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Ehsan, Saboohi

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Metamorphosis on theme of Paganini
Saboohi Ehsan
Piano seul

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Metamorphosis on theme of Paganini

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Compositeur	Ehsan, Saboohi (1981 - )
Instrumentation	Piano seul
Genre	Contemporain
Editeur
Date	2009
Droit d'auteur	Copyright © Saboohi Ehsan
	Ajoutée par ehsan-saboohi, 11 Avr 2009
Caprice No. 24 in A minor is the final caprice of Niccolò Paganini's 24 Caprices, and a famous work for solo violin. The work, in the key of A minor, consists of a theme, 11 variations, and a finale. The caprice has provided a rich seam of material for works by subsequent composers. Compositions based on it, and transcriptions of it, include: Boris Blacher − Variations on a Theme by Paganini (1947), for orchestra Witold Lutosławski − Variations on a Theme by Paganini (1940-...(+) Caprice No. 24 in A minor is the final caprice of Niccolò Paganini's 24 Caprices, and a famous work for solo violin. The work, in the key of A minor, consists of a theme, 11 variations, and a finale. The caprice has provided a rich seam of material for works by subsequent composers. Compositions based on it, and transcriptions of it, include: Boris Blacher − Variations on a Theme by Paganini (1947), for orchestra Witold Lutosławski − Variations on a Theme by Paganini (1940-41), for two pianos; in 1978 he made a version for piano and orchestra. Franz Liszt - Grande Fantaisie de bravoure sur La Clochette for solo piano. S.420 (1832-4) Franz Liszt − the sixth and last of his Études d'exécution transcendante d'après Paganini for solo piano, S.140 (1838) Franz Liszt - the above work (S.140/6) was revised and simplified in 1850 as the sixth and last of the Six Grandes Études de Paganini for solo piano, S.141) Franz Liszt - Grand Fantaisie (Variations) sur des thèmes de Paganini for solo piano, S.700

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Par roxana-gh83-gmail-com , 27 Mai 2013 à 00:00

Hard Working ...

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Par Jorge Guzman , 30 Jun 2012 à 00:00

Interesting.

Informations par Saboohi Ehsan

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

Ecrit le 2018-03-04 par Saboohi Ehsan
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)

Ecrit le 2016-11-05 par Saboohi Ehsan
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

Plus d'actus de Saboohi Ehsan sur sa page

Piano seul

Contemporain