Geronimo Mendoza, oboe
Nicole Linaksita, piano
Juy 21, 2020
Pyatt Hall, Vancouver
the mirages bona fide depicts phantoms of modernity.  No matter how doubtful and hazy they are, no matter how arcane and obscure, still the very essence of these mirages is defiance of an outworntradition. It presents paragon of traditional modes and unorthodox, vigorous rhythm and free temporality.Having begun as variations within an old system, deviations from the norm eventually form new and rivalmodes. Likewise in music, tradition has offered a point of departure for new sonorities and timbres.

the mirages bonafide

to the north   for string orchestra, 
UBC String Orch. 
Eric Wilson, cond.

to the north

Aria from Opera Sun arcanuS
Kathleen Allan, mezzo-soprano;
Mark McGregor, Flute;
Bo Peng, Cello;
Chris Bagan, Piano;
Farshid Samandari; electronics.


Flutter

Elegy for the remnants

Jenny McLaren, mezzo-sop.;
Shane Raman, baritone;
VICO soloists
Pacific Baroque Orchestra;
Marguerite Witvoet, cond.

The day is done, and the darkness
Falls from the wings of night,
As a feather is wafted downward
From an eagle in his flight.
(Henry Wadsworth Longfellow) 


Birds-eagle

Jenny McLaren, mezzo-sop.;
Shane Raman, baritone;
VICO soloists
Pacific Baroque Orchestra;
Marguerite Witvoet, cond.

I am the phoenix of shared beings,
Freed myself from prison of numbers,
I am a dyad and duality is my character,
And I am the second in a shared secret. (Ibn Arabi)

Birds-phoenix

Nuclide



Jenny McLaren, mezzo-sop.;
Shane Raman, baritone;
VICO soloists
Pacific Baroque Orchestra;
Marguerite Witvoet, cond.

What should I be sad for,
Now that I hear the rushing of the waters
And perceive the sound of swallow and turtledove?
And in the shade of a myrtle I sit
And the blossoms of the garden
Are for me a bed and a pillow. Moshe Ibn Ezra


Birds - Dove

Mark McGregor, Flute
Ariel Barnes, Cello
Brian Nesselroad, Percussion

Autumn Nightfall

Julia Nolan, saxophone
Farshid Samandari, electronics

Beyond for alto saxophone is the third in a set of compositions for wind and interactive electronics, where electronics are mainly derived from solo lines. Piece roughly explores an imaginary microtonal moqám formed through the union of a pair of distinct tetrachords. The piece is a free interpretation of Rumi’s conceptual elephant fable: An elephant is in a dark room. Different people explore the room to identify the mysterious object beyond the veils of senses. Their initial personal images and experiences of the beast are quite different, but eventually it proves to be a single being. 

Beyond for alto Saxophone

This is a stereo rendition of 4.1 tape piece. 
Bird of time is based on two quatrains of Omar Khayyám and corresponding translations of Edward Fitzgerald-though only one appears in original Farsi. Music is derived from eight relatively short samples. Each sample was recorded as a whole, independent of its potential role in this project. Moreover five distinct envelopes have shaped micro and macro scale relations and have dominated various filtering and processing units.  

Come fill the Cup, and in the fire of Spring
Your Winter-garment of Repentance fling:
The Bird of Time has but a little way 
To flutter--and the Bird is on the Wing.

Yesterday This Day's Madness did prepare; 
To-morrow's Silence, Triumph, or Despair: 
Drink! for you know not whence you came, nor why: 
Drink! for you know not why you go, nor where.

bird of time

Sho Concerto
Naomi Sato, sho
Vancouver Inter-Cultural Orchestra
Farshid Samandari, cond.

Axiom Praxis

Farshid Samandari’s music reflects his interest in spectral analysis, and extended techniques. In addition his belief in Unity in Diversity stirred him toward utilizing different elements from a variety of non-western music in his compositions. His vision has directed him to collaborate with a variety of choirs and ensembles including Tehran National Symphony Orchestra, Vancouver Symphony Orchestra, Esprit Orchestra, Experimental Studio, Atlas Ensemble, Turning Point Ensemble, Motion Ensemble, Musica Nova, Nu:bc Collective, Standing Wave Ensemble, and Red Chamber Quartet, as well as soloists such as Karin Aurel, Ariel Barnes, Neal Bennett, Mark McGregor, Julie Nessrallah, Julia Nolan, and Beth Orson. His Apogee for the flute had won him Vancouver New Music 06, other half an aria from his upcoming chamber opera SunarcanuS was awarded as CUMS09 best composition and his coming home had won CUMS/CLC11. He is currently serving as the composer-in-residence for the Vancouver Intercultural Orchestra.

Farshid Samandari

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