Klangforum Wien
Ilan Volkov, conductor
Donaueschinger Musiktage 2018

Case White

Business Model

Lena Michajłów - TAM for voice, piano, percussion and electronics

soprano i elektronics - Monika Łopuszyńska
piano and electronics - Aleksandra Płaczek
percussion - Leszek Lorent

recorded during #ELEKTROFONIA concert, 8.01.2023, Fryderyk Chopin University of Music in Warsaw

Hypnos for bass flute or tenor recorder and tape 
Written in 2018 and revised in 2020
Recording from the premiere of version for bass flute: 28.01.2023, Grusomhetens Teater, Oslo, Norway.
Alessandra Rombolá – bass flute, Martyna Kosecka - electronics, Michal Sykora – mix

Hypnos is a dream; Hypnos is a passage through the mosaic of memories and flashes of the closed eye state. It disputes the concepts of time flow, sleepiness, and variable points of focus. The piece is written in the Dastgāh-e Māhur Persian scale and explores certain harmonic states and motivic groups that are the characteristic components of a dream, my Persian dream.

Hypnos(2018, rev. 2020) for bass flute and tape

Chopin University Modern Ensemble
Julia Kurzydlak - conductor
Michał Szymański - flute
Danuta Kaczmarczyk -guitar 
Dominika Bojanowska - cello
Miłosz Szczotka -clarinet
Urszula Janowska - harfa
Kacper Malisz - violin
Anna Zakrzewska - viola
Antoni Chmielniak - accordion
Kosma Standera - recording

december (4 years after)

Yannai Schrire - Above the Dock

Above the Dock

Above the quiet dock in midnight,
Tangled in the tall mast’s corded height,
Hangs the moon. What seemed so far away
Is but a child’s balloon, forgotten after play.
- T. E. Hulme

Flute - Evyatar Baruch
Clarinet - Janina Schnobrich
Piano - Karim Zech
Violin - Norman Spaeth
Viola - Laura Torroba
Cello - Jean Grabowski



Above the Dock

Violin: Mark Karlinsky 
recorded 2021 - Berlin

CRUX

Made from *Her absence filled the world* for string orchestra (2017)
Part of solo-set @  Greta Gallery Zagreb, November 2017

SELFLOVE I: Her absence filled the world RMX

As with every good western millennial, the first thing I ever learned to do was to consume and want more. Sugar here is, of course, exemplary of the nefarious yet completely socially accepted poison of consumerism, which also ties into the dual nature of the sweet tooth: sweets make us smile because of their sugar and their often oh-so-cute presentation and depiction, but they also rot our teeth, and in a most insidious fashion! What a beautiful metaphor for happy neoliberalism…

In this post-truth age, image is everything: candy is food and advertisements depict real life. A major chord means happy emoji, a minor chord means sad emoji. How does this affect our grasp of deeper connection through art? I wanted to play with these codes and clichés and to see how I could harvest their energy to highlight the violence hidden behind each major chord.

Ensemble contemporain de Montréal (ECM+)
Véronique Lacroix, cond.
Jeff Stonehouse, flutes 
Martin Gauvreau, clarinets
Antoine St-Onge , bassoon, 
Laurence Latreille-Gagné, French horn
Olivier Maranda, percussion, 
Hubert Brizard + Geneviève Liboiron , violins
Valérie Arsenault, viola 
Chloé Dominguez, cello

Sunday November 11, 2018
The Music Gallery, Toronto, Canada

SWEET TOOTH (2018) - excerpt

for flute and ensemble 
Ensemble Zeitfluss, conductor Edo Micic


Dominosa Octarine, excerpt: Chaos

"Beyond The Autonomous Sensory Meridian Response" for Solo Violin and Fixed Media.
Performed and Premiered by Darragh Morgan
Huddersfield Contemporary Music Festival 2020

Youtube Link: https://youtu.be/Ob68_Iqy3e8

CRUX

Parham Behzad

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