About this composition:
Bazzad, for violin and symphony orchestra, was written by Saman Samadi as his MA thesis under the supervision of internationally acclaimed composer Alireza Mashayekhi. Considering the compositional techniques which Samadi used in this piece, Bazzad could be categorized under Non-twelve Integral Serialism. Klangfarbenmelodie is another musical technique that he used in several sections of Bazzad. The title literally means rebirth; Samadi's use of this word refers to his inspiration by Metempsychosis — a term that was derived from the context of ancient Greek philosophy and is also associated with Nietzsche — in creating this composition; especially, the form of it. The recording, here, is an excerpt from a reading session of Bazzad by violinist Jaram Kim, and Stony Brook Symphony Orchestra under the baton of Timothy Long, on the 6th of May, 2014.
Instrumentation: - - 3perc: (1) tom-t (BTAS)/ tam-t(lg)/ BD/ (2) t-bells/ susp-cym(md&lg)/ crash-cym(lg)/ marimb/ vib/ gong(lg)/ (3) timp/ woodb(hrd&lg) - strings >

type: compositionkeywords: composition, violin and orchestra, microtonality, serialism, pointillism, metempsychosiscopyright: Saman Samadiyear: 14/06/2012country: Iranplace: Tehranexternal links: Research CatalogueScore


'14. Samadi, Saman. Bazzad: for violin and Symphony Orchestra. Reading Session. Jaram Kim, violinist; Stony Brook Symphony Orchestra; Timothy Long, director. State University of New York at Stony Brook, Staller Center, Stony Brook, May 6, 2014.