Saman Samadi (born 1984) is a Persian-American composer, performer, musicologist with a significant body of work spanning nearly twenty years. He earned his PhD from the University of Cambridge.
Biography
Saman Samadi's compositional repertoire includes orchestral, chamber, solo, and electroacoustic pieces, which have gained international exposure through performances across various regions, including the Middle East, the Far East, Europe, and the United States. His research is centered on contemporary Western art music and Persian classical music, with a particular emphasis on advancing novel compositional approaches and musical experimentalism. Committed to fostering interdisciplinary connections, he integrates creative practices with scholarly pursuits in cultural studies, ethnomusicology, theory, and philosophy.
Samadi's compositional approach is characterized by a melding of complexity and expressive depth. His musical creations draw inspiration from notable figures like Brian Ferneyhough, Michael Finnissy, James Dillon, and Chris Dench, showcasing a multifaceted landscape that blends complexity with poetic elements. Samadi's compositions incorporate influences from Persian Classical music, poetry, language, visual arts, and postmodern philosophy. Employing innovative notational methods and a flexible interpretive approach, his compositions effectively capture the complexities of linguistic discourse. By incorporating microtonal modes derived from Persian classical music, he establishes a fresh pitch space that infuses his pieces with detailed layers of heterophonic texture, polyrhythms, and polymeters, conveyed through a refined system of notation.
Samadi's inventive integration of Persian calligraphic letterforms further enriches his compositions, functioning both as a visual concept and a structural foundation. This innovative approach informs the sonic texture, instrumentation, and temporal aspects of his works. By applying Persian calligraphy in Augenmusik scores, Samadi establishes a mutually beneficial connection between music and calligraphy, creating a multi-dimensional experience that surpasses conventional boundaries and echoes with philosophical and poetic qualities, thus enhancing his artistic expression.
Samadi's artistic pursuits reflect a multidisciplinary approach, bridging diverse artistic disciplines while expanding the horizons of both Persian classical music and contemporary Western art music. As a music scholar, his research interests span a wide spectrum of interdisciplinary areas, including ethnomusicology, composition, poststructuralism, semiotics, music and identity, linguistics, aesthetics of modernism and postmodernism, conceptual history, continental philosophy, Deleuze and Guattari, complexity, music notation, experimental music, and contemporary performance.
Saman Samadi's intellectual journey commenced at NODET, a renowned institution for mathematical prodigies in Iran, where he obtained a degree in Mathematics and Physics. He continued his studies in Philosophy and Critical Thinking at the University of Queensland, and Artistic Research at the Orpheus Institute and Leuven University. He earned a Bachelor of Arts in Music Performance and a Master of Arts in Composition from the University of Tehran, studying under the tutelage of composer Alireza Mashayekhi. Samadi directed the Concentus Orchestra from 2006 to 2009, an ensemble composed of musicians from the Tehran Music Conservatory and the University of Tehran. He received recognition by winning the first prize at the 2012 Counterpoint-Italy International Composition Competition. In 2014, his work was selected for premiere at the New York City Electroacoustic Music Festival.
From 2013 to 2020, Samadi actively participated in New York City's vibrant experimental music scene. In 2018, he founded the Saman Samadi Quintet, bringing together accomplished alumni from the Manhattan School of Music. He also led two other ensembles based in New York City: the Apām Napāt Trio and the Aži Trio. In recognition of his contributions to the performing arts, particularly as an experimental music improviser, the New York Foundation for the Arts (NYFA) awarded him an Artist Diploma in 2015. Samadi has served as a faculty member at the Music School of New York City and the Piano School of NYC, contributing to music education in these positions. Samadi has served as the Editorial Officer for the Wolfson Research Event at Cambridge and actively participates in reviews for reputable journals, including the Journal for Artistic Research.
Samadi conducted his doctoral research from 2020 to 2023 at the University of Cambridge under the supervision of Richard Causton and Peter McMurray. His academic achievements were recognized and supported through his appointment as a Grantham Scholar and concurrent role as President of the Wolfson College Music Society. Samadi established and leads the Cambridge University Experimental Music Ensemble. Currently, Samadi serves as an academic supervisor at the Faculty of Music at Cambridge.
List of works
- Shattering in Seven Pieces for Dream and Wedding and Death, for string quartet — 2022
- Avec Boulez, Mallarmé, et Foucault, for ensemble — 2022
- Through a Veil, for wind quintet and fixed media — 2021
- Thus Spoke Earth, for violin and piano and fixed media — 2021
- Vāyuvēra, for Piano Trio — 2021
- Ānam Ārezust, for Ensemble — 2020
- Aša, for Flute — 2020
- The Gāthās for Piano — 2018–2019
- Ahunavaiti Gāthā no.1, stanza I
- Ahunavaiti Gāthā no.1, stanza II
- Ahunavaiti Gāthā no.1, stanza III
- Mira, for Violin and Electronics — 2015–2019
- Scheherazade, Saxophone Quartet No.2 — 2017
- Nostalgia, An electroacoustic album including five pieces – Samadis’ Records Released: November 7, 2016
- Ghorbat
- Berceuses
- Vāyu
- Retroception
- Hura
- Chamrosh, Works for Saxophone – Samadis’ Records Released: April 1, 2016
- Chamrosh, for Tenor Saxophone
- I-V-complex No.1, for Alto Saxophone and Piano
- I-V-complex No.2, for Saxophone Quartet
- Before Your Very Eyes, for Saxophone and Piano
- Apām Napāt, An electroacoustic album including sixteen pieces – piano, reeds, buchla – Samadis’ Records Released: February 27, 2016
- Ap
- Asha
- Daeva
- Yima
- Ariyāramna
- Vivanhant
- Haoma
- Verethragna
- Yasna
- Apām Napāt
- Anahita
- Hauruuatāt
- Ahura
- Manu
- Zahhak
- Mithra
- Shekasteh Mouyeh, An electroacoustic album including nine pieces, Samadis’ Records Released: February 23, 2015
- Frenzied
- Shattered Mourning
- Injustice
- Desolation
- Ramkali
- Zenith
- Dissident
- Dashtestani
- Satori
- U-Turn, An electroacoustic album including five pieces, Samadis’ Records Released: March 14, 2015
- Safhe-ye Nakhl (Palm Plate), for Dozaleh, Piano, Tape and Live Electronics (2014)
- Amiri, for Electronics (2012)
- Ghatar-e Arvah (Ghosts' Train), for Electronics (2010)
- Magnapinna in Abdomen of a Newborn, for Electronics and video (2012)
- U-Turn, for Electronics and video (2011)
- Microtonal Piano Solos, An album including eleven pieces as a set, Samadis’ Records Released: January 7, 2015
- Oracle
- Solitude
- Sisyphus
- Annica
- Perception
- Madman
- Satire
- Existence
- Deprivation
- Magnetic
- Subjectivity
- Teryan, for Violin and Piano — 2014
- Persia 1909, for Chamber Ensemble — 2014
- Panj, for Orchestra — 2013
- Gulhannai, for Piano — 2013
- Tears' Scratch, for Violin duo — 2012
- La Nausée, for Piano — 2012
- Sound and Fury, for Chamber Orchestra — 2012
- Paj, for Flute and Piano — 2011
- Bazzad, for Violin and Symphony Orchestra — 2011
- Symphony in Three Movements, for Large Orchestra — 2009
- Impromptu, for Piano — 2008
- Wine, for Piano — 2008
- Eastern Rhapsody, for Piano — 2008
- Sonatina, for Piano — 2008
- Fog & Fugue, for Guitar — 2007
- Camisado, for Chamber Orchestra — 2007
- Is This the World We Created...?, for Alto, Baritone, Choir, and Orchestra — 2007 Duet for Horn and Piano, for Horn and Piano — 2007
- Nausea, for Orchestra — 2007
- A Piece for Violin and Orchestra — 2007
- Two Nights, for Oboe, Horn, Violin, Cello, and Piano — 2007
- Sheyda, for String Orchestra — 2006
References
Open Researcher and Contributor ID
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