Biography

Saman Samadi (b.1984) is a Persian-American composer, performer, and artist-researcher residing in New York City. For over a decade, his work has been performed internationally—in the mid & far East, Europe, and on both coasts of the U.S. His prolific repertoire of orchestral, chamber, solo and electro-acoustic music has been performed and recorded by many musicians, including: Jonathan Powell, Jared Redmond, Miranda Cuckson, Austin Wulliman, Linda Wetherill, Anthony Izzo, Kristin Samadi, Ensemble ECHO, Stony Brook Symphony Orchestra, Jaram Kim, Erika Dohi, and Dan Keene.
Samadi's works have been extensively performed at numerous venues, among them, Lincoln Center, Spectrum-NYC, The Firehouse Space, Abrons Arts Center, LeFrak Concert Hall at The Aaron Copland School of Music, LaGuardia Performing Arts Center, Scholes Street Studio, ShapeShifter Lab, Harvestworks, Drawing Room, Sky Gallery, The San Francisco Center for Music, Staller Center for the Arts at Stony Brook, Hanyang University of Seoul, South Korea, The Museum of Modern Art André Malraux (MuMa) in Le Havre, Avini Hall at the University of Tehran, and Roudaki Hall, Iran’s most prestigious music space.
Samadi has been active in New York City’s downtown scene performing there since 2015. Most recently, Saman formed the Saman Samadi Quintet, an improvisational collaboration with various alumni from the Manhattan School of Music. In 2016, Samadi invited German Buchla player, Hans Tammen, and American clarinetist Blaise Siwula to collaborate in structured, yet free, improvisational performances, which led to the formation of the Āpām Napāt Trio.
Saman Samadi’s music was inspired early by those composers who are known under the rubric "New Complexity" (James Dillon, Brian Ferneyhough, Richard Barrett, and Michael Finnissy); however, in 2010, he developed his own unique compositional method, one which entails a new system of pitch organization, using microtonal scales derived from traditional Persian modal music, multilayered textures, complex polyrhythms, and polymeter; all traced within a detailed system of musical notation permitting replication. An interest in electroacoustic music led him to prepare 30 pieces from which four albums have so far resulted. Saman has recorded several albums of music, including Microtonal Piano Solos, Shekasteh Mouyeh, U-Turn, Paj, Scheherazade, Tears’ Scratch, Āpām Napāt, Chamrosh, and Nostalgia.
Samadi received his degree in mathematics from NODET, an Iranian educational institution for mathematical prodigies. He then entered the University of Tehran as an undergraduate student in Music Performance, where he earned his Masters’ degree in Music Composition. While studying there, Alireza Mashayekhi, an internationally regarded composer who also utilizes the Persian microtone system in his work, became his teacher. Mashayekhi has deeply influenced Saman’s musical sensibilities, and his mentorship lit the flame that kindled in Saman his abiding passion for modern music.
From 2006-2009, Samadi was the director and conductor of the Concentus Chamber Orchestra, a mix of musicians from the Tehran Conservatory of Music and the University of Tehran. Their repertory incorporated Baroque and contemporary works, including Saman’s own compositions.
In 2009, Samadi won an award for one of his chamber music compositions at the 24th Fajr International Music Festival. His composition, Paj, won first prize at the 2012 Counterpoint-Italy International Composition Competition. His work, Magnapinna in Abdomen of a Newborn, was selected for a premiere at the New York City Electroacoustic Music Festival in June 2014. In 2015, the New York Foundation for the Arts (NYFA) awarded Samadi an Artist Diploma in Multimedia and Performing Arts.
Upon completing his M.A. in Tehran, Samadi was offered a full scholarship for a Ph.D. in composition at the State University of New York in 2013. While at SUNY, he studied with Daria Semegen, an award-winning American composer. Saman was also her assistant at the analog studio of electronic music which Semegn designed, there, in collaboration with Bülent Arel, in the 1970s. During that same year up to 2017, Saman acted as an assistant to Dr. Sandra Sprecher, director of the contemporary music venue, The Firehouse Space in Brooklyn, New York. Saman is the director and co-founder of the Samadis’ organization, a contemporary music record label based in New York City. The Samadis’ label also organizes an annual international composition competition and concert series. Samadi is a former faculty member of the City University of New York, Music School of New York City, and the Piano School of NYC.

'19. The Gāthās for Piano

About this exposition:
This exposition represents a series of piano compositions of which the rhythmic structure is derived and developed from the language of Zarathustra's homonymous book of poems (The Gāthās), Gāthic or Old Avestan which belongs to the ancient Iranian language group that is a sub-group of Eastern families of the Indo-European languages. These pieces were formed by applying the poem's meter which is historically related to the Vedic tristubh-jagati family of meters. This project, in content, was inspired by the poems expounding on the divine essences of truth (Asha), the good-mind (Vohu Manah), and the spirit of righteousness.
type: research expositionkeywords: piano, composition, zarathushtra, the gathas, linguistics, Complexitydate: 2018-2019last modified: 04/12/2019status: progresscopyright: Saman Samadilicense: All rights reservedurl: https://www.researchcatalogue.net/view/751189/751190

'19. Ahunavaiti Gāthā no.1, stanza III


About this composition:
This piece was dedicated to pianist Jonathan Powell, in honor of his 50th birthday, by whom was premiered at NeoArte Festival, Gdansk, Poland, on Saturday, October 26, 2019. The recording, here, is from the Czech premiere of the piece, performed by the same pianist, at the Academy of Performing Arts in Prague's Music Faculty (HAMU) on Friday, November 15, 2019.
type: compositionkeywords: piano, compositioncopyright: Saman Samadiyear: 07/08/2019country: USAplace: Queens, New Yorkexternal links: Research CatalogueScore
video: https://youtu.be/6h7BTirxW1w

'18. Ahunavaiti Gāthā no.1, stanza II


About these compositions:
The second composition from this series was dedicated to pianist Jared Redmond by whom was premiered at the San Francisco Center for New Music, San Francisco, CA, on Friday, February 15, 2019. The recording, here, is from the Asian premiere, performed by Jared Redmond, at Hanyang University, in Seoul, South Korea, on Monday, June 3, 2019.
type: compositionkeywords: piano, compositioncopyright: Saman Samadiyear: 29/12/2018country: USAplace: Manhattan, New Yorkexternal links: Research CatalogueScore
recording: https://soundcloud.com/samansamadi/ahunavaitigatha1-ii

'18. Ahunavaiti Gāthā no.1, stanza I


About these compositions:
The first composition from this series was dedicated to pianist Jared Redmond by whom was premiered at the San Francisco Center for New Music, San Francisco, CA, on Friday, February 15, 2019. The recording, here, is from the Asian premiere, performed by Jared Redmond, at Hanyang University, in Seoul, South Korea, on Monday, June 3, 2019.
type: compositionkeywords: piano, compositioncopyright: Saman Samadiyear: 27/12/2018country: USAplace: Manhattan, New Yorkexternal links: Research CatalogueScore
recording: https://soundcloud.com/samansamadi/ahunavaitigatha1-i

Presentations


'20. Samadi, Saman. The Gāthās for Piano: Ahunavaiti Gāthā, stanza III. Concert. Jonathan Powell, pianist. Queen’s University, Belfast, March 5, 2020.
'19. Samadi, Saman. The Gāthās for Piano: Ahunavaiti Gāthā, stanza III. Concert. Jonathan Powell, pianist. The Academy of Performing Arts in Prague (HAMU), Prague, November, 15, 2019.
'19. Samadi, Saman. The Gāthās for Piano: Ahunavaiti Gāthā, stanza III. Concert. "NeoArte Festival." Jonathan Powell, pianist. Gdansk, October 26, 2019.
'19. Samadi, Saman. The Gāthās for Piano: Ahunavaiti Gāthā, stanzas I, and II. Concert. Jared Redmond, pianist. Hanyang University, Seoul, June 3, 2019.
'19. Samadi, Saman. The Gāthās for Piano: Ahunavaiti Gāthā, stanzas I, and II. Concert. Jared Redmond, pianist. The San Francisco Center for New Music, San Francisco, February 15, 2019.

'19. Mira

About this composition:
This piece was composed for violin and electronics, and was dedicated to Miranda Cuckson by whom it will be premiered, in 2020.
type: compositionkeywords: composition, violin and electronics, microtonalitycopyright: Saman Samadiyear: Nov/2015-19/06/2019country: USAplace: New York, New Yorkexternal link: Research Catalogue

'19. Aži Trio • تریو اژی

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About this exposition:
Aži Trio is an NYC-based ensemble founded by composer and pianist Saman Samadi, in collaboration with saxophonist Sarah Manning, and buchla-player Hans Tammen."When the atoms are travelling straight down through empty space by their own weight, at quite indeterminate times and places, they swerve ever so little from their course, just so much that you could call it a change of direction. If it were not for this swerve, everything would fall downwards like non-drops through the abyss of space. No collision would have taken place and no impact of atom on atom would have been created. Thus nature would never have created anything.” (Titus Lucretius Carus, 49 BC. Jason L. Saunders. Greek and Roman Philosophy After Aristotle, 1966.)
type: research expositionkeywords: ensemble music, new music performance practice, improvised musicdate: 07/12/2019last modified: 07/12/2019status: progressshare status: publiccopyright: Saman Samadilicense: All rights reservedexternal link: Research Catalogue
video: https://youtu.be/UFJ--e01y34

'20. Deceptive Assembly


type: piecekeywords: contemporary music, improvisation, avant-garde, improvised music, video art, mass deception copyright: Aži Trioyear: 02/02/2020country: USAplace: New York University, New York, NYexternal link: Research Catalogue
Deceptive Assembly. video: https://youtu.be/xfhwekStD0A

Presentations


'19. Samadi, Saman. Aži Trio. Concert. "Dark Circuits Bunker Orchestra & Friends." Organized by Hans Tammen. Saman Samadi, founder, leader, & pianist; Sarah Manning, saxophonist; Hans Tammen, buchla player. New York University, Waverly Building, New York, December 6, 2019.

'19. The Saman Samadi Quintet

About this exposition:
This is a representation of the projects of The Saman Samadi Quintet in the years 2018 and 2019.

The Saman Samadi Quintet:
Amber Evans, soprano,Caitlin Cawley, percussion, Martin Movagh, trumpet,Sam Zagnit, double bass,and Saman Samadi, piano.
It was founded by composer Saman Samadi, an Iranian national with extensive training in both Persian and Western musical traditions. Established in May 2018 and comprised entirely of New York City musicians, alumni from the Manhattan School of Music — all talented performers of wide scope and experience —their sound was unique, paving new ground between modern jazz and contemporary classical styles. Their signature sounds evoked the newest avant-garde outliers of advanced 21st-century compositional work, and embodied an early 20th-century songspiel-like lyricism, channeling the rational integrity of Stockhausen, the polyrhythmic world of Reich, the aberrant sounds of Sciarrino, coupled with the expressive freedom of Don Cherry, all the while making a fait accompli of intricate poeticisms a la Rumi or Hafez. Reflecting upon a variety of past musical conventions, sometimes shifting cultural gears, from East to West — using microtones derived from one of the Persian scalar systems — Samadi, had engineered a bit of his own culture into the gambit of what amounts to an international musical collaboration. Amber Evans, the vocalist is an Australian, and Martin Movagh, on trumpet, was brought up in a mixed mid-eastern household, Caitlin Cawley is half-Celtic, and Sam Zgnit is Eastern European in descent — that made this ensemble, 100% fluent in universal musical communication and totally American! Improvisational acumen was both the achievement and goal of this group; if you let them loose, you might never get the genie back into the bottle.

type: research expositionkeywords: contemporary music, avant-garde, structured improvised music, quintetdate: 08/01/2019last modified: 15/12/2019status: progressshare status: publiccopyright: Saman Samadilicense: All rights reservedurl: https://www.researchcatalogue.net/view/756591/756592

'18. Walking With the Wind


type: piecekeywords: improvisation, avant-garde, jazz, improvised music, video art, multiculturalismcopyright: Saman Samadi Quintetyear: 07/11/2018country: USAplace: Manhattan School of Music, New York, NYexternal link: Research Catalogue
video: https://youtu.be/QqflgB8XKFE

'18. At National Sawdust


type: performancekeywords: improvised music, contemporary music, structured improvisation, avant-garde jazz, multiculturalismcopyright: Saman Samadi Quintetyear: 23/10/2018country: USAplace: National Sawdust, Brooklyn, New Yorkexternal link: Research Catalogue
video: https://youtu.be/DeGUVIA5Vwg
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'18. In The Village—NYC


type: performancekeywords: improvised music, contemporary music, structured improvisation, avant-garde jazz, multiculturalismcopyright: Saman Samadi Quintetyear: 18/11/2018country: USAplace: St. John's in the Village , Manhattan, New Yorkexternal link: Research Catalogue
video: https://youtu.be/cMS2fsooIHI
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'18. Scream, In Silence


type: piececopyright: Saman Samadi Quintetyear: 17/11/2018country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://jwp.io/s/TbFZ8vQx

'18. Under the Ocean


type: piececopyright: Saman Samadi Quintetyear: 17/11/2018country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://jwp.io/s/Oj5SFvD1

'18. Dancing With Miles


type: piececopyright: Saman Samadi Quintetyear: 17/11/2018country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://jwp.io/s/EnIAKegC

'18. Melancholia


type: piececopyright: Saman Samadi Quintetyear: 17/11/2018country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://jwp.io/s/E6qIZtYj

'18. Grotte De Cristal


type: piececopyright: Saman Samadi Quintetyear: 17/11/2018country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://jwp.io/s/WTjYxrXz

'18. A Wolf Lying In Wait


type: piececopyright: Saman Samadi Quintetyear: 17/11/2018country: USAplace: Manhattan School of Music, New York, NYexternal link: Research Cataloguerecording: https://jwp.io/s/nSax4oDK

'18. Suffocation


type: piececopyright: Saman Samadi Quintetyear: 17/11/2018country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://jwp.io/s/lsMEaQ7o

'18. Dream


type: piececopyright: Saman Samadi Quintetyear: 17/11/2018country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://jwp.io/s/yYh47YMv

'19. At Areté


type: performancekeywords: improvised music, contemporary music, multiculturalismcopyright: Saman Samadi Quintetyear: 03/01/2019country: USAplace: Areté Venue and Gallery, Brooklyn, New Yorkexternal link: Research Catalogue
video: https://jwp.io/s/HSiozW1l
↑ Saman Samadi Quintet, Rehearsal at Manhattan School of Music, NYC, December 22, 2018.
video: https://youtu.be/9dwJ_Hi-ncM

'19. Saman Samadi Quintet and Jorge Nuno


About this concert:
At this event, the Saman Samadi Quintet collaborated with Portuguese guitarist Jorge Nuno, as a part of the Bushwick Improvised Music Series of NYC that is organized by Stephen Gauci.
type: concertkeywords: improvised music, electroacoustic music, trumpet, guitar, double bass, percussion, electronic music, free improvisationcopyright: Saman Samadi Quintet, Jorge Nunoyear: 07/01/2019country: USAplace: Brooklyn, New Yorkexternal link: Research Catalogue
video: https://youtu.be/aChNj43-us0

Presentations


'19. Samadi, Saman. The Saman Samadi Quintet, and Jorge Nuno. Performance. "The Bushwick Improvised Music Series," Organized by Stephen Gauci. Saman Samadi, leader & electronic sounds artist; Sam Zagnit, double-bassist; Caitlin Cawley, percussionist; Martin Movagh, trumpet player; Jorge Nuno, guitarist. Bushwick Public House, Brooklyn, January 7, 2019.
'19. Samadi, Saman. The Saman Samadi Quintet. Concert. Saman Samadi, founder, leader, & pianist; Amber Evans, vocalist; Sam Zagnit, double-bassist; Caitlin Cawley, percussionist; Martin Movagh, trumpet player; Areté Venue and Gallery, Brooklyn, January 3, 2019.
'18. Samadi, Saman. The Saman Samadi Quintet. Concert. Saman Samadi, founder, leader, & pianist; Amber Evans, vocalist; Sam Zagnit, double-bassist; Caitlin Cawley, percussionist; Martin Movagh, trumpet player. St John's in The Village, New York, November 17, 2018.
'18. Samadi, Saman. The Saman Samadi Quintet. Concert. Saman Samadi, founder, leader, & pianist; Amber Evans, vocalist; Sam Zagnit, double-bassist; Caitlin Cawley, percussionist; Martin Movagh, trumpet player. National Sawdust, Brooklyn, October 23, 2018.

'17. Scheherazade

About this composition:
"Scheherazade", Saxophone Quartet No.2, was dedicated to Clémentine Scheherazade Samadi. This piece was commissioned and premiered by LX Saxophone Quartet at Lincoln Center NYC, on the day Scheherazade was born, the 22nd of June, 2017. The recording of the performance has been published on digital music stores and streaming platforms such as Amazon, Spotify, Apple Music, and others, on the 17th of July, 2017.
type: compositionkeywords: composition, saxophone quartet, microtonalitycopyright: Saman Samadiyear: 01/06/2017country: USAplace: New York, New Yorkexternal links: Research CatalogueScore
video: https://youtu.be/wLNSuITUvf8
recording: https://jwp.io/s/N2feeMxE

Presentations


'17. Samadi, Saman. Scheherazade: Saxophone Quartet No.2. Concert. LX Saxophone Quartet: Kenny Chen, soprano saxophone; Mark Kabai, alto saxophone; Barron Wei, tenor saxophone; Brian Cho, baritone saxophone. Lincoln Center. New York, June 22, 2017.

'17. Impromptus for Piano and Electronics

Gerjhdtan (2013), oil on canvas, by Saman Samadi
About this exposition:
This exposition represents a collection of Saman Samadi's impromptus for piano and electronics, which are short pieces of structured improvisations on the piano, of which manipulated by electronic music techniques were used as parts of the accompaniment layers. The video-recordings of the piano improvisations were problematized along with the assemblage of the sounds, edited and remolded, by special effects, in order to accompany the music rhythmically as well as atmospherically, in the guise of a video-art. This artistic experimentation, which is in progress in order to further produce creative works, resulted in these multimedia compositions, hitherto.
type: research expositionkeywords: impromptu, piano, electroacoustic music, structured improvised musicdate: 07/07/2017last modified: 19/12/2019status: progressshare status: publiccopyright: Saman Samadilicense: All rights reservedurl: https://www.researchcatalogue.net/view/760042/760043


'17. Impromptu no. 1


type: compositionkeywords: electroacoustic music, piano, improvised music, video artcopyright: Saman Samadiyear: 01/07/2017country: USAplace: New York, New Yorkexternal link: Research Catalogue
video: https://jwp.io/s/OB70TASd

'17. Impromptu no. 2


type: compositionkeywords: electroacoustic music, piano, improvised music, video artcopyright: Saman Samadiyear: 02/07/2017country: USAplace: New York, New Yorkexternal link: Research Catalogue
video: https://jwp.io/s/64ZeBko5

'17. Impromptu no. 3


type: compositionkeywords: electroacoustic music, piano, improvised music, video artcopyright: Saman Samadiyear: 03/07/2017country: USAplace: New York, New Yorkexternal link: Research Catalogue
video: https://jwp.io/s/96DVBWgU

'17. Impromptu no. 4


type: compositionkeywords: electroacoustic music, piano, improvised music, video artcopyright: Saman Samadiyear: 04/07/2017country: USAplace: New York, New Yorkexternal link: Research Catalogue
video: https://jwp.io/s/NGJnVBJK

'17. Impromptu no. 5


type: compositionkeywords: electroacoustic music, piano, improvised music, video artcopyright: Saman Samadiyear: 05/07/2017country: USAplace: New York, New Yorkexternal link: Research Catalogue
video: https://jwp.io/s/YoCk2lYo

'17. Impromptu no. 6


type: compositionkeywords: electroacoustic music, piano, improvised music, video artcopyright: Saman Samadiyear: 06/07/2017country: USAplace: New York, New Yorkexternal link: Research Catalogue
video: https://jwp.io/s/0hjfeLat

'16. Nostalgia

About this exposition:
This exposition represents a collection of Saman Samadi's multimedia compositions, incorporating electroacoustic music and video art, evolved from various nostalgic states. This project was presented at "Lethal #7" from the "Last Saturdays Salon" concert series of new music, hosted by Concrete Timbre, in downtown Brooklyn, New York, on the 19th of November, 2016. An album consisting of the audio recordings of these compositions has been published on digital music stores and streaming platforms such as Google Play, Spotify, and Apple Music, on the 7th of December 2018.
type: research expositionkeywords: multimedia, electroacoustic music, video art, nostalgiadate: 05/12/2019published: 11/12/2019last modified: 11/12/2019status: publishedshare status: publiccopyright: Saman Samadilicense: All rights reservedurl: https://www.researchcatalogue.net/view/753343/753344doi: https://doi.org/10.22501/rc.753343published in: Research Catalogue


'16. Ghorbat


type: compositionkeywords: multimedia, electroacoustic music, Video artcopyright: Saman Samadiyear: 20/09/2016publisher: Samadis' Recordsexternal link: Research Catalogue

In an Autumn evening, riding the New York City subway, the original idea for Saman Samadi's “Ghorbat” formed, after he read a poem by contemporary Persian poet Mahmood Davoodi.
“This sand staircase,tumblingtowards the dark lake,these pineson the everyday path of rain,this stone bench,this gloom, that sits you downnext to the trembling bird,is 'uncanniness.' (Mahmood Davoodi. چند صحنه "Chand Sahneh," 2004. translated by Saman Samadi, 2018.)
video: https://youtu.be/cvlmQrgfkFc

'16. Berceuses


type: compositionkeywords: multimedia, electroacoustic music, Video artcopyright: Saman Samadiyear: 07/10/2016publisher: Samadis' Recordsexternal link: Research Catalogue
"The age that remembers best is also the most forgetful: namely, childhood. The more poetically one remembers, the more easily one forgets, for to remember poetically is actually only an expression for forgetting. When I remember poetically, my experience has already undergone the change of having lost everything painful. In order to be able to recollect in this way, one must be very much aware of how one lives, especially of how one enjoys. If one enjoys indiscriminately to the very end, if one continually takes the utmost that enjoyment can give, one will be unable either to recollect or to forget. That is, one has nothing else to recollect than a satiation that one only wishes to forget but that now torments with an involuntary recollection. Therefore, if a person notices that enjoyment or a part of life is carrying him away too forcefully, he stops for a moment and recollects. There is no better way to give a distaste for going on too long. From the beginning, one curbs the enjoyment and does not hoist full sail for any decision; one indulges with a certain mistrust. Only then is it possible to give the lie to the proverb that says that one cannot eat one's cake and have it, too. It is true that the police forbid carrying secret weapons, and yet there is no weapon as dangerous as the art of being able to recollect. It is a singular feeling when in the midst of enjoyment one looks at it in order to recollect it." (Søren Kierkegaard. Either/Or. 1843. translated by Howard V. Hong and Edna H. Hong, 1988.)
video: https://youtu.be/3_v41gsWa6E

'16. Vāyu


type: compositionkeywords: multimedia, electroacoustic music, Video artcopyright: Saman Samadiyear: 01/11/2016publisher: Samadis' Recordsexternal link: Research Catalogue
“What could be more alien to the "they", lost in the manifold 'world' of its concern, than the Self which has been individualized down to itself in uncanniness and been thrown in the "nothing"?” (Martin Heidegger. Being and Time, 1927. translated by John Macquarrie, Edward Robinson, 1962.)
video: https://youtu.be/Q6h9Rt4U_64

'16. Retroception


type: compositionkeywords: multimedia, electroacoustic music, Video artcopyright: Saman Samadiyear: 18/10/2016publisher: Samadis' Recordsexternal link: Research Catalogue
“In general we are reminded that the word Heimlich is not unambiguous, but belongs to two sets of ideas, which, without being contradictory, are yet very different: on the one hand it means what is familiar and agreeable, and on the other, what is concealed and kept out of sight. Unheimlich is customarily used, we are told, as the contrary only of the first signification of Heimlich, and not of the second. [...] On the other hand, we notice that Schelling says something which throws quite a new light on the concept of the Unheimlich, for which we were certainly not prepared. According to him, everything is unheimlich that ought to have remained secret and hidden but has come to light.” (Sigmund Freud. The Uncanny, 1919. translated by David McLintock, 2003.)
video: https://youtu.be/9jf3iWJCbn0

'15. Hura


type: compositionkeywords: multimedia, electroacoustic music, video art, microtonal music, kurdish music, huracopyright: Saman Samadiyear: 28/08/2015publisher: Samadis' Recordsexternal link: Research Catalogue
"Repetition and recollection are the same movement, except in opposite directions, for what is recollected has been, is repeated backwards, whereas genuine repetition is recollected forward. . . Hope is a new garment, stiff and starched and lustrous, but it has never been tried on, and therefore one does not know how becoming it will be or how it will fit. Recollection is a discarded garment that does not fit, however beautiful it is, for one has outgrown it." (Søren Kierkegaard. Repetition, 1843. translated by Howard V. Hong and Edna H. Hong, 1983.)
video: https://youtu.be/3Nfyznhbfeg
Hura is one of the oldest and most primitive vocal forms in the world. It is from the Kurdish regions in western Iran. The word Hura dates back 7000 years during the time of Zoroaster and was taken from the word “Ahura”. At first, this style of singing was used for religious purposes, however, later on, it was used for romantic themed music. Hura was used for important events, such as losing a loved one or praying to Ahura Mazda (the Avestan name for the creator and sole God of Zoroastrianism, the old Persian faith predating Islam.) Iranians also sang Hura to appreciate nature or when they were homesick. The book “Avesta” says that Hura is the voice for “good deeds, good thoughts, and good words”. This type of singing is common in Shirvan, Ivan, Ilam, and Kermanshah of Iran.
This electroacoustic piece was composed based on a few short recordings of “Hura” sang by Awalaziz Haydari, in memory of whom this work was composed. The video clips, obtained from “The Internet Archive” (archive.org), were edited and sublated into this video-art by Saman Samadi.

Presentations


'18. Samadi, Saman. Ghorbat: for multimedia. Concert. "Tehran International Electroacoustic Music Festival," Organized by Yarava Music Group, Da Theatre House, Tehran, June 8, 2018.
'16. Samadi, Saman. Nostalgia: multimedia works. Lecture-Concert. "Lethal #7—Last Saturdays Salon," Organized by Concrete Timbre, The Drawing Room, New York, November 19, 2016.
'16. Samadi, Saman. Ghorbat: for piano, voice, and live electronics. Concert. "An den Kleinen Radioapparat," Organized by Peter Geisselbrecht, The Firehouse Space, Brooklyn, September 30, 2016.
'15. Samadi, Saman. Hura: for multimedia. Performing Arts Event. "Supermoon Eclipse," Organized by Samadhi Arts, Sky Gallery, New York, August 27, 2015.

'16. Tears' Scratch

About this composition:
This composition was written for two violins, in Tehran, Iran, in 2012, and was performed and recorded by Miranda Cuckson and Austin Wulliman, that was produced by Kristin Samadi, in October 2016. The recording has been published on digital music stores and streaming platforms such as Amazon, Spotify, Apple Music, and others, on the 20th of March, 2018.
type: compositionkeywords: microtonal music, violincopyright: Saman Samadiyear: 15/08/2012country: Iran-USAplace: New York, New Yorkexternal links: Research CatalogueScore
video: https://youtu.be/t3hbvTU7UUQ

'16. Apām Napāt Trio • تریو آپام نپات

About this exposition:
Apām Napāt (آپام نپات) is an NYC-based trio founded by Persian pianist, violinist, and vocalist Saman Samadi, in collaboration with clarinetist and saxophonist Blaise Siwula, and Buchla-player Hans Tammen. The ensemble presents improvisational compositions that draw connections between their musical backgrounds. Using Persian modes and poems as well as a structured and recognizable yet free impulsive interaction between the instruments, they set parallel narratives in motion, occasionally intersecting but always accompanying one another. The trio released an album called "Apām Napāt" consisting of the recordings of their first performance, on the 27th of 2016.

type: research expositionkeywords: structured improvised music, real-time composition, free improvisation, piano, clarinet, buchla, electroacoustic musicdate: 23/12/2019last modified: 23/12/2019status: progressshare status: publiccopyright: Saman Samadilicense: All rights reservedurl: Research Catalogue

'18. At Scholes Studio

'18. Chahargah


type: piecekeywords: structured improvised music, contemporary music, microtonal music, persian music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 07/07/2018country: USAplace: Scholes Studio, Brooklyn, NYCexternal link: Research Catalogue
video: https://youtu.be/rX7sYSyeA-A


'18. Homayoun


type: piecekeywords: structured improvised music, contemporary music, microtonal music, persian music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 07/07/2018country: USAplace: Scholes Studio, Brooklyn, NYCexternal link: Research Catalogue
video: https://youtu.be/brlAVj5rzcw


'18. Scholes


type: piecekeywords: structured improvised music, contemporary music, microtonal music, persian music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 07/07/2018country: USAplace: Scholes Studio, Brooklyn, NYCexternal link: Research Catalogue
video: https://youtu.be/SoG8_ETwe1M


'16. At The Firehouse Space


'16. Excerpt no.1


type: performancekeywords: free improvisation, contemporary music, piano, clarinet, buchlacopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 10/02/2016country: USAplace: The Firehouse, Brooklyn, NYCexternal link: Research Catalogue
video: https://youtu.be/6C76winTCv4

'16. Excerpt no.2


type: performancekeywords: free improvisation, contemporary music, piano, clarinet, buchlacopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 10/02/2016country: USAplace: The Firehouse, Brooklyn, NYCexternal link: Research Catalogue
video: https://youtu.be/58KSiX6RNDM

'16. With Jorge Nuno


type: performancekeywords: free improvisation, piano, soprano saxophone, guitar, contemporary music, improvised musiccopyright: Saman Samadi, Blaise Siwula, Jorge Nunoyear: 28/01/2016country: USAplace: The Firehouse Space, Brooklyn, NYCexternal link: Research Catalogue
video: https://youtu.be/0AYDP6VirPc

'16. Apām Napāt [album]

'16. Āp (آپ)

type: piecekeywords: improvisation and real-time composition, avant-garde, improvised music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 21/02/2016country: USAplace: Manhattan, New Yorkexternal link: Research Cataloguerecording: https://jwp.io/s/PdoVGjsT

'16. Asha (اَشَه)

type: piecekeywords: improvisation and real-time composition, avant-garde, improvised music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 21/02/2016country: USAplace: Manhattan, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/p1LLDoW4jYY

'16. Daeva (دیوا)

type: piecekeywords: improvisation and real-time composition, avant-garde, improvised music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 21/02/2016country: USAplace: Manhattan, New Yorkexternal link: Research Cataloguerecording: https://jwp.io/s/VOBjoxrR

'16. Yima (ییمَه)

type: piecekeywords: improvisation and real-time composition, avant-garde, improvised music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 21/02/2016country: USAplace: Manhattan, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/cj-OyAuC04I

'16. Ariyāramna (آریامَن)

type: piecekeywords: improvisation and real-time composition, avant-garde, improvised music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 21/02/2016country: USAplace: Manhattan, New Yorkexternal link: Research Cataloguerecording: https://jwp.io/s/w2Py9jb0

'16. Vivanhant (ویووَه‌هووَنت)

type: piecekeywords: improvisation and real-time composition, avant-garde, improvised music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 21/02/2016country: USAplace: Manhattan, New Yorkexternal link: Research Cataloguerecording: https://jwp.io/s/CcxmnDSe

'16. Verethragna (ورثرَینَه)

type: piecekeywords: improvisation and real-time composition, avant-garde, improvised music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 21/02/2016country: USAplace: Manhattan, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/SkhILd8dBlg

'16. Yasna (یسنه)

type: piecekeywords: improvisation and real-time composition, avant-garde, improvised music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 21/02/2016country: USAplace: Manhattan, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/PssoxG5IJ2g

'16. Apām Napāt (آپام نپات)

type: piecekeywords: improvisation and real-time composition, avant-garde, improvised music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 21/02/2016country: USAplace: Manhattan, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/LdEbHIuW-Sg

'16. Anahita (آناهیتا)

type: piecekeywords: improvisation and real-time composition, avant-garde, improvised music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 21/02/2016country: USAplace: Manhattan, New Yorkexternal link: Research Cataloguerecording: https://jwp.io/s/z9roUGcR

'16. Hauruuatāt (هئورووَتات)

type: piecekeywords: improvisation and real-time composition, avant-garde, improvised music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 21/02/2016country: USAplace: Manhattan, New Yorkexternal link: Research Cataloguerecording: https://jwp.io/s/bPi9I6rk

'16. Manu (مَنو)

type: piecekeywords: improvisation and real-time composition, avant-garde, improvised music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 21/02/2016country: USAplace: Manhattan, New Yorkexternal link: Research Cataloguehttps://youtu.be/0fr60vT5kKs

'16. Zahhak (ضحاک)

type: piecekeywords: improvisation and real-time composition, avant-garde, improvised music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 21/02/2016country: USAplace: Manhattan, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/56UJ_r9mGjE

'16. Mithra (میثرا)

type: piecekeywords: improvisation and real-time composition, avant-garde, improvised music, piano, clarinet, buchla, electroacoustic musiccopyright: Saman Samadi, Blaise Siwula, Hans Tammenyear: 21/02/2016country: USAplace: Manhattan, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/jLepc3c3eus

Presentations


'19. Samadi, Saman. Āpām Napāt Trio. Performance. Saman Samadi, leader & pianist; Blaise Siwula, clarinetist; Hans Tammen, buchla player. "LaGCC_CUNY Faculty Concert." Organized by City University of New York, LaGuardia Performing Arts Center, New York, March 28, 2019.
'18. Samadi, Saman. Āpām Napāt Trio. Performance. Saman Samadi, leader, pianist, vocalist, violinist; Blaise Siwula, clarinet; Hans Tammen, buchla player. Scholes Street Studio, Brooklyn, July 7, 2018.
'16. Samadi, Saman. Āpām Napāt Trio. Performance. Saman Samadi, leader & pianist; Blaise Siwula, clarinetist; Hans Tammen, buchla player. Organized by COMA (Citizens Ontological Music Agenda). ABC No-Rio, New York, February 21, 2016.
'16. Samadi, Saman. An Event of Free-Improvisation. Concert. Saman Samadi, pianist; Blaise Siwula, clarinetist; Jorge Nuno, guitarist. The Firehouse Space, Brooklyn, January 28, 2016.

'15. Chamrosh

About this exposition:
This exposition represents a collection of Saman Samadi's solo and chamber works for saxophones, composed in the year of 2015 during which the author explored various techniques to score timely structured improvisational compositions. That same year, these works were premiered by saxophonist Anthony Izzo, pianist Saman Samadi, and LX Saxophone Quartet in Brooklyn's Shapeshifter Lab as well as W10 Performing Arts Center. An album consisting of the audio recordings of these compositions has been published on digital music stores and streaming platforms such as Google Play, Spotify, and Apple Music, on the 7th of December 2018.

type: research expositionkeywords: saxophone quartet, saxophone and piano, microtonal music, improvisational scoredate: 07/12/2019published: 11/12/2019last modified: 11/12/2019status: publishedshare status: publiccopyright: Saman Samadilicense: All rights reservedurl: https://www.researchcatalogue.net/view/753966/753967doi: https://doi.org/10.22501/rc.753966published in: Research Catalogue

'15. Chamrosh for Tenor Saxophone


type: piecekeywords: saxophone, microtonal musiccopyright: Saman Samadiyear: 07/12/2015country: United Statesplace: New York, New Yorkexternal link: Research Catalogue
recording: https://soundcloud.com/samansamadi/chamrosh

'15. IV-complex No.1 for Saxophone and Piano


type: compositionkeywords: microtonal musiccopyright: Saman Samadiyear: 30/07/2015country: USAplace: Queens College, CUNY, NYCexternal link: Research Catalogue
video: https://youtu.be/QjHg72_Bq7Q

'15. IV-complex No.2: Saxophone Quartet No.1


type: compositionkeywords: microtonal musiccopyright: Saman Samadiyear: 29/06/2015country: USAplace: Brooklyn, NYCexternal link: Research Catalogue
recording: https://soundcloud.com/samansamadi/ivcomplex-no2

'15. Before Your Very Eyes


type: compositionkeywords: microtonal musiccopyright: Saman Samadiyear: 28/07/2015country: USAplace: Queens College, CUNY, NYCexternal link: Research Catalogue
video: https://youtu.be/AOE-S4EC9uo

Presentations


'15. Samadi, Saman. Chamrosh: works for saxophone — IVcomplex No.1, and Before Your Very Eyes. Lecture-Performance. Anthony Izzo, saxophonist, and Saman Samadi, pianist. ShapeShifter Lab, Brooklyn, July 29, 2015.
'15. Samadi, Saman. IVcomplex No.2: saxophone quartet no.1. Lecture-Performance. LX Saxophone Quartet: Kenny Chen, Mark Kabai, Barron Wei, Brian Cho. W10 Performing Arts Center, Brooklyn, July 03, 2015.

'15. Shekasteh Mouyeh

About this exposition:
Radif – or, the traditional repertoire of Persian classical music, consisting of more than 200 short melodic motions (gusheh), which are arranged into seven principal modes (dastgāh) with five secondary branches of these modes (āvāz) – is the oldest documented version of Dastgah music, developed by Mirza Abdollah in the 19th century. This exposition represents the confrontation of these microtonal modes with and within electroacoustic music material and techniques, and the problematisation of the results along with objects of video-art and visual effects, creating a set of compositions that would exhibit novelty; furthermore, the assemblage of them for and through a live performance utilizing improvisational methods as an attempt to expand timbral possibilities in a contextual relationship with Western contemporary classical music. The aim of this artistic research is producing a syncretistic multimedia work of art that could serve in assimilating two perspectives of Eastern and Western into a new coalescence towards the grail of a universal totality of classical forms.
type: research expositionkeywords: microtonality, electroacoustic composition, multimedia, video art, persian music, performance practice of new musicdate: 23/05/2015last modified: 20/12/2019status: publishedshare status: publiccopyright: Saman Samadilicense: All rights reservedurl: https://www.researchcatalogue.net/view/730138/730139

'15. Frenzied

type: compositionkeywords: electroacoustic composition, microtonal musiccopyright: Saman Samadiyear: 23/02/2015country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/p273rPGYA3k

'15. Shattered Mourning

type: compositionkeywords: electroacoustic composition, microtonal musiccopyright: Saman Samadiyear: 23/02/2015country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/lZcTJaX8YE0

'15. Injustice

type: compositionkeywords: electroacoustic composition, microtonal musiccopyright: Saman Samadiyear: 23/02/2015country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/7-CAfK2Pue4

'15. Desolation

type: compositionkeywords: electroacoustic composition, microtonal musiccopyright: Saman Samadiyear: 23/02/2015country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/8VAUGV24Gis

'15. Ramkali

type: compositionkeywords: electroacoustic composition, microtonal musiccopyright: Saman Samadiyear: 23/02/2015country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/KfMzQoNCCC0

'15. Zenith

type: compositionkeywords: electroacoustic composition, microtonal musiccopyright: Saman Samadiyear: 23/02/2015country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/ncUD06Rc4OE

'15. Dissident

type: compositionkeywords: electroacoustic composition, microtonal musiccopyright: Saman Samadiyear: 23/02/2015country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/LG5zgVmpDvU

'15. Dashtestani

type: compositionkeywords: electroacoustic composition, microtonal musiccopyright: Saman Samadiyear: 23/02/2015country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/ao8nZWQ7x1E

'15. Satori

type: compositionkeywords: electroacoustic composition, microtonal musiccopyright: Saman Samadiyear: 23/02/2015country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/YFXxUMo9WJE

'15. Shekasteh Mouyeh (Video Art)

type: compositionkeywords: electroacoustic composition, microtonal music, persian music, video art, multimediacopyright: Saman Samadiyear: 08/05/2015country: Iran, United Statesplace: Tehran, Shiraz, and New York Citypublisher: Samadis' Recordsexternal link: Research Catalogue
video: https://youtu.be/skrmbQ0smeM

'15. Shekasteh Mouyeh (Multimedia Performance)


type: performancekeyword: electroacoustic composition, microtonal music, microtonal vocal music, piano, video art, multimediacopyright: Saman Samadiyear: 23/05/2015country: USAplace: Spectrum-NYCexternal link: Research Catalogue
video (teaser): https://youtu.be/D5QMFocwJws
video (trailer): https://youtu.be/iBffkKTBQMQ
video (performance): https://youtu.be/gDDv9TOYwHQ

Presentations


'19. Broumand, Reyhan. “Le choc de la déviation de la tradition dans la musique électroacoustique iranienne: Saman Samadi’s Satori.” Seminar. Semaine Internationale de la Musique Électroacoustique, LILLIAD de l’Université de Lille - Sciences et Technologies, Lille, April 24, 2019.
'17. Broumand, Reyhan. "L’impact de la tradition dans la création contemporaine : un regard sur la musique électroacoustique iranienne: Saman Samadi’s Zenith.Seminar. Semaine Internationale de la Musique Électroacoustique, LILLIAD de l’Université de Lille - Sciences et Technologies, Lille, April 28, 2017.
'15. Samadi, Saman. Shekasteh Mouyeh: for piano, voice, electronics, and video art. Lecture-Performance. Saman Samadi, pianist, vocalist, video, & electronic sounds artist. ShapeShifter Lab, Brooklyn, July 29, 2015.
'15. Samadi, Saman. Shekasteh Mouyeh: for piano, voice, electronics, and video art. Multimedia Performance. Saman Samadi, pianist, vocalist, video, & electronic sounds artist. Spectrum, New York, May 23, 2015.

'15. U-Turn

About this exposition:
This exposition represents a collection of Saman Samadi's electroacoustic works composed between 2010 and 2014. An album consisting of the audio recordings of these compositions has been published on digital music platforms on the 14th of March, 2015.
type: research expositionkeywords: electroacoustic music, multimedia, composition, video artdate: 09/12/2019published: 11/12/2019last modified: 11/12/2019status: publishedshare status: publiccopyright: Saman Samadilicense: All rights reservedurl: https://www.researchcatalogue.net/view/754678/754679doi: https://doi.org/10.22501/rc.754678published in: Research Catalogue

'14. Safhe-ye Nakhl (Palm Plate)

About this composition:
This electroacoustic composition is based on a poem by Taha Salmanpour. Dozaleh (Persian folk instrument): Saman Samadi. Piano: Kristin Samadi. Narration by Saman Samadi.

type: compositionkeywords: Electroacoustic Music, Microtonalitycopyright: Saman Samadiyear: 15/11/2014country: USAplace: New York, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/NO4Z_5WP9QI

'12. Amiri


About this composition:
This electroacoustic composition is based on a 'Maqam' of Mazandarani folk music called "Amiri". Vocalist: Morad-Ali Akbari Hoolari.

type: compositionkeywords: electroacoustic composition, microtonalitycopyright: Saman Samadiyear: 09/12/2012country: Iranplace: Tehranexternal link: Research Cataloguerecording: https://youtu.be/lj9HGtsXxbk

'10. Qatār-e Arvāh (Ghost Train)


About this composition:
This electroacoustic composition is based on two Gushehs — Qatār, and Ruh-ol-Arvāh — of Bayāt-e Tork musical system, that is one of the branches of the modal system of Persian classical music (Dastgāh).

type: compositionkeywords: electroacoustic composition, microtonality, persian musiccopyright: Saman Samadiyear: 14/10/2010country: Iranplace: Tehranexternal link: Research Cataloguerecording: https://youtu.be/x9HXD4YjPyM

'12. Magnapinna in the Abdomen of a Newborn


About this composition:
This multimedia work was selected to be presented at the New York City Electroacoustic Music Festival (NYCEMF) at Abrons Arts Center, New York, on the 2nd of June, 2014.

type: compositionkeywords: multimedia, electroacoustic composition, video artcopyright: Saman Samadiyear: 24/06/2012country: Iranplace: Tehranexternal link: Research Catalogue
video: https://youtu.be/2SplKAXQEtc

'11. U-Turn


About this composition:
Composer, violinist, and video-artist: Saman Samadi. This multimedia work is based on a Stream of Consciousness Story, "U-Turn," written by Taha Salmanpour of whose sound recording of narrating the story was also utilized in Samadi's composition. The electroacoustic music is composed using programming language Pure Data (Pd).

type: compositionkeywords: multimedia, electroacoustic music, video art, pure data, algorithmic composition, concrete musiccopyright: Saman Samadiyear: 28/01/2011country: Iranplace: Tehranexternal link: Research Catalogue
 video: https://youtu.be/_FJT_3Z8V8o

Presentations


'18. Broumand, Reyhan. "Entre passé et avenir : Les deux rôles des instruments acoustiques dans la musique électroacoustique iranienne: Saman Samadi’s Palm Plate.” Seminar. Semaine Internationale de la Musique Électroacoustique, LILLIAD de l’Université de Lille - Sciences et Technologies, Lille, April 20, 2018.
'14. Samadi, Saman. Magnapinna in Abdomen of a Newborn: a multimedia composition (2012). New York City Electroacoustic Music Festival (NYCEMF), Abrons Arts Center, New York, June 2, 2014.
'14. Samadi, Saman. Magnapinna in Abdomen of a Newborn: a multimedia composition (2012). Concert. Sonic Spring, Organized by SUNY Stony Brook, Staller Center, Stony Brook, April 11, 2014.
'14. Samadi, Saman. Amiri: a fixed media composition (2012). Lecture-Concert. Harvestworks, New York, January 14, 2014.
'12. Samadi, Saman. Qatār-e Arvāh (Ghost Train): a fixed media composition (2010). Lecture-Concert. Electroacoustic Music Event, City University of New York's Queens College, LeFrak Hall, New York, December 4, 2012.
'11. Samadi, Saman. U-Turn: a multimedia composition (2011). Lecture-Concert. Electroacoustic Music Event, University of Tehran, College of Fine Arts, Tehran, June 16, 2011.
'10. Samadi, Saman. Qatār-e Arvāh (Ghost Train): a fixed media composition (2010). Lecture-Concert. Electroacoustic Music Event, University of Tehran, College of Fine Arts, Tehran, June 15, 2010.

'15. Microtonal Piano Solos

About this exposition:
This exposition represents a collection of Saman Samadi's piano pieces for which he used an innovative microtonal pitch organization derived from Persian classical music. An album consisting of the recordings of these eleven pieces, performed by the composer, was published on digital music platforms on the 7th of January, 2015.

type: research expositionkeywords: microtonal music, piano, persian musicdate: 11/12/2019published: 11/12/2019last modified: 11/12/2019status: publishedshare status: publiccopyright: Saman Samadilicense: All rights reservedurl: https://www.researchcatalogue.net/view/755313/755314doi: https://doi.org/10.22501/rc.755313published in: Research Catalogue

'15. Oracle

type: compositionkeywords: microtonal piano musiccopyright: Saman Samadiyear: 07/01/2015country: USAplace: Brooklyn, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/bgxrDejypjk

'15. Solitude

type: compositionkeywords: microtonal piano musiccopyright: Saman Samadiyear: 07/01/2015country: USAplace: Brooklyn, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/gN64SfLGEeY

'15. Sisyphus

type: compositionkeywords: microtonal piano musiccopyright: Saman Samadiyear: 07/01/2015country: USAplace: Brooklyn, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/_UefDabuhmE

'15. Annica

type: compositionkeywords: microtonal piano musiccopyright: Saman Samadiyear: 07/01/2015country: USAplace: Brooklyn, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/kZW5QUrK3JE

'15. Perception

type: compositionkeywords: microtonal piano musiccopyright: Saman Samadiyear: 07/01/2015country: USAplace: Brooklyn, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/zmuSzHKZDtA

'15. Madman

type: compositionkeywords: microtonal piano musiccopyright: Saman Samadiyear: 07/01/2015country: USAplace: Brooklyn, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/TRZmsrEkWPU

'15. Satire

type: compositionkeywords: microtonal piano musiccopyright: Saman Samadiyear: 07/01/2015country: USAplace: Brooklyn, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/8FPcwaMp6sY

'15. Existence

type: compositionkeywords: microtonal piano musiccopyright: Saman Samadiyear: 07/01/2015country: USAplace: Brooklyn, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/KEMIYwrdKSE

'15. Deprivation

type: compositionkeywords: microtonal piano musiccopyright: Saman Samadiyear: 07/01/2015country: USAplace: Brooklyn, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/mYVXqAxCo3A

'15. Magnetic

type: compositionkeywords: microtonal piano musiccopyright: Saman Samadiyear: 07/01/2015country: USAplace: Brooklyn, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/OuIWbIOHirA

'15. Subjectivity

type: compositionkeywords: microtonal piano musiccopyright: Saman Samadiyear: 07/01/2015country: USAplace: Brooklyn, New Yorkexternal link: Research Cataloguerecording: https://youtu.be/I3ftnWu71tI

'14. Persia 1909

About this composition:
This composition was scored for four improvising performers: a pianist, two percussionists, and one of any melodic instruments (oboe is suggested). The recording, here, is from a performance by Laura Smith (oboe), Erika Dohi (Piano), Mark Utley (Percussions), and Elizabeth Dorman (inside piano) on the 22nd of April, 2014, at the State University of New York, at Stony Brook.

type: compositionkeywords: ensemble, microtonal music, structured improvisational score copyright: Saman Samadiyear: 19/04/2014country: USAplace: Brooklyn, New Yorkexternal links: Research Catalogue
video: https://youtu.be/85WBNpk9qUk

Presentations


'14. Samadi, Saman. Persia 1909: for four improvising performers. Lecture-Performance. Laura Smith, oboist, Erika Dohi, pianist, Mark Utley, percussionist, Elizabeth Dorman, percussionist. State University of New York at Stony Brook, Staller Center, Stony Brook, April 22, 2014.

'14. Teryan

About this composition:
Saman Samadi's Teryan, written for violin and piano in 2014, is titled after a street in Yerevan, Armenia, on which a significant life-event of the composer, that is the source of inspiration for this piece, occurred. In the recording, here, the composer played the violin part himself, and Kristin Samadi, to whom this work was dedicated, performed the piano part.

type: compositionkeywords: composition, violin, piano, microtonality, microtonal musiccopyright: Saman Samadiyear: 15/02/2014country: USAplace: Brooklyn, New Yorkexternal link: Research Cataloguerecording: https://jwp.io/s/MwexAflMScore

'13. Panj

About this composition:
This is miniature composition was written for orchestra, soprano, baritone, in November 2013. The score illustrates the shape of Persian digit five (۵).

type: compositionkeywords: composition, orchestra, microtonalitycopyright: Saman Samadiyear: 24/11/2013country: USAplace: New York, New Yorkexternal link: Research CatalogueScore

'12. Sound and Fury

About this composition:

"To-morrow, and to-morrow, and to-morrow,Creeps in this petty pace from day to day,To the last syllable of recorded time;And all our yesterdays have lighted foolsThe way to dusty death. Out, out, brief candle!Life's but a walking shadow, a poor playerThat struts and frets his hour upon the stageAnd then is heard no more. It is a taleTold by an idiot, full of sound and furySignifying nothing."(William Shakespeare. Macbeth, 1603)
This work embodies memories and events of the composer's life. By practicing 'free association and scattered thoughts' he was able to tap into the ego, and super-ego, which adds to the depth and the meanings of certain aspects of the piece. The other sections are streamed from his subconscious in which new meanings can be found.
Throughout our life, we use many different masks. In this work, every instrument takes the role of a mask and has an important part in influencing the entire unit. Different layers of the music are represented and add up to a whole character. The 'Gestalt' theory states that many molecules are combined to create a complete unit. Gestalt psychologists say: “We have a tendency to complete incomplete experiences.” During the first few moments of "Sound and Fury," Samadi hints at the chaos which foreshadows a storm to come. The instrumental layers do not always harmoniously operate together. Sometimes the instruments are in discord while confronting each other. Within the storm and destruction, among the sound and fury, a cry suddenly occurs; a brief moment, tired and panting, whispering, all contain various aspects of the composer's inner side. This melancholic sound will be heard later again through multiple variations. Once again, confrontation and scattered thoughts are presented. This stream of consciousness is telling us about the composer's experiences: 'I am embodied with many passions; I have listened to jazz and blues; I played my part in society; I’ve traveled the highly populated and congested streets of Tehran; I have seen many revolutionaries and protests on the streets, in uprisings towards the government; I have felt the chaos of the modern society...' At the end of the piece, we can hear a demon-sound laughing at the entire situation.He chose the title of the piece from a passage in Shakespeare’s Macbeth which was written during the transition from Renaissance to Modernity. In 20th-century’s modern literature, Faulkner mentioned these words at the beginning of his novel “Sound and Fury”;
“Life’s but a walking shadow, a poor playerThat struts and frets his hour upon the stageAnd then is heard no more. It is a taleTold by an idiot, full of sound and fury,Signifying nothing.”
The composer continues the path of this modern movement, and also stands at the front of the line, avant-garde, and schizophrenic; full of sound and fury.After listening to the piece, you can get a general impression of the composer’s inspirations, and his thought process. We can witness the confession of his life, interspersed with thought, philosophy, psychology, and avant-garde art.
(Notes from author and music-critic Taha Salmanpour, Tehran, 2013.)


type: compositionkeywords: composition, large ensemble, pianocopyright: Saman Samadiyear: 30/12/2012country: Iranplace: Tehranexternal link: Research Catalogue

Presentations


'13. Samadi, Saman. Sound and Fury: for piano and loud speakers. Concert. Kristin Samadi, pianist. State University of New York at Stony Brook, Staller Center, Stony Brook, November 21. 2013.

'11. Paj

About this composition:
“Paj” won first prize for the Counterpoint-Italy International Composition Competition, in 2012, and was given a New York premiere by flutist Linda Wetherill, and pianist Kristin Barone, in December of that same year. The collaboration of the composer with the pianist in this project led them to a marriage of which they have now two children, Përajhars and Clémentine.
A recording of this composition was published on digital music platforms on the 24th of July, 2017.
Notes from the composer: As a composer who was always fascinated by western classical music and also knowledgeable in traditional Persian music, I became enthusiastic to acquire an alternate method of pitch organization while using Persian modes that would be acclimated, expressive, and innovative in the context of contemporary classical music. Thus, I formed a method of pitch organization based on the microtonal modes of Persian classical music. Paj is one of the first pieces for which I have written using the method. While composing Paj, I thought through my life experiences in order to create a sonic journal. Paj has allowed me to be able to introduce myself to a different light. Believing that the completion of this work would be an important turning point in my career, I felt that it needed a strong title. The definition of “Paj” is as follows: the culminating point, as of achievement or excellence; Acme, Apogee, Perfection, Peak, Supreme.
Notes from pianist: At first I was intimidated by the piece. It looked very challenging technically and also had a few markings that I had not seen before. It is a one-movement piece with a few mood changes and different sections. It is a heavy piece that requires a great deal of concentration and energy. The flute uses extended techniques including quarter tones, airy tones, tongue ram, whistle tones, finger taps, as well as multi-phonics. The piano is written in a more traditional style, however, there are contemporary elements including improvisation boxes, extreme dynamic markings, and complex rhythms. In general, the two instruments are conversing with slight overlapping. There are a few solo moments, however, both players are equally active throughout. There were a few technically challenging sections in Paj. Coordinating both hands was most difficult when one hand was playing written out notes while the other improvised. Regarding improvisation boxes: Samadi wrote a group of notes in which the performer was able to use and is limited to specific rhythmic guidelines. The pianist should mimic the flutist’s rhythmic phrases. They need not be exactly the same, but similar. Another challenge was coordination between the instruments. Since the rhythms are extremely complex, one must make approximations. Of course, our goal is to play as accurate as possible. There were also, a few phrases that were technically difficult due to large leaps, fingering issues, as well as fast virtuosic phrases.


type: compositionkeywords: composition, flute and piano, microtonalitycopyright: Saman Samadiyear: 02/09/2011country: Iranplace: Tehranexternal links: Research CatalogueScore

Presentations


'16. Samadi, Saman. Paj: for flute and piano. Lecture - Doctoral Seminar. Organized by Reiko Fueting, Manhattan School of Music, New York, November 18, 2016.
'14. Samadi, Saman. Paj: for flute and piano. Lecture-Performance, Performed by Nicole Camacho, and Kristin Samadi. State University of New York at Stony Brook, Staller Center, Stony Brook, April 8, 2014.
'12. Samadi, Saman. Paj: for flute and piano. Concert. Linda Wetherill, flutist, and Kristin Barone-Samadi, pianist. RCC Rutherford, New Jersey, December 16, 2012.
'12. Samadi, Saman. Paj: for flute and piano. Concert. Linda Wetherill, flutist, and Kristin Barone-Samadi, pianist. Culturefix, New York, December 2, 2012.
'12. Samadi, Saman. Paj: for flute and piano. Concert. Kouchyar Shahroudi, flutist, and Domitille Bès, pianist, L’ ensemble ECHO, Museum of modern art André Malraux (MuMa), Le Havre, June 29, 2012.

'11. Bazzad

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:3.3.3.3 - 4.2.2.1 - 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 > 14.12.10.8.6.

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

Presentations


'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.

'09. Symphony in Three Movements

About this composition:
This work was written for large orchestra, in three movements, with a total duration of 20 minutes, by Saman Samadi as a part of his BA thesis at the University of Tehran, in 2009.
type: compositionkeywords: composition, symphony, large orchestracopyright: Saman Samadiyear: 15/07/2009country: Iranplace: Tehran

Presentations


'09. Samadi, Saman. Saman Samadi's Symphony in Three Movements, unfolding of. Seminar. University of Tehran, Tehran, September 22, 2009.

'08. Wine

About this composition:
This piece was written for piano, in the Fall of 2008, and was premiered by pianist Kiana Shafiei at the Art University of Tehran, in the Spring of 2009.

type: compositionkeywords: composition, pianocopyright: Saman Samadiyear: 28/11/2008country: Iranplace: Tehran

Presentations


'09. Samadi, Saman. Wine: for piano. Concert. Kiana Shafie, pianist. Art University of Tehran, Tehran, April 22, 2009.

'07. Fog and Fugue

About this composition:
This composition was written, in two parts, for guitar, in 2007, and was premiered by Mansoor Habibdoost at the University of Tehran's Avini Hall, in the Spring of 2008. Guitarist Dan Keene gave an American premiere of Fog and Fugue, at RCC, Rutherford, on the 8th of November, 2013.

type: compositionkeywords: composition, guitarcopyright: Saman Samadiyear: 06/11/2007country: Iranplace: Tehranexternal links: Research Catalogue
video: https://youtu.be/k9PJKLnaDrE

Presentations


'13. Samadi, Saman. Fog and Fugue: for guitar. Concert. Dan Keene, guitarist. RCC, Rutherford, NJ, November 8, 2013.
'08. Samadi, Saman. Fog and Fugue: for guitar. Concert. Mansoor Habibdoost, guitarist. University of Tehran, Avini Hall, Tehran, May 19, 2008.

'07. Camisado

About this composition:
This piece was composed for chamber orchestra, in the Winter of 2007, and it was performed by Concentus Orchestra under the baton of the composer, in Roudaki Hall of Tehran, in the Spring of that same year. This work won the first prize for the composition contest of the 24th International Fajr Music Festival.

type: compositionkeywords: composition, chamber orchestracopyright: Saman Samadiyear: 16/01/2007country: Iranplace: Tehran

Presentations


'07. Samadi, Saman. Camisado: for chamber orchestra. Performance. Concentus Orchestra; Saman Samadi, conductor. Roudaki Hall, Tehran, April 29, 2007.

'06. Ravani

About this composition:
This piece was originally written for string orchestra, in the summer of 2006, and then it was re-arranged for violin and piano by the composer, in the Fall of that same year.

type: compositionkeywords: composition, violin and piano, string orchestracopyright: Saman Samadiyear: 15/08/2006country: Iranplace: Tehran

Presentations


'07. Samadi, Saman. Ravani: for string orchestra. Performance. Concentus Orchestra; Saman Samadi, conductor. Roudaki Hall, Tehran, April 29, 2007.
'06. Samadi, Saman. Ravani: for violin and piano. Concert. Saman Samadi, violin; Behnam Mousavi, pianist. University of Tehran, Avini Hall, Tehran, November 18, 2006.