JAVAHERIMohammad H. Javaheri (1989-) is an Iranian Composer, was born and raised in Tehran. In 2019, he was named as “a composer we will surely still hear from in the future” (NMZ newspaper, Germany), and has been highlighted in several published news articles and websites including the LA Times. Along with a temptation for exploring and combining various musical languages across his body of work, Mohammad’s music has been described as ‘tense’, ‘sensational’, ‘detailistic’, and ‘soulful’, and he inherently crafts his ‘own sound’ (Toshio Hosokawa). His work finds expression across a range of forms, with or without/only electronics. As a sought-after composer he has been invited around the world to present his works, working with well-known artists, ensembles and institutes on a regular basis.

He is currently a composer at via nova-Zeitgenössische Musik in Thüringen e. V. and also a composer member of DKV, DEFKOM, and FEM (German Composers Association, German Film Composers Union and Department of E-Music). He has given seminars on “Blocked Form and Transformation/Necessity of Establishing Digital Orchestras in 21st Century” at Bilkent University and at Synthetis 2019, Poland; he has been a guest speaker on “Transcultural Music” at Hochschule für Musik Franz Liszt Weimar; and is an invited guest composer/lecturer at Nagoya College of Music in Japan, in 2021. Several of his scores have been published in the USA by UCLA library (Contemporary Music Score Collection), and several of his compositions will be published by “Petrichor Records” in the USA.

Mohammad’s first composition “Unbounded Scream” for solo oboe (2016) received its world premiere in Germany. It was later selected for a performance by the Kaleidoscope Chamber Orchestra in Los Angeles from over 2200 compositions in over 90 countries. Since then, Mohammad has been commissioned and performed by a variety of performers, ensembles, and orchestras, with performances in Iran, Turkey, Uzbekistan, Germany, Poland and the USA; for festivals and events such as Weimar Spring days Festivals for New Music, Transcultural Music Concert and the Bauhaus 100th Anniversary.

Prior to his compositional output, Mohammad completed his first degree in Computer Software, whilst also studying at Tehran Conservatory, playing flute in its orchestra in 2009. He then completed a bachelor’s degree in Setar performance: Iranian Music Performance at Tehran University of Art in 2015. During this time, he worked as a piano instructor at Tehran Conservatory and composed music for several Iranian TV series. He performed as a Bass Singer in Tehran Choir’s, as well as a Setarist and Flutist in orchestras, performing in venues such as ZKM Next Generation 8:0, SeaM Studio, and Tehran Vahdat Concert Hall under the conductor Alexander Rahbari.

In 2017, he started his master’s degree in Contemporary Composition at Bilkent University Turkey, in order to study under the supervision of Asst. Prof. Dr. Tolga Yayalar. Mohammad’s pieces were performed in several festivals in Turkey such as “Bilkent Brassfest’18” and “Sesin Yolculuğu genç besteciler festivali 2017 & 2018”. In 2018, he was awarded the Erasmus+ scholarship to study at Hochschule für Musik Franz Liszt Weimar Germany under the supervision of Dr. Ulrich Kreppein, and received additional scholarship from HfM Weimar. He was accepted to extend his studies to three semesters in order to complete the second half of his master’s there. Whilst studying in Weimar, a newspaper highlighted his achievements: “Mohammad Javaheri starts a professional life with lightning success… A composition student from Weimar is in Demand WorldWide”. At both universities, Mohammad encountered electro-acoustic music, with Tolga Yayalar and Robin Minard, which he has since developed into his approaches in composition and also collaboration.

Since 2018, Mohammad has worked with numerous performers, ensembles, and orchestras such as Carin Levine, Ravshan Tukhtamishev, Alexandra Demowska-Madejska, Wojciech Psiuk, SWR Symphony Orchestra, MDR Symphony Orchestra, Digital Bauhaus Orchestra, Radiofm. Bauhaus, De Musique Expérimentale Du Bauhaus, MISE-EN, Adapter, Cikada, Omnibus, Hezarfen, Loadbang, XX. Jahrhundert, and NeoQuartet; in cities including Arnstadt, Weimar, Leipzig, Stuttgart, Berlin, Karlsruhe, Ankara, Istanbul, Tashkent, Radziowidjce Castle/Warsaw, Los Angeles, and New York. From his compositions for SWR Symphony Orchestra and Ensemble Omnibus, he was interviewed on SWR and MDR Radio respectively regarding his compositional activities and interests. In 2019, he was selected as a featured composer of the MISE-EN New York Festival in the USA, BCA19 Academy in Turkey, Synthetis Academy in Poland, SWR Orchestra workshop in Germany as well as Kaleidoscope in the USA, Weimarer Frühjahrstage für zeitgenössische Musik (2019 & 2020). In 2020, his orchestral piece “De Novo Remutations” was broadcast on the SWR2 radio station; he was awarded prizes in the 20th International Chamber Music Composition Competition in Germany; and was selected for the 2nd round of New Classics Competition by Moscow Conservatory.

He has worked with noteworthy composers, like Mark Andre, Eivind Buene, Mahir Cetiz, Chaya Czernowin, Hamidreza Dibazar, Christian Eggen, Hannah Eimermacher, Tim Helbig, Micheal Ellison, Cengiz Hakki Eren, Amir Eslami, Toshio Hosokawa, Juste Janulyte, Reinhard Karger, Karen Keyhani, Zygmunt Krauze, Bruno Mantovani, Micheal Obst, Laurie San Martin, Pieter Snapper, Onur Türkmen, and Ken Ueno; and with conductors Gregor A. Mayrhofer and Ulrich Kern.


Cycle, Repetition, Trans-formative Blocks and the matter of speed in relation to the form of my compositions have always been a part of my concerns as a composer. I believe that humans’ psychology changes for at least a few times during their life span due to incidents or traumas we experience. Every incident could be the starting point for changing the perception of each person. Some of my compositions are about these changes, whether sudden or gradual, and how they stem from our previous state and in each stage; still some aspects of the earlier stage(s) can be seen. This seems like a cycle we are always involved in which has different effects leading us to change regularly. It can go on and on but the strongest and deepest effects on our psychology repeat themselves during the cycles. In fact, behaviors might transform from one type to another, but it primarily remains with the same root in its own endless cycle and it could touch all of our emotions, acts and decisions in life.


“Devenir fou par amour” endeavours to imitate the electronic sounds/effects of another one of my compositions “Sheida” (for ensemble and electronics) through acoustic instruments only, along with exploring the different possibilities of creating sounds via each instrument in order to revise the electronics to acoustic sonic in the composition. Getting Crazy from falling in love, which is the meaning of “Sheida” in the eastern world, draws its inspiration from two distinct but related ideas: Love about perpetual emotion and transformation of one’s personality over his/her lifetime during falling in love. Considering the whole painting (including the frame) as a human and its pattern as the human’s behavior in love, which surprisingly could be changed enormously with a process or sudden coincidences, gave me the idea of “Sheida”. Struggling and getting crazy of an unsuccessful eastern way of falling in love, made me think about the form of the piece. The combination of different blocks, with their specific characteristic, tries to represent the different emotions during encountering it whilst showing a process of change in the whole frame.


click for score of „Devenir fou par amour (Sheid/V2) for ensemble