Second Day
Workshop – Seminar – Talk – Concert
Workshop – Masterclass – Lecture –Talk – Concert
8 September 2024
Tar - Extended Techniques
Composer Portrait I
Composer Portrait II
The RKC Pieces for Flute and Electronic
Live Events
Workshop
Tar – Extended Techniques
Location: Cage house
Biography
Biography
Biography
Talk
The RKC Pieces for Flute and Electronic
Mehrdad Gholami & Niloufar Shahbazi
Live on Instagram
Sunday September 8, 2024 | 10:30 PM Tehran Time
Biography
Mehrdad Gholami
Iranian flutist, Mehrdad Gholami, received presidential award and Iran’s National Elites Foundation scholarship to continue his training at the University of Tehran, where he studied with Dr. Azin Movahed.
During his time in Tehran, Mehrdad won numerous solo and chamber music competitions in Iran such as Fadjr International Music Festival, Iran Young Artists Competition, and Tehran Flute Competition. In the U.S., He has won concerto competitions as well as being a finalist in Texas Flute Society’s Myrna Brown Young Artist Competition.
As an orchestral player, he started with Tehran’s ensembles such as Tehran Contemporary Ensemble, Tehran City Hall Orchestra and Tehran Symphony. Later, he came back to work with TSO as their principal flute player under the direction of Maestro Alexander Rahbari for the 2015’s summer season. Other orchestral appearances include Kaleidoscope Chamber Orchestra (Los Angeles, Disney Hall debut), Fort Worth symphony and McKinney Philharmonic.
Niloufar Shahbazi
Niloufar Shahbazi, born in 1995, is a Kāmānche player and composer from Tehran, Iran, with a Bachelor’s degree in Performance from the University of Art and Architecture and a Master’s degree in Composition from the University of Tehran. Currently, she is a Master’s student of music composition at Codarts. Performing with several ensembles, she has had the privilege of joining artists and musicians on their tours, both internationally and within Iran. During the past few years, contemporary music has also become one of her main areas of interest, leading to several projects and compositions merging electronic sounds into Kāmānche.
Concert
Curated by Santiago Bogacz
Summary
About Barrett’s piece
I have always found Richard Barrett’s music quite particular. On the one hand, he is both a great composer and improviser and he does not leave each in separate spaces, but understands that both define his music. On the other, I always love how he mixes so many diverse influences, no matter where they come from, as long as it makes sense to him. This particular piece is different to the rest of his work, as it is more of a slow development than his usual always-moving music. Therefore, I admire how after so many years and a large body of work, he is still willing to drift from what anybody could say about him.
About Scheps’s piece
Sofia Scheps is not only one of the very very few women working on Contemporary Classical Music in Uruguay, but also one of the few composers in general. Her music is always quite indefinable, not in aesthetics but in form. One never fully understands what the narrativity is about. It is about a story but at the same time of a non-moving place. You are there and the story is about that. I find that so unpretentious that is hugely admirable for me, mostly in a World where it seems that more and more things should be as self-referential and self-worshipping as possible.
About Hoban’s piece
Of all the particular musicians I have ever met, Wieland must be on the top of the list. He is a deep and serious Classical Contemporary Composer, and he can just turn around and tell you a whole lot about other tons of music, specially Heavy Metal. So it is inevitable that his music is a sort of mix of musics that are always extreme on certain terms. This piece is a perfect example of it, and mostly because it also reflects another side of his virtuosity as a person: a huge commitment with human rights, even if that means to question his whole heritage.
Biography
Biography
Summary
artefact
artefact is a 56-minute electronic composition originally in 8 channels, which was completed in the spring of 2024. Two of its six parts had been previously presented as standalone pieces. Its first half consists of very gradual sonic evolutions, giving way in its second half to increasingly accelerated collage-like moments alternating with static blocks of sound.
Summary
Virtualidad Real / Real Virtualit (2020)
Working with continuous materials, and resorting to hard editing and hard paning techniques, “Virtualidad Real” is a piece that brings to the forefront the physical presence of amplification systems, exposing binaural perception to unnatural and and extra-ordinary situations.
The piece takes the stereophonic image as the main compositional element, used in a plastic and expressive sense: deliberately looking for discontinuity, decompensation, imbalance, for that which is perceived as artificial, or as a fault.
Far from trying to build or develop any virtual acoustic space, and operating deliberately against the physical element
Biography
Biography
Summary
Hora’ot Pticha Be’esh
Hora’ot Pticha Be’esh means ‘rules of engagement’ in Hebrew. It is the first piece in the trilogy Rules of Engagement (2013-2019), which focuses on Israel’s war on the Gaza Strip in 2008/9 (Operation Cast Lead). The title refers to the directives given to soldiers before an operation as to what is permissible. This particular operation, in which around 1,000 Palestinian civilians were killed, lacked any such restrictions. The piece uses the original recording of an interview with a soldier by the Israeli NGO Breaking the Silence as a thread running through the music, combined with various sampled instrumental sounds.