Track number 10 from the upcoming album 'Seafields' available from Dronarivm 260321

'Wind Shaped' - Seafields - [Dronarivm, 2021]

During the winter and summer,the megaphones of frogs - Rana guentheri and Polypedates braueri are the ones that people always complain about. For some people, there are heavenly music; however, for others, they are noise. When I come to Menghuan Lake, I love to hear the sounds of all kinds of frog.  I have recorded many different kind of frogs in the world. But I know, the symphony of frogs here is awesome, and only exists in Taiwan.

Listening by the pond(Menghuan lake) in Yaminshan National Park

Intertwined Distances (2018)
Solo Harpsichord and Electronics (quadrophonic)

commissioned by and written for Mahan Esfahani
Premiere: March 2018, Madrid, Fundación Juan March
http://www.march.es/musica/detalle.aspx?p5=100310
Recording: Live radio broadcast 

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Some words about the piece: 

Distance, Movement, Silence, Perception, Paradox, Continuity...

According to Merriam-Webster, distance is a separation in time, an extent of advance from a beginning; and in mathematics it refers to the degree or amount of separation between two points, lines, surfaces, or objects.

In this piece I am exploring the qualities of various dimensions of ‘distances’.
The piece opens perceptual spaces and plays with the listener’s perceptions. It is an observation of how the sound moves and travels within the concert hall, of the distances between the performer on stage and the audience, and of the relationships of both with the quadraphonic speakers. On another level, it explores the phenomena of distance in time (the centuries- old harpsichord being placed in a modern environment) and distance between people (geographically, emotionally, etc). Our daily life is made of these intertwined distances, which are constantly in movement and change.

On a personal level, the electronic component comes out of a close collaboration, between Mahan Esfahani and the composer.

The sounds are solely harpsichord sounds, specially recorded for this piece. In association with various filters and processes, the material developed further and gained other colours and qualities.
The piece is an observation of these constant movements of sound and various perceptions of distances – and of ultimately how all these unite and convolute by twining with each other.

Intertwined Distances (2018)

Recorded by an ORTF setup (Schoeps CCM4x2) on a Sound Devices Mixpre6
Original recording in Wave, 96k, 24bit
GPS: -22.392431,-44.553263
Sound Ref:  BR-190812-07
Recorded during the Interativos 2019 organized by Silo
Download on Freesound here https://freesound.org/people/felix.blume/sounds/479286/

Toads during the night in a pound, in Serrinha do Alambri (Brazil)

Night Rain (Naviarhaiku 323)

Performed by the Manhattan School of Music Orchestra under the baton of Daniela Candillari.

Welcome To The Anthroprocene (2020)

Babak Kouhestani, Violin 1 and 2, Viola
Nargessi Fallahpassand, Violoncello
Mahdi Kalantari, Contrabass

Hamid Asgari, mastering

Composer: Daniel Derakhshan

Ātar

Messy lattice is a work composed in such an uncertain epoch. The year 2020 is different for the  whole of humanity as for me. We see how people are impatient for getting back to “normal.”  Therefore, I felt the spirit of Autumn and its grief more than every year. The only thing that I could  be definite about is that there will be Winter that can be more chirpy. Another hand, chaos is  always interesting to me. Chaos is something that entangled by order. However, here I attempted  to get closer to being “messy.”

(This piece premiered on 21st December 2020 in Spectro Centre for New Music's event: Yalda Electroacoustic Music Marathon Vol.1)

Messy Lattice

Parsa Shomali is a Composer and Sound Artist from Tehran, Iran. He is a M.A. in Composition and Musicology and he had the experience of studying at Tbilisi State Conservatoire, The Grieg Academy in Norway and The University of Music and Performing Arts, Vienna. He studied Composition with Professors Daniel Biro, Maka Virsaladze and Electronic Composition with Professors Karlheinz Essl, Reso Kiknadze and Tijs Ham. Shomali is a selected composer of numerous festivals and competitions such as ICMC 2018, Seoul International Computer Music Festival 2017 and 2019 and his pieces are included in various compilations such as "Iran's Best Electronic Music Producers in 2016" in "Sote Boiler Room London" and “Girih: Iranian Sound Artists” Published by “Opal Tapes”.
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پارسا شمالی٬ آهنگساز٬ طراح صدا و بداهه نواز متولد تهران است. او فارغ التحصیل کارشناسی ارشد در رشته ی آهنگسازی و موسیقی‌شناسی از کنسرواتوار تفلیس بوده و تجربه ی تحصیل در آکادمی گریگ در نروژ و دانشگاه موسیقی و هنر های نمایشی وین (mdw) اتریش را در کارنامه ی خود دارد. وی همچنین موفق به دریافت بورسیه کامل از اتحادیه اروپا برای تحصیل در دانشگاه موسیقی و هنر های نمایشی وین و بورسیه از طرف پروژه ی پژوهش هنری اوراسیا برای تحصیل در آکادمی گریگ شده است. شمالی آهنگسازی را نزد پروفسور دنیل بیرو٬ ماکا ویرسالادزه و آهنگسازی الکترونیک را نزد پروفسور رسو کیکنادزه٬ تایس هَم و کارلهاینز اِسل فرا گرفته است. آثار شمالی در فستیوال ها و مسابقات مختلفی به عنوان آهنگساز منتخب در کشور های مختلفی اجرا شده است که از مهم ترین آنان می توان به فستیوال بین المللی موسیقی کامپیوتری سئول ۲۰۱۷ و ۲۰۱۹، کنفرانس بین المللی موسیقی کامپیوتری ۲۰۱۸ و فستیوال بورئالیس ۲۰۱۹ اشاره کرد. همچنین آثار وی در آلبوم ها و مجموعه های مختلفی منتشر شده است.

Parsa Shomali - Sancta Sanctio Pt. 2

Through Passages Of Clay

Nasty is the polar opposite of 1st single Whatever It Was. Dark and consistent, full of noise, energy and drums. Inspired by watching too many serial killer docs it's one of the more uptempo tracks from the forth coming LP A Little Less Fire

Nasty

Anahita Abbasi’s music has been described as “a dizzyingly sophisticated reverie, colorful and energetic. It embodies tremendous timbral exploration and multilayered performance gestures”… (Classical Voice America and A Cunning plan). 

According to Guardian …”She takes even a more radical line with creating dense and pulsing textures”… “Her music has the capacity to immerse the hall into a dark multichannel throat and hissing” … (Bachtrack) 

Volkskrant describes … “the Iranian Anahita Abbasi, shows herself to be a composer with guts in the two-year-old Intertwined Distances Alienating whistling noises and furious fistfights with the keyboard, alternated with delicate strings, lead to a theatrical listening experience” ...

Ernst. M Binder also writes: …“As it is also vivid from the titles of her works such as Dialogues, Situations, Distorted Attitudes, she investigates and gesticulate thoughts and emotions. It is manifestation/ observation of a scene or multiple scenes, which occur simultaneously. She has the tendency to take us with her music on a mystical, puzzling journey and leave us within our thoughts, to find out the “ending” ourselves”… 

About her piece for Mahan Esfahani Boulezian Blogspot writes: …” There was, without doubt, an extraordinarily inventive musical imagination at work, but it was never merely invention: it was a sonic and instrumental drama that seemed somehow to summarise, to extend, and quite properly to question many of the tendencies we had heard so far”…

Anahita Abbasi’s music has been commissioned and performed by distinguished soloists and ensembles such as Mahan Esfahani, Steven Schick, Vimbayi Kaziboni, Rebekah Heller, Sergej Tchirkov, Artyom kim, Ensemble Modern, International Contemporary Ensemble, UmeDuo, Klangforum Wien musicians, Wavefiled Ensemble, San Francisco Symphony Youth Orchestra, Disonart Ensemble, Platypus Ensemble, Quatuor Diotima, Mivos Quartet, Argonaut Quartet, Tak Ensemble, Schallfeld Ensemble, Zafraan Ensemble, Contemporaneous, Blaue Reiter, Off Spring Ensemble, and has been showcased at festivals all around the world among which: Mostly Mozart Festival, The Kitchen, Kennedy Center, Lincoln Center, Niefnorf, Soundnow Festival- Bent Frequency, Roulette, National Sawdust, Mise -En festival (USA), Darmstadt Ferienkurse (Germany), IRCAM – Manifeste Academy (France), Matrix –Experimental studio des SWR, Alte Oper (Germany), BIFEM (Australia), Klangspuren Schwaz (Austria), Sound State festival (Southbank Centre, London), Tectonics (Glasgow), Akademie der Künste (Berlin), United Berlin, Klang Festival (Copenhagen), Tage Neuer Musik, Open music (Austria), Omnibus Ensemble (Uzbekistan), Contempuls (Prague), Tangram Trio (Switzerland), Tongyeong International Music Festival (Korea), neuverBand Ensemble (Switzerland), Ensemble Kollektive (Germany), Acht Brücken Festival (Cologne), Impuls Festival (Austria), Time of Music (Finland), Atlas Festival (Netherlands), Grachten Festival (Netherlands), duo Verso and Bilitis and many others.

Ms. Abbasi has received several awards, including a work-scholarship from the Experimentalstudio des SWR, Freiburg (2014), a Morton Gold ASCAP young composers award (2015), a nomination for “women composers of our time” (2017) as well as the composition prize of the Acht Brücken Festival (2020). In 2022 she has been awarded the Civitella Ranieri Fellowship in Italy and UCROSS Foundation residency in Wyoming. 

Aside from teaching composition, giving lectures and curating workshops on fundamentals of creation, and serving as a juror at composition competitions, she is also a founding member of Schallfeld Ensemble in Graz, Austria as well as IFCA (Iranian Female Composers Association) in the USA, New York..; where she is curating concerts, workshops, conferences, creating platforms and advocating for young composers and acts as their ambassadors in presenting their music to others. 

Anahita Abbasi (world citizen-1985) was born and raised in Iran. In 2005 she moved to Austria and pursued her undergrad at the University of Music and Performing Arts Graz, where she studied music theory with Clemens Gadenstätter and Christian Utz & composition with Beat Furrer and Pierluigi Billone; while working closely with Georges Aperghis, Franck Bedrossian, and Philippe Leroux. In 2014 she moved to the US to pursue her Ph.D. degree in Composition with Rand Steiger at UC San Diego.

Currently, Abbasi is residing in New York and in Paris, where she has been awarded a three-year-long residency with Fondation Singer Polignac and Ensemble Le Balcon (Paris, France). Her upcoming projects are commissions from ensemble “der gelbe Klang”, Kommas and New Babylon, Podium Esslingen, and Ensemble Modern for Darmstadt 2023.