JAVAHERI, Mohammad H. Komponistenlexikon

JAVAHERI, Mohammad H.

JAVAHERI Mohammad H.

Schopenhauerstra├če 5
99423 Weimar
Mobil: 0178/30 79 653
E-Mail: m89 (dot) javaheri (at) gmail (dot) com
Homepage: https://mohammadhjavaheri.wordpress.com/

* 19.09.1989 Tehran, Iran

Mohammad H. Javaheri (1989-) is an Iranian composer and performer, was born and raised in Tehran; and studied in countries including Iran, Turkey, Germany, and Austria. In 2024, he was awarded the EDGE fellowship from Stanford University, positioning him to become a member of outstanding/cross-discipilinary community of scholars at Stanford University whilst being a DMA fellowship in Music Theory and Composition at the same institute. In 2019, he was named as “a composer we will surely still hear from in the future” (NMZ newspaper, Germany), and has been highlighted in several published news articles and websites including the LA Times. He has gained recognition for his interest in dense, powerful masses of sound and crafting complex textures.
Along with a temptation to explore and combine various musical languages across his body of work, Mohammad’s music has been described as ‘tense’, ‘sensational’, ‘detailed’, and ‘soulful’, and he inherently crafts his ‘own sound’ (Toshio Hosokawa, SYNTHETIS 2019). His work finds expression across a range of forms, with or without/only electronics. As a sought-after composer, he has been invited around the world to present his works, working with well-known artists, ensembles, and institutes on a regular basis.

He is currently a composer member of DKV, DEFKOM, and FEM (German Composers Association, German Film Composers Union and Department of E-Music), and also working with via nova – Zeitgenössische Musik in Thüringen e. V. based in Weimar. Moreover, he is a member and performer of Rundfunkorchestra, and teaches composition, music theory, and piano at Connect 4 Education. He has given numerous seminars such as “Blocked Form and Transformation/Necessity of Establishing Digital Orchestras in 21st Century” at Bilkent University Music Department and SYNTHETIS 2019 in Poland; he has been a guest speaker on “Transcultural Music” at Hochschule für Musik Franz Liszt Weimar; and is an invited guest composer/lecturer at Nagoya College of Music in Japan, University of Art-Tehran in Iran in 2021, Bilkent Architecture Department in 2022, and Tehran University in 2024. His scores have been published in France and the USA by BabelScores and UCLA Library (Contemporary Music Score Collection), respectively. Moreover, several of his compositions have been published by Score Follower, Petrichor Records, and Gilgamesh Art & Culture, and Kaleidoscope LA in the USA. As a curator, he is organizing and managing The Joy of Listening Online Colloquium, a study group focusing on contemporary repertoire, and a Live Instagram program called Talk Shop Series, which is a discussion with composers about their recent approaches and research towards their works.

Mohammad’s first composition “Unbounded Scream” for solo oboe (2016) received its world premiere in Germany. It was later selected for a performance by the Kaleidoscope Chamber Orchestra in Los Angeles from over 2200 compositions in over 90 countries. Since then, Mohammad has been commissioned, performed, and broadcast by a variety of performers, ensembles, and orchestras, with performances in Iran, Turkey, Uzbekistan, Germany, Poland, Norway, Luxembourg, and the USA; for festivals and events such as Weimar Spring days festivals for New Music, Transcultural Music Concert, Radio Art Zone festival, and the Bauhaus 100th Anniversary.

Prior to his compositional output, Mohammad completed his first degree in Computer Software, whilst also studying at Tehran Conservatory, playing flute in its orchestra in 2009. He then completed a bachelor’s degree in Setar performance: Iranian Music Performance at Tehran University of Art in 2015. During this time, he worked as a piano instructor at Tehran Conservatory and composed music for several Iranian TV series. He performed as a Bass Singer in Tehran Choir’s, as well as a Setarist and Flutist in orchestras, performing in venues such as ZKM Next Generation 8:0, SeaM Studio, and Tehran Vahdat Concert Hall with the conductor Alexander Rahbari.

In 2017, he started his master’s degree in Contemporary Composition at Bilkent University Turkey, in order to study under the supervision of Asst. Prof. Dr. Tolga Yayalar. Mohammad’s pieces were performed in several festivals in Turkey such as “Bilkent Brassfest’18” and “Sesin Yolculugu genc besteciler festivali 2017 & 2018”. In 2018, he was awarded the Erasmus+ scholarship to study at Hochschule für Musik Franz Liszt Weimar Germany under the supervision of Prof. Dr. Ulrich Kreppein, and received additional scholarships from HfM Weimar. He was accepted to extend his studies to three semesters in order to complete the second half of his master’s there. Whilst studying in Weimar, a newspaper highlighted his achievements: “Mohammad Javaheri starts a professional life with lightning success …  A composition student from Weimar is in Demand WorldWide”. At both universities, Mohammad encountered electroacoustic music, with Tolga Yayalar and Robin Minard, which he has since developed into his approaches in composition and also collaboration. In 2022, he did his postgraduate studies at Kunst-Universität Graz under the supervision of Beat Furrer, and did his second postgraduate studies with Annesley Black at the same institution. He will pursue his DMA studies at Stanford University in Music Theory and Composition from September 2024.

Since 2018, Mohammad has worked with numerous performers, ensembles, and orchestras such as Carin Levine, Ivan Bushuev, Ravshan Tukhtamishev, Alexandra Demowska-Madejska, Wojciech Psiuk, SWR Symphony Orchestra, MDR Symphony Orchestra, Digital Bauhaus Orchestra, AuditivVokal Dresden, Radiofm. Bauhaus, De Musique Expérimentale Du Bauhaus, MISE-EN, Hashtag, Adapter, Cikada, Omnibus, Hezarfen, Loadbang, XX. Jahrhundert, and NeoQuartet; in cities including St. Petersburg, Arnstadt, Dresden, Weimar, Leipzig, Stuttgart, Berlin, Karlsruhe, Ankara, Istanbul, Tashkent, Radziowidjce Castle/Warsaw, Gdansk, Oslo, Los Angeles, and New York. From his compositions for SWR Symphony Orchestra and Ensemble Omnibus, he was interviewed on SWR and MDR Radio respectively regarding his compositional activities and interests. In 2019, he was selected as a featured composer of the MISE-EN New York Festival in the USA, BCA19 Academy in Turkey, SYNTHETIS Academy in Poland, NeoArte Festival 2021 in Poland, SWR Orchestra workshop in Germany as well as Kaleidoscope in the USA, Weimarer Frühjahrstage für zeitgenössische Musik (2019 & 2020). In 2020, his orchestral piece “De Novo Remutations” was broadcast on SWR2 radio station, and his ensemble piece “Devenir fou par amour (Sheid/V2)” was invited to be broadcast on NeoArt Festival 2020 in Gdansk, Poland. He was selected for the 2nd round of New Classics Competition by Moscow Conservatory, and was awarded the 3rd prize in Gilgamesh International Composition Competition, 2nd Prize in the 20th International Chamber Music Composition Competition in Germany, and winner of the Public Prize in the same competition. In 2022, his collaborative piece “Imaginary Landscapes in Sounding Space” was broadcast on Radio Art Zone in Luxembourg. In 2023, he was selected for impuls academy to work with Beat Furrer on his voice piece.


He has worked with noteworthy composers, like Mark Andre, Franck Bedrossian, Oscar Bianchi, Eivind Buene, Mahir Cetiz, Chaya Czernowin, Hamidreza Dibazar, Christian Eggen, Hannah Eimermacher, Micheal Ellison, Cengiz Hakki Eren, Amir Eslami, Tim Helbig, Dmitri Kourliandski, Klaus Lang, Toshio Hosokawa, Juste Janulyte, Reinhard Karger, Karen Keyhani, Zygmunt Krauze, Bruno Mantovani, Micheal Obst, Laurie San Martin, Pieter Snapper, Onur Türkmen, and Ken Ueno; and with conductors Gregor A. Mayrhofer and Ulrich Kern.

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2024 | EDGE Fellowship Awarded | Stanford University, from Fall 2024 (for 2 years)
2024 | Stanford University Fellowship | 2024 until 2031, USA
2023 | Selected Composition | _A ‘The’_ | Score Follower for FMS23 Fall
2023 | Selected Participant for the special program of impulse | On Voices with Beat Furrer
2022 | Selected Composer as one of the featured composers | Hashtag Ensemble concert in Weimar Spring Days for New Music Fest 2022
2022 | Selected Composition | A Colossal Blossom | Score Follower for FMS22 Fall
2021 | Featured as an Iranian Composer for Modern Transcultural Project | Gdansk, NeoArte Festival Poland
2021 | Winner of the 3rd Prize | Gilgamesh International Composition Competition
2019 | Winner of the Public Prize for Best Piece | 20th International Chamber Music Composition Competition, 2019
2019 | Winner of the 2nd Prize | 20th International Chamber Music Composition Competition
2019 | Selected Composer as one of the three active participants for the competitive SWR Workshop | SWR Symphonieorchester - Master Class Orchestra

Werke

Whispers of a Cramped Sensation | 2024 |

for Voice (Altissimo) & Contrabass Clarinet-[Helena Sorokina, Marco Sala]

un-awed | 2023 |

for Fl, Cl, Pno, Vln, Cl


Re-monologues/Monologues of my pillow-revised | 2023 |

for fixed tape [4 channel] / + 10 min

 

Imaginary Landscape in Soundspace | 2022 |

Fixed Tape (Based on Filed Recording), DB (5 strings), voice-[Collaborative work with Margarethe Maierhofer-Lischka]

 

-A ‘The’- | 2022 |

Ensemble-Fl, Sax, Synth, Vl, DB [Hashtag Ensemble] / + 9:30 min

 

A Colossal Blossom | 2021 |

Quartet-Electric String Quartet and Pedal Effects and a Looper [Electric NeoQuartet] / + 11:00 min

 

Unison II | 2020 |
for Viola, Bass Clarinet [XX. Jahrhundert] / Approx. 7:00 min


Encountering Re-encounter
| 2020 |
for Ensemble | Fl, Cl, Perc, Hp, and Electronics (Ensemble Adapter) / Approx. 8 min

Serotonin Saturation | 2020 |
for Bass Flute and Electronics (Electronics: Francisco Javier Trabalón Ruiz Flute: Carin Levine) / 8:42 min

Remutation IVIIV | 2020 |
for Orchestra | 2.2.2.2, 2.2.2.0, Timp, Perc, 8.6.4.4.2 / Approx. 9 min

Devenir fou par amour (Sheid/V2) | 2019 |
for Ensemble | Fl, Cl, Perc, Pno, Vl.1, Vl.2, Vla, Vc, D.B (Cikada Ensemble) / Approx. 12 min

De Novo Remutations (Revised) | 2019 |
for Orchestra and Electronics | 2.2.2.2, 2.2.2.1, Timp, 2 Perc, Hp, 10.8.6.5.4 (Electronics: William Amsler Orchestra: SWR Symphony Orchestra) / Approx. 17 min

Anonymous Wrinkles | 2019 |
for Electroacoustic Orchestra | 21 Experimental Instruments including processed voices, 4 Typewriters and Narrator (Digital Bauhaus Orchestra) / Approx. 9 min

De Novo Remutations | (2019) |
for Orchestra and Electronics | 2.2.2.2, 2.2.2.0, Timp, 2 Perc, 8.6.4.3.2 (Electronics: William Amsler Orchestra: MDR Symphony Orchestra) / 16:48 min

Unison | 2019 |
(The Distance Between Me and My..Self Recomposed) | for Viola and Tenor Sax (Aleksandra Demowska-Madejska and Wojciech Psiuk) / Approx. 5 min

Sheida | 2019 |
for Ensemble and Live Electronics | Uzbek Nay/Alto Nay, Oboe, Uzbek Chang, Uzbek Tanbur/Sato, Vl.1, Vl.2, Vla, Vc, Live Electronics (Live Electronics: Philipp Schamlfuß Ensemble: Omnibus Ensemble) / Approx. 11 min

Obsession (Revised) | 2018 |
for String Quartet [NeoQuartet] / Approx. 11 min

 

Sowie:
Unbounded Scream (Revised) | 2018 | for Oboe Solo [Sergio Montijano Bares/Robert Walker] / Approx. 9 min

Illusive Miniatures | 2019 | for Piano Solo [Juan Moreno Iglesias] / Approx. 6 min
Monologues of My Pillow (Revised) | 2018 | for Trombone Solo and Electronics [Cem Güngör] / Approx. 12 min
Rebirth | 2018 | for Ensemble | Fl, Cl, Perc, Pno, Vl.1, Vl.2, Vla, Vc [Hezarfen Ensemble] / Approx. 12 min
Monologues of My Pillow | 2018 | for Trombone Solo and Electronics [Cem Güngör] / 10:48 min
The Distance Between Me and My..Self | 2017 | for Bassoon and Flute (Cem Önertürk and Ozan Evruk) / Approx. 12 min
Obsession | 2017 | for String Quartet [Hezarfen Ensemble] / Approx. 6 min
Being | 2017 | for Ensemble | Acoustic Guitar, Electric Guitar, Synth, Iranian’s Daf, Iranian’s Santoor, Violin, Singer (Think Thank Knowledge of Excellence Institution’s Ensemble) / Approx. 7 min

Unbounded Scream | 2016 | for Oboe Solo

Fantasy for Chaargah | 2016 | for Orchestra

Running Horses | 2016 | for Piano Solo

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TV Program/Series Music Collaborations:

 

Animation Soundtrack | 2022 |

Artschon Animation | Synthesizer

 

De Novo Remutations | 2019 |

Written for the Bauhaus movie "Reflektorische Farblichtspiele"


Setar (Iranian Instrument) Part for National TV Program (Cooperated with Omid Roshanbin) | 2015 |
Piano Part for Daaraa va Nadaar TV Series (Cooperated with Pirooz Arjmand)

 

Movie Soundtrack, Piano Part | “Daaraa va Nadaar” TV Series | 2010 |

[Cooperated with Pirooz Arjmand]

 

Sachregister

  • Konzertmusik
  • Chormusik
  • Elektronische Musik
  • Klanginstallation / Multimedia / Internet-Kunst
  • Film- und Fernsehmusik
  • Improvisierte Musik
  • Blasmusik
  • Unterhaltungsmusik
  • Musical
  • Volksmusik
  • Werbemusik
  • Elektroakustische Musik