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Creator of the event and Santoor improvisation: Atefeh Einali. This event was created as part of Nonclassical composition scheme in November 2022. Visual artist and film: Nikta Mohammadi Event videography: Johan Reitan Venue: Soup in Manchester

Bed. Often messy, unmade, and sometimes impossible to leave – but also a symbol of sanctuary, a place for dreaming and vulnerability. I recreates my bedroom on stage through “Indefinite dreams: I am alive!”. This piece was commissioned by Nonclassical in partnership with Southbank Sinfonia through Nonclassical's Associate Composer Scheme 2021/22. Nonclassical’s Associate Composer Scheme was made possible with the following partners: CoMA, Southbank Sinfonia, Arts Council England, Hinrichsen Foundation, Margaret Engering Music Trust, PRS for Music Foundation, Samuel Gardner Memorial Trust and Youth Music. Nonclassical is a PRS Foundation Talent Development Partner supported by PPL and in association with Youth Music UK. - PRS Talent Development Network Samuel Gardner Memorial Trust Margaret Engering Music Trust

Komponistin: Atefeh Einali Dirigentin: Bar Avni More infos: http://bridgesmusikverbindet.de/en/bridges-kammerorchester/ Socials: https://bridgesmusikverbindet.de https://www.youtube.com/c/BridgesMusikverbindet https://www.instagram.com/bridges_musikverbindet/ https://www.facebook.com/bridgesmusikverbindet

Download & Stream: https://kud.li/nonclss053 Subscribe: https://sb.kud.li/UCINoa11Qz7RHQbZFQmpHvkA Official stream from nonclassical. Distributed by Kudos Records. More music playlists: https://pl.kud.li/UCINoa11Qz7RHQbZFQmpHvkA #nonclassical #Classical #Electronic Album: Outside the Lines, Vol. 5 [ALBUM] Track: 1 of 5 Title: Dard (دَرد) Artist: Atefeh Einali (feat. Késia Decoté) Label: nonclassical Cat#: NONCLSS053 Formats: Digital Digital Release: 28th July 2022 About This Release: Outside the Lines is Nonclassical's annual compilation dedicated to showcasing emergent composers. This fifth edition brings together work by four Nonclassical Associate Composers for 2021–22 (Atefeh Einali, Elischa Kaminer, Emily Abdy and Simon Knighton) alongside a piece from red panel, runners up in Nonclassical's Battle of the Bands 2022. The compilation is a sonically diverse collection of electronic soundscapes and acoustic recordings united by each artist's curiosity for sound. Each of the five tracks captures a distinct sound world created with diverse practices, including extended piano techniques, improvisation, electronic manipulation, spoken word and splicing informed by Artificial Intelligence selection.

A new work by Atefeh Einali created in collaboration with flautist Haojie Ma and harpist Ruth Lee for The Arc Project: Digital Ensembles Edition. Programme note: Edit by Shahab Hosseinpour and Music production by Hossein Neshat Website: www.arcprojectmusic.com Email: thearcprojectmusic@gmail.com Facebook: https://www.facebook.com/thearcprojectmusic Twitter: @arcprojectmusic Instagram: @arcprojectmusic

Performed by CoMA Manchester at the 2022 CoMA Festival. This work was commissioned in partnership with Nonclassical's Associate Composer Scheme. This piece is available as part of the CoMA catalogue and can be purchased here: http://www.coma.org/catalogue/departure/ Filmed by Chris Adams.

This piece is available as part of the CoMA catalogue and can be purchased here: http://www.coma.org/catalogue/departure/

International Guitar Foundation commissioned "Three Dots". Katalin Koltai performed it in the Le Leona series at King Place in London in July 2021.

Speak (In FArsi is Harf Bezan) is for a left hand in Piano, a scissors and spoken words. The main melodic theme is based on the “Sozo Godaz” Gushe in Isfehan Avaz (one of the Persian modes). It was performed by Anoush Moazzeni in 2020.

Composer: Atefeh Einali Violin: Saba Yousefi Studio: Revolution Studio Sound engineer: Pouya Hamidi About the piece: Based on Segah Dastgah. Iranian traditional musoc consists of a collection of “Dastgah” which has remained to this day through the renditions of various musicians and players. Each Dastgah includes modes which are placed one after another in a specific order. The concern and curiosity to find chords in the arena of Iranian music has been always with me. This piece has a novel musical atmosphere by utilizing new intervals from Dastgah Segah. The reason for selecting the Dastgah Segah is that it, compared to other Dastgahs, has the most “Mojanab intervals” (135-145 cent). Moreover, Atefeh has tried to make harmonic atmosphere with this intervals that repeat as (A) section throughout the entire piece. • #virtualperformance #emruzfestival #ifca #himehculturalhouse #womensday #yyzmusicscene #musician #womencomposers #womenperformers #musicians

A new work by Atefeh Einali created in collaboration with singer Sofia Swenson-Wright for The Arc Project: Digital Edition. Website: www.arcprojectmusic.com Email: thearcprojectmusic@gmail.com Facebook: https://www.facebook.com/thearcprojectmusic Twitter: @arcprojectmusic Instagram: @arcprojectmusic

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 - http://www.psappha.com Please support Psappha's work: http://www.psappha.com/support-us/ ---- 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: https://www.atefeheinali.com/

A new work by James McIlwrath created in collaboration with santoor player Atefeh Einali for The Arc Project: Digital Edition. Website: www.arcprojectmusic.com Email: thearcprojectmusic@gmail.com Facebook: https://www.facebook.com/thearcprojectmusic Twitter: @arcprojectmusic Instagram: @arcprojectmusic

Worldpremiere played by Jae-Won Lee on April 29th 2018 in Zutphen, the Netherlands.

Atefeh Einali, Santoor Eliorah Goodman, Flute #avazad_fusion_ensemble

Santoor: Atefeh Einali Saxophone: Emily Kiely In Cosmo Rodewald concert Hall, Martin Harris Building, Manchester, UK