My Portfolio

Acoustic Compositions

-Morphos for film

Morphos | Nienke Jorissen

 

Morphos gaat over de chemische processen die plaatsvinden in ons lichaam nadat we zijn gestorven.

Fase 1: Het bloed wordt niet meer rondgepompt waardoor het onderste gedeelte van het lichaam steeds zwaarder wordt en het bovenste steeds lichter.

Fase 2: Het lichaam verstijft, vooral armen, benen, kaak, nek en oogleden.

Fase 3: De warmte verdwijnt uit het lichaam. Het lichaam neemt de temperatuur van de omgeving aan en dit is daarmee de eerste fase waarin het lichaam één wordt met onze omgeving.

Fase 4: Doordat de huid rechtop gaat staan lijkt het haar te groeien. Een wonderlijke illusie dus.

Fase 5: De bacteriën, die altijd goede vrienden waren in ons spijsverteringsstelsel, beginnen het lichaam op te eten.

Fase 6: De huid raakt los. De oude “jas” wordt afgeworpen.

Fase 7: De laatste fase; Het lichaam valt uiteen. Atomen vervliegen om weer een tijdje iets anders te zijn.

Regie, camera, montage, kleding en choreografie: Nienke Jorissen

Choreografie en dans: Wies Berkhout

Morske Orgulje for solo organ

Compulsions, Incidents and Memories for string quartet (No.2 )

for Alban Quartet

Preface:
From the depth of depression to the rays of hope at dawn.
This piece was written in one of the most dif$cult periods of my life. Political sanctions,
Covid-19, distance from my family, $nancial problems caused by heavy lockdowns. And last
but not least getting hurt and betrayed by someone whom I absolutely trusted had put me
in a very depressive state. Coupling this with my ADHD* and prior depressed state, led me
to a more chronic state where I felt paralyzed from doing anything. But as this world
revolves around a cycle, and after every fall there is a rise. Specially thanks to my amazing
professor and mentor Caroline Ansink, which her patience and sincere care for her students
carried me back up so I could compose and enjoy my life again.
Of course, every piece composed is an abstract statement of some idea, and in this case, is
a representation of my mind and its ups and downs in the past year. Moreover, with this piece I wanted to create awareness regarding mental care in a fast-paced world where human contact and care are rapidly declining. There is no formula of
how people should be treated, everyone is special in their own way.
Hopefully one day we will realize this.
*Attention-de
cit/hyperactivity disorder (ADHD) is one of the most common mental
disorders affecting children. ADHD also affects many adults. Symptoms of ADHD include
inattention (not being able to keep focus), hyperactivity (excess movement that is not
fiting
to the setting) and impulsivity (hasty acts that occur at the moment without thought).
-American Psychiatric Association

How Infinite My Loneliness Is for vocal ensemble

Based on the poem (Daylight, I, Flower, Water)
by Sohrab Sepehri 1928-1908

Sohrâb Sepehrî (Persian: سپھری سھراب) (October 7, 1928 – April 21, 1980) was a notable
modern Persian poet and painter.
He was born in Kashan in Isfahan province. He is considered to be one of the the most
famous modern Persian (Iranian) poets who have practiced “New Poetry” (a kind of poetry
that often has neither meter nor rhyme).
Sohrab Sepehri was also one of Iran’s foremost modernist painters.
Sepehri died in Pars hospital in Tehran of leukemia. His poetry is full of humanity and
concern for human values. He loved nature and refers to it frequently. The poetry of Sohrab
Sepehri bears a great resemblance to that of E.E. Cummings.
Well-versed in Buddhism, mysticism, and Western traditions, he mingled the Western
concepts with Eastern ones, thereby creating a kind of poetry unsurpassed in the history of
Persian literature. To him, new forms were new means to express his thoughts and feelings.

-ECLIPSE for piano, saxophone, trumpet

-Bridge of 33 (Soundtrack of an Adventure) for orchestra – choir and vocal quartet

-The Other Side of the Story  for alto singer and ensemble

Introduction: The Other Side of the Story is based on “Leili o Majnun’s” tale which is a narrative poem composed by the master Persian poet “Nezāmi Gánjávi 1141-1209”.Although the main poem is from Gánjávi the lyrics chosen for this piece are from “Rumi 1207-1273” the Persian mystic, theologian, and poet.

Rumi incorporated the tale in a poem from his masterpiece book of poetry called Masnavi. Summary of the tale: Qays and Leili fall in love with each other when they are young, but when they grow up Leili’s father doesn’t allow them to be together. Qays becomes obsessed with her, and his tribe Banu ‘Amir and the community gives him the epithet of Majnun (crazy). When he asked for her hand in marriage, her father refused because it would be a scandal for Layla to marry someone considered mentally unbalanced.

Shortly after, Leila was wedded to another noble and rich merchant. When Majnun heard of her marriage, he fled the tribal camp and began wandering the surrounding desert. His family eventually gave up hope for his return and left food for him in the wilderness. He could sometimes be seen reciting poetry to himself or writing in the sand with a stick. Leili moved to a place in Northern Arabia with her husband, where she became ill and heartbroken from not being able to see her would-be lover and she eventually died. Majnun was later found dead in the wilderness near Leila’s grave.

In this work, my aim is to show The Other Side of the Story of “Leili o Majnun’s” tale in which you can witness from Leili’s eyes and feel her wave of emotions andthoughtstowardMajnun.

Movements:

1.Leili A normal day for Leili and she is thinking and fantasizing about Majnun. Then Khalifé enters and asks something sarcastically… (Leili’s theme enters as the Khaliféh enters and calls her name)

2.Majnun Khalifé: Is that you whom Majnun turned insane and demented for love? (Upon the word Majnun, the music takes a turn becoming more dissonant and heart throbbing. while maintaining the general flow.

3.What Khaliféh Asked… Khalifé then continues: you are not different from other people, why is he in love with you? Leili gets slightly sad…

4.In Leili’s Thoughts! She then starts to fantasize again about Majnun. (The intertwining of the flute and clarinet act as the metaphorical dance of them both in Leili’s mind)

5.What She Replied… Leili then replies with a serious tone: You are not him, you are not Majnun.* *Pointing to the fact that only the ones in love can understand their affection and the depth of the emotion toward each other.

6.In Leili’s Thoughts! II Once again Leili goes back to her fantasizing about Majnun but this time, even more,/ (A new sub-theme is introduced which is derived from the texture of the first movement) (The excitement intensifies as the music gradually rises to the climax of the piece)

7.One Drop of Tear Suddenly she comes back to reality and remembers that Majnun is not there …and a tear drops. (The melody in the double bass is an unfinished sequence, A metaphor for her longing which just like the unfinished sequence it never ends. Conductor: Jurrien Sligter Alto: Annely Leinberg Flute: Saul Ferrer Noya Clarinet: Elisa Sgorbini Celeste: Yuqi Han Harp: Annemieke Breunesse Vibraphone: Gordon Williams Violin I: Liina Tamminen Violin II: Isaac Pérez Riera Viola: Rodrigo de Freitas Cello: Camillo Cabassi Doublebass: Lucas Kerkyras www.homayoonkazemi.com

-The Other Side of the Story  for alto singer and ensemble

Introduction: The Other Side of the Story is based on “Leili o Majnun’s” tale which is a narrative poem composed by the master Persian poet “Nezāmi Gánjávi 1141-1209”.Although the main poem is from Gánjávi the lyrics chosen for this piece are from “Rumi 1207-1273” the Persian mystic, theologian, and poet.

Rumi incorporated the tale in a poem from his masterpiece book of poetry called Masnavi. Summary of the tale: Qays and Leili fall in love with each other when they are young, but when they grow up Leili’s father doesn’t allow them to be together. Qays becomes obsessed with her, and his tribe Banu ‘Amir and the community gives him the epithet of Majnun (crazy). When he asked for her hand in marriage, her father refused because it would be a scandal for Layla to marry someone considered mentally unbalanced.

Shortly after, Leila was wedded to another noble and rich merchant. When Majnun heard of her marriage, he fled the tribal camp and began wandering the surrounding desert. His family eventually gave up hope for his return and left food for him in the wilderness. He could sometimes be seen reciting poetry to himself or writing in the sand with a stick. Leili moved to a place in Northern Arabia with her husband, where she became ill and heartbroken from not being able to see her would-be lover and she eventually died. Majnun was later found dead in the wilderness near Leila’s grave.

In this work, my aim is to show The Other Side of the Story of “Leili o Majnun’s” tale in which you can witness from Leili’s eyes and feel her wave of emotions andthoughtstowardMajnun.

Movements:

1.Leili A normal day for Leili and she is thinking and fantasizing about Majnun. Then Khalifé enters and asks something sarcastically… (Leili’s theme enters as the Khaliféh enters and calls her name)

2.Majnun Khalifé: Is that you whom Majnun turned insane and demented for love? (Upon the word Majnun, the music takes a turn becoming more dissonant and heart throbbing. while maintaining the general flow.

3.What Khaliféh Asked… Khalifé then continues: you are not different from other people, why is he in love with you? Leili gets slightly sad…

4.In Leili’s Thoughts! She then starts to fantasize again about Majnun. (The intertwining of the flute and clarinet act as the metaphorical dance of them both in Leili’s mind)

5.What She Replied… Leili then replies with a serious tone: You are not him, you are not Majnun.* *Pointing to the fact that only the ones in love can understand their affection and the depth of the emotion toward each other.

6.In Leili’s Thoughts! II Once again Leili goes back to her fantasizing about Majnun but this time, even more,/ (A new sub-theme is introduced which is derived from the texture of the first movement) (The excitement intensifies as the music gradually rises to the climax of the piece)

7.One Drop of Tear Suddenly she comes back to reality and remembers that Majnun is not there …and a tear drops. (The melody in the double bass is an unfinished sequence, A metaphor for her longing which just like the unfinished sequence it never ends. Conductor: Jurrien Sligter Alto: Annely Leinberg Flute: Saul Ferrer Noya Clarinet: Elisa Sgorbini Celeste: Yuqi Han Harp: Annemieke Breunesse Vibraphone: Gordon Williams Violin I: Liina Tamminen Violin II: Isaac Pérez Riera Viola: Rodrigo de Freitas Cello: Camillo Cabassi Doublebass: Lucas Kerkyras www.homayoonkazemi.com

-Soundtrack of a Poem for String Orchestra ( written for individual instruments )

Commissioned by HKU Conservatorium Utrecht

Dedicated to the victims of the earthquake in Kermanshah-Iran, Nov 2017.

The poem is about a group of butterflies gathering and discussing a candle in the room which the flame of it has mesmerized them all. A few of the butterflies try to get close to the flame hoping to understand more about it however afraid of getting burned and dying they would turn back. One of them decides to go further than anyone else so he/she goes in the flame until he/she is fully engulfed in the flame and nothing remains.

The oldest of the butterflies then replies:

“Only he/she knows the meaning of becoming one with the fire and the light”.

Conductor: Jurrien Sligter Concertmaster: Alessandra Sordo Sanchez Performed by Fractions Orchestra at the HKU Conservatory of Utrecht. 27th-May-2019

-Mass for a Wind quintet and a Double Choir by Igor Stravinsky (arrangement)

Commissioned by kamerkoor Collegium Utrecht.

-Emotional Burdens for Solo Piano

-Yék for Solo Setar

-The Final Days of Chapter 30 for Clarinet – Viola – Piano

Commissioned by Sebastian Koloski and Gaudeamus.

-Three Screenshots for 13 Flutes

Commissioned by Flute Festival Utrecht Conservatorium

-Khakestari,خاکستری  for Violin – Piano

-The Story of the Tuberosa and the Organ for a mixed ensemble

Commissioned by Nu-trechte Ensemble and Henry Kelder

In Memoriam of Mohammad Nuri

-Doubt(Saxophone solo no.1)  for Solo Saxophone

Dedicated to Lars Van Keymeulen

Purchase link:

EditionMatchingArts – KAZEMI – Doubt (2016) for alto saxophone

-Persepolis(String Quartet no.1)

-Elevation for Strings – Horn -Trombone – Timpani – Tubular Bells

-Elevation for Strings – Horn -Trombone – Timpani – Tubular Bells

-Vitreous Enamel Suite for Wind Quintet – Solo Setar(Persian Stringed Instrument) .

Electronic Music