Djahan Tuserkani
Registered as:
Instrument: piano

Tuserkani Djahan

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 "Slowenen, Partisanen, Hochverräter." - music for the documentary 2006 16m
2 Stein der Weisen - Oper 2003 ~ 1h
3 Yankee(istan) - Kulturlose Zerstörung 2003
4 Der Untergeher 2002
5 Trilogie "Kritische Ästhetik" 2001 ~ 17m
6 Lieder der Revolte VI - Composition in progress - Musikalische Kommentare der politischen Ereignisse in ständiger Fortsetzung 2000
7 F-Phonie - Musiktheater 1999 ~ 18m
8 Aegritudo II für Markus O. - Musiktheater Neubearbeitung 1999 19m 43s
9 Klanggesetz - Musiktheater 1999 - 2000 9m 36s
10 Orientalisch-feministische Kammersymphonie - Musiktheater 1998 ~ 12m
11 Solutio - Musiktheater 1996
12 Ihr Lumpen 1996 ~ 6m
13 Fasciophonie II 1995 - 2000 ~ 16m
14 Hure Welt - Taschenoper 1995 - 1997
15 Pornophonie II 1995
16 Meine Generation 1995 ~ 12m
17 Hommage für "RHR" 1995 - 1996
18 Tragiphonie - Fragen nach Tschernobyl - Musiktheater 1993 19m 36s
19 Trilogie Fasciophonie I 1993 - 1994 ~ 20m
20 Im Namen der Liebe 1993 ~ 6m
21 Lieder der Revolte V - Composition in progress - Musikalische Kommentare der politischen Ereignisse in ständiger Fortsetzung 1990 - 2000
22 Exercitatio - Mitternachtsspiel - Elegie für Strassenkinder 1989 ~ 5m
23 Resistance 1988 ~ 14m
24 Gott I - Musiktheater 1986
25 Homo Instrumentalis II 1985 ~ 8m
26 Bolivianisches Tagebuch 1982 49m
27 Lux et Calligo 1981 ~ 45m
28 Lieder der Revolte IV - Composition in progress - Musikalische Kommentare der politischen Ereignisse in ständiger Fortsetzung 1980 - 1990
29 La guerre 1980 ~ 6m
30 Homo Instrumentalis I - Musiktheater, Sekundennotation 1979 - 1980 ~ 12m
31 Nostalgie der Gefangenen II 1979 16m
32 Musik für Nicht-Musiker 1978
33 Nostalgie des Gefangenen I 1977 11m
34 Spiel und Bewegung 1975 1h 5m
35 Vocis Imago für ein paar leere Schuhe 1973 ~ 6m
36 Anklage 1967 - 1968 ~ 7m
37 Exercitatio - Nachmittagsspiel 1965 ~ 10m
38 Drei Miniaturen - Musiktheater 1964 3m
39 Aegritudo 1961 ~ 48m
40 Lieder der Revolte II - Composition in progress - Musikalische Kommentare der politischen Ereignisse in ständiger Fortsetzung 1960 - 1970
41 Nomade 1958
42 Lieder der Revolte I - Composition in progress - Musikalischer Kommentar der politischen Weltereignisse in ständiger Fortsetzung 1956 - 1960
43 Apokalyptischer Choral

General Information

Year of Birth:  1936
Date of Birth:  10. July 1936
Place of Birth:  Teheran
Country of Birth: 

Born in 1936 in Teheran, Djahan Tuserkani studied piano, accompaniment and harmonics. In 1959, he worked as a freelancer for radio and television, where he was made redundant for political reasons in 1960. He then was arrested and tortured. In 1964, Tuserkani immigrated to Austria and studied at the University of Music in Vienna from 1965-1975. Alfred Uhl (composition), Paul Kont (media composition) and Dieter Kaufmann (electro-acoustic music) were amongst his teachers. Since 1975 he has been working as freelance composer and from 1980 on as instrument teacher at a Viennese grammar school.

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation

first piano lessons at the age of nine

harmonics studies at the conservatory during his time at school

accompaniment studies at the conservatory during his time at school

studies at the conservatory during his time at school

1965 - 1975

electro acoustics

1965 - 1975

composition

1965 - 1975

composition

1965 - 1975

media composition

Activities

PeriodActivityOrganisationLocation
1959 - 1961

freelance producer of music programmes for young people for radio and television

1961

Arrested for political reasons, employment ban after release

freelance composer

instrument teacher at a Viennese grammar school

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation

in Asia, Europe, Africa and South America

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

Awards

PeriodAwardCompositionAwarding Organisation
1981

1st prize

1997

Nominierung für die Weltmusiktage in Seoul

1998

Prof. Ivan Spassov Foundation Bulgaria: 2nd prize

1999

Selection of the Austrian jury for the World Music Days in Romania

2000

in cooperation with the University of Music and the Performing Arts Vienna, 1st prize

2003

nominated for the World Music Days in Lubljana

Description of Style

Historically speaking, music has always been one of many weapons, serving the interests of the powerful. Consequently, in our times, music serves the so-called free market. Using critical aesthetics, it is imperative to compose music in a way it is understood as a means against the interests of regimes. The clash between thirds, which are separated by differentiated metres, produces friction and contradiction. I define this sound complex as "Thirdism" in reference to all those "Isms", such as Barbarism, Imperialism, Impressionalism and Bruitism.

Djahan Tuserkani, 2004

Press Reviews

18. March 2002

 

Djahan Tuserkani's piece "Fasciophonie II" for choir and piano, whispered by the audience surrounding Webernkammerchor, also deserved more listeners. It built a kind of vocal cathedral around the audience, made of textures, glissandi and ascending, sequence-like blocks. Immediate. Aura-like. Without turning into some kind of sound-like candyfloss.

 

Der Standard

3. March 2001

 

The composer Djahan Tuserkani, who was born in Teheran and immigrated to Europe for political reasons, is the winner of this contest. His musical setting of the minority article under the name "Klanggesetz" loosens in a differentiated, modern music delaying instrumentation the patina off a paper which, half a century ago, should have contributed to an implicitness of an open, minority considering society. Texts about minority rights during the monarchy, as well as regulations under the Nazi regime give this paper a historic, dimensional depth reaching into our time.

 

Salzburger Nachrichten (Mario Jandrokovic)

13. March 1997

 

Tuserkani's compositions devote themselves to resist injustice and prosecution, regimes and oppression. Tuserkani is also one of the most dedicated composers in Austria. It stands to reason that his political commitment urged him to look for new space in his music, a fact not always making him friends.

 

Radio Österreich 1 (Christoph Becher)

25. October 1981

 

Effective sound results and visual components turned "Homo Instrumentalis" into a natural crowd-pleaser.

 

Wiener Zeitung (Reinhard Krischbaum)

20. October 1981

 

Because: "Each kind of music has its own character determined by time and situation in which it is composed. I can't write a "Cantata of Love" today just to make it sound nice." Therefore, Tuserkani's music is also an instrument to express the pain of the oppressed, adding a dimension which exceeds mere sound aesthetics by far.

 

Kleine Zeitung Graz (Bernd Schmidt)