Siamak Kalantari

Composer, Founder of:

AMOO ( alborz Museum of Obsolete Objects)

& KPO ( Karaj Philharmonic Orchestra)

About Siamak Kanatari’s music:

In the world of music, Siamak Kalantari is mainly recognized by his film scores. He has composed film scores for a couple of Rakhshan Banietemad’s movies and documentaries. With “Tales” movie, which won the best screenplay award in Venice film festival, his name appeared in international festivals. Along with composing film scores, Siamak Kalantari established Karaj philharmonic orchestra in 1999 and has since acted as its conductor in several concerts. His m usic can be categorized into: – Film scores – Theater music – Narrative music (Albums) – Vocal singles – Instrumental singles – Rests or the pieces, which were not composed His narrative music consists of three albums named “Equilibrated Entirety”, “Two Friends” and “An Emperor’s Romances”, which are composed, using different musical approaches such as experimental, avant-garde and classical. In “Equilibrated Entirety”, he narrates our existence from a philosophical point of view while in “Two Friends” a simplistic musical structure is used to reveal the mystical interpretation of our existence based on the inner worlds of Shams and Rumi who lived in 13th century. With a classical approach, “An Emperor’s Romances” depicts the life of a legendary eminent human being. It was originally a theatre music for Kourosh Kabir (Cyrus the great) drama directed by Pari Saberi. His vocal singles are composed for Ghazal Shakeri and Hana Kamkar. “And a message on the way”, which is based on a poem by Sohrab Sepehri and “Hey, Humans” is the film score of “Hey, Humans” documentary directed by Rakhshan Banietemad. Hana Kamkar’s voice accompanies both film scores. Rests were not composed for “See you tomorrow Elina” movie by Rakhshan Banietemad and “Mr Vali” documentary by Mahnaz Mohammadi owing to the fact that the movies didn’t need music. He has been inspired by great musicians such as Ahmad Ebadi, Ali Asghar Bahari, Klaus Schulze, Jean-Michel Jarre, Béla Bartók, Kitarō and Vangelis. His instrumental singles are his novel unorthodox musical experiences. “The Fanciful Emptiness” instrumental single is his novel experience in playing the Setar. Rests play an important role in this piece. Using the Setar, musical sentences have been composed that on the one hand, are loyal to the traditional Persian music by creating the sense of Nava dastgah and on the other hand, are unconventionally less constrained in structure and form. “Equilibrated Entirety” and “Two Friends” are other examples of his attempts for establishing a different method of playing the Setar. “The First Wine”, which is the vocal version of “The Fanciful Emptiness”, is composed based on a poem by Fakhreddin Araghi, a Persian poet of 13th century and is performed by Mohsen Karami. An unconventional combination of Persian singing (Avaz) and instrumentation creates a novel atmosphere in “The First Wine”. In particular, structural alteration of instrumentation and Persian singing (Avaz) forms that are traditionally used in Persian music is the key concept of his singles. Despite the common practice in traditional Persian music, in his singles, the instrumentation neither follows the vocal nor acts as a harmonic accompaniment. The vocal and the instrumentation flow as individual streams of musical sentences. The vocal (Avaz), being entirely loyal to the meaning of the poems, avoids unnecessary techniques and complexities while the instrumentation does not go beyond creating the desired sensual atmosphere. .

Albums and Singls:

Equilibrated Entierty

Fanciful Emptiness

Two Friends



Philosophy & Eve


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