"An outstanding pianist." (Alireza Mashayekhi, composer)
"...such speed, agility, range of motion both spatially and dynamically—stamina and to spare. It felt as though I was listening to a reincarnation of Liszt in this 80 minute improvisation." (Nancy Garniez, pianist)
"Grand, tectonic, torrential as the forces of nature unleashed, yet fully under control." (Nader Ardalan, architect)
Ramin Amir Arjomand is an Iranian-American composer, pianist, and teacher based in Brooklyn, New York. His concert and electroacoustic music blurs distinctions between composition and improvisation, demanding in each the spontaneity as well as the level of formal intelligence often associated with one or the other individually and exclusively. His playing draws as much on a 19th-century European approach to piano resonance as it does on the unfettered sensibility of American avant-garde jazz. Beneath the sound surface lies an ethos that is distinctly Iranian.
While a doctoral fellow at Columbia University, Arjomand was the director and conductor of the University's early music choir, Collegium Musicum. During this time he began to research the polyphonic technique of 15th-century Flemish composers, whose music became the main focus of his concert repertoire with the Collegium. His doctoral dissertation essay, "On Contrapuntal Practice", is based largely on his research into this music. His interest in vocal music and in speech as music has led to a wide variety of concert, electroacoustic and music theater works that experiment with the human voice in different ways. His work Alma Redemptoris mater for 12-part a cappella choir was awarded First Prize in the New York Virtuoso Singers Choral Composition Competition and was premiered in New York City with Harold Rosenbaum conducting.
Arjomand has worked extensively as a composer, pianist, lecturer, and musical adviser for modern dance. His approach to dance theater composition emphasizes contrapuntal relationships between sound and movement. He has worked to develop collaborative models in which composer and choreographer can trust one another to work freely and independently toward a common goal. His collaboration with choreographer Laveen Naidu, Like arrows in the hand of a warrior, daybreak, was commissioned by the Barnard College Dance Department and presented in Miller Theatre in New York City.
Arjomand is the recipient of awards from New York Foundation for the Arts, the Alice M. Ditson Fund, the FACE Foundation, and the New York City Artist Corps. His music has been presented by ensembles and soloists in venues throughout the United States, Europe, the Middle East, and Asia. A highly sought-after teacher, he is currently on the faculty at Columbia University and the Steinhardt School at New York University, and he maintains a private teaching studio in Brooklyn.
Listen to an interview with Ramin Amir Arjomand on The Earfull, where he discusses his early life in Tehran, the secrets of counterpoint, and truth and trust in performance.