Chamber
Elegy
for Violin and Cello
Year: 2025
Elegy for violin and cello was written as a musical tribute to the innocent Iranian civilians whose lives were taken during the twelve-day war between Israel and Iran in June 2025. It is a contemplation of loss, resilience, and the space of stillness that lives in mourning. Elegy reveals as an intimate conversation between the violin and cello, in lyrical lines and purposeful dissonance, and expresses a range of sorrow with longing for peace. It is written as a personal act of commemoration, as well as a reminder to nourish our humanity during times of violence.
The piece is written in the key area of D Esfahan (with one B half-flat in its key signature), one of the common modes of traditional Persian music. The non-metered, improvisatory-like melodic style of the piece draws inspiration from the performance practices of the Kamancheh—a prominent bowed string instrument in Middle Eastern music, particularly within Persian traditions (see an example). The use of ornamentation, expressive articulations, and varied bowing techniques in this work seeks to capture the subtle timbral nuances and phrasing characteristic of the Kamancheh idiom.
Swan Song
for Cello and Piano
Year: 2025
The piece is inspired by “Swan Song,” a poem by the Persian poet Mehdi Hamidi Shirazi (1914-1986). It offers a haunting meditation on love, mortality, and the myths surrounding the swan’s final song.
They say when the time comes for a swan to die,
it goes where other swans have gone to die.
They say as the last night begins to fall,
it trails behind the setting sun to die.
…
(Translation by Armen Davoudian)
Rooted in an old belief, the swan’s voice is said to break its long silence only twice: once in the moment of love, and once in the face of death. In these rare and fleeting songs, love and farewell become one.
Humā
for String Quartet
Year: 2023
The Humā, a mythical bird in Iranian legends, is renowned for never touching the ground, perpetually stays in the sky. Resembling a phoenix, it burns itself and comes back to life. This magnificent creature, symbolizing compassion and fortune, is believed to bring auspiciousness through its shadow.
This music composition serves as a conceptual representation of this majestic bird and its mysterious characteristics, utilizing the renowned Humāyun modal scale in Iranian music (the term “Humāyun” directly translates to “Humā-like.”)
Fire Dance
for Mixed Chamber Ensemble
Instrumentation: 1 Flute, 1 Clarinet in Bb, 1 Basson, 1 Horn in F, 1 Trumpet in Bb, Cymbals, 1 Triangle, 1 Marimba, 2 Violins, 1 Viola, 1 Violincello.
Year: 2023
“Fire Dance” represents an exploration of Iranian musical elements, notably incorporating the Chahārgāh modal structure in the second theme, as utilizing in Iranian music with quarter tones, but in this piece, it is used in equal temperament tuning system.
A distinguishing feature of this composition lies in its incorporation of diverse rhythms and meters, contributing to a rich and occasionally complex musical tapestry. Derived from traditional Iranian music, the rhythmic cycles employed in the piece consist of two distinct patterns: Hazaj (12/ 8 meter, articulated as 1-2-3-4, 1-2-3, 1-2-3, 1-2) in the first theme and Fākhti (10/4 meter, subdivided as 1-2-3-4, 1-2, 1-2-3-4, 1-2-3-4, 1-2, 1-2-3-4) in the second theme.
In the Hands of Wind
for Woodwind Quartet
Instrumentation: 1 Flute, 1 Oboe, 1 Clarinet in Bb, 1 Bassoon
Year: 2021
In the Hands of Wind was written for woodwind quartet as a new experience of composing in ”modal” structures rather than ”tonal”.
Electroacoustic
Cold Hearth
for Piano and Live Electronics
Year: 2024
Cold Hearth is a musical exploration inspired by the evocative imagery and emotional depth of Nima Youshij’s poem of the same name. Just as the poem depicts a scene of a broken hearth in a desolate jungle, this composition seeks to capture the profound sense of loss and longing for past warmth and joy. Performer is encouraged to approach this piece with sensitivity and nuance, allowing the expressive power of the music to shine through. Dynamics, phrasing, and tempo fluctuations should be carefully executed to convey the depth of emotion inherent in the composition.
wAke UP!
for Cello and Fixed Electronics
Year: 2024
“wAke UP!” invites listeners on a journey through the enigmatic landscape of dreams. Dreams are inherently mysterious, often presenting us with a mix of images and sensations that sometimes defy easy interpretation. In wAke UP!, I aim to capture this essence by weaving together musical motifs that mirror the fluidity and unpredictability of our subconscious wanderings.
Ultimately, this piece is a sonic journey that explores the transformative power of dreams. Whether we find ourselves traversing vast landscapes or navigating the winding paths of our own minds, each dream is a unique and deeply personal journey—an exploration of the infinite possibilities that lie within us all.
Times Three
for Fixed Media, Surround Sound System (5.1)
Year: 2023
In the composition titled “Times Three,” the numeral “3” assumes a pivotal significance. A majority of the sonic motifs, interruptions, and even surprises are linked to this numerical value, coalescing into a ternary structure. A substantial portion of the auditory elements emanates from the thematic exploration of “manuscripting” and the seamless integration of technology, thereby transitioning into the realm of mechanics imbued with the essence of computerized systems.
Orchestral
In Search of Simorgh
for Large Orchestra
Instrumentation: Piccolo, 2 Flutes, 2 Oboes (2. Doubling English Horn in F), 2 Clarinets in Bb, 2 Bassoons, 4 Horns in F, 3 Trumpets in C, 2 Tenor Trombones, Bass Trombone, Tuba, Timpani, Percussion (suspended cymbals, crash cymbals, tam-tam, snare drum, bass drum, triangle, and glockenspiel), Harp, and Strings.
Year: 2024
The story of The Conference of the Birds ( or Journey of Simorgh) by Farid ud-Din Attar is a powerful Persian mystical allegory. It follows a flock of birds on a quest to find their king, the Simorgh, guided by the wise Hoopoe. The journey takes them through seven arduous valleys, each representing a spiritual stage, such as love, detachment, and self-awareness. These valleys challenge the birds, and many give up along the way due to fear, doubt, or attachments. However, the few that persevere experience a profound revelation: the Simorgh is not an external entity but a reflection of their own essence, symbolizing the unity of existence and the discovery of divine truth within themselves.
Assyria
for Medium Orchestra
Instrumentation: 1 Piccolo, 2 Flutes, 1 Oboe, 1 Cor Anglais, 2 Clarinets in Bb, 2 Bassoons, 2 Horns in F, 2 Trumpets in Bb, 1 Trombone, 1 Tuba, Timpani, Cymbals, Triangle, Glockenspiel, Harp, Violin I, Violin II, Viola, Violincello, Double Bass.
Year: 2023
Assyria is inspired by Assyrian folk music, written for large ensemble. The main theme is an impression of one of the Assyrian folk melodies that is originally performed by some Iranian instruments like “Tanbur” and “Sorna” but in this piece, it is mostly performed by woodwinds and brass.
Amirhossein Zeinali 