Noise vs. Noise #6

Takcharkh, the duo of Behrouz Farahani and Hesam Kardan, opened the evening with an hour of live electronic music.

Xerxes The Dark (Mohamadreza Govahi) had to cancel. In his slot Deslo Piano, the sponsor of Parsa Hadavi, moved and tuned a piano in the studio's main room, and the speakers were placed for the audience on the right side of the piano. After a few minutes of warming up with classical music, Parsa Hadavi began at 20:30. Both performances drew a more specialised, academic audience.

Sic Mundus Creatus Est is an electroacoustic piece for piano, played by the composer, and recorded tape with readers. Its title, revealed only in a conversation with him afterwards, comes from the Emerald Tablet (literally: the world was born this way) and points to the criticism of creation and of the usual definitions of time. A monologue and reversed piano sounds open the piece for about ten minutes; then a whistle-like noise appears and stays to the end. The voices are not only speech but sound material, part of the polyphonic texture. Every event in the piece is placed according to the numbers counted by a reader, and its form rests on the idea that time is absent at the scale of the universe, partly using cosmological calculations.

Until then, our listeners knew Parsa from Metamorphosis for Tapes (Homage à Gholamali Margiri) on our first compilation, built from recordings of the Zaar ceremony in southern Iran.