Composer / Guitarist / Visual Artist
I am a composer, guitarist and visual artist working in the field of contemporary classical music. I am currently a PhD Candidate in Composition at Western University. My music explores instrumental color and structure.
Mangåta no. 3 for guitar and flute has been published by Universal Edition. View Composer Profile on Universal Edition.
I am a composer and classical guitarist working in contemporary classical music. I am currently a PhD candidate in Composition at Western University in London, Canada. My work focuses on instrumental writing, and timbre.
I am a composer and classical guitarist whose work is rooted in contemporary classical music. I am currently pursuing a PhD in Composition at Western University (Canada), following earlier studies in Music Composition at the University of Arts in Tehran.
My artistic practice combines composition and performance, with a strong interest in instrumental sound, timbral exploration, and the physicality of musical gesture. I often work closely with performers in the development of new works, particularly in the context of solo and chamber music.
Alongside my creative work, I have experience in teaching music theory, composition, classical guitar, and performance studies at the university level. My work has been recognized through commissions, awards, residencies, and international collaborations.
Mangåta — for guitar and friends (In memory of Monir Vakili)
Mangåta is a cycle of works for guitar and ensemble based on folk songs, conceived as a series of variations in which musical material is continuously transformed, fragmented, and re-imagined across different instrumental settings.
A work exploring transition between light and darkness, where timbre and harmony shift between clarity and obscurity. The piece inhabits a fragile threshold between presence and disappearance.
A study of interdependent musical voices in continuous interaction, where structure emerges through tension and convergence.
A work representing an unresolved journey, where harmonic motion suggests searching without resolution.
A passacaglia exploring transformation through repetition and evolving instrumental relationships.
A lyrical prelude inspired by Shakespeare’s sonnet, focusing on expressive phrasing and harmonic color.
A nocturne of grief dedicated to sudden loss. The work unfolds through lament, fragmentation, and turbulent orchestral eruption, dissolving into a fragile afterimage of memory.
A concertante work exploring dialogue between solo guitar and orchestral texture.
Selected Works (Publications & Recordings)
Released album featuring multiple performers and variations within the Mangåta cycle. Based on Azerbaijani folk material, the work explores transformation, memory, and abstraction.
For commissions, collaborations, and inquiries, please reach out via email or social media.
Mangåta — for guitar and friends (In memory of Monir Vakili)
The title Mangåta comes from a Swedish word describing the shimmering, road-like reflection of the moon on water. This image functions as the central metaphor of the cycle: a stable source is never directly replicated, but instead appears as shifting reflections—distorted, elongated, and re-formed through movement. In the same way, each work in the cycle begins with identifiable folk material, which gradually diverges from its origin while retaining traces of its emotional and melodic identity.
The cycle is dedicated to the memory of Monir Vakili, the pioneering Iranian soprano often regarded as the “First Lady of Opera in Iran.” Her artistic legacy and role in establishing opera in Iran form an underlying emotional and cultural reference point for this body of work. Mangåta is, in this sense, both a musical and personal act of remembrance.
Across the cycle, the process of variation is not merely formal but conceptual: the music gradually moves away from its source, exploring how identity persists even as recognizability fades. What begins as a clear melodic presence slowly becomes reflection, echo, and abstraction—like light breaking on water, never fully stable, never fully lost.
Ultimately, Mangåta is not a collection of arrangements, but a continuous inquiry into transformation, memory, and the fragile continuity between origin and disappearance.
A transformation cycle on Azerbaijani folk material in which the theme gradually dissolves into abstraction, reflecting memory, distance, and sonic metamorphosis.
This piece is a theme and variation based on a melody inspired by an Azerbaijani folk song by Tofiq Guliyev.
