.. of struggle and hope (contrabass quartet and electronics) 2020/2021

Performers : 
Nikolai Matthews 
Inga Margrete Aas
Håkon Thelin 
Jon Åsnes

Recorded by : Ståle Jóhann Fossheim
Mixed by: Martyna Kosecka 
Mastered by: Henning Bortne
The recording was done at Levinsalen, the Norwegian Academy of Music, 22.02.2021

Fixed media composed and recorded at NOTAM during Autumn 2020
Mixed by: Martyna Kosecka 
Mastered by: Cato Langnes

... of struggle and hope (contrabass quartet & electronics) - 2020/2021

For flute, ensemble and electronics
Flute: Sara Antikainen
Conductor: Guillaume Bourgogne

Mouvement de l'Arve

“Rosemary” is the mixture of some relatively irrelative sounds which were recorded with my phone combined with a few layers of recordings of Alto Ghaychak performed by myself back in the summer of 2021.

Arshan Najafi (b. 2001) is a Tehran based Composer, Photographer and Poet. His first encounter with music was when he started playing the Violin at the age of 10. Six years later he decided to study Kamancheh (Persian Spike Fiddle) with #SabaAlizadeh.

04 - Arshan Najafi - Rosemary (Excerpts)

The Cure (Shifā)2022
commissioned by CNZ Zurich
for Trumpet, Flute, Oboe, Horn, Clarinet, Baritone Saxophone, Viola, Violin, Cello and 3 speakers

Collegium Novum Zürich
Yalda Zamani, Conductor

Konzert vom 8. April 2022, Kirche St. Peter Zürich

The Cure (Shifā) - Collegium Novum Zurich 2022

MÁRD for Ensemble
Composer: Parsa Zandi
Dedicated to my dear friend and teacher Mohammad H. Javaheri

Performed on June 29 in Graz by:
Flute: Kate Sabine Lasmane
Oboe: Mark Gradwohl
Clarinet: Jacob Niller
Trumpet: Thomas Kern
Harp: Anna Voronova 
Piano: Stepanka Vojtasova
Violin I: Sofya Agnessa Yakuntsova
Violin II: Jelena Jovovic
Viola: Aleksandra Kanke
Violoncello: Yigit Vural
Conductor: Ihor Kolomiyets

MÁRD (2022) for ensemble

Vienna Contemporary Music Festival 2025
PHACE Ensemble
Dedicated to Parsa Zandi
Cover: Excerpt of Zoheir Javaheri's painting

Instrumentation:
Alto Flute, Bass Flute
Bass Clarinet
Baritone Saxophone
Percussion
Piano
Violin
Viola
Cello
Double Bass

Fazed Phase

Adnan Saygun Concert Hall

Instrumentation: Bsn., Fl.
Ankara, Turkey
Live Record

Painting by Zoheir Javaheri

The Distance Between Me and My..Self (for alto flute & bassoon) | 2017

Performed by the Aspen Contemporary Ensemble, directed by Timothy Weiss

Mehrdad Gholami - Flute
Juan Gabriel Olivares - Clarinet
Seohee Min - Violin
Ben Wagner - Viola
Richard Narroway - Violoncello
Hannah Weaver - Percussion
Andrew Zhou - Piano

The tarot, also known tarocchi or les tarots, is a deck of cards that dates back to the fifteenth century. Used to play a variety of games, the tarot in some ways resembles a standard fifty-two-card deck with four suits known as the Minor Arcana. The tarot is more widely known for its twenty-two-card trump suit, the Major Arcana, which features highly stylized cards depicting figures such as the High Priestess, the Devil, and the Fool. In the eighteenth century, the tarot became increasingly associated with cartomancy and divination. A tarot teller, or cartomancer, would use the cards to predict an individual’s future by arranging the trump suit in a variety of patterns. The order in which the cards are dealt may portend events, obstacles, or love interests for those having their futures read.

Tarot Teller for chamber ensemble taps into the symbolism and patterning of the tarot, as well as its supernatural overtones. Certain passages are associated with cards from the Major Arcana such as the Hermit, the Hanged Man, and the Magician. The seven instruments play into the layout of tarot readings, in which commonly seven cards are dealt at a time, sometimes until all twenty-one cards (the Fool stands apart) are present. Tarot Teller reflects these various layouts with an assortment of instrumental textures that fluctuate throughout the work. The supernatural elements of the tarot as a tool for divination are highlighted in passages that incorporate frequency-based harmonic structures.

Tarot Teller was loosely inspired by the poem “Tarot-teller” by Nathaniel Mackey, which appears in his first collection of poems from Eroding Witness (1985). The piece was commissioned by the Aspen Music Festival and School for the Aspen Contemporary Ensemble’s 2018 First Glimpse concert series.

Tarot Teller

Flute : Mehrdad Gholami
Piano : Evan Mitchell 

Mount Vernon Music Series
Mount Vernon, Texas, Februrary 2020

Arno Babajanian - Elegy - Version for flute and piano

Transmission (2002) for bassoon and electronics

My CCRMA Page:
https://soundcloud.com/moha-ccrma
My Film Scoring/Side Page:
https://soundcloud.com/mohammad-h-javaheri-2
-----
Composer, Performer
Member of DKV, DEFKOM, and FEM

Mohammad H. Javaheri (1989-), an Iranian composer and performer from Tehran, has gained recognition for his interest in dense, powerful masses of sound and crafting complex textures. He has been named as a promising future composer and internationally in-demand by Germany's NMZ newspaper and Thuringian state newspaper, respectively. Moreover, he received attention in various news articles, including the LA Times. His music has been characterized as 'tense’, 'sensational’, and 'detailed'; and he inherently crafts his ‘own sound’ (Toshio Hosokawa, SYNTHETIS 2019). His versatile compositions span various forms, including electronic and acoustic elements, and have received international awards. His creative focus has consistently revolved around the concepts of "Cycle, Repetition, Trans-formative Blocks," and the interplay of speed with the structure of his compositions, along with the human psyche's evolution, delving into the profound impact of incidents and traumas on human psychology. His music vividly captures the cyclical nature of these changes and their lasting effects on emotions, actions, and life decisions. His pieces have been performed by well-known artists, ensembles, and orchestras worldwide, featured on platforms like SWR2 Radio, and published by Babelscores, Score Follower, and UCLA Music Library.
In 2024, he was awarded an EDGE Fellowship by Stanford University, positioning him to become a member of the cross-disciplinary community of scholars at Stanford.

Fazed Phase

Mohammad H. Javaheri

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