Cond. Zsolt Nagy
Orch. Geidai Philharmonic Orchestra(Tokyo,Japan)
Live recording at 04.06.2021 Sogakudo Concert Hall Tokyo University of the Arts

Loop / Sonic II for Orchestra (2020〜21)

For piano, electronics, and lights
Written for "Identity Through Sound" project

Piano: Zaira Castillo

Piano Audio: Casey O'Neal

Work published by BabelScores, Paris, France

For it is Our First Universe

2021.11.12 CNSMDP, France
Ensemble Intercontemporain + DAIC du CNSMDP
Direction : Léo Margue

Clarinette : Takahiro Katayama
Clarinette Basse : Alain Billard
Trombone : Maxime Col
Percussion : Gilles Durot
Piano : Chisato Taniguchi
Violon : Jeanne-Marie Conquer
Alto : Paul-Julien Quillier
Violoncelle : Eric-Maria Couturier
Contrebasse : Nicolas Crosse

Saï-saï pour ensemble

Johanna Vargas, soprano
Ensemble Linea
Carolina Santiago Martinez, piano
Keiko Murakami, flute contrebasse
Louis Siracusa, double bass
Jean-Philippe Würtz, conductor

IV. Gradual Abruptness
ooo –– ooo –– oo –– o 
gradual abruptness 
french 		(mr., rhythm acuto intros.) 
ital 		(riposante musica, ritmo meno acuto, adattabile)   
                 o                   –– 
non avete da mostrarmi un’altra macchina? (repeat rhythm) 

[…]

(– oooooooo – )

[…]

tu pensi:   
 –  o o  –  o o o  – o o o  –  o 
ha una macchina ancora da mostrarmi? 

Un poco di buon ordine feroce
Aspettare in tempo

	Évidemment

		si tu ne peux
Poétiser
	il te faudra
Cohabiter
Rime e accenti allineati
Évidemment 
Si tu ne peux
		analyser
Il te faudra
		coaliser
Io vado di solito a letto alle undici
o – o o – o o – oo – oo
La poésie du succès 
Le succès du sexu

Bisogna sfruttare i buoni momenti
o – oo – oo – oo – o
– o oo – o ooooo –

Autumn is a season of which I am very fond [about]

Regarde
Au moins
Ce qui est
Écrit
Sur le bout
De ta langue chérie
In nous faudra
Que tu y vas
(synthèse-douleur)
tu parles en prose  

V. Allons, plongeons
Allons, plongeons dans le réel (il le faut)
l’Esthétique Jaune dans son lit de Mort 
l’Esthétique Jeune dans son Lit Subtil
ou bien  
Nous sommes 
[dans son lit de la mort subtile
dans le lit de son jeune mort
dans la mort du lit du son
dans le son subtil de la jeune mort] 
 
(dans la gaze de la réalité). 
Nous passons dans la gaze du réel. 
Arrive l’enfer. L’impératif 
de la[…]
[…]réalité
(nous sommes en communication).

4. Gradual Abruptness 5. Allons, plongeon

for 12 musicians
Commission of Ensemble Éclat
Live recording of the World Premiere (26/01/2024), performed by Ensemble Éclat, conducted by Charles-Eric Fontaine
I - L'attente
II - Le jeu
III - Les noces

Au Bord De La Nuit (11/2023)

For saxophone quartet.
Live recording of the premiere in the CIRMMT Music Multimedia Room, McGill University, Montreal (Canada), in May 2024.
Quatuor Quasar
Marie-Chantal Leclair, soprano saxophone
Mathieu Leclair, alto saxophone
André Leroux, tenor saxophone
Jean-Marc Bouchard, baritone saxophone

En s'effaçant (2024)

Carrousel (2024)
pour accordéon et électronique

Création le 19 Septembre 2024 par Bastien Pouillès au CENTQUATRE-Paris, lors des concerts du Cursus-IRCAM.
Encadrement pédagogique IRCAM : Claudia Jane Scroccaro et Pierre Jodlowski
Enregistrement sonore : Jérémie Bourgogne

Carrousel (2024)

Composed by Zaira Castillo 
Mixed and Mastered by Pedram Diba 

Cloudy

Available on the album 'Espaces tautologiques' through empreintes DIGITALes: http://www.electrocd.com/en/cat/imed_16140/

Bodies-Soundings interrogates two instruments — an acoustic guitar and a toy piano — as ‘sounding bodies,’ whose resonant chambers do not sound, but only ‘resound.’ The instruments are used as loudspeaker cabinets, amplifying sounds both sourced from the instruments, and external sounds that expand and contradict the instruments’ identities. Without performers, they are simultaneously ‘disembodied’ and re-imagined as physical bodies of their own, animated by living sounds; anthropomorphizing them while also emphasizing their physical construction.

Bodies-Soundings is the second work in a trilogy of acousmatic pieces, with Objects-Interiors (2013) and Empties-Impetus (2014-15), that imagine the sounding bodies of instruments as resonant spaces.

Bodies-Soundings was realized in 2014 at The Banff Centre for the Arts (Banff, Canada) and in the composer’s studio in Montréal (Québec), and premiered on March 8, 2014 during the Cluster festival in Winnipeg (Canada). Bodies-Soundings was awarded the First Prize at the Musicworks Electronic Music Competition (Toronto, Canada, 2014).

This version was mastered by Dominique Bassal in April 2016 in Montréal.

Bodies-Soundings (2014, excerpt)

Ensemble Ascolta
Der Sommer in Stuttgart Musik Festival
Stuttgart / Theaterhaus 
21.07.2019

E-Guitar : Hubert Steiner
Trumpet : Markus Schwind
Trombone : Andrew Digby
Cello : Erik Borgir
Piano : Felix Nagl
Percussions : Boris Müller, Lucas Gerin
Conductor : Christof M. Löser

****
Fade far away, dissolve, and quite forget 
What thou among the leaves hast never known,
The weariness, the fever, and the fret…

"Ode to a Nightingale”, John Keats


Photo ©  Berenice Abbott - Interference of Waves (1958-61)

The Consequent Being (2019) for E-Guitar and ensemble

I Sing the Body Electric (2020)
by Claudia Jane Scroccaro
Florentin Ginot, double bass
Claudia Jane Scroccaro, live electronics
Arnaud De la Celle, sound engineer
Mikhail Malt, Encadrement Pédagogique

Recorded the 1st of July 2020 in the Grand Salle du Centre Pompidou
Manifeste Festival 2020 - IRCAM, Paris

I sing the body electric (2020) for Double Bass and Electronics - Florentin Ginot

Pedram Diba is an Iranian-American composer whose work investigates how sound, space, light, and gesture function as interrelated compositional materials. He approaches these elements as dynamic agents within a unified expressive system, crafting works that unfold across multiple sensory dimensions. His music has been praised for its “powerful interaction and striking richness of components” (ResMusica, France) and for its “deep sense of musical energy and great attention to the organicity and morphological profiles of sound” (Pierre Jodlowski).

His works have been presented at international festivals including SEAMUS, IRCAM Forum, ICMC, Splice, SICMF, and New Music Gathering, and performed at venues such as the DiMenna Center (New York), Le CENTQUATRE (Paris), CKL Stage (Seoul), Constellation (Chicago), and Le Gesù (Montreal). Upcoming projects include a new work for TAK Ensemble and a multimedia work for Duo Riso, both scheduled for premiere in 2026.

He is the recipient of the Residency Prix CIME (International Confederation of Electroacoustic Music, 2025), the William T. Faricy Award for Outstanding Composition (Northwestern University, 2025), a Research-Creation Grant from the ACTOR Project (2021–2022), the Max Stern Fellowship in Music (McGill University, 2018–2020), First Place in the Ensemble Ibis Composition Competition (2017), and the Outstanding Scholar in Composition Award (University of Oregon, 2017).

Diba earned a B.M. in composition from the University of Oregon, an M.M. from McGill University (with Philippe Leroux), and completed the IRCAM Cursus in Paris (with Pierre Jodlowski and Claudia Scroccaro). He is currently a Ph.D. candidate in composition and music technology at Northwestern University (with Alex Mincek, Hans Thomalla, and Jay Alan Yim). His works are published by BabelScores.
​

Please feel free to contact me via email:
pedram.diba@gmail.com

Official Website:
www.pedramdiba.com

Babel Scores:
https://www.babelscores.com/PedramDiba

IRCAM:
https://www.ircam.fr/person/pedram-diba

ACTOR Project:
https://www.actorproject.org/profiles/pedram-diba

For it is Our First Universe

Pedram Diba

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