Saman Samadi

United States (residence), Iran (citizenship) °1984
research interests: Composition, Microtonality, Electroacoustic Music, Improvisation, Performance Practice of New Music
en

Saman Samadi is a composer and performer residing in New York City. Over a decade, his prolific repertoire of orchestral, chamber, solo and electro-acoustic music has been performed internationally—in the mid & far East, Europe, and on both coasts of the US. His music was inspired early by those composers who are known under the rubric New Complexity; however, in 2010, he developed his own unique compositional method, one which entails a new system of pitch organization, using microtonal scales derived from traditional Persian modal music, multilayered textures, complex polyrhythms, and polymeter; all traced within a detailed system of musical notation permitting replication. He received his degree in mathematics from NODET, an Iranian educational institution for mathematical prodigies. He then entered the University of Tehran as a BA student in Music Performance, where he earned his Masters’ degree in Composition under professor Alireza Mashayekhi. From 2006-2009, Samadi was the director & conductor of the Concentus Chamber Orchestra, a mix of musicians from the Tehran Conservatory of Music and the University of Tehran. Their repertory incorporated Baroque and contemporary works, including Saman's own compositions. In 2009, he won an award for one of his chamber music compositions at the 24th Fajr International Music Festival. His composition Paj won first prize at the 2012 Counterpoint-Italy International Composition Competition. One of his multimedia works was selected for a premiere at the New York City Electroacoustic Music Festival in June 2014. In 2015, the New York Foundation for the Arts (NYFA) awarded Samadi an Artist Diploma in Multimedia and Performing Arts. In 2013, he was offered a scholarship for a PhD in Composition at the State University of New York where he studied with Daria Semegen. He has been active in New York City’s downtown scene performing there since 2015. Most recently, he formed the Saman Samadi Quintet, an improvisational collaboration with various alumni from the Manhattan School of Music. In 2016, he invited German Buchla player, Hans Tammen, and American clarinetist Blaise Siwula to collaborate in structured, yet free, improvisational performances, which led to the formation of the Āpām Napāt Trio. Samadi is currently on the faculty at the Music School of New York City.


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Post-Pars Modal Music

  • Mira (19/06/2019)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    This piece was composed for violin and electronics, and was dedicated to Miranda Cuckson by whom it will be premiered, in 2020.
  • Tears' Scratch (15/08/2012)
    Art object: Composition, New York, New York, artist(s)/author(s): Saman Samadi
    This composition was written for two violins, in Tehran, Iran, in 2012, and was performed and recorded by Miranda Cuckson and Austin Wulliman, that was produced by Kristin Samadi, in October 2016.
  • Paj (02/09/2011)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    “Paj” won first prize for the 2012 Counterpoint-Italy International Composition Competition. Notes from the composer: As a composer who was always fascinated by western classical music and also knowledgeable in traditional Persian music, I became enthusiastic to acquire an alternate method of pitch organization while using Persian modes that would be acclimated, expressive, and innovative in the context of contemporary classical music. Thus, I formed a method of pitch organization based on the modes of traditional Persian music. Paj is one of the first pieces that I wrote in this style. While composing Paj, I used my life experiences to create a sort of journal. Paj has allowed me to be able to introduce myself in a different light. Being that the completion of this work was an important turning point in my career, I felt that it needed a strong title. The definition of “Paj” is as follows: the culminating point, as of achievement or excellence; Acme, Apogee, Perfection, Peak, Supreme. Notes from pianist: At first I was intimidated by the piece. It looked very challenging technically and also had a few markings that I had not seen before. It is a one-movement piece with a few mood changes and different sections. It is a heavy piece that requires a great deal of concentration and energy. The flute uses extended techniques including quarter tones, airy tones, tongue ram, whistle tones, finger taps, as well as multi-phonics. The piano is written in a more traditional style, however, there are contemporary elements including improvisation boxes, extreme dynamic markings, and complex rhythms. In general, the two instruments are conversing with slight overlapping. There are a few solo moments, however, both players are equally active throughout. There were a few technically challenging sections in Paj. Coordinating both hands was most difficult when one hand was playing written out notes while the other improvised. Regarding improvisation boxes: Samadi wrote a group of notes in which the performer was able to use and is limited to specific rhythmic guidelines. The pianist should mimic the flutist’s rhythmic phrases. They need not be exactly the same, but similar. Another challenge was coordination between the instruments. Since the rhythms are extremely complex, one must make approximations. Of course, our goal is to play as accurate as possible. There were also, a few phrases that were technically difficult due to large leaps, fingering issues, as well as fast virtuosic phrases.
  • BAZZAD (14/06/2012)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    for violin and symphony orchestra
  • Scheherazade (01/06/2017)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    "Scheherazade", Saxophone Quartet No.2, was dedicated to Clémentine Scheherazade Samadi. This piece was commissioned and premiered by LX Saxophone Quartet at Lincoln Center NYC, on the day Scheherazade was born, the 22nd of June, 2017.
  • Teryan (15/02/2014)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    for violin and piano
  • Panj (24/11/2013)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    for orchestra
  • IVcomplex no.2 (29/06/2015)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    Saxophone Quartet No.1 commissioned and premiered by LX Saxophone Quartet at W10 Performing Arts Center, Brooklyn, New York, on the 3rd of July, 2015.
  • IVcomplex no.1 (30/07/2015)
    Art object: Composition, Queens College, CUNY, NYC, artist(s)/author(s): Saman Samadi
    for saxophone and piano
  • PERSIA 1909 (19/04/2014)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    for 4 improvisers: a pianist, two percussionists, and one of any melodic instruments (oboe is suggested)
  • Before Your Very Eyes (28/07/2015)
    Art object: Composition, Queens College, CUNY, NYC, artist(s)/author(s): Saman Samadi
    for saxophone and piano

The Gathas for Piano

  • Ahunavaiti Gāthā no 1 - stanza III (07/08/2019)
    Art object: Composition, Queens, New York, artist(s)/author(s): Saman Samadi
    Based on Zarathustra's homonymous poem, “Ahunavaiti Gāthā no.1, stanza III” is the third piece from a series of piano compositions of which the rhythmic structure is derived and developed from the language of his book (The Gāthās), Gāthic or Old Avestan which belongs to the ancient Iranian language group that is a sub-group of Eastern families of the Indo-European languages. This piece was formed by applying the poem's meter which is historically related to the Vedic tristubh-jagati family of meters. Converting Persian microtonal modes into an innovative well-tempered musical mode, the pitch organization is an endeavor for creating a syncretistic piece that could sublate Eastern and Western perspectives in order to hopefully expand timbral possibilities in the context of a global musical form. This work, in content, was inspired by the poem expounding on the divine essences of truth (Asha), the good-mind (Vohu Manah), and the spirit of righteousness. This composition was dedicated to Jonathan Powell, in honor of his 50th birthday, by whom was premiered at NeoArte Festival, Gdansk, Poland, on Saturday, October 26, 2019.
  • Ahunavaiti Gāthā no.1, stanza II (29/12/2018)
    Art object: Composition, Manhattan, New York, artist(s)/author(s): Saman Samadi
    Based on Zarathustra's homonymous poem, “Ahunavaiti Gāthā no.1, stanza II” is the first piece from a series of piano compositions of which the rhythmic structure is derived and developed from the language of his book (The Gāthās), Gāthic or Old Avestan which belongs to the ancient Iranian language group that is a sub-group of Eastern families of the Indo-European languages. This piece was formed by applying the poem's meter which is historically related to the Vedic tristubh-jagati family of meters. Converting Persian microtonal modes into an innovative well-tempered musical mode, the pitch organization is an endeavor for creating a syncretistic piece that could sublate Eastern and Western perspectives in order to hopefully expand timbral possibilities in the context of a global musical form. This work, in content, was inspired by the poem expounding on the divine essences of truth (Asha), the good-mind (Vohu Manah), and the spirit of righteousness. This composition was dedicated to Jared Redmond by whom was premiered at the San Francisco Center for New Music, San Francisco, CA, on Friday, February 15, 2019.
  • Ahunavaiti Gāthā no.1, stanza I (27/12/2018)
    Art object: Composition, Manhattan, New York, artist(s)/author(s): Saman Samadi
    Based on Zarathustra's homonymous poem, “Ahunavaiti Gāthā no.1, stanza I” is the first piece from a series of piano compositions of which the rhythmic structure is derived and developed from the language of his book (The Gāthās), Gāthic or Old Avestan which belongs to the ancient Iranian language group that is a sub-group of Eastern families of the Indo-European languages. This piece was formed by applying the poem's meter which is historically related to the Vedic tristubh-jagati family of meters. Converting Persian microtonal modes into an innovative well-tempered musical mode, the pitch organization is an endeavor for creating a syncretistic piece that could sublate Eastern and Western perspectives in order to hopefully expand timbral possibilities in the context of a global musical form. This work, in content, was inspired by the poem expounding on the divine essences of truth (Asha), the good-mind (Vohu Manah), and the spirit of righteousness. This composition was dedicated to Jared Redmond by whom was premiered at the San Francisco Center for New Music, San Francisco, CA, on Friday, February 15, 2019.

Shekasteh Mouyeh

Nostalgia

  • Ghorbat (20/11/2016)
    Art object: Composition, Samadis' Records, New York City, artist(s)/author(s): Saman Samadi
  • Berceuses (20/11/2016)
    Art object: Composition, Samadis' Records, artist(s)/author(s): Saman Samadi
  • Vāyu (20/11/2016)
    Art object: Composition, Samadis' Records, artist(s)/author(s): Saman Samadi
  • Retroception (20/11/2016)
    Art object: Composition, Samadis' Records, artist(s)/author(s): Saman Samadi
  • Hura (28/09/2015)
    Art object: Composition, Samadis' Records, artist(s)/author(s): Saman Samadi
    This electroacoustic piece was composed based on a few short recordings of Hura sang by Awalaziz Haydari in memory of whom this work was made. Hura is one of the oldest and most primitive vocal forms in the world. It is from the Kurdish regions in western Iran. The word Hura dates back 7000 years during the time of Zoroaster and was taken from the word Ahura. At first, this style of singing was used for religious purposes, however, later on, it was used for romantic themed music. Hura was used for important events such as losing a loved one or praying to Ahura Mazda (the Avestan name for the creator and sole God of Zoroastrianism, the old Persian faith predating Islam.) Iranians also sang Hura to appreciate nature or when they were homesick. The book Avesta says that Hura is the voice for "good deeds, good, good thoughts, and good words". This type of singing is common in Shirvan, Ivan, Ilam, and Kermanshah. The video clips, obtained from The Internet Archive (archive.org), were edited and sublated into this video-art by Saman Samadi.

U-Turn: A selection of electroacoustic compositions (2010-2014)

  • Safhe-ye Nakhl (15/11/2014)
    Art object: Composition, New York, New York, artist(s)/author(s): Saman Samadi
    Dozaleh (Persian folk instrument) & Narration: Saman Samadi Piano: Saman Samadi Poem by: Taha Salmanpour
  • Amiri (09/12/2012)
    Art object: Composition, Tehran, artist(s)/author(s): Saman Samadi
    Based on a Maqam of Mazandarani folk music called "Amiri" Vocal: Morad-Ali Akbari Hoolari
  • Qatār-e Arvāh (14/10/2010)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    Based on "Qatār" and "Ruhol-Arvāh", two "gusheh"s from Bayāt-e Tork of Persian musical modal system (Dastgāh).
  • Magnapinna in Abdomen of a Newborn (24/06/2012)
    Art object: Composition, artist(s)/author(s): Saman Samadi
  • U-Turn (28/01/2011)
    Art object: Composition, Tehran, artist(s)/author(s): Saman Samadi
    Composer and Video Artist: Saman Samadi Based on a Stream of Consciousness Story "U-Turn" written by Taha Salmanpour Violin: Saman Samadi Storyteller: Taha Salmanpour
  • Sonic Spring Concert (11/04/2014)
    Event: Event, The State University of New York, SB, NY, artist(s)/author(s): Saman Samadi

Apam Napat

  • Āp (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
  • Daeva (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
  • Asha (21/02/2016)
    Art object: Piece, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
  • Yima (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
  • Ariyāramna (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
  • Vivanhant (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
  • Haoma (21/02/2016)
    Art object: Piece, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
  • Verethragna (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
  • Yasna (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
  • Apām Napāt (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
  • Anahita (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
  • Hauruuatāt (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
  • Ahura (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
  • Manu (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
  • Zahhak (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
  • Mithra (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
  • Homayun (07/07/2018)
    Event: Performance, Scholes Studio, Brooklyn, NYC, artist(s)/author(s): Saman Samadi
    Apām Napāt (آپام نپات) is a trio by Iranian pianist, violinist, and singer Saman Samadi, clarinetist and saxophonist Blaise Siwula, and Buchla-player Hans Tammen. The ensemble presents a set of solos, duos, and trios that draw connections between their musical backgrounds. Using Persian modes and poems as well as a structured and recognizable yet free impulsive interaction between the instruments, they set parallel narratives in motion, occasionally intersecting but always accompanying one another. The trio released their recording Apām Napāt (آپام نپات) in 2016.
  • Apām Napāt Trio at Scholes Studio (07/07/2018)
    Event: Performance, Scholes Studio, Brooklyn, NYC, artist(s)/author(s): Saman Samadi
    Apām Napāt (آپام نپات) is a trio by Iranian pianist, violinist, and singer Saman Samadi, clarinetist and saxophonist Blaise Siwula, and Buchla-player Hans Tammen. The ensemble presents a set of solos, duos, and trios that draw connections between their musical backgrounds. Using Persian modes and poems as well as a structured and recognizable yet free impulsive interaction between the instruments, they set parallel narratives in motion, occasionally intersecting but always accompanying one another. The trio released their recording Apām Napāt (آپام نپات) in 2016.
  • Apām Napāt Trio at the Firehouse Space #1 (10/02/2016)
    Event: Performance, The Firehouse Space, Brooklyn, NYC, artist(s)/author(s): Saman Samadi
    Apām Napāt (آپام نپات) is a trio by Iranian pianist, violinist, and singer Saman Samadi, clarinetist and saxophonist Blaise Siwula, and Buchla-player Hans Tammen. The ensemble presents a set of solos, duos, and trios that draw connections between their musical backgrounds. Using Persian modes and poems as well as a structured and recognizable yet free impulsive interaction between the instruments, they set parallel narratives in motion, occasionally intersecting but always accompanying one another. The trio released their recording Apām Napāt (آپام نپات) in 2016.
  • Apām Napāt Trio at the Firehouse Space #2 (10/02/2016)
    Event: Performance, The Firehouse, Brooklyn, NYC, artist(s)/author(s): Saman Samadi
    Apām Napāt (آپام نپات) is a trio by Iranian pianist, violinist, and singer Saman Samadi, clarinetist and saxophonist Blaise Siwula, and Buchla-player Hans Tammen. The ensemble presents a set of solos, duos, and trios that draw connections between their musical backgrounds. Using Persian modes and poems as well as a structured and recognizable yet free impulsive interaction between the instruments, they set parallel narratives in motion, occasionally intersecting but always accompanying one another. The trio released their recording Apām Napāt (آپام نپات) in 2016.

Saman Samadi Quintet

  • Walking with the Wind (17/11/2018)
    Event: Performance, St John's in The Village, New York, NY, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
    The Saman Samadi Quintet: Amber Evans, soprano; Caitlin Cawley, percussion; Martin Movagh, trumpet; Sam Zagnit, double bass; and Saman Samadi, piano. Founded by composer Saman Samadi, an Iranian national with extensive training in both Persian and Western musical traditions. Established in May 2018 and comprised entirely of New York City musicians, alumni from the Manhattan School of Music — all talented performers of wide scope and experience. Their sound was unique, paving new ground between modern jazz and contemporary classical styles. Their signature sounds evoked the newest avant-garde outliers of advanced 21st century compositional work, and embodied an early 20th century songspiel-like lyricism, channelling the rational integrity of Stockhausen, the polyrhythmic world of Reich, the aberrant sounds of Sciarrino, coupled with the expressive freedom of Don Cherry, all the while making a fait accompli of intricate poeticisms a la Rumi or Hafez. Reflecting upon a variety of past musical conventions, sometimes shifting cultural gears, from East to West — using microtones derived from one of the Persian scalar systems — Samadi, had engineered a bit of his own culture into the gambit of what amounts to an international musical collaboration. Amber Evans, the vocalist is an Australian, and Martin Movagh, on trumpet, was brought up in a mixed mid-eastern household, Caitlin Cawley is half-Celtic, and Sam Zgnit is Eastern European in descent — that made this ensemble, 100% fluent in universal musical communication and totally American! Improvisational acumen was both the achievement and goal of this group; if you let them loose, you might never get the genie back into the bottle.
  • Saman Samadi Quintet (23/10/2018)
    Event: Performance, National Sawdust, Brooklyn, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
    The Saman Samadi Quintet: Amber Evans, soprano; Caitlin Cawley, percussion; Martin Movagh, trumpet; Sam Zagnit, double bass; and Saman Samadi, piano. Founded by composer Saman Samadi, an Iranian national with extensive training in both Persian and Western musical traditions. Established in May 2018 and comprised entirely of New York City musicians, alumni from the Manhattan School of Music — all talented performers of wide scope and experience. Their sound was unique, paving new ground between modern jazz and contemporary classical styles. Their signature sounds evoked the newest avant-garde outliers of advanced 21st century compositional work, and embodied an early 20th century songspiel-like lyricism, channelling the rational integrity of Stockhausen, the polyrhythmic world of Reich, the aberrant sounds of Sciarrino, coupled with the expressive freedom of Don Cherry, all the while making a fait accompli of intricate poeticisms a la Rumi or Hafez. Reflecting upon a variety of past musical conventions, sometimes shifting cultural gears, from East to West — using microtones derived from one of the Persian scalar systems — Samadi, had engineered a bit of his own culture into the gambit of what amounts to an international musical collaboration. Amber Evans, the vocalist is an Australian, and Martin Movagh, on trumpet, was brought up in a mixed mid-eastern household, Caitlin Cawley is half-Celtic, and Sam Zgnit is Eastern European in descent — that made this ensemble, 100% fluent in universal musical communication and totally American! Improvisational acumen was both the achievement and goal of this group; if you let them loose, you might never get the genie back into the bottle.
  • Saman Samadi Quintet at Areté (03/01/2019)
    Event: Performance, Areté Venue and Gallery, Brooklyn, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
    The Saman Samadi Quintet: Amber Evans, soprano; Caitlin Cawley, percussion; Martin Movagh, trumpet; Sam Zagnit, double bass; and Saman Samadi, piano. Founded by composer Saman Samadi, an Iranian national with extensive training in both Persian and Western musical traditions. Established in May 2018 and comprised entirely of New York City musicians, alumni from the Manhattan School of Music — all talented performers of wide scope and experience. Their sound was unique, paving new ground between modern jazz and contemporary classical styles. Their signature sounds evoked the newest avant-garde outliers of advanced 21st century compositional work, and embodied an early 20th century songspiel-like lyricism, channelling the rational integrity of Stockhausen, the polyrhythmic world of Reich, the aberrant sounds of Sciarrino, coupled with the expressive freedom of Don Cherry, all the while making a fait accompli of intricate poeticisms a la Rumi or Hafez. Reflecting upon a variety of past musical conventions, sometimes shifting cultural gears, from East to West — using microtones derived from one of the Persian scalar systems — Samadi, had engineered a bit of his own culture into the gambit of what amounts to an international musical collaboration. Amber Evans, the vocalist is an Australian, and Martin Movagh, on trumpet, was brought up in a mixed mid-eastern household, Caitlin Cawley is half-Celtic, and Sam Zgnit is Eastern European in descent — that made this ensemble, 100% fluent in universal musical communication and totally American! Improvisational acumen was both the achievement and goal of this group; if you let them loose, you might never get the genie back into the bottle.
  • Scream, in Silence (17/11/2018)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
  • Under the Ocean (17/11/2018)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
  • Dancing with Miles (17/11/2018)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
  • Melancholia (17/11/2018)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
  • Grotte de Cristal (17/11/2018)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
  • A Wolf Lying in Wait (17/11/2018)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
  • Suffocation (17/11/2018)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
  • Dream (17/11/2018)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi

Impromptus for Piano and Electronics

Microtonal Piano Solos

Aži Trio

  • Aži Trio (06/12/2019)
    Event: Concert, New York University, NYC, artist(s)/author(s): Aži Trio, Saman Samadi
    Saman Samadi, piano Sarah Manning, saxophone Hans Tammen, buchla


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