BEHZAD RANJBARAN
BEHZAD RANJBARAN
In 2008, Behzad Ranjbaran received a commission for a Double Concerto for Violin and Viola, to be premiered during the 2009-10 season. The Concerto is the result of a special award from ASCAP to conductor JoAnn Falletta to commission a composer of her choice.
Ranjbaran’s music has been performed by artists such as Renée Fleming, Joshua Bell, and Yo-Yo Ma. In June, 2008, Jean-Yves Thibaudet premiered his Piano Concerto, commissioned by the Atlanta Symphony and conducted by Robert Spano. Songs of Eternity was written for Renée Fleming, who gave the premiere with the Seattle Symphony under the direction of Gerard Schwarz; and Joshua Bell was the soloist in the premiere performances of the Violin Concerto with the Royal Liverpool Philharmonic Orchestra, also conducted by Schwarz. International Sejong Soloists commissioned Awakening for premiere at the Great Mountains Music Festival in Korea as a celebration of peace. Recordings include the Persian Trilogy on the Delos label by the London Symphony Orchestra, conducted by JoAnn Falletta. This orchestral cycle, comprising the works Seven Passages, Seemorgh, and The Blood of Seyavash, takes its inspiration from ancient Persian legends, as recounted in the 11th century epic poem “Shahname” (The Book of Kings). Ms. Falletta has also conducted Elegy for Cello and Orchestra with soloist Yo-Yo Ma and the Buffalo Philharmonic, reviewed in the Buffalo press as “ethereal…fragile, almost like a mirage.”
In the summer of 2005, Mr. Ranjbaran was composer-in-residence for the 40th anniversary of the Saratoga Music Festival, during which the orchestral overture Saratoga was premiered by Charles Dutoit and the Philadelphia Orchestra; the orchestra also gave a performance of the Violin Concerto with soloist Chantal Juillet. In addition, the festival saw the premiere of Piano Quintet and performances of many of Mr. Ranjbaran’s chamber works.
Mr. Ranjbaran’s music has been described variously as having “qualities of inherent beauty and strong musical structure that make it a satisfying musical entity” (Nashville Scene) and “radiant luminescence” (The Washington Post). Accolades continue for Songs of Eternity, described in the Fort Worth Star-Telegram as “…enchanting … the piece wielded a peculiar, timeless magic…”; and the Liverpool Echo commented that the Violin Concerto is “high class, cohesive” and “when the concerto…just sings out a fine melodic line, the effect is ravishing.” In describing the “Persian Trilogy” CD, American Record Guide said that “Ranjbaran has composed a noble and brilliantly conceived score, spectacularly orchestrated and filled with memorable tunes, meticulous development, and impressive craftsmanship.”
Born in Tehran, Iran, Mr. Ranjbaran is the recipient of the Rudolf Nissim Award for his Violin Concerto. His musical education started early when he entered the Tehran Music Conservatory at the age of nine. He came to the United States in 1974, where he attended Indiana University and received his doctorate from The Juilliard School, where he currently serves on the faculty. Named a “Distinguished Artist” by the New Jersey Council on the Arts, Mr. Ranjbaran’s honors also include a National Endowment for the Arts grant, a grant from Meet the Composer (composer/choreographer project), and a Charles Ives Award from the American Academy of Arts and Letters.
For more information, please visit www.behzadranjbaran.com/
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Ballade for Unaccompanied Contrabass (1999) -- 5'
Published: #114-41014
• Reviews
Caprice No. 1 for Solo Violin (1995) -- 5'
Published: #114-40904
• Reviews
Dance of Life for Violin and Contrabass (1994) -- 8'
Published: #114-40980
• Recordings
• Reviews
Elegy for Cello and Piano -- 7'
Published: #114-41056
Fountains of Fin (2008) -- 12'
Fl. Vln. Vcl.
Commission Information: Commissioned by Bargemusic
Premiere Information: 5th, 7th, 9th March, 2008. Julie Scolnik/Flute, Mark Peskanov/Violin, Adrian Daurov/Cello, Bargemusic, Fulton Ferry Landing, Brooklyn, NY.
Additional Information: Published: #114-41344
• Reviews
Isfahan (2006) -- 12'
Cl. 2Vln. Vla. Vcl. Cb. Hp.
Commission Information: Commissioned by the Philadelphia Chamber Ensemble for their 30th Anniversary.
Premiere Information: March 23rd, 25th, 2007. Philadelphia Chamber Ensemble, Old Pine Street Church, Philadelphia, Pennsylvania.
Additional Information: Published: #114-41322
Moto Perpetuo for Flute and Piano -- 5'
Published: #114-41155
Moto Perpetuo for Violin and Piano (1998) -- 5'
Published: #114-41086
Nocturne for Piano (2002) -- 8'
Published: #110-40753
Piano Quintet (2005) -- 17'
Pno. 2Vln. Vla. Vcl.
Premiere Information: 14th August, 2005. Chantal Juillet/Vln., members Philadelphia Orchestra, Saratoga Chamber Music Festival, NY.
Additional Information: Published: #114-41296
Movements:
• I. Allegro vivace
• II. Largo cantabile
• III. Allegro moderato
Shiraz (2006) -- 16'
Vln. Vcl. Pno.
Commission Information: Commissioned by Bargemusic.
Premiere Information: August 31st, September 1st, 2nd, 3rd, 2006. Mark Peskanov/Violin, Edward Arron/Cello, Olga Vinokur/Piano; Bargemusic, Fulton Ferry Landing, New York, New York.
Additional Information: Published: #114-41321
Movements:
• I. Weeping Willow
• II. The Rokni River
Six Caprices for Violin Duo -- 15'
Published: #114-40905
• Reviews
Available Separately:Set of parts (#114-40902P)
Full Score - Large (#114-40902S)
Songs of Eternity for Soprano and Orchestra -- 17'
Solo Soprano; 2 2(E.H.) 2 2 - 2 2 1 1; Timp. Perc. Hp. Str.
Available from the Presser Rental Library
Commission Information: Renée Fleming, soprano, Seattle Symphony, Gerard Schwarz, conductor; September 2002
Additional Information: Text by Omar Khayam
• Reviews
Available Separately:Full Score - Large (#416-41275)
The Open Secret for Chorus and Chamber Orchestra (1999) -- 13'
SATB Chorus; Fl., Ob., Cl., Perc., Hp., Vln., Vla., Vcl.
Available from the Presser Rental Library
Premiere Information: New Amsterdam Singers, Clara Longstreth, conductor; Merkin Concert Hall, New York, NY; June 8, 1999
Additional Information: Poems by Rumi. English translation by Coleman Barks.
• Reviews
Three Songs for Soprano and Piano
Not yet released (in prep)
We Are One text by Sa’di (13th century Persian poet) (2008)
SATB a cappella
Premiere Information: 15th November 2008. Ithaca College Choir, conducted by Lawrence Doebler; Ithaca College, Ithaca, NY.
Additional Information: sung in Farsi
Awakening for String Orchestra (2005) -- 13'
Available from the Presser Rental Library
Commission Information: Commissioned and premiered by Sejong International Soloists at the Great Mountains Music Festival, August 2005, South Korea
• Reviews
Cello Concerto (1998) -- 27'
Vcl. Solo; 2(Picc.) 2(E.H.) 2 2 - 4 3 3(B.Tbn.) 1; Timp., Perc., Hp., Str.
Available from the Presser Rental Library
Premiere Information: Paul Tobias, cello, Virginia Symphony, JoAnn Falletta, conductor; January 27, 2001
Additional Information: The second movement may be performed separately. See "Elegy for Cello and Orchestra."
The first movement is also available separately, with added text for Narrator. See "Thomas Jefferson."
• Reviews
Concerto for Violin, Viola and Orchestra (2009) -- 20'
2 2 2 2 – 4 2 2 0; Timp. 2Perc. Hp. Str.
Premiere Information: 22nd, 24th October, 2009. Vahn Armstrong, Violin, Beverly Kane Baker, Viola; Virginia Symphony, conducted by JoAnn Falletta, Norfolk, VA.
• Reviews
Elegy for Cello and Orchestra -- 8'
Vcl. Solo; 2(Picc.) 2 2 2 - 4 3 3(B.Tbn.) 1; Timp., 2Perc., Hp., Str.
Available from the Presser Rental Library
Premiere Information: Paul Tobias, cello, Virginia Symphony, JoAnn Falletta, conductor; September 11, 1998
Additional Information: Second movement of "Cello Concerto."
• Reviews
Elegy for Clarinet and Strings -- 7'
Available from the Presser Rental Library
Moto Perpetuo for Solo Violin and Strings (2001) -- 5'
Available from the Presser Rental Library
Piano Concerto (25') -- 2008
Solo Piano; 3(Picc.) 3(E.H.) 3(B.Cl.) 2 – 4 3 3(B.Tbn.) 1; Timp. 4Perc. Cel. Hp. Str.
Available from the Presser Rental Library
Premiere Information: 5th, 7th, 8th June, 2008. Jean-Yves Thibaudet, Piano, Atlanta Symphony Orchestra, conducted by Robert Spano, Atlanta, Georgia.
Movements:
• I. Adagio tragicamente; Allegro vivace
• II. “Distant Dreams”: Lento
• III. Allegro giocoso
• Reviews
Saratoga for Orchestra (2005) -- 6'
3 3 3 3 - 4 4 3 1; Timp. 4Perc. Hp. Str.
Available from the Presser Rental Library
Commission Information: Commissioned for the 40th anniversary of the SPAC.
Premiere Information: Philadelphia Orchestra, conducted by Charles Dutoit, August 10, 2005
• Reviews
Seemorgh (1991) -- 20'
3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) - 4 3 2 1; Timp., 3Perc., Cel., Hp., Str.
Available from the Presser Rental Library
Additional Information: part of Persian Trilogy for Orchestra
• Recordings
• Reviews
Seven Passages (2000) -- 15'
3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) - 4 3 3(B.Tbn.) 1; Timp., Perc., Cel., Hp., Str.
Available from the Presser Rental Library
Premiere Information: Long Beach Symphony Orchestra, JoAnn Falletta, conductor; Long Beach, CA; March 25, 2000
Additional Information: part of Persian Trilogy for Orchestra
• Recordings
• Reviews
Symphony No. 1 (1992) -- 20'
3(Picc.) 3(E.H.) 2 4 - 4 2 2(B.Tbn.) 0; Timp., Perc., Cel., Hp., Str.
Available from the Presser Rental Library
• Reviews
The Blood Of Seyavash (1994) -- 40'
3(Picc.) 3(E.H.) 2 2 - 4 3 3(B.Tbn.) 1; Timp., Perc., Cel., Hp., Str.
Available from the Presser Rental Library
Additional Information: part of Persian Trilogy for Orchestra or Ballet
• Recordings
• Reviews
Thomas Jefferson for Narrator, Solo Cello and Orchestra (1998) -- 16'
Narrator; Vcl. Solo; 2(Picc.) 2 2 2 - 4 3 3(B.Tbn.) 1; Timp., 2Perc., Hp., Str.
Available from the Presser Rental Library
Commission Information: New Heritage Music
Premiere Information: Virginia Symphony, Martin Goldsmith, narrator, Paul Tobias, cello, JoAnn Falletta, conductor; Charlottesville, VA; September 11, 1998
Additional Information: First movement of Cello Concerto, with added narration.
Violin Concerto (1994) -- 26'
Vln. Solo; 2(d.Picc.) 2(d.E.H.) 2 2 - 4 2 2 0; Timp. 2Perc. Cel. Hp. Str.
Available from the Presser Rental Library
Premiere Information: Joshua Bell, violin, Royal Liverpool Philharmonic, Gerard Schwarz, conductor; January 9, 2003
• Reviews
Available Separately:Piano Reduction (#114-40903)
Sonata for Cello, Op. 65 (Chopin) -- 20'
Published: #114-41057
Additional Information: Transcribed for Violin and Piano.
• Recordings
Movements:
• Etude in C-Sharp minor, Op. 10, No. 4
• Nocturne in B-Flat minor, Op. 9, No. 1
• Waltz in A minor, KK, Ivb, No. 11
• Recordings
"… music’s magical realist."-Peter Dobrin, Philadelphia Inquirer"His Persian Trilogy is a set of three tone poems based on legends from the pre-Islamic Shahnameh (Book of Kings). It is the Persian Kalevala, so to speak, and Ranjbaran has come up with three masterly contributions worthy of Sibelius."-Allen Gimbel, American Record Guide"Ranjbaran's music is more classical and romantic in its approach, choosing not to forgo melodies and harmonies for the sake of being groundbreaking. And what melodies! Ranjbaran has managed to create music that is at once an amalgamation of romantic poetry, which is the essence of Iranian culture with the epic sweep of its spirit, and all of that in the framework of western classical music, which in the end only serves to make the piece more coherent and beautiful. The perfect mixture of the old and the new, the east and the west."-Shahriar Zayyani, Shahrvand (Toronto)
"The Tehran-born Juilliard composer might be thought of as music’s magical realist. In this work – as well as in his Persian Trilogy” – a passage can be going along at midlevel dissonance when, as if a light suddenly refracted, the orchestration turns lustrous and the harmonies seductive."-Peter Dobrin, Philadelphia Inquirer"…high class, cohesive, eminently listenable-to music. … Eastern exoticism, encased within a Western classical format …when the concerto… just sings out a fine melodic line, the effect is ravishing."-Joe Riley, Liverpool ECHO"… a varied tapestry of interesting sounds, colors, rich harmonies [and] integrated melodies…"-Geraldine Freedman, The Sunday Gazette (Albany)
"Mr. Ranjbaran’s attractive Rumi settings were… philosophical. The poems are brief but eloquent, and Mr. Ranjbaran’s music had the effect of both magnifying their sense of mystery and clarifying their meaning. Particularly striking was the final movement, Dance of Light, in which a subtle exoticism and sense of antiquity shone through a Western harmonic frame."-Allan Kozinn, New York Times
"Ranjbaran's mastery of orchestration is apparent in the delicious, delicate opening sonorities and in the full-throated declamations that follow as the hero conquers demon after demon… there is no denying the exciting thrust and sense of conquest that this music radiates."-Herman Trotter, The Buffalo News"All seven passages are telescoped into a colorful overture."-Allen Gimbel, American Record Guide"Saluting unsung heroes in Seven Passages debut. Are heroes born or made? The latter, says composer Behzad Ranjbaran in his new Seven Passages… The heroic theme emerges in the course of the music. It doesn’t arrive fully formed, although it is adumbrated and appears in fragments as the work progresses from a fairy-tale gossamer beginning to its full-scale triumphant conclusion."-Chris Pasles, Los Angeles Times"…brilliantly and colorfully orchestrated…engaging…"-Susan L. Peña, Reading Eagle"Ranjbaran… created in Seven Passages a clear and ringing argument for the continued survival and growth of symphonic form. He clearly recognizes the power of the orchestra… and uses its power to create rich, languid colors and pulses of striking emotional energy. Ranjbaran plays the colors of the orchestra with an unconscious mastery: here the entire gathering of forces on stage are at his command, and he uses that power with grace and ease. The audience joined in at the end of the work with a standing ovation for the young composer."-John Farrell, Press-Telegram"…roils and seethes and then drops stars from the heavens to drift, sparkling, to the earth.
The composer demonstrated that the dense structure of agitation, aggression, magic and humor that he offers up can be parsed to that three-note structure, which, in various contexts, can be heroic, mysterious or comic, as it were, establishing conventions for abstract thought."-Anthony Bannon, The Chautauquan Daily
"…certainly worth a second hearing… there was much to praise in the score, with its sense of restless motion, its attractive writing for winds, and an almost Wagnerian use of the orchestra."-Melinda Bargreen, Seattle Times"This beautiful 16-minute work harks back to Mahler in the sumptuousness and subtle nuance of its orchestration and in its tonal footprint, but there is nothing derivative about it. Its colors and drama fit without mirroring the words from the ‘Rubaiyat of Omar Kahayyam’… Particularly noteworthy were exquisite melismas (expressive passages sung on one syllable) Ranjbaran wrote on words such as ‘sorrow’…"-Philippa Kiraly, Seattle Post-Intelligencer"…luxurious…
…mesmerizing…
…simply outstanding…"-Chris Shull, Dallas Morning News
 | Elegy for Cello and Orchestra |
"The ethereal Elegy [was] fragile, almost like a mirage... It was an admirable follow-up to the Elgar [Cello Concerto]."-Mary Kunz Goldman, Buffalo News
"…rousing and enjoyable…"-Judith White, The Saratogian
"Ranjbaran has created a sophisticated work.
It was a treat to hear this world premiere, and it would be a treat to heart it again and better explore its many complexities."-John Shulson, Virginia Gazette"…rhythmic precision and dissonant tunings…But the piece is not just about modern musical stress. There are also long passages of beautiful, tonal, melodic writing. There is quite a good balance between the various elements."-Lee Teply, Virginian-Pilot
"Ranjbaran would be a worthy successor [to Bartok]….Each of the three movements crackles with distinct character. The intense drama in each builds not just on volume and activity, but also on well-conceived harmonies that create and release tension…. I could feel its coherence and its substance."-Tom Strini, Milwaukee Journal Sentinel"Each of the three movements crackles with distinct character. The intense drama in each builds not just on volume and activity, but also on well-conceived harmonies that create and release tension. Like Bartok, Ranjbaran grasps the old Greek concept of catharsis to its core and achieves it in emotionally ambitious music."-Tom Strini, Milwaukee Journal Sentinel
"…layered textures of ravishing string sonorities. This intense work is an important addition to the chamber orchestra repertoire. "-Lawrence Budmen, South Florida Sun-Sentinel
"His love for the violin is evident throughout this skillfully written 20-minute piece. He writes with lyric beauty throughout the work."-James Hennerty, Albany Times Union"[The work] showed organized, recognisable melodic and rhythmic themes, pulse, musical emotion and wit."-Judith White, The Saratogian
"Rarely have I seen a composer successfully capture the essence of the bass, as did Behzad Ranjbaran in Dance of Life."-Rick Vizachero, Bass World"Opening with an excellent new piece, Dance of Life by Iranian émigré Behzad Ranjbaran…"-Simon Woolf, Double Bassist"…a striking work that seems able to accommodate the various timbral possibilities of the bass without any feeling of awkwardness."-Joanne Talbot, The Strad
| Ballade for Unaccompanied Contrabass |
"Ballade is a five-minute work of moderate difficulty, and makes a wonderful addition to recital programming, both for the advanced student, as well as the professional."-Michael McGuirk, International Society of Bassists"It’s good music that happens to be written for the bass – which is as it should be – and deserves to be played."-Neil Tarlton, Double Bassist
"…plump with intriguing details…
The nocturnal second movement…[had a]delicate, lovely dialogue between [soloist] Thibaudet and harpist Elisabeth Remy Johnson."-Pierre Ruhe, The Atlanta Journal-Constitution
"You may not have heard of Mr. Ranjbaran, but you really should get to know his music…[he] backs the soprano soloist with a large ensemble so skillfully employed that it's fair to call him a master of the orchestra. The instrumental music reinforces the generally pensive air created by the melodic line…[an] impressive work…"-Olin Chism, Dallas Morning News"…enchanting…the evening's musical heart…Ranjbaran's lush musical vocabulary and colorful orchestration recall Mahler and Strauss, but the exotic touches such as the melismatic vocal writing are unmistakably original. Seventeen minutes long, the piece wielded a peculiar, timeless magic, and seemed just a fraction of the duration."-Matthew Erikson, Fort WorthStar-Telegram
"The Blood of Seyavash is one of the most breathtaking modern story ballets to come along in a long time."-Lisa A. DuBois, Nashville Banner"The Blood of Seyavash has the qualities of inherent beauty and strong musical structure that make it a satisfying musical entity. It is a rich experience as a ballet, but it is no doubt destined to be equally pleasing as a concert piece alone."-Henry Arnold, Nashville Scene"Ranjbaran has composed a noble and brilliantly conceived score, spectacularly orchestrated and filled with memorable tunes, meticulous development, and impressive craftsmanship."-Allen Gimbel, American Record Guide"Ranjbaran has composed a noble and brilliantly conceived score, spectacularly orchestrated and filled with memorable tunes, meticulous development, and impressive craftsmanship."-Allen Gimbel, American Record Guide
"Attractive themes, well-marshalled and developed…a deserving companion and successor to his discmate Barber's [cello concerto]."-http://www.recordsinternational.com/RICatalogApr04.html"Ranjbaran’s music is solidly constructed in a very traditional style, with a strong emotional impact. ...The cello solo often has the vocal character of a recitative. A lively folk-like theme introduced in the first movement is the main idea of the last, and other ideas return as well, helping to tie the whole piece together quite neatly. He (Tobias) shared his commitment to the work with his colleagues, and with the audience, which gave its enthusiastic approval."-Lee Teply, The Virginian Pilot"…totally lovable…a marvelous piece full of good tunes, and effective exchanges between soloist and orchestra. Even the long, rhapsodic opening movement really contrives somehow to cheat the clock, maybe simply because its thematic material is so instantly appealing. It would bring the house down in concert and deserves to be widely known."-David Hurwitz, Classics Today.com"This work has a reflective but articulate soul giving itself up in song. There is a touching cantorial first movement that also has a euphoric buoyancy…
The lightness of being in the first movement returns for the flighty yet by no means shallow finale. This is music that whoops and dances on its toes with the effervescence of vintage Copland and Moeran. "-Rob Barnett, Musicweb
"The musicians grouped themselves in a wide semicircle for Behzad Ranjbaran’s Elegy for Strings. The players never lost an ounce of Ranjbaran’s radiant luminescence."-Cecelia Porter, The Washington Post
"…The music is unmistakably graphic in its appeal. Dark, threatening, driving, splashy and brilliant… thoroughly accomplished…"-Timothy Mangan, Los Angeles Times"evocative three-movement piece…lush exoticism."-Allen Gimbel, American Record Guide
"Its bold, darkly restive first movement, built on minor seconds, is followed by a tragic second movement of Shostakovich-like angst, and a third movement graced by odd-metered Persian rhythms and a dense clangor… a clenched and questioning work…"-Susan Larson, The Boston Globe
"The magnificence of the horns…the elegance of the piano.
…flowing trills and ambitious runs…"-Kenny Crucial, www.wsws.org"The score has a multicultural underpinning…the flute line…is meant to suggest the Persian version of the ney, a wooden flute used throughout the Middle East. And the music’s decidedly modal accent gives the piece a hint of exoticism without wresting it from the conventions of Western musical’s discourse.
Mr. Ranjbaran uses this hybrid language to paint a complicated picture…[of]…both the entrancing beauty and the brooding, fearsome mysteries of this Iranian garden. It proved a gripping piece."-Allan Kozinn, The New York Times
Page last updated November 9, 2009
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