Mashayekhi Nader

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 Irdische Offenbarung 2011
2 Neda - Märchenoper 2009
3 pentimento 1998
4 Voice Over 1998
5 Fié Ma Fié 1998
6 eine woche + eine nacht 1998
7 Malakut - Multi-Media-Oper in sechs Szenen 1997 ~ 2h
8 PostScript - Installation für mindestens zehn Flöten 1996 ~ 20m
9 1+eine Nacht 1995 ~ 25m
10 14+eine Nacht - für eine Baßtrommel 1995 ~ 26m
11 blanks 3 - für ein oder mehrere Tasteninstrumente 1994 ~ 25m
12 blanks 4 - für Marimba 1994 25m
13 de umbris idearum - für Ensemble und Videomonitore 1994 20m
14 récit impur - für 4 Instrumente 1994 15m
15 numeri - für Gesang und mehrere Instrumente 1994 25m
16 Klangtürme - Installation (120 Meter lange Partitur) für 20 bis 100 Flöten 1994 20m
17 blanks 1 - für ein oder mehrere Instrumente 1993
18 blanks 2 - für 2 oder mehrere Instrumente 1993
19 übermalungen/1. Stapel 1993
20 aupair - für Flöte und Violoncello 1993 ~ 10m
21 Exposé - für Ensemble mit oder auch ohne Video 1993 10m
22 Secession - für Ensemble 1992 25m
23 makulaturen/erster stapel 1992
24 mise en scène 1992
25 hinter gitter - Konzept für mindestens 6 Bläser 1992 ~ 45m
26 Eine Komposition von - für mindestens 5 Ausführende und einen Zeichner 1992 ~ 15m
27 metallic - Grafisches Material für eine beliebige Anzahl von Ausführenden 1992
28 ... stuck atur enum risse ... 1992 16m
29 Satin doll stretches out 1992 20m
30 scroll view 1992
31 étude cinematique 1 - Video 1992 20m
32 THE END - to "a Confederate General from Bigsur" 1991 15m
33 unterlassung 6 - Sprachimprovisationen 1990 15m
34 Duell - für 2 Flöten 1989 6m
35 fünfhundertzwölftel - für Reza Najfar 1988 8m
36 Wiedergeburt - "Durchblättern" für 6 Streicher 1988 ~ 6m
37 unterlassung 5 - Sprachimprovisationen 1987 12m
38 miusik vor flut - für Flöte solo 1986 ~ 6m
39 tom 2 - für Harfe, Celesta und 3 Schlagzeuger 1986 10m
40 unterlassung 3 - Sprachimprovisationen 1985 18m
41 unterlassung 4 - Sprachimprovisationen 1985 13m
42 tom 1 - für Violine, Viola und Klavier 1984 ~ 6m
43 unterlassung 2 - Sprachimprovisationen 1984 14m
44 Sonne - für großes Orchester 1984 ~ 7m
45 Wie eine Weide - Tape music 1983 14m
46 unterlassung 1 - Sprachimprovisationen 1983 10m
47 studie - für Klavier solo 1983 6m
48 Musik für Streichquartett, Klavier und Harfe 1982 ~ 8m
49 millimeterspiel - Grafik für beliebige Instrumente 1980 8m - 16m

General Information

Year of Birth:  1958
Date of Birth:  29. September 1958
Place of Birth:  Teheran
Country of Birth: 
Nationality: 

Activities

PeriodActivityOrganisationLocation
1988

freelancer

1988

Austrian citizenship

1989

founder of the Ensemble Wien 2001

1991 - 1992

establishment of the department of computerized music notation

2006 - 2007

chief conductor

2007

foundation of the Young Philharmonic Orchestra Tehran

intensive preoccupation with computer und video installations

international lectures about comtemporary music

concerts as a conductor for various ensembles

private composition lessons

cooperation with solo artists such as Aurél Nicolet, Jean Pierre Rampal, Robert Aitken, and various others

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

concert with his chamber ensemble "Tehran Sinfonietta"

Awards

PeriodAwardCompositionAwarding Organisation
1988

promotional award

1990

work scholarship

1997

state scholarship for composition

promotion

scholarship

Description of Style

I do not want to display a catalogue of possible options. I do not even want to give the impression that I constantly have something new to express. I would rather reveal the development that takes place in the course of time, "my time". A transformation of events that hide under the remains of repetition. The choice of notations is due to the fact that I am fascinated by symbolism. I invent the notations by interpretating the given symbols in my own way, not a single movement can be expressed elsewise und can work, look and sound in the same way as this movement.
I was interested in expressing one and the same process into several views and the observation of the evolvement from one to the other. Soon I gave up the idea of illustrating a continuous transformation as a process. I had to realise that I could not remember ever experiencing a transformation in the here and now. I only then experienced a transformation when it was complete, and process was always staged, depending on the nature of my observation. Just as I wake up in the morning and notice that I am old. Then I realise that an "offence" took place, but only as an experience. The transformation has taken place, without me noticing. Therefore I see in my doings no factor more important than the "remembering".

 

Nader Mashayekhi, 1995

Teacher of (Person)