Djahan Tuserkani
Registered as:
Instrument: piano

Tuserkani Djahan

Compositions

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

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)