{"id":14426,"date":"2023-09-07T12:43:21","date_gmt":"2023-09-07T19:43:21","guid":{"rendered":"https:\/\/www.bellevuecollege.edu\/music\/?page_id=14426"},"modified":"2023-12-28T10:41:38","modified_gmt":"2023-12-28T18:41:38","slug":"faculty-concert-naeim-rahmani","status":"publish","type":"page","link":"https:\/\/www.bellevuecollege.edu\/music\/faculty-concert-naeim-rahmani\/","title":{"rendered":"Faculty Concert: Naeim Rahmani &amp; SIP Ensemble"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"427\" src=\"https:\/\/www.bellevuecollege.edu\/wp-content\/uploads\/sites\/79\/2023\/09\/SIP-concert-1200x500-2-1024x427.png\" alt=\"Faculty Concert\" class=\"wp-image-14458 img-fluid \" style=\"aspect-ratio:16\/9;object-fit:cover;width:811px;height:undefinedpx\" srcset=\"https:\/\/www.bellevuecollege.edu\/wp-content\/uploads\/sites\/79\/2023\/09\/SIP-concert-1200x500-2-1024x427.png 1024w, https:\/\/www.bellevuecollege.edu\/wp-content\/uploads\/sites\/79\/2023\/09\/SIP-concert-1200x500-2-300x125.png 300w, https:\/\/www.bellevuecollege.edu\/wp-content\/uploads\/sites\/79\/2023\/09\/SIP-concert-1200x500-2-768x320.png 768w, https:\/\/www.bellevuecollege.edu\/wp-content\/uploads\/sites\/79\/2023\/09\/SIP-concert-1200x500-2-1536x640.png 1536w, https:\/\/www.bellevuecollege.edu\/wp-content\/uploads\/sites\/79\/2023\/09\/SIP-concert-1200x500-2-2048x853.png 2048w, https:\/\/www.bellevuecollege.edu\/wp-content\/uploads\/sites\/79\/2023\/09\/SIP-concert-1200x500-2-1170x488.png 1170w, https:\/\/www.bellevuecollege.edu\/wp-content\/uploads\/sites\/79\/2023\/09\/SIP-concert-1200x500-2-900x375.png 900w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<div class=\"wp-block-mayflower-blocks-row row\">\n<div class=\"wp-block-mayflower-blocks-column col-md-8\">\n<h2 class=\"wp-block-heading\">Friday, Oct. 13 | 7:30 p.m. | Carlson Theatre<\/h2>\n<\/div>\n\n\n\n<div class=\"wp-block-mayflower-blocks-column col-md-4\">\n<p><\/p>\n\n\n\n<span class=\"wp-block-mayflower-blocks-button\"><a class=\"btn btn-light   \" href=\"https:\/\/bcmusic.brownpapertickets.com\" aria-disabled=\"false\">Buy Tickets<\/a><\/span>\n<\/div>\n<\/div>\n\n\n\n<p>The BC guitar faculty, Naeim Rahmani, along with the Seattle-Isfahan Project (SIP) Ensemble will perform works by Iranian and UW School of Music faculty composers. The pieces in this program were commissioned as part of the Seattle-Isfahan Project: 33. The project and the commissioned pieces address the water crisis that is happening now in Iran, particularly the drought that is affecting the Zayandeh-Roud, the river that gave birth to the city of Isfahan. The project title &#8220;33&#8221; refers to the 33 arches that make up the most famous bridge, Sio-Se-Pol, across the river. This project is intended to both pay homage to the river and to raise people&#8217;s awareness about the drought and its impact.<\/p>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>PROGRAM<\/p>\n\n\n\n<p>Farzia Fallah: <em>Thirty-Three Drops of Water<\/em><br>Yi\u011fit Kolat: <em>The Oasis of Now<\/em><br>Jo\u00ebl-Fran\u00e7ois Durand: <em>In a weightless quiet<\/em><br>Jeff Bowen: <em>Weir<\/em><br>Huck Hodge: <em>The Simple and Unvarying Geometry of Breaths<\/em><\/p>\n\n\n\n<p>PROGRAM NOTES<\/p>\n\n\n\n<p>Farzia Fallah<br><strong>Thirty-Three Drops of Water<\/strong> (2020)<br>In this piece I work with individual sounds, some of them very dry, some of them microtonal and<br>some very fragile. I shape them to drops of sounds. Each and every sound is celebrated, as<br>each drop means a piece of life. Water is life.<\/p>\n\n\n\n<p>Yi\u01e7it Kolat<br><strong>The Oasis of Now<\/strong> (2020)<br>This piece can be considered in two distinct ways:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>A meditation on the following lines from Sohrab Sepehri\u2019s poem &#8221; The Oasis of Now&#8221;:<br>\u201cIf you are coming to me<br>approach gently, softly, lest you crack<br>the fragile china of my solitude.\u201d<\/li>\n\n\n\n<li>A meditation on this \u201csituation\u201d:<br>\u201cThe musicians have departed to build new lives, leaving their instruments behind. The doctors<br>have done the same, as have the teachers, engineers, artists\u2026 After drying up all the life-giving<br>flows in this land, what remains to us are the distant echoes of their streams.\u201d<\/li>\n<\/ul>\n\n\n\n<p>Jo\u00ebl-Fran\u00e7ois Durand<br><strong>In a weightless quiet<\/strong>, for solo violin (2020)<br>In a weightless quiet belongs to a group of works that I started to write in 2019, in which I<br>explore the formal and structural potentials of an acoustic phenomenon known to all musicians<br>when they tune their instruments: the beats that occur when two tones of very close frequencies<br>are played at the same time. The first work in this group is for viola and ensemble (Geister,<br>schwebende Geister, for viola and ensemble 2019-20); the second is this violin piece and the<br>third to date is my second string quartet Canto de amigo written in 2020. In each of these works,<br>the beats are generated by playing one of the open strings of the instruments at the same time<br>as a similar pitch with a microtonal deviation, on another string.<\/p>\n\n\n\n<p><br>What I find fascinating in this use of controlled beat patterns is that they actually permit to<br>directly experience what is usually considered a physical\/mathematical concept. In sensory<br>experience (auditory perception), we cannot be aware of the mathematical ratio between the<br>frequencies of two notes played at the same time; it&#8217;s an abstract concept (we don&#8217;t hear a 3:2<br>ratio when we hear a fifth; we hear a fifth). But when the pitches are very close, the<br>phenomenon of &#8220;first-order beat&#8221; becomes an actual experience. How this works is fairly simple<br>to explain: if for example, the two frequencies are 3 Hz apart\u2014say, 443 Hz and 440 Hz\u2014we<br>hear two things: first, the two original frequencies become one single tone (mathematically, it\u2019s<br>the median value of the two); additionally, we hear a pulsation of three beats animating this<br>single tone. The \u201cmedian value\u201d in this case is 441.5 Hz; and the pulsation that accompanies<br>it\u2014the difference between the two original frequencies\u2014is three beats per second which, when<br>we hear them, is the audible manifestation of an arithmetic equation, in this case, the<br>subtraction 443 &#8211; 440 = 3!<\/p>\n\n\n\n<p><br>The form of In a weightless quiet is based on a series of sections that explore the tonal regions<br>of the three open strings of the violin A, D and E, and their extensions through microtones that<br>generate 3, 5, 7 and 11 beats per second. After an introduction centered on A, the sections that<br>follow tend to begin with the low D and ascend from to A and E in several successive waves.<br>The focus on these three tonal regions and their interactions with each other give each section a<br>particular color and character. The phenomenon of beats itself can be presented in gestures<br>that are sometimes too fast for the pulsations to be clearly audible (as in the very beginning for<br>example). At other times, longer held notes make them clearer and the beatings are then clearly<br>perceived as regular rhythmic subdivisions of the basic pulse. So, when they are not clearly<br>heard, one cannot be sure whether it&#8217;s because the pitches are \u201cout of tune\u201d or whether they<br>express something else. When the line slows down, the beats are revealed without ambiguity. In<br>between these two extremes, there is a whole vocabulary of gestures that can evoke these<br>subdivisions in different ways: repeated notes, slow or rapid alternance between two strings,<br>tremolos etc. I find it fascinating how these beats have a sort of extra-worldly character,<br>appearing seemingly out of nowhere since they are not directly produced by the performer, who<br>is playing two pitches but not the rhythmic beating itself.<br>\u2014Jo\u00ebl-Fran\u00e7ois Durand<\/p>\n\n\n\n<p>Jeffrey Bowen<br><strong>Weir<\/strong> (2020)<br>\u201cThere are rumors that the Bridge of 33 Arches will collapse if it stays dry much longer. They<br>used a material that must not dry out.\u201d<br>-Resident of Isfahan, in conversation with Thomas Erdbrink<br>Whether or not the collapse of this iconic bridge is imminent, this image\u2014of a structure whose<br>integrity is dependent on the river that courses through its arches\u2014resonated strongly for me,<br>as it points to the inescapable dependence of human activity and ingenuity on the presence and<br>movement of essential natural sources. This piece begins with (and is built upon) processed<br>sounds periodically emanating from the piano, which are treated as such a source, and consist<br>of recordings of the Tolt and Cedar rivers colored by fragments extracted from Naeim Rahmani\u2019s<br>recitation of Sohrab Sepheri\u2019s poem, The Fishes\u2019 Message.<br>The harmonics played inside the piano introduce pitches quite close to specific frequencies of<br>this sound source, creating acoustic beating patterns that provide the rhythmic basis of the<br>sections that follow. The rest of the piece explores the possibility of building and extending<br>musical structures from this interaction with a source outside the ensemble, as well as how this<br>musical activity adapts in the source\u2019s absence.<\/p>\n\n\n\n<p>Huck Hodge<br><strong>The Simple and Unvarying Geometry of Breaths<\/strong> (2020)<br>The composer&#8217;s notes are simply the words to a passage from Sohrab Sepheri\u2019s poem \u201cWater&#8217;s<br>Footsteps\u201d:<\/p>\n\n\n\n<p><br>Life is a lovely ritual.<br>Life has wings as vast as death,<br>It is a leap the size of love.<br>Life is not something to be forgotten on the windowsill of habit,<br>Life is the rapture of a hand that reaps.<br>Life is the first black fig in the acrid mouth of summer.<br>Life is the dimensions of a tree from the eyes of an insect.<br>Life is the experience that a bat has in the dark.<br>Life is the homesickness that a migrating bird feels.<br>Life is the whistle of a train that turns through the dream of a bridge.<br>Life is observing a garden from the obstructed windows of an airplane.<br>It is the news of the launch of a rocket into space,<br>Touching the loneliness of the Moon,<br>The notion of smelling a flower on another planet.<br>Life is the washing of a plate.<br>Life is the square root of a mirror.<br>Life is a blossom to the power of eternity.<br>Life is the Earth multiplied by our heartbeats.<br>Life is the simple and unvarying geometry of breaths.<\/p>\n\n\n\n<p><br>Adapted from Sohrab Sepehri, &amp; Karim Emami (trans.).<br>(1982). Water&#8217;s Footsteps: A Poem. Iranian Studies, 15(1\/4), 97-116.<\/p>\n\n\n\n<p>*The Fishes&#8217; Message<br>I\u2019d gone to the fountain in the garden<br>maybe to see my loneliness look back at me,<br>but the basin was empty.<br><\/p>\n\n\n\n<p>The fish inside said,<br><\/p>\n\n\n\n<p>Don\u2019t blame the trees\u2014<br>it was a hot summer afternoon.<br>Water\u2019s bright child lounged here<br>when the sun-eagle swooped down<br>and seized him, carrying him off into the sky.<br><\/p>\n\n\n\n<p>Our scales lost all their brilliance compared with that fiery carnation reflected<br>on the surface. Wind blew across the water and crenelated its petals and in those folds we lost<br>all our knowledge of air\u2019s wily ways.<br><\/p>\n\n\n\n<p>But that flower was our periscope\u2014<br>between its ridges and folds, we caught a glimpse<br>of the garden of Paradise!<br><\/p>\n\n\n\n<p>Listen, should you see God wandering the paths of the garden<br>will you make sure to tell Him the fountain has no water\u2026<br><\/p>\n\n\n\n<p>So the wind goes visiting the sycamore<br>and I go looking for God<\/p>\n\n\n\n<p>SIP ENSEMBLE<\/p>\n\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-constrained wp-block-group-is-layout-constrained\">\n<p>Marcin P\u0105czkowski &#8211; Conductor <br>Naeim Rahmani &#8211; Guitars<br>Neil Welch&nbsp;&#8211; Saxophone<br>Kelsey Mines&nbsp;-Bass<br>Luke Fitzpatrick&nbsp;&#8211; Violin\/Viola<br>Laure Struber &#8211; Piano<br>Jeff Bowen&nbsp;&#8211; Guitars<br><\/p>\n<\/div><\/div>\n\n\n\n<p>This concert is made possible through the support of the City of Bellevue&#8217;s Arts Program. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Friday, Oct. 13 | 7:30 p.m. | Carlson Theatre Buy Tickets The BC guitar faculty, Naeim Rahmani, along with the Seattle-Isfahan Project (SIP) Ensemble will perform works by Iranian and UW School of Music faculty composers. The pieces in this program were commissioned as part of the Seattle-Isfahan Project: 33. The project and the commissioned <a class=\"read-more\" href=\"https:\/\/www.bellevuecollege.edu\/music\/faculty-concert-naeim-rahmani\/\">...more about Faculty Concert: Naeim Rahmani &amp; SIP Ensemble<\/a><\/p>\n","protected":false},"author":1817,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-14426","page","type-page","status-publish","hentry"],"publishpress_future_action":{"enabled":false,"date":"2026-07-12 06:41:49","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.bellevuecollege.edu\/music\/wp-json\/wp\/v2\/pages\/14426","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.bellevuecollege.edu\/music\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bellevuecollege.edu\/music\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bellevuecollege.edu\/music\/wp-json\/wp\/v2\/users\/1817"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bellevuecollege.edu\/music\/wp-json\/wp\/v2\/comments?post=14426"}],"version-history":[{"count":6,"href":"https:\/\/www.bellevuecollege.edu\/music\/wp-json\/wp\/v2\/pages\/14426\/revisions"}],"predecessor-version":[{"id":14861,"href":"https:\/\/www.bellevuecollege.edu\/music\/wp-json\/wp\/v2\/pages\/14426\/revisions\/14861"}],"wp:attachment":[{"href":"https:\/\/www.bellevuecollege.edu\/music\/wp-json\/wp\/v2\/media?parent=14426"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}