Mashayekhi Nader

Compositions

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

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)