Saman Samadi

United Kingdom, United States (residence), Iran, United States (citizenship) °1984
research interests: composition, ethnomusicology, experimental music, persian music, poststructural theory, music notation, aesthetic of modernism and postmodernism, performance practice of new music, music and identity, conceptual history, continental philosophy, deleuze, complexity, linguistics, semiotics
affiliation: University of Cambridge
en

Saman Samadi is a Persian-American composer, performer, music scholar, and current doctoral researcher at the University of Cambridge. Over nearly two decades, his prolific repertoire of orchestral, chamber, solo and electroacoustic music has been performed internationally — in the mid & far East, Europe, and on both coasts of the United States. His music was inspired early by those composers who are known under the rubric New Complexity; however, in 2010, he commenced to develop his unique compositional approach, one which entails a new pitch space, utilising modes derived from Persian classical music, heterophonic textures, complex polyrhythms & polymeters; 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 studied Philosophy & Critical Thinking at the University of Queensland, and Artistic Research at Orpheus Institute & Leuven University. He earned his BA in Music Performance & MA in Composition from the University of Tehran where he studied with Alireza Mashayekhi. From 2006 to 2009, Samadi was the director of the Concentus Orchestra, a mix of musicians from the Tehran Music Conservatory and the University of Tehran. He is a first-prize winner of the 2012 Counterpoint-Italy International Composition Competition. His work was selected for a premiere at the 2014 New York City Electroacoustic Music Festival. For the past half-decade, Samadi has been an active performer in New York City's Downtown Scene of experimental music and free improvisation. In 2018, he invited various alumni from the Manhattan School of Music to form the Saman Samadi Quintet. He is also the leader of two NYC-based ensembles, Āpām Napāt Trio, and Aži Trio. In 2015, Samadi was awarded an Artist Diploma from the New York Foundation for the Arts (NYFA). He is a former faculty member of the Music School of New York City, the Piano School of NYC, and the Editorial Officer of the Wolfson Research Event 2021. Samadi is the founder & director of the Cambridge University Experimental Music Ensemble. Samadi is a Grantham Scholar and the President of the Wolfson College Music Society at the University of Cambridge.

www.samansamadi.net

research

research expositions

  • Shekasteh Mouyeh (last edited: 2019) author(s): Saman Samadi This exposition is in progress and its share status is: visible to all.
    Radif – or, the traditional repertoire of Persian classical music, consisting of more than 200 short melodic motions (gusheh), which are arranged into seven principal modes (dastgāh) with five secondary branches of these modes (āvāz) – is the oldest documented version of Dastgah music, developed by Mirza Abdollah in the 19th century. This exposition represents the confrontation of these microtonal modes with and within electroacoustic music material and techniques, and the problematisation of the results along with objects of video-art and visual effects, creating a set of compositions that would exhibit novelty; furthermore, the assemblage of them for and through a live performance utilizing improvisational methods as an attempt to expand timbral possibilities in a contextual relationship with Western contemporary classical music. The aim of this artistic research is producing a syncretistic multimedia work of art that could serve in assimilating two perspectives of Eastern and Western into a new coalescence towards the grail of a universal totality of classical forms.
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  • The Gāthās for Piano (last edited: 2021) author(s): Saman Samadi This exposition is in progress and its share status is: visible to all.
    This exposition represents a series of piano compositions of which the rhythmic structure is derived and developed from the language of Zarathustra's homonymous book of poems (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. These pieces were formed by applying the poem's meter which is historically related to the Vedic tristubh-jagati family of meters. This project, in content, was inspired by the poems expounding on the divine essences of truth (Asha), the good-mind (Vohu Manah), and the spirit of righteousness.
     open exposition comments (0)
  • Nostalgia (2019) author(s): Saman Samadi published in: Research Catalogue
    This exposition represents a collection of Saman Samadi's multimedia compositions, incorporating electroacoustic music and video art, evolved from various nostalgic states of the author. This project was presented at "Lethal #7" from the "Last Saturdays Salon" concert series of new music, hosted by Concrete Timbre, in Manhattan, New York, on the 19th of November, 2016. An album consisting of the audio recordings of these compositions has been published on digital music platforms on the 7th of December 2018.
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  • Chamrosh (2019) author(s): Saman Samadi published in: Research Catalogue
    This exposition represents a collection of Saman Samadi's solo and chamber works for saxophone. The first four pieces were composed since the year 2015 during which the author explored various techniques to score timely structured improvisational compositions. That same year, these works were premiered by saxophonist Anthony Izzo, pianist Saman Samadi, and LX Saxophone Quartet in Brooklyn's Shapeshifter Lab as well as W10 Performing Arts Center. On the contrary, "Scheherazade", Saxophone Quartet No.2, composed in the Spring of 2017 and dedicated to Clémentine Scheherazade Samadi, was written through a precisely detailed fixed-notated score. 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. On the 17th of July, 2017, the recording of this performance, and on the 7th of December 2018, an album consisting of the audio recordings of the compositions from 2015 have been published on digital music platforms.
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  • U-Turn (2019) author(s): Saman Samadi published in: Research Catalogue
    This exposition represents a collection of Saman Samadi's electroacoustic works composed between 2010 and 2014.
     open exposition comments (0)
  • Microtonal Piano Solos (2019) author(s): Saman Samadi published in: Research Catalogue
    This exposition represents a collection of Saman Samadi's piano pieces for which he used an innovative microtonal pitch organization derived from Persian classical music. An album consisting of the recordings of these eleven pieces, performed by the composer, was published on digital music platforms on the 7th of January, 2015.
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  • The Saman Samadi Quintet (last edited: 2021) author(s): Saman Samadi This exposition is in progress and its share status is: visible to all.
    This is a representation of the projects of The Saman Samadi Quintet in the years 2018 and 2019. The Saman Samadi Quintet: Amber Evans, soprano, Caitlin Cawley, percussion, Martin Movagh, trumpet, Sam Zagnit, double bass, and Saman Samadi, piano. It was 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 Zagnit 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.
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  • Impromptus for Piano and Electronics (last edited: 2021) author(s): Saman Samadi This exposition is in progress and its share status is: visible to all.
    This exposition represents a collection of Saman Samadi's impromptus for piano and electronics, which are short pieces of structured improvisations on the piano, of which manipulated by electronic music techniques were used as parts of the accompaniment layers. The video recordings of the piano improvisations were problematized along with the assemblage of the sounds, edited and remoulded, by special effects, to accompany the music in the guise of video art.
     open exposition comments (0)
  • Apām Napāt Trio (last edited: 2020) author(s): Saman Samadi This exposition is in progress and its share status is: visible to all.
    Apām Napāt (آپام نپات) is a trio by Persian pianist, violinist, and vocalist Saman Samadi, clarinetist and saxophonist Blaise Siwula, and Buchla-player Hans Tammen. The ensemble presents improvisational compositions 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 an album called "Apām Napāt" consisting of the recordings of their first performance, in 2016.
     open exposition comments (0)
  • AŽI TRIO (last edited: 2020) author(s): Saman Samadi This exposition is in progress and its share status is: visible to all.
    Aži Trio is an NYC-based ensemble founded by composer and pianist Saman Samadi, in collaboration with saxophonist Sarah Manning, and Buchla-player Hans Tammen.
     open exposition comments (0)

Post-Pars Modal Music

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    Aša (11/06/2020)
    Art object: Composition, New York, NY, artist(s)/author(s): Saman Samadi
    This composition is written for solo flute and is dedicated to flutist Dr Mehrdad Gholami.
  • Mira (19/06/2019)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    This piece is composed for violin & electronics and was dedicated to Miranda Cuckson by whom it will have been premiered in 2021.
  • 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 Counterpoint-Italy International Composition Competition, in 2012, and was given a New York premiere by flutist Linda Wetherill, and pianist Kristin Barone, in December of that same year. The collaboration of the composer with the pianist in this project led them to a marriage of which they have now two children, Përajhars and Clémentine. A recording of this composition was published on digital music platforms on the 24th of July, 2017. 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 microtonal modes of Persian classical music. Paj is one of the first pieces for which I have written using the method. While composing Paj, I thought through my life experiences in order to create a sonic journal. Paj has allowed me to be able to introduce myself to a different light. Believing that the completion of this work would be 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. List of Events: '14. Samadi, Saman. Paj: for flute and piano. Performed by Nicole Camacho, and Kristin Samadi. Stony Brook: SUNY Stony Brook, Staller Center, 08/04/2014. '12. Samadi, Saman. Paj: for flute and piano. Performed by Linda Wetherill, and Kristin Barone (Samadi). New Jersey: RCC Rutherford, 16/12/2012. '12. Samadi, Saman. Paj: for flute and piano. Performed by Linda Wetherill, and Kristin Barone (Samadi). New York: Culturefix, 02/12/2012. '12. Samadi, Saman. Paj: for flute and piano. Performed by Kouchyar Shahroudi, and Domitille Bès. Le Havre: L’ ensemble ECHO, Museum of modern art André Malraux (MuMa), 29/06/2012.
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    BAZZAD (14/06/2012)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    Bazzad, for violin and symphony orchestra, was written by Saman Samadi as the creative outcome of his MA thesis under the supervision of internationally acclaimed composer Alireza Mashayekhi. Considering the compositional techniques Samadi used in this piece, Bazzad could be categorized under Non-twelve Integral Serialism. Klangfarbenmelodie is another musical technique that he used in several sections of Bazzad. The title literally means Rebirth, the use of which refers to Metempsychosis, his inspirational source; this term was derived from the context of ancient Greek philosophy and is also associated with Nietzsche. Samadi utilized the contextual definition of the term in creating this composition, particularly, in the process of constructing the form of it. The recording, here, is an excerpt from a reading session of Bazzad by violinist Jaram Kim, and Stony Brook Symphony Orchestra under the baton of Timothy Long, on the 6th of May, 2014. Instrumentation: 3.3.3.3 - 4.2.2.1 - 3perc: (1) tom-t (BTAS)/ tam-t(lg)/ BD/ (2) t-bells/ susp-cym(md&lg)/ crash-cym(lg)/ marimb/ vib/ gong(lg)/ (3) timp/ woodb(hrd&lg) - strings > 14.12.10.8.6.
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    Scheherazade (01/06/2017)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    "Scheherazade", Samadi's second saxophone quartet, was dedicated to his daughter Clémentine Scheherazade Samadi. This piece was commissioned by LX Saxophone Quartet and was premiered by them 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
    Saman Samadi's Teryan, written for violin and piano in 2014, is titled after a street in Yerevan, Armenia, on which a significant life-event of the composer, that is the source of inspiration for this piece, occurred. In the recording, here, the composer played the violin part himself, and Kristin Samadi, to whom this work was dedicated, performed the piano part.
  • Panj (24/11/2013)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    This miniature composition was written for orchestra, soprano, baritone, in November 2013. The score illustrates the shape of Persian digit five (۵).
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    IVcomplex no.2 (29/06/2015)
    Art object: Composition, Brooklyn, New York, 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.
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    IVcomplex no.1 (30/07/2015)
    Art object: Composition, Queens College, CUNY, NYC, artist(s)/author(s): Saman Samadi
    for saxophone and piano
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    PERSIA 1909 (19/04/2014)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    This composition was scored for four improvising performers: a pianist, two percussionists, and one of any melodic instruments (oboe is suggested). This recording was performed by Laura Smith (oboe), Erika Dohi (Piano), Mark Utley (Percussions), and Elizabeth Dorman (inside piano) on the 22nd of April, 2014, at the State University of New York, at Stony Brook.
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    Before Your Very Eyes (28/07/2015)
    Art object: Composition, Queens College, CUNY, NYC, artist(s)/author(s): Saman Samadi
    for saxophone and piano
  • Chamrosh (07/12/2015)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi

The Gathas for Piano

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    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 endeavour 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 honour of his 50th birthday, by whom was premiered at NeoArte Festival, Gdansk, Poland, on Saturday, October 26, 2019. Powell also performed this piece at the Academy of Performing Arts in Prague (HAMU), Prague, on November 15, 2019, and at Queen’s University, Belfast, on March 5, 2020. He will be performing this composition in Setkávání Nové Hudby Plus (Meetings of New Music), at Janáček Academy (JAMU) of Brno, in an online (live-streamed) concert, on December 8, 2020.
  • 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

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    Ghorbat (20/09/2016)
    Art object: Composition, Samadis' Records, New York City, artist(s)/author(s): Saman Samadi
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    Berceuses (07/10/2016)
    Art object: Composition, Samadis' Records, artist(s)/author(s): Saman Samadi
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    Vāyu (01/11/2016)
    Art object: Composition, Samadis' Records, artist(s)/author(s): Saman Samadi
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    Retroception (18/10/2016)
    Art object: Composition, Samadis' Records, artist(s)/author(s): Saman Samadi
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    Hura (28/08/2015)
    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)

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    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
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    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
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    Qatār-e Arvāh (14/10/2010)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    This composition is based on two Gushehs — Qatār, and Ruh-ol-Arvāh — of Bayāt-e Tork musical system, that is one of the branches of the modal system of Persian classical music (Dastgāh).
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    Magnapinna in the Abdomen of a Newborn (24/06/2012)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    This work was selected to be presented at the New York City Electroacoustic Music Festival (NYCEMF) at Abrons Arts Center, New York, on the 2nd of June, 2014.
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    U-Turn (28/01/2011)
    Art object: Composition, Tehran, artist(s)/author(s): Saman Samadi
    Composer, violinist, and video-artist: Saman Samadi. This work is based on a Stream of Consciousness Story, "U-Turn," written by Taha Salmanpour of whose sound recording of narrating the story was also utilized in Samadi's composition.
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    Sonic Spring Concert (11/04/2014)
    Event: Event, The State University of New York, SB, NY, artist(s)/author(s): Saman Samadi

Apam Napat

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    Āp (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Saman Samadi
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    Daeva (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
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    Asha (21/02/2016)
    Art object: Piece, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
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    Yima (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
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    Ariyāramna (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
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    Vivanhant (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
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    Haoma (21/02/2016)
    Art object: Piece, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
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    Verethragna (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
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    Yasna (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
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    Apām Napāt (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
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    Anahita (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
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    Hauruuatāt (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
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    Ahura (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
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    Manu (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
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    Zahhak (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
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    Mithra (21/02/2016)
    Art object: Piece, Manhattan, New York, artist(s)/author(s): Apām Napāt Trio, Saman Samadi
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    Chahargah (07/07/2018)
    Art object: Piece, Scholes Studio, Brooklyn, NYC, artist(s)/author(s): Saman Samadi
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    Homayun (07/07/2018)
    Art object: Piece, 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.
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    Scholes (07/07/2018)
    Art object: Piece, 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.
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    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.
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    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.
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    Apām Napāt and Nuno (28/01/2016)
    Event: Performance, The Firehouse Space, Brooklyn, NYC, artist(s)/author(s): Saman Samadi

Saman Samadi Quintet

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    Walking with the Wind (07/11/2018)
    Art object: Piece, Manhattan School of Music, 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.
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    Saman Samadi Quintet at National Sawdust (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.
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    Saman Samadi Quintet in The Village—NYC (18/11/2018)
    Event: Performance, St. John's in the Village, Manhattan, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
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    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.
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    Scream, in Silence (17/11/2018)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
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    Under the Ocean (17/11/2018)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
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    Dancing with Miles (17/11/2018)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
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    Melancholia (17/11/2018)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
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    Grotte de Cristal (17/11/2018)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
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    A Wolf Lying in Wait (17/11/2018)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
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    Suffocation (17/11/2018)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
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    Dream (17/11/2018)
    Art object: Piece, New York, New York, artist(s)/author(s): Saman Samadi Quintet, Saman Samadi
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    Saman Samadi Quintet, and Jorge Nuno (07/01/2019)
    Event: Concert, Brooklyn, New York, artist(s)/author(s): Saman Samadi Quintet, and Jorge Nuno, Saman Samadi
    At this event, the Saman Samadi Quintet collaborated with Portuguese guitarist Jorge Nuno, as a part of the Bushwick Improvised Music Series of NYC that is organized by Stephen Gauci.

Impromptus for Piano and Electronics

Microtonal Piano Solos

Aži Trio

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    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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    Deceptive Assembly (02/02/2020)
    Art object: Composition, New York University, New York, NY, artist(s)/author(s): Saman Samadi

Others

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    Fog and Fugue (06/11/2007)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    This composition was written, in two parts, for guitar, in 2007, and was premiered by Mansoor Habibdoost at the University of Tehran's Avini Hall, in the Spring of 2008. Guitarist Dan Keene gave an American premiere of "Fog and Fugue," at RCC, Rutherford, on the 8th of November, 2013.
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    Sound and Fury (30/12/2007)
    Art object: Composition, artist(s)/author(s): Saman Samadi
    "To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury Signifying nothing." (William Shakespeare. Macbeth, 1603) This work embodies memories and events of the composer's life. By practicing 'free association and scattered thoughts' he was able to tap into the ego, and super-ego, which adds to the depth and the meanings of certain aspects of the piece. The other sections are streamed from his subconscious in which new meanings can be found. Throughout our life, we use many different masks. In this work, every instrument takes the role of a mask and has an important part in influencing the entire unit. Different layers of the music are represented and add up to a whole character. The 'Gestalt' theory states that many molecules are combined to create a complete unit. Gestalt psychologists say: “We have a tendency to complete incomplete experiences.” During the first few moments of "Sound and Fury," Samadi hints at the chaos which foreshadows a storm to come. The instrumental layers do not always harmoniously operate together. Sometimes the instruments are in discord while confronting each other. Within the storm and destruction, among the sound and fury, a cry suddenly occurs; a brief moment, tired and panting, whispering, all contain various aspects of the composer's inner side. This melancholic sound will be heard later again through multiple variations. Once again, confrontation and scattered thoughts are presented. This stream of consciousness is telling us about the composer's experiences: 'I am embodied with many passions; I have listened to jazz and blues; I played my part in society; I’ve traveled the highly populated and congested streets of Tehran; I have seen many revolutionaries and protests on the streets, in uprisings towards the government; I have felt the chaos of the modern society...' At the end of the piece, we can hear a demon-sound laughing at the entire situation. He chose the title of the piece from a passage in Shakespeare’s Macbeth which was written during the transition from Renaissance to Modernity. In 20th-century’s modern literature, Faulkner mentioned these words at the beginning of his novel “Sound and Fury”; “Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.” The composer continues the path of this modern movement, and also stands at the front of the line, avant-garde, and schizophrenic; full of sound and fury. After listening to the piece, you can get a general impression of the composer’s inspirations, and his thought process. We can witness the confession of his life, interspersed with thought, philosophy, psychology, and avant-garde art. (Notes from author and music-critic Taha Salmanpour, Tehran, 2013.)
  • An Analytical Study on Pierre Boulez’s Le Marteau sans maître (2020) author(s): Saman Samadi published in: Research Catalogue
    Since its 1955 premiere, Le Marteau sans maitre, by Pierre Boulez, has consistently been regarded as one of the more important modernist compositions of the post-war era. Certainly, it ranks among the best-known works of Pierre Boulez and our purpose is to see if we can uncover some of its structures. This composition, based on a text by René Char, was written for alto voice, flute, viola, guitar, vibraphone, and percussion. Before Le Marteau, Boulez had created some other serial works: Structures I for two pianos, Polyphonie X for eighteen instruments, and another tour-de-force, known as the Second Piano Sonata which gained him an international reputation back in 1950. Although many have attempted to analyze Le Marteau's serial organization, Lev Koblyakov has been considered successful in analyzing it. Boulez’s multiple serial compositional techniques have been greatly illuminated through Koblyakov’s work; taking this as my touchstone, I will herein discuss a few of the compositional strategies utilized by Boulez.
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