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Ehsan, Saboohi

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To be a Bird ( Trio for Flute ,Clarinet in Bb &Piano )
Saboohi Ehsan
Flute and Clarinet

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To be a Bird ( Trio for Flute ,Clarinet in Bb &Piano )

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Composer	Ehsan, Saboohi (1981 - )
Instrumentation	Flute and Clarinet
Style	Contemporary
Publisher	Ehsan, Saboohi
Date	2010
Copyright	Copyright © Saboohi Ehsan
	Added by ehsan-saboohi, 04 Jan 2010
To be a bird- To become like a bird one day And pass through the spring. To answer to that bleak looking truth, That bitter truth; And dressed in the untidy cloak of the wind Pass through all the sleeping cities, And throughout the way Seeing so many hopeless people Becoming like a bird , And forever be a secret ... In the shining truth

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Informations of Saboohi Ehsan

Concerto for Solo Actress: The Legend Of Yush's Poet

Written on 2018-03-04 by ehsan-saboohi
The structure of this "concerto" is a combination of contemporary Naghali (recounting stories), spoken word, and contemporary performance art. The actress here creates musical events with voice, body, and movement; a bit like a piano concerto that does not have an orchestra. For me, the Mise-en-scène functions like the orchestration of a piece.

Naqqāli (or Naghali) is the oldest form of dramatic performance in Iran. Historically, it has adapted itself to socio-political circumstances. Before the Sassanid (651 AD), Naqqāls were poets and musicians simultaneously: they recited stories while playing instruments. Bārbad was the most renowned Naqqāl of the Sassanid. During Ghaznavids (10th-12th AD), the Court banned musical Naqqāli, but the tradition survived in remote areas.

The performer – the Naqqāl – recounts stories in verse or prose accompanied by gestures and movements, and sometimes instrumental music and painted scrolls. Naqqāls function both as entertainers and as bearers of Persian literature and culture, and need to be acquainted with local cultural expressions, languages and dialects, and traditional music.

The Concerto for Solo Actress is a faithful narration based on the poem “Afsaneh” (The Legend) by Nima Yushij. I left Tehran for two years in order to write “The Legend of Yush’s Poet”. For this purpose, what place could be better than the homeland of Nima, the father of modern Iranian poetry and whose poem “The Legend” poem charmed me?

I took up residence in the village of Khesht Sar, in the Central District of Mahmudabad County, Mazan- daran Province, Iran, and in close proximity to the birthplace of Nima – Yush. Whenever I was going to the city, I saw a large board at the entrance of the city that had been written on it: “Welcome to Nima Yushij’s Birthplace”. Indeed, Yush and Mazandaran are Nima, and Nima is the pristine nature of the North of Iran. My new home was near the Caspian Sea, which Nima describes it like this: “Your lips were smiling in that wave”. The only music that filled my mind in those two years were the sounds of nature and silence. In this silence, I had the opportunity to think about one thing every day and every hour! Who is the legend? What shape is she? How is her singing? How bitter is her bitterness? And how long is her way?

The performance of this work certainly has the result of cooperating with a sympathetic and committed group that I should be very grateful to all of them. Those who were with me at eleven nights’ live perfor- mance of this work and then at all stages of recording, producing, and preparing the audio and video version.

As far as I know, The Legend of Yush’s Poet is the first concerto that written for an actress. However, I am responsible for all the errors ahead. But at the same time, I present the premiere of this work to all members of the group and Ghazal Naeemi, who practiced hardly and tirelessly for almost seven months. I am grateful to my sophisticated and kind-hearted friend, Ramin Dargahi, who translated all the texts into English. I am grateful to my dear wife, Lena Koocheri, who has strongly supported me all this time. Also, I thank Mohammad Mousavi and Bruce Hamilton, who helped me to produce this work.

My greatest hope and desire during the making of this project and upon the release of its audio and video albums is that Nima Yushij, a well-known poet of Iran, is watching our work and smiling on what we have done – like a wave that smiles on the sea and caresses us slowly! - Ehsan Saboohi Tehran 2017

Spectropol Records

HAIKUS (Iran-Netherlands Electro Acoustic Music Project)

Written on 2016-11-05 by ehsan-saboohi
available on iTunes:
HAIKUS (Iran-Netherlands Electro Acoustic Music Project)

about project:
The Album 'Haikus' is a joint product of Ehsan Saboohi (Iranian Contemporary Composer) and Gerda Geertens (Dutch Contemporary Composer and philosopher). The idea was a proposal from Foekjen Verhoef (Piano instructor). The piano department of the SKVR cultural centre in Rotterdam organised three concerts and recording. Piano students were practising the pieces and familiarising themselves with the contemporary Iranian and world music. In the meantime, Gerda made electronic versions of the the original compositions of Ehsan. Secondly, she created seventeen different projections, using photografic material of Jenny Westenbrink. And at the heart of each of these projections she animated seventeen Haiku, inspired by the titles given by Ehsan. Three poets: Peter Swanborn, Astrid Terbrack, and Gerda Geertens wrote these Haiku.
The seventeen Haiku pieces featuring the album 'Haikus', were performed on 12, 19 and 26 June 2015 at one of the locations of the SKVR cultural centre, along with various other compositions for Harp and Saxophone Quartet, from Ehsan or Gerda.)
The album 'Haikus' was recorded by SOFIESOUND on June 26, 2015, at the auditorium of the SKVR. Because of their great appreciation for this initiative in Rotterdam, Mahoor Institute of Culture and Art has decided to publish this music for all friends of contemporary classical and electronic music.

Haikus by Ehsân Saboohi & Gerda Geertens
https://itun.es/us/QFp7fb

https://itun.es/us/QFp7fb

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