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HAZIN by Atefeh Einali
IFCA Composers

HAZIN by Atefeh Einali

Composer: Atefeh Einali Commissioned by Iranian Female Composers Association – IFCA For Solmaaz Adeli with the kind support of Shiva Afshar, Yasaman Moghaddam, and Ayoub Farahyar Solmaaz Adeli: Mezzo-soprano Ava Nazar: Piano World premiere at Duke University Chapel, March 8, 2024 Programme note for “HAZIN”: They are after a simple life – you know, the usual routine: wake up, coffee, shower, dress up, walk, exercise, study, work, shop, cook, and sleep. Sounds pretty basic, right? But it's not that simple for them. It needs a lot of effort, and they keep telling themselves, 'Don’t even think about it, just do it!' Composition approach: This piece is based on “Hazin” from Radif Saba for Santoor. Hazin means sadness in Farsi and it is a rhythmic pattern in Iranian classical repertoire which is playable in any mode (Dastgah). This piece has three video-recorded improvisations attached for performers which I played by Santoor. Incorporating a video-recorded improvisation into this piece is inspired by my experience learning the Santoor. Also, it reflects how many other cultures pass down knowledge orally, without written notation. I think transcribing these traditions into Western notation can lose some precision. My intention is not for performers to copy my oral tradition exactly, as that's not feasible. Rather, I want them to be inspired and create their own version through a dialogue with me. In my composition method, I always encourage performers to get in touch with me for any questions or even have a cup of tea together, in person or online. The collaboration and sharing of thoughts could make a huge difference in cross-cultural composition.
Atefeh Einali (born 1990) - Invisible

Atefeh Einali (born 1990) - Invisible

Jasdeep Singh Degun - Sitar Mark Thomas - Director of Photography Rob Kelledy - Sound recording and Mastering Tim Williams - Editor and Producer Psappha is grateful for the support its ‘Composing for…’ programme receives from: Arts Council England; Britford Bridge Trust; PRS Foundation Talent Development Partner scheme; and the Thistle Trust. Learn more about Psappha - Please support Psappha's work: ---- The structure of my piece is based on combination of Raag and Dastgah (Persian modes). There are some modes (Raak) in Persian music repertoire which come from Indian Raag. However, they are not the only connection between Indian and Persian music and I found similarities in some parts of other Persian modes. Those parts are not called exactly Raag but they have the same intervals in their structure. So, the reason to call my piece invisible is that I used invisible connections of Indian and Persian music to juxtapose these two genres. The modes in my piece are changed frequently. I have made an atmosphere to not to hear one of those modes dominantly. As an example, I started with Janpouri Raag, but I added Dashti Avaz in Shoor Dastgah and then the piece went to Shivranjani Raag, but none of those modes are used in traditional form. Therefore, I have composed a piece which does not sound completely Indian or Iranian and discovered possibilities of making new atmosphere by using my interpretation of these three modes. Learn more about Atefeh:
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