more we thought we heard animal cries, wind, rain…
We are now projected, at the beginning of Bestiary, into a quasi-natural space. A space strangely rarefied, as if initially sanitized, but in which we can hear distant chirping, perhaps faint birdsong. The piece is imagined as an exploration of this place, which comes alive until it teems with a thousand tiny cries. All sorts of creatures will express themselves in chorus, some clearly identifiable, others completely fanciful—perhaps the most monstrous of all these evocations being that of the human voice…In reality, no screams, no voices, nor any external elements were recorded to create this movement. Almost all the sounds heard were obtained from a single source: simple glass being rubbed together.
Duration: Approx. 13 minutes.

Biography

A Franco-American composer born in Paris in 1993, Tobias Feierabend pursues sensitive and direct music, a sonic imagination where past, present, scholarly, and popular influences overlap and recompose. He initially trained with Valéry Aubertin at the Conservatoire de Noisiel, then with Jean-Luc Hervé at the CRR de Boulogne-Billancourt. He holds a Master's degree in Composition (2023) and a Master's degree in Musicology (2017) from the Conservatoire National Supérieur de Musique et de Danse de Paris, where he received four prizes with honors in composition, analysis, aesthetics, and writing in the 20th and 21st centuries. He has studied there with Frédéric Durieux, Yan Maresz, Luis Naón, Grégoire Lorieux, Claude Ledoux, and Christian Accaoui. He has also participated in various masterclasses, receiving guidance from figures such as Tristan Murail, Clemens Gadenstätter, and Unsuk Chin. His works have been commissioned by ensembles and institutions such as l'Itinéraire, the Ensemble Intercontemporain, the Ensemble Multilatérale, the Philharmonie de Paris, and Radio France. In April 2018, he won the Composition Prize of the City of Boulogne-Billancourt with his piece "Nu," for ensemble. In 2021, the Philharmonie de Paris commissioned a new ensemble score, Rosace, programmed as part of the European Concert Hall Organisation's "Rising Stars" series. In 2021, after being spotted by Tristan Murail, he began a collaboration with Henry Lemoine Publishing. Between 2022 and 2023, he received several awards and support: first, the Marthe Depelsenaire Composition Prize from the Fondation de France, then support from the Vincent Meyer Foundation; in December 2023, he was awarded the Prix de la Vocation from the Marcel Bleustein-Blanchet Foundation, chaired by Elisabeth Badinter and sponsored by Benjamin Millepied; Finally, he is a laureate of the Banque Populaire Foundation in 2024. After the creation of Spin-Off as part of the Présences 2024 Festival at Radio France, his upcoming projects will include a commission from the Ensemble Intercontemporain for flautist Emmanuelle Ophèle (2026), a second String Quartet for the program Création Mondiale on France Musique (2025), a creation for Organ and Ondes Martenot at the Auditorium of Radio France (2025), as well as a score for Saxophone and Piano (commissioned by the duo NéMeu). Tobias Feierabend also holds a Bachelor's degree in Philosophy from the University of Paris I – Panthéon-Sorbonne. In addition to his work as a composer, he taught musical analysis at the CRR de Boulogne-Billancourt until 2023, and is regularly invited by institutions such as the CNSMDP to serve on juries, speak at training sessions, and as a professor. His scores are published by Jobert (Henry Lemoine) and Accordinova.

Biography

Liburn Jupolli (b. 1989) is an award-winning composer, multi-instrumentalist, inventor, producer, and researcher with over 20 years of international experience. He has released 26 albums and invented five new musical instruments (Octo, Stragonaal, Clossor 1-2, The Sentinel, Nematocera). His compositions span solo, electroacoustic, chamber, orchestral, and electronic genres, performed in 16 countries across Europe, the USA, and Asia. Jupolli founded the first Modern Music Faculty and Center for Modern Music Research in Kosovo at UBT University, where he teaches composition, music innovation, and electronic music. He also lectures at the University of Prishtina and has contributed over 41 academic and scientific publications since 2019. In addition to his musical work, he serves as Executive Officer for Cultural Affairs to the Prime Minister of the Republic of Kosovo.

Program Note

Apparitions I (6’44)

“Apparitions I” explores the boundary between audible and inaudible realities, where sonic textures emerge and dissipate like spectral presences. Constructed from layers of granular synthesis, processed field recordings, and synthesized overtones, the piece invites the listener into a shifting landscape of auditory illusions. The work investigates notions of memory and disappearance, with subtle transformations guiding the ear between moments of density and silence. “Apparitions I” seeks to create an intimate yet unstable auditory space, where perception continuously reforms itself.

Program Note

Vers la Joie, mixed piece (duration 7′)

For 3 Setars and Live Electronics

Setar Players: Sohrab Kazemi, Parnian Najafi and Aida Haghighi

Conductor: Arvin Sedaghatkish

The basis of this piece is the groups of elements or phrases superimposed on each other, whose repetitions, thanks to their different durations or tempi, give rise to variable structures. These elements simultaneously attempt to create an imaginary of songs and melodies existing in the instrument’s repertoire. Different densities are created by the rhythmic decrease or increase of structures and at the same time by the presence of fixed sounds or sound samples entered into the sound synthesis processes.

Biography

Arvin Sedaghatkish (Tehran 1974), author, musicologist, music critic, composer, lecturer, and conductor. Some of his pieces are published in various artists' albums, including Tchārzangooleh (4 Hawk bells) in Clouds, … Va dar in pā’eiz (... and in this autumn) in Persian Night 4. Some others played in concerts, festivals, and events, among them duet for Harp and Ney, Trio for Harp, Flute, and Santoor, Jealousy in the Urban (Piano, 2 speakers, and Electronic tape), Cantata with Bach (Fixed media), Dogah (Fixed media), 8 (Flute solo), la Fabrique (Piano and Soprano). In addition, he composed a few soundtracks for short films like Vāhe (Oasis) by Mas’oud Admadi.

Biography

Karan Salajegheh is an Iranian composer born in Tehran in 1987. After studying architecture, he studied piano at the Tehran University of Arts and then entered the Regional Conservatory in Paris to study composition with Edith Canat de Chizy and Stéphane de Gérando. He has continued his musical activities in Tehran since 2017.

Biography

Formerly director of the UPIC/CCMIX Workshops from 1991 to 2007, Gérard Pape founded the C.L.S.I. ("Circle for the Liberation of Sound and Image"), an ensemble composed of composers and performers who sing, play instruments, and perform live on computers. Monographic CDs of Pape's music were first released on Mode Records in 1992, 1998, and 2006. Another monographic CD of Pape's music was released in 2007 on Iancu Dumitrescu's label, Edition Modern. Two new monographic CDs of his music were released in 2015 on Stradivarius Records and Mode Records. A bilingual book of Pape's texts, as well as musicological texts on his work, "MUSIPOESCI," was published in 2015 by Editions Michel de Maule in Paris. In 2015, Pape was commissioned by the Sonar Quartet (Berlin) with funding from the Ernst von Siemens Foundation to write his 4th String Quartet, "Textures Turbulentes, Formes Emergentes." The work received its world premiere in Berlin on December 11, 2016. A newly revised version of this work, now featuring expanded electronics and fixed sounds, received its world premiere by the Neo Quartet in Gdansk, Poland, on September 10, 2022. In 2019, a doctoral thesis was defended and published by musicologist Lissa Meridan on the theme of Pape's work "Harmonies of Time and Timbre." Pape's mega-opera "Purgatory" (based on Dante), which runs over seven hours, was released digitally worldwide on the MUSICA PRESENTE (ROME) label in December 2021. The work has garnered over 54,000 streams worldwide. Further CDs and DVDs of Pape's music are coming out in 2023-2024: one with 2 of his major electronic works, HELIOPHONIE, on Mode Records (NEW YORK) and a box set entitled "Le Purgatoire/Purgatory", also including the complete opera, now on DVD in film form, plus 2 CDs with many other works for voice, instruments and electronics composed from 1994 to 2022. This box set will be released on the ACEL label (PARIS) in 2024. Pape's book, "Iannis Xenakis and the Ethics of Absolute Originality" was published in English and French by UTEURP (Paris) in 2023.

Program Note

Vers la lumière III (duration 7’12)

In 2017, my friend, the French composer Frédérick Martin, died. I composed this electroacoustic work for 8-track tape in tribute to him. It is a work in the tradition of musique concrète, as all the sounds in the work are derived from instrumental sounds, primarily transformed temporally (time stretching and compression).

Introduction

Monographic Portrait of Stéphane de Gérando

Crossroads, electroacoustic cycle from Le Labyrinthe du temps (LDT), followed by Come Out from Within, sound and visual projection, world premieres, Stéphane de Gérando

Concert 6

Composer Portrait: Stéphane de Gérando

Biography

Stéphane de Gérando initially trained as both a composer and researcher, at the Conservatoire National Supérieur de Musique et de Danse de Paris (Premier Prix and 3e cycle premier nommé de composition), at university (doctor, habilité à diriger les recherches) and at IRCAM (computer science course). He won the 1994 International Stipendienspreis at the Darmstadt Festival of Contemporary Music, the Prix de l'Association des Anciens Élèves et Élèves des Conservatoires Nationaux Supérieurs de Musique et d'Art Dramatique de Paris (1991), the Prix Académique de la SACEM (1995), and was a laureate of the Sasakawa Foundation in 1993 and 1994. His catalog includes over 90 works, from solo instruments to orchestras with or without electronics, digital installations, monumental projections, virtual tableaux, polyartistic creations for theater - dance - music - digital technologies. Since 2007, he has focused on Labyrinthe du temps, a multi-media work that is both polyartistic and technological. With international support from France, one of the last monumental projections of the Labyrinthe du temps was on Tehran's Azadi Tower on July 19, 2018 (numerous television broadcasts, press agency photos, front pages, articles).

Website

Program Note

Crossroads, version continue (concert)
1. Memory Hall
2. Improvisation 1
3. Algorithm 711
4. Morphélectresuite

Installation video
5. Come Out from Within
6. Pixel 7, sound and visual installation (creation)

Crossroads is a new cycle from Labyrinthe du temps composed for TIEMF 2025. This concert version, lasting over 40 minutes and spatialized around the audience, is a continuous journey linking four sequences: Memory Hall, Improvisation 1, Algorithm 711, and Morphélectrosuite. In the first sequence, Memory Hall, the computer programs of Le Labyrinthe du temps generated different layers of music in real time, forming a fixed continuum close to a saturation of space-time. Like a dialogue with the machine, Improvisation 1 and Morphélectrosuite freely counterpoint this algorithmic invention, which is itself reproduced in echo in Algorithm 711. In the second part, Come Out from Within is a sound and visual projection, a fragmented labyrinthine extension where computer-generated images of the Labyrinth intersect with spatialized sound. To mark this world premiere, Crossroads will be released on disc in 2025.