“Anahita Abbasi’s music has been described as a dizzyingly sophisticated reverie, colorful and energetic. It embodies tremendous timbral exploration and multilayered performance gestures”… (Classical Voice America and A Cunning plan).


According to Guardian”She takes even a more radical line with creating dense and pulsing textures”… “Her music has the capacity to immerse the hall into a dark multichannel throat and hissing” … (Bachtrack)


Ernst. M Binder also writes: …“As it is also vivid from the titles of her works such as Dialogues, Situations, Distorted Attitudes, she investigates and gesticulate thoughts and emotions. It is manifestation/ observation of a scene or multiple scenes, which occur simultaneously. She has the tendency to take us with her music on a mystical, puzzling journey and leave us within our thoughts, to find out the “ending” ourselves”…


About her piece for Mahan Esfahani Boulezian Blogspot writes: …”There was, without doubt, an extraordinarily inventive musical imagination at work, but it was never merely invention: it was a sonic and instrumental drama that seemed somehow to summarise, to extend, and quite properly to question many of the tendencies we had heard so far”…


Volkskrant describes … “the Iranian Anahita Abbasi, shows herself to be a composer with guts in the two-year-old Intertwined Distances Alienating whistling noises and furious fistfights with the keyboard, alternated with delicate strings, lead to a theatrical listening experience” ...


seen and heard international: … “Situation II/Dialoge, A sense of landscape was strong, at least to my ears and imagination: wind, or something like it, something like its effects, rustling through bunches of leaves shaken by two of the players; sounds from inside the piano; cello and double bass working together in crude (from the standpoint of a Mozart orchestra) sounds heard in more or less contrary motion. Sounds that were (relatively) more expected emerged out of that eerie calm before a storm, without the storm ever truly materialising. Unisons were achieved rather than a given, quickly lost, prior to a return to the aural world of the opening, chimes fading away a niente” 


Ivan Hewett writes in The Telegraph, in the CD review of Musique? by Mahan Esfahani, Released by Hyperion record,  … “More satisfying to me was the piece specially written for this record: Intertwined Distances by the Iranian female composer Anahita Abbasi. (Iran has produced several interesting female modernist composers in recent years – who would have thought it?) After a disconcertingly dry beginning, it develops into a fascinating dialogue between opposites that sometimes come to within a hair’s breadth of each other, only to part again”


Jan de Kruijff writes in his Blog … “Under Esfahani’s hands (and fists in Abbasi’s work) the harpsichord is transformed into an elemental force, occasionally supported or threatened by a surprising arsenal of electronics” …

… “Esfahani’s compatriot Anahita Abbasi (1985) puts the instrument to the test with fierce punches and alienated buzzing sounds that are fortunately alternated with subtle moments” …


Anahita Abbasi (world citizen-1985) is an Iranian born, San Diego based composer of acoustic and electroacoustic music, a curator, and educator.

for the complete bio, click on Biography.

Instagram: https://www.instagram.com/ana.hita_1985/

Facebook: https://www.facebook.com/anahita.abbasi

Twitter: https://twitter.com/Anahita_Abbasi

Linkedin: https://www.linkedin.com/in/anahita-abbasi-a7630132/


Her scores are published by Babelscores.