Over the years, I have always been deeply interested in how Iranian composers write music. What makes their work Iranian? How does Iranian culture manifest itself sonically?
When I was in my second year at the conservatory, my dear teacher, Amin Rafieifar—himself a remarkable Iranian composer—played works by Dutilleux, Takemitsu, and others for us in an instrumentation class. That was precisely the moment when this question took shape in my mind:
If a composer like Takemitsu and his music possess an inherently Japanese identity, then what defines the Iranian identity in the contemporary Western classical works of Iranian composers?
I believe the answer to this question lies in the interpretation, analysis, and performance of Iranian composers’ works. Although this style of composition does not have deeply rooted traditions in Iran, it is evident that, from the second half of the 20th century onward, Iranian composers have gradually developed a personal language in this domain. In the younger generation, this Iranian identity, alongside global relevance, has become even more pronounced due to broader connections with the world.
With each passing day, I grow more eager to witness the future transformations of Iranian music!
This collection is the first volume of works I have recorded in recent years from a new generation of Iranian composers. The composers featured in this collection represent various styles within contemporary Iranian music.
It is worth mentioning that all pieces in this collection, except for one—recorded at Shahr-e Seda Studio by the esteemed Reza Asadpour—were recorded at home.
I hope this collection, though small, serves as a meaningful step in documenting Iranian contemporary music.
Listen to Contemporary Iranian Flute Compositions Vol.1