Avaz I
Rira
Dourefalak
Farsh
Zendaniye Vazheha
Tchahargah
Avaz II
Derakhte Sib

In the years after the Islamic Revolution, the situation for art and culture in my home country Iran has changed fundamentally. Musicians, especially female musicians, are confronted with great restrictions and limitations. For a long time, I had the idea of using the freedom I have here in Germany to make a contribution and to write what is forbidden in Iran: contemporary material for soprano voice.

The Persian poems come from two different times. Very old texts by Omar Khayyam (1048– 1131) are juxtaposed with new texts by Mahmood Motaghedi (*1946), Nima Yushij (1897–1960) and Ahmadreza Ahmadi (*1940). They are connected through their themes of home, nature and love.

The compositions to the poems combine aspects of traditional and classical Persian music with the techniques of contemporary European music. The different traditions should enter into a new connection. I wanted to explore the possibilities of cross-fertilization and create a language influenced by both poles. The quarter tones used and the more cyclical handling of time have grown out of Persian tradition. The colourfulness that arises from the new instrumental techniques ex- pands the space and poses new challenges for perception.

Seyed Sina Sadeghpour