Free-scores.com : Ehsan, Saboohi - Post-Orientalism I (for Alto Saxophone) (Saxophone alto)

Ehsan, Saboohi

Post-Orientalism I (for Alto Saxophone)
Post-Orientalism I
Saboohi Ehsan
Saxophone alto

VoirPDF : Post-Orientalism I (for Alto Saxophone) (14 pages - 701.97 Ko)101x⬇

Compositeur Arrangeur	Ehsan, Saboohi (1981 - )
Instrumentation	Saxophone alto

Editeur	post orientalism music
Date	2022
Droit d'auteur	Creative Commons Licence
	Ajoutée par ehsan-saboohi, 12 Avr 2022
Post-Orientalism is a term coined by the Composer and music theorist Ehsan Saboohi to describe a music language for analyzing the aesthetics of his and his colleagues' compositions. Saboohi defines this language as follows: "Post-Orientalism is a modern music language that uses microtonal sounds and intervals alongside altered sound chain and block structures to achieve a post-orientalism musical piece in different acoustic and electroacoustic compositions." Ehsan Saboohi, in his third c...(+) Post-Orientalism is a term coined by the Composer and music theorist Ehsan Saboohi to describe a music language for analyzing the aesthetics of his and his colleagues' compositions. Saboohi defines this language as follows: "Post-Orientalism is a modern music language that uses microtonal sounds and intervals alongside altered sound chain and block structures to achieve a post-orientalism musical piece in different acoustic and electroacoustic compositions." Ehsan Saboohi, in his third composition period, is looking for a different language of common Contemporary Classical music trends by taking inspiration from the philosophical-social ideas of the famous philosopher Edward Said (1935-2003).
Source / Web :	postorientalism

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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

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