it starts in the black, some whirring wind in a funnel, and some scraping on a bow, shadows larger than life. Violin. then the creepy shadows, illuminated from below, make an impalement.
flunder trills, thumbing with intensity, fierce differences cut each other off in rishing cuts. it's such a shimmer of oise, with dramatic lighting shot changes
farty bass and whist crack bell lights. beautiful flish flow swiping around. an orery with a virtagon dryad plying the misterium maligned with us mortals, feats red, blood darkened light, the dark room pierced by the light outside. ansiety blinds the plight. the
kid is holding the back of her head. wumbing thrumbles face the paganini shine.the hiss of the whiteness makes us snap and fry.
more gutteral dragging , almost farty violin. more asmr reverb
kindred pluckstra creep into the prident landing, as the gel solidifies.
fantastic.
#Description
#Short
Micro-tonal viola lines trigger realtime spectral processing and synchronized light pulses, tracing the threshold ("Astaneh") between acoustic breath and electro-luminous after-image.
#Long
Pazhvak Astaneh. This work explores the delicate, sometimes imperceptible transitions we encounter when placed in new spaces—whether social or physical. These moments of adjustment often hold the potential for transformation, as new possibilities quietly take shape. In the piece, these ideas are expressed through the evolving relationship between space, material, and processing, creating a fluid sonic dialogue where shifts in spatial perception transform the behavior of both sound and its treatment.
#ComposerPerson/Pedram Diba
#Pic
#Bio/Short
Composer working with micro-tonality and spectral processing
#Bio/Long
Pedram Diba (b. 1993) is an Iranian-American composer whose work is defined by the creation and evolution of intricate relationships between various sonic elements. His music has been praised for its “powerful interaction and striking richness of components” (ResMusica, France) and described as “showing a deep sense of musical energy and great attention to the organicity and morphological profiles of sound” (Pierre Jodlowski). Diba’s works have been featured at festivals and conferences including SEAMUS, IRCAM Forum, Splice, and New Music Gathering, and performed at prominent venues such as the DiMenna Center in New York, Le CENTQUATRE-PARIS, Constellation Chicago, and Le Gesù in Montreal. Since 2019, Diba has been a member of the Analysis, Creation, and Teaching of Orchestration (ACTOR) Project, an international partnership that advances research and practice in timbre and orchestration through interdisciplinary collaboration. Within ACTOR, he has contributed to projects such as the CORE Ensemble Project, Musicians Auditory Perception (MAP), and Space As Timbre (SAT), exploring new ways to integrate technology, the spatial qualities of sound, and collaborative practices in contemporary music creation. He earned his B.M. in composition from the University of Oregon, where he was recognized as the Outstanding Undergraduate Scholar in Composition. Following this, he pursued his M.M. at McGill University under the mentorship of Philippe Leroux, supported by the Max Stern Fellowship in Music. His studies continued at IRCAM, where he completed the Cursus de composition et d’informatique musicale under the guidance of Pierre Jodlowski and Claudia Scroccaro. Currently, he is pursuing his Ph.D. in composition and music technology at Northwestern University, working with Alex Mincek, Hans Thomalla, and Jay Alan Yim. Diba’s music is published by BabelScores in both digital and printed formats.
#Performers
Person/Long Okada — viola
Long Okada is a violist and baroque violinist, currently based in Boston, Massachusetts, and enjoys a varied career as a soloist, chamber musician, orchestral musician, and educator. A passionate advocate for the performance of British music, Long frequently programs works for viola by British composers in his recitals. He has a particular interest in the folksong revival in the early 20th century and how it shaped the classical music landscape, particularly works for string instruments, in Great Britain. He has had the honor of performing at a wide range of venues including Queen’s Hall, St Botolph without Aldgate, David Josefowitz Recital Hall, Salle de concert du Domaine Forget, Isabella Stewart Gardner Museum, and Brown Hall at New England Conservatory. An active chamber musician, Long plays with flutist Nicholas Southwick in Duo Gwynne, which held an Artist Fellowship with Music for Food. The Duo made their concert debut at the historic St. Botolph without Aldgate in the City of London, England, and subsequently enjoyed many performance engagements in the United Kingdom and the United States, notably celebrating the coronation of King Charles III at the Church of Holy Cross, St Pancras. He is also a founding violist of Trevi Quartet and has been invited to travel to Medellín, Colombia to offer private lessons and side-by-side performances with the young musicians of Iberacademy and its community outreach program. He has appeared in music festivals around the world including Composers Now, Domaine Forget, Manchester Music Festival, Summer in Aldgate, and Zephyr International Chamber Music Festival. He has also had the privilege of performing with many esteemed musicians including Thomas Bowes, Bonnie Hampton, Mark Menzies, Inesa Sinkevych, and Xiao Wang. A sought-after orchestral musician, Long has been a guest with the viola section of the Cape Symphony and Bangor Symphony Orchestra. He has also performed with Nevis Ensemble, Sainsbury Royal Academy Soloists, and other orchestras in North America and Europe. A committed instructor with a holistic educational approach, Long holds the Licentiate of the Royal Academy of Music (LRAM) and teaches viola, violin, and chamber music at Attacca School of Music, Concord Conservatory of Music, and Kingsley Montessori School in Massachusetts. He previously maintained a flourishing private studio of violin, viola, and piano students in London, U.K.. Long holds a Bachelor of Music from New York University and a Master of Music from the Royal Academy of Music in London. He also holds a Postgraduate Diploma from the Royal Conservatoire of Scotland. His principal teachers include Danielle Farina, Karen Ritscher, Sarah Darling, Jane Atkins and Martin Outram. He has also performed in masterclasses for many renowned musicians including Désirée Elsevier, Nobuko Imai, Kim Kashkashian, and Hartmut Rohde.
