And I See You Everywhere (2023) - ca. 9'

flute, trumpet, horn, cello, piano

*Commissioned by Composers Conference Chamber Music Workshop in memory of Susan Horvath.

and I see you everywhere - version 5.pdf
Pirasteh, And I See You Everywhere(Concert - Second Performance).mp3

Premiere: 

Chris Oldfather, piano - Charlie Anderson, trumpet - Michael Welles, horn - Eva Ding, flute - Emma Kato, cello - Julian  Gau, conductor
August 2nd, 2023, Avaloch Farm Music Institute

Program Notes:

In the summer of 2022, I embarked on a transformative journey as a Fromm Foundation Composition Fellow at the Composers Conference. Amidst passionate discussions on the significance of political art, a lingering question emerged: Should we, as artists, venture into the realm of political expression? An answer proved elusive, remaining just beyond grasp. Little did I know that fate had already set in motion a series of events that would forever alter my perspective.

In September 2022, a wave of uprisings erupted in Iran, reverberating through the streets with a resounding chant: "Zan, Zendegi, Azadi" - Women, Life, Freedom. A progressive movement unfolded, with women fearlessly leading the charge, demanding their rights, freedom, and dignity. As I watched from afar, separated from my friends and compatriots, the weight of not being physically present in the fight became increasingly burdensome.

Each morning and evening, I found myself tethered to my phone, scrolling through a digital stream inundated with scenes of unimaginable violence. Images of people falling victim to the regime's aggression seared themselves into my consciousness. Nine months have passed, and yet those images persist, haunting my thoughts. A profound sense of sorrow, shame, and powerlessness envelops me, for I yearn to effect change but find myself unable to do so. It is within this crucible of emotion that And I See You Everywhere takes shape.

This composition is an unfiltered outpouring of my tumultuous inner world over the past few months. Drawing inspiration from Gusheh Bakhtiyari, a pitch class traditionally associated with Dastgah Homayoun in Iranian music, I infuse its melodic essence with the soulful verses of Baba-Taher's poignant poem. Evoking a sense of longing and connection, the music echoes the words:

"When I look at the desert, I see you. I gaze upon the vast sea, and I see you. In every mountain and hill, I see your presence intertwined, omnipresent." – Translated by the composer

And I See You Everywhere serves as an artistic vessel, carrying the weight of my emotions and projecting them into the sonic realm. It is a testament to the indomitable spirit of those who stand on the front lines of change, fighting for what they believe in, while simultaneously an admission of my own personal struggle with the limitations of my influence.