Behzad Ranjbaran

  • Behzad Ranjabaran is known for music which is both evocative and colorful, and also strong in structural integrity and form. He frequently draws inspiration from his cultural roots and Persian heritage in form or subject matter, as exemplified by the tone poems of the “Persian Trilogy”, or the interpretation of sounds and styles in works such as the Violin Concerto and Songs of Eternity.

    Ranjbaran’s music has been performed all over the world, including South Korea, where Awakening (commissioned by Sejong Soloists) premiered at the Great Mountains Music Festival as a celebration of peace. His music has been performed by soloists such as Joshua Bell, Renée Fleming, Jean-Yves Thibaudet, and Yo-Yo Ma, and conductors including Charles Dutoit, Marin Alsop, Robert Spano, Gerard Schwarz, JoAnn Falletta, David Robertson, and many more. He has also served as composer in residence for the Philadelphia Orchestra’s summer season at Saratoga, the Fort Worth Symphony, and the Cabrillo Festival of Contemporary Music.

    Some of his more notable compositions include works for soloist and orchestra. Songs of Eternity, using text from the Rubáiyát of Omar Khayyám, was written for soprano Renée Fleming, and premiered with the Seattle Symphony under the direction of Gerard Schwarz. Joshua Bell was the soloist in the premiere performances of his Violin Concerto with the Royal Liverpool Philharmonic Orchestra, also conducted by Schwarz. Mr. Bell went on to give the North American premiere with the Indianapolis Symphony under Mario Venzago, and gave subsequent performances with Peter Oundjian and the Toronto Symphony. Jean-Yves Thibaudet premiered the Piano Concerto with the Atlanta Symphony, conducted by Robert Spano; Thibaudet and Spano have since also performed it with the Philadelphia Orchestra.

    The texts for two choral works also draw directly on Persian culture, as do some of his many chamber works, including Fountains of Fin, a eulogy for Amir Kabir, the 19th century slain Iranian vezir; Shiraz and Isfahan, celebrating two of Mr. Ranjbaran’s favorite cities in Iran; and Enchanted Garden, inspired by the many beautiful gardens of his native land.

    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 “Shahnameh” (The Book of Kings). In 2008, the Toronto Symphony Orchestra performed a multimedia performance of the complete Persian Trilogy, with traditional storytelling (Naghali) and projections of Persian miniatures. 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” Among his other recordings is an all-Ranjbaran album of string music on Naxos, including Awakening, String Quartet, Elegy, and more.

    Born in 1955 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 to attend Indiana University and received his doctorate in composition from The Juilliard School, where he currently serves on the faculty.

  • Cover Title (Subtitle) Duration Instrumentation
    For Unaccompanied Contrabass
    114-41014 5:00 Contrabass
    Caprice No. 1
    For Solo Violin
    114-40904 5:00 Violin Unaccompanied
    Nocturne (A Night In A Persian Garden)
    For Piano
    110-40753 10:00 Piano Unaccompanied
    Chamber Ensemble
    Concerto for Cello and Orchestra 114-41343 31:00 Cello with Piano
    Concerto For Flute And Orchestra 114-41638 28:00 Flute with Piano
    Concerto For Piano And Orchestra 410-41342 30:00 Piano Duet
    Dance Of Life
    For Violin and Contrabass
    114-40980 8:00 String Duet
    For Bass and Piano
    114-41342 7:00
    For Cello and Piano (Mvt. 2 From Concerto for Cello and Orchestra)
    114-41056 7:00
    Concerto for Violin, Viola, and Orchestra 114-41402 20:00 Violin, Viola, Piano
    for Flute, Viola, and Harp
    114-41872 7:00 Mixed Trio
    For Flute And Harp
    114-41800 7:00 Flute, Harp
    Enchanted Garden 114-41296 17:00 Piano Quintet
    Fountains Of Fin
    For Flute, Violin, and Violoncello
    114-41344 13:00 Chamber Ensemble
    For Clarinet, Harp, 2 Violins, Viola, Cello, and Double Bass
    114-41322 14:00 Chamber Ensemble
    Moto Perpetuo
    For Flute and Piano
    114-41155 5:00
    Moto Perpetuo
    For Violin and Piano
    114-41086 5:00 Violin with Piano
    For Violin, Cello and Piano
    114-41321 Piano Trio
    Six Caprices
    For Violin Duo
    114-40905 15:00 Violin Duet
    String Quartet 114-40902 22:00 String Quartet
    for String Orchestra
    16961 13:00 Str.
    The Blood of Seyavash 14494 43:00 3(Picc.) 3(E.H.) 2 2 – 4 3 3(B.Tbn.) 1; Timp. Perc. Cel. Hp. Str.
    for Strings
    14496 7:00 Str.
    for Orchestra
    23508 25:00 3(Picc.) 3(E.H.) 2 2 – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Cel. Hp. Str.
    Mithra 17425 16:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(C.Bsn.) – 4 3 3(B.Tbn.) 1; Timp. 3 Perc. Cel. Hp. Str.
    Symphony No. 1 14498 20:00 3(Picc.) 3(E.H.) 2 4 – 4 2 2(B.Tbn.) 0; Timp. Perc. Cel. Hp. Str.
    for Orchestra
    16960 7:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 4 3(B.Tbn.) 1; Timp. 5Perc. Xyl. Mar.(Vib.) Glock.Ho. Str.
    Seemorgh 14497 22:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 2 1; Timp. 3Perc. Cel. Hp. Str.
    Seven Passages 10068 15:00 3(Picc.) 3(E.H.) 3(B.Cl.) 3(Cbsn.) – 4 3 3(B.Tbn.) 1; Timp. Perc. Cel. Hp. Str.
    Orchestra w/ Soloist(s)
    Concerto for Double Bass and Orchestra 23628 25:00 Solo Cb.; 3(Picc.) 3(E.H.) 2 2 – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Cel. Hp. Str.
    Concerto for English Horn and String Orchestra 23513 00:16:00 Solo E.H.; Str.
    Concerto for Flute and Orchestra 21762 28:00 Solo Fl.; 3(Picc.) 2 2 2 – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Cel. Hp. Str.
    Concerto for Piano and Orchestra 17312 30:00 Solo Piano; 3(Picc.) 3(E.H.) 3(B.Cl.) 2 – 4 3 3(B.Tbn.) 1; Timp. 4Perc. Cel. Hp. Str.
    Concerto for Viola and Orchestra 21766 25:00 Solo Vla.; 2(2nd dbl. Picc.) 2 2 2 – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Cel. Hp. Str.
    Concerto for Violin and Orchestra 10030 31:00 Solo Vin.; 2(dbl. Picc.) 2(dbl. E.H.) 2 2 – 4 2 2 0; Timp. 2Perc. Cel. Hp. Str.
    Concerto for Violin, Viola and Orchestra 22158 26:00 Vln., Vla. Soli; 2(2nd dbl. Picc.) 2 2 2 – 4 2 1 1; Timp. 2Perc. Hp. Str.
    Concerto for Violoncello and Orchestra 14495 31:00 Solo Vcl.; 2(Picc.) 2(E.H.) 2 2 – 4 3 3(B.Tbn.) 1; Timp. Perc. Hp. Str.
    for Cello and Strings
    10153 7:00 Solo Vcl.; Str.
    for Clarinet and Strings
    10154 7:00 Cl., Str.
    Moto Perpetuo
    for Solo Violin and Strings
    10126 5:00 Solo Vln., Str.
    Thomas Jefferson 14499 16:00 Solo Vcl., Narrator; 2(Picc.) 2 2 2 – 4 3 3(B.Tbn.) 1; Timp. 2Perc. Hp. Str.
    Vocal / Choral
    Open Secret
    for Chorus and Chamber Orchestra
    10060 13:00 SATB Chorus; Fl. Ob. Cl. Perc. Hp. Vn. Vla. Vcl.
    Songs of Eternity
    for Soprano and Orchestra
    10146 17:00 Solo Sop.; 2 2(E.H.) 2 2 – 2 2 1 1; Timp. Perc. Hp. Str.
    Songs Of Eternity
    For Soprano and Orchestra
    411-41112 17:00 Voice and Piano
    Three Persian Songs
    For Voice and Piano
    111-40239 8:00 Voice with Piano
    We Are One
    for Chorus and Orchestra
    23627 22:00 SATB Chorus; 3(Picc.) 2 2 2 – 4 3 3(B.Tbn.) 1; Timp. 3Perc. Hp. Str.
    We Are One 312-41854 5:00 SATB
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  • 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)

    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

    …music’s magical realist.
    –Peter Dobrin, Philadelphia Inquirer

    for String Orchestra
    …layered textures of ravishing string sonorities. This intense work is an important addition to the chamber orchestra repertoire.
    –Lawrence Budmen, South Florida Sun-Sentinel

    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

    …here is a contemporary work of interest that seduces at first.
    –Eric Sabourin, Les Artsze

    …gripped me most with its quietly troubled air.
    –Peter Dobrin, Philadelphia Inquirer

    …a daring, original and intensely musical work. The piece left no emotion or instrumental timbre unexplored, and I suspect it will occupy a prominent place in the repertoire of the modern flute concerto.
    –John Pitcher, Nashville Scene

    Each movement starts with an upward glissando, like pulling back a curtain on an inner world that’s explored in Persian-inflected solo flute soliloquies with a strong sense of subtext, reaching great emotional candor near the end of the slow movement in an eventful, satisfying musical journey. In less inward moments, the flute played a songful role that was engagingly hijacked by some mad flourishes taking the instrument to many extremes. …[Ranjbaran] fashioned a rich orchestration that constantly shifts in color and gesture.
    –David Patrick Stearns, Philadelphia Inquirer

    …has a florid, sensuous feel … [Ranjbaran] finds something truly his own, a fully assimilated Persian-inflected music that was quite lovely and quite unlike anything else I know. … Flutists looking for a good contemporary concerto along with that of Nielsen would be well-advised to take a look at the Ranjbaran…
    –Greg Stepanich, Palm Beach Arts

    …big-boned … bold, slashing rhetoric…
    –Joshua Kosman, San Francisco Chronicle

    The music knew exactly what it was about, with melody and harmony drawn from, but not shackled to, Persian roots. Proportions felt instinctively right.
    –David Patrick Stearns, Philadelphia Inquirer

    Like Rachmaninoff in 2011: Composer Behzad Ranjbaran’s “Piano Concerto” dazzles at Cabrillo Festival [headline] …extraordinary … thrilling. …florid and percussive, thundering and murmuring, lacey and craggy, epic and meditative, and often highly melodic.
    –Richard Scheinin, San Jose Mercury News

    …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

    The magnificence of the horns…the elegance of the piano. …flowing trills and ambitious runs…
    –Kenny Crucial,

    …compelling … monumental orchestral rhetoric and introduction of ancient Persian scales and instruments frame a piano contribution comprised of five extended cadenzas. The concerto’s dedicatee, Jean-Yves Thibaudet, contributed his undeniable star power to the festival with a performance notable for its digital wizardry and masterful tonal coloration.
    –Allan Ulrich, Financial Times

    Ranjbaran is a master orchestrator and a canny exploiter of unique tones colors.
    –Terry McNeill, Classical Sonoma

    …fiery flights and technically fierce passages … subtle orchestral undercurrents … original and arresting…
    –Paul Hertelendy,

    …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)

    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

    …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 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

    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

    Attractive themes, well-marshalled and developed…a deserving companion and successor to his discmate Barber’s [cello concerto].

    …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

    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

    for Violin and Contrabass
    Rarely have I seen a composer successfully capture the essence of the bass, as did Behzad Ranjbaran in “Dance of Life.”
    –Rick Vizacher, Bass World

    …a pleasant and often lyrical exploration of the possibilities of combining two instruments of such divergent pitch ranges.
    –Olin Chism, Star-Telegram

    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

    for Cello and Strings
    …sweet, lyrical and yearning…
    –Punch Shaw, Star-Telegram

    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

    for Strings
    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

    for Flute, Violin, and Violoncello
    …music that falls easily on the ear while keeping your mind engaged. It also covered a lot of emotional and thematic ground in its dozen minutes, running the gamut from pensive to playful.
    –Punch Shaw, Star-Telegram

    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

    …a fetching composition… Mr. Ranjbaran has a consummate command of orchestration and instrumental color.
    –Terry McNeill, Classical Sonoma

    …rousing and enjoyable…
    –Judith White, The Saratogian

    …a solid, very well orchestrated piece with lots of substance and character that is very enjoyable for the listener and visibly fun to play for the orchestra. Musician’s music.
    –Niels Swinkels, San Francisco Classical Voice

    …The music is unmistakably graphic in its appeal. Dark, threatening, driving, splashy and brilliant… thoroughly accomplished…
    –Timothy Mangan, Los Angeles Times

    …sinuous melodic lines nestled in lush harmonies…extroverted and action packed, building to an epic scale.
    –Ronni Reich, The Star-Ledger (New Jersey)

    …evocative three-movement piece … lush exoticism.
    –Allen Gimbel, American Record Guide

    Terrific stuff, likely to prompt further investigation of his music. It could become a distinctive calling card of this fine young [Qatar Philharmonic].
    –Mark Pullinger,

    …brilliantly and colorfully orchestrated … engaging…
    –Susan L. Peña, Reading Eagle

    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

    …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

    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

    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

    …intensely colorful and imaginative throughout…
    –Gary Panetta, Peoria Journal Star

    for Violin Duo
    [The work] showed organized, recognisable melodic and rhythmic themes, pulse, musical emotion and wit.
    –Judith White, The Saratogian

    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

    for Soprano and Orchestra
    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

    …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

    …luxurious … mesmerizing … simply outstanding…
    –Chris Shull, 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 wie
    –Matthew Erikson, Fort WorthStar-Telegram

    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

    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

    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 Blood of Seyavash” is one of the most breathtaking modern story ballets to come along in a long time.
    –Lisa A. DuBois, Nashville Banner

    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

    “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

    for Chorus and Chamber Orchestra
    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

    for Chorus and Orchestra
    Ranjbaran’s work, which had packed so much local color and variety of expression into its short span, was warmly received by its first (and likely far from last) audience.
    –David Wright, New York Classical Review

    …full of resolute affirmations, simple on paper but awe-inspiring to hear…
    –Logan Martell, Opera Wire

    It was clear from its bold, defiant start that this music would speak more about the determination to reach peace than about peace itself. The music brought to mind the strong declarative phrases and sonorities of the opening of “O Fortuna” from Orff’s Carmina Burana, and there was a similar spirit of dark urgency running through the entire work. …a very moving composition, and this listener, certainly among others, would like to hear it again.
    –Rorianne Schrade, New York Concert Review

  • Take 6 TAKE 6
    Fort Worth Symphony (); June 7, 2012
    Performer(s): Hanan Alattar, soprano, Fort Worth Symphony Symphony Orchestra, conducted by Miguel Harth-Bedoya
    Work(s): Songs of Eternity for Soprano and Orchestra
    Behzad Ranjbaran BEHZAD RANJBARAN
    Naxos (8.570353); June 1, 2010
    Performer(s): Sejong Soloists
    Work(s): Awakening for String Orchestra
    Elegy for Cello and Orchestra
    Elegy for Strings
    Moto Perpetuo for Solo Violin and Strings
    Six Caprices for Violin Duo
    String Quartet No. 1
    Persian Trilogy PERSIAN TRILOGY
    Delos International (DE3336); October 26, 2004
    Performer(s): London Symphony Orchestra, conducted by JoAnn Falletta
    Work(s): Seemorgh
    Seven Passages
    The Blood of Seyavash
    Chopin on Violin CHOPIN ON VIOLIN
    Marquis Records (MAR 235); April 13, 1999
    Performer(s): Catherine Manoukian, violin, Akira Eguchi, piano
    Work(s): Sonata for Cello, Op. 65 (Chopin)
    Three Transcriptions (Chopin)
    Eugene Levinson EUGENE LEVINSON
    Cala Records Ltd. (CACD0507); November 1, 1996
    Performer(s): Eugene Levinson, contrabass
    Work(s): Dance of Life for Violin and Contrabass

  • Rudolf Nissim Award for his Violin Concerto
    Composer in residence for the Philadelphia Orchestra’s summer season at Saratoga
    Composer in residence for the Fort Worth Symphony
    Composer in residence for the Cabrillo Festival of Contemporary Music

  • Awakening
    for String Orchestra
    Concerto for Double Bass and Orchestra
    Concerto for English Horn and String Orchestra
    Concerto for Flute and Orchestra
    Concerto for Piano and Orchestra
    Concerto for Viola and Orchestra
    Concerto for Violin and Orchestra
    Concerto for Violin, Viola and Orchestra
    Concerto for Violoncello and Orchestra
    for Cello and Strings
    Enchanted Garden
    for Piano Quintet
    for Orchestra
    for Orchestra
    Moto Perpetuo
    for Solo Violin and Strings
    Open Secret
    for Chorus and Chamber Orchestra
    Festive Fanfare for Orchestra
    for Orchestra
    Seven Passages
    for Orchestra
    Songs of Eternity
    for Soprano and Orchestra
    The Blood of Seyavash
    for Orchestra
    We Are One
    for Chorus and Orchestra