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.
184.108.40.206 - 220.127.116.11 - 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 > 18.104.22.168.6.
composition, violin and orchestra, microtonality, serialism, pointillism, metempsychosis