Yazdani, Arash International Festival of Contemporary Music Warsaw Autumn

go to content

Estonian-based composer and conductor, he has studied notably at the Royal College of Music in Stockholm, High School of Music in Basel, and Estonian Academy of Music and Theatre, earning degrees in piano, double bass, orchestral conducting, and composition. 

A recipient of the Jonathan Harvey Scholarship as of 2020, he is currently a researcher at the University of Huddersfield. Previously, he has been a research residency fellow at the IEM / Institute for Electronic Music and Acoustics in Graz. 

He is artistic director of Sound Plasma, a festival for alternative intonation music in Berlin and Tallinn. He is also the artistic director and conductor of Tallinn’s Ensemble for New Music Tallinn, and collaborates as curator with several music festivals in Europe. 

His 2018 orchestral piece, NAKBA, was selected to represent Estonia at the International Rostrum of Composers 2019, followed by Hurreh in 2022.

His accolades include an honours diploma at the Sergei Slonimsky composition competition (2015), 1st Prize at the Speech, Text, Silence composition competition of ensemble Lemniscate in Basel (2015), 1st Prize at the Welcoming Maqam composition competition in Berlin (2016). 

He has received commission from ensembles such as Basel’s Phoenix, Berne’s Proton, Graz’s Schallfeld, and many others. His works have featured at numerous festivals including the Summer Courses for New Music in Darmstadt, Mixtur in Barcelona, MATA in New York, AFEKT and Estonian Music Days in Tallinn and Tartu, Music Days in Kyiv, and L’Archipel in Geneva. 

As a conductor, he has made numerous guest appearances throughout Europe, notably in Switzerland. 

Selected works: Dance Macabre for chamber orchestra (2002), Symphonic Movement for electric guitar and orchestra (2002), Two Menuets for violin and orchestra (2002–3), Theme and Variations for flute and piano (2003), Guitar Trio on folk melodies (2005), Two Preludes and Fugues for piano (2005), Le Petit Prince for flute, oboe, clarinet, bassoon, horn and viola (2005–6), Khorramshahrfor orchestra (2006), Concert Opening for orchestra (2007), Four Songs for piano and baritone / soprano (2007), Geometric Figures for piano (2007–8), Clarinet Quartet with string trio (2008), Heterotopies for string orchestra (2008), Music for Strings for twelve strings (2009), Stainfor orchestra (2009; version for violin solo and with orchestra, 2010), Dimension I, Construction on Time for ensemble (2010), Dimension III, Heterodyne Structures for string trio and recorded instruments / 12 strings (2010), Constructive Interference for 12 timpani (2011), Finite Functions of The Infinitive Sets for four clarinets (2011), Dimension II, Destruction for six musicians and recorded instruments / 18 instruments (2012), Acoustical Modellings for 15 musicians (2012), Intermodulation for alto flute, mezzo-soprano, kannel and cello (2012), Recordatio, duo for cello and saxophone (2012–13), Aus tiefer Not... for cello (2013), Convolutional Emergence for violin and percussion (2013), Anamorphism, Hommage à Gustav Mahler for flute, clarinet, violin and cello (2013), Variations on a Theme by R. Beppel for nine performers with individual clicktrack system (2014), Demodulation for flute, oboe, clarinet, violin, alto and cello (2014), Shoe’badeH for three musicians (2015), ... plenty of nothings to add... for cello and viola (2016), Dispersion for qanun and 13 instruments (2016), Stationarity, on temporal motions for two percussion (2016–17), Propagation of Uncertainty for four glissando flutes (2017), Stromateis: emergence for saxophone quartet (2017), Stromateis: Lessness for flute and clarinet (2017), Of that which is for ensemble (2017), Nakba for orchestra (2018), Exponential Decay, or there’s nothing to see here for ensemble and electronics (2019), Instruction Manual of How to Learn Stop Worrying and Love the Bomb in 5 minutes for four Japanese toy instruments (2019), Gā Geriv for four flutes / solo flute and recorded instruments (2019–20), may contain choking hazard for percussion with pedal looper (2020), Hommage à Georg Friedrich Haas for two quartertone-tuned pianos (2020), Contains Strong Emotions and Explicit Sounds for ensemble (2021), Hommage à Alvin Lucier for electric guitar, cello, piano and pedal loopers (2021–22), Hurreh for twelve voices (2022), Vitamin B-52 & freedom fries for five electric guitars (2022).