Robert Spano, conductor
Jean-Yves Thibaudet, piano
BACH Brandenburg Concerto No. 2
BEHZAD RANJBARAN Piano Concerto
RACHMANINOV Symphony No. 3
Behzad Ranjbaran was born in Tehran, Iran, on July 1, 1955. At the age of nine, Mr. Ranjbaran entered the Tehran Music Conservatory. In 1974, Mr. Ranjbaran moved to the United States, where he attended Indiana University. Later, Mr. Ranjbaran received his doctorate from the Juilliard School in New York, where he currently is a member of the faculty. The New Jersey Council for the Arts has named Mr. Ranjbaran a “Distinguished Artist.” Other honors and awards include a National Endowment for the Arts grant, a grant from Meet the Composer (composer/choreographer project), a Charles Ives Award from the American Academy of Arts and Letters, and the Rudolf Nissim Award for his Violin Concerto.
Mr. Ranjbaran’s music has been performed by distinguished soloists and ensembles throughout the world. Mr. Ranjbaran composed Songs of Eternity (2002) for soprano Renée Fleming, who sang the world premiere with the Seattle Symphony, under the direction of Gerard Schwarz. Joshua Bell was the soloist in the world premiere of Mr. Ranjbaran’s Violin Concerto (1994), performing with the Royal Liverpool Philharmonic Orchestra, again conducted by Mr. Schwarz. Other soloists performing Mr. Ranjbaran’s music include Yo-Yo Ma, Chantal Juillet and Cho Liang-Lin. International Sejong Soloists commissioned Awakening (2005) for premiere at the Great Mountains Music Festival in Korea as a celebration of peace.
In the summer of 2005, Behzad Ranjbaran served as Composer-In-Residence for the 40th anniversary of the Saratoga Music Festival. In celebration of the occasion, he composed the orchestral overture Saratoga, premiered by Charles Dutoit and the Philadelphia Orchestra. That Festival included the premiere of the Piano Quintet and performances of many of Mr. Ranjbaran’s other chamber works.
In 2004, Delos issued a recording of Mr. Ranjbaran’s orchestral cycle, Persian Trilogy, with JoAnn Falletta conducting the London Symphony Orchestra. In a review of that recording, American Record Guide praised the “noble and brilliantly conceived score, spectacularly orchestrated and filled with memorable tunes, meticulous development, and impressive craftsmanship.”
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