How UACO came to be

Origins

The roots of UACO can be traced back to a student orchestral project in 2022, initiated by composer Sepehr Soleimani.

The initial idea was to create a new work based on Razm-e Moshtarak by Iranian composer Parviz Meshkatian. Soleimani conceived the work as a set of variations in which the principal theme would gradually pass from one instrument to another, with the gradual addition of performers expanding the musical texture into a full ensemble.

One of the defining features of the project was its unconventional instrumentation. The ensemble consisted of two groups: an ensemble of Western instruments and an ensemble of Iranian instruments. The first section of the work developed through the gradual addition of the Western instruments, while in the second section, the Iranian instruments were introduced into the musical texture, eventually bringing the two groups together as a single ensemble.

The composition was developed under the guidance of Mohammadreza Tafazzoli, Soleimani's composition professor at the University of Art.

Danân

The resulting work, Danân, brought Western and Iranian instruments together within a unified formal structure.

The work began with the gradual introduction of individual instruments and sections. Each newly introduced performer or section presented the principal theme, while the instruments that had already entered took on accompanying roles. This process continued until the ensemble reached its fullest Western-instrument configuration.

In the second section, the Iranian instruments were introduced into the structure, and the musical material expanded into a more orchestral texture. The aim of the work was not simply to place Iranian and Western instruments alongside one another, but to create a shared musical space between these two instrumental traditions.

First Performance

Danân was performed in June 2023 at the Faculty of Music, University of Art. Rasa Ebadinia conducted the ensemble, with Danial Khalifeh serving as concertmaster.

The performance received a highly positive response from students, faculty members, and the university's wider musical community. The response was strong enough to prompt the members of the project to consider whether the ensemble could continue its activities beyond a single performance.

What had begun as a single composition and a student performance now presented the possibility of developing into an ongoing ensemble.

From a Project to an Idea

Following the performance, Sepehr Soleimani, Rasa Ebadinia, and Danial Khalifeh discussed the possibility of developing the ensemble into an ongoing project at the University of Art.

The initial idea was to establish the ensemble as a collaborative initiative between the Faculty's Composition, Western Performance, and potentially Iranian Performance departments, with selected works by student composers being performed regularly by the ensemble.

Although the proposal did not ultimately become an official university programme, the idea of preserving and continuing the ensemble remained. This decision laid the groundwork for the next stage of its development.

Preserving and Continuing the Ensemble

The proposal to transform the ensemble into an official university programme did not materialize following the first performance. Nevertheless, the members of the project decided to continue its activities through a new programme rather than allow the ensemble to dissolve.

For the second project, the ensemble's instrumentation was redesigned. This time, Iranian instruments were not included, while several new Western instruments were added to provide the ensemble with a broader range of sonic possibilities.

Soleimani wrote two new works for this instrumentation — Rondo Capriccioso and Achromatic Dream — both developed under the guidance of Mohammadreza Tafazzoli.

A Different Ensemble

As with the first project, assembling the group of performers required the collaboration of several people. Danial Khalifeh once again played an important role in bringing the musicians together, while Rasa Ebadinia returned to the project as ensemble conductor. Alongside instruments from the previous configuration, the new ensemble also incorporated several new instruments.

The ensemble was still not a permanent or independent group, but was formed specifically for the performance of this project's repertoire.

Second Performance

The two new works were performed in June 2024 at the Faculty of Music, University of Art. The performance was once again met with a strong response and represented another important step in the development of the ensemble's independent identity. At this stage, the project was no longer simply a one-time experience centered on the work of a single composer, and it had begun to attract greater attention within the university's musical community.

Tehran Music Museum

A short time after the university performance, Rondo Capriccioso and Achromatic Dream were also performed at the Tehran Music Museum as part of a joint concert featuring works by several other composers.

This performance marked an important point in the ensemble's development. Its activities were no longer confined to the university environment, and the experience of performing its works in a professional cultural setting outside the university demonstrated the potential for expanding its activities in the future.

A New Question

The first two projects shared an important characteristic: despite the gradual development of the ensemble's identity, its entire repertoire consisted of works by Sepehr Soleimani.

Rather than allowing the ensemble's activities to remain primarily focused on his own works, a different question was raised: why not turn this ensemble into a platform for performing the works of other contemporary composers?

The new idea was to establish an ensemble that could bring musicians together around the works of contemporary Iranian composers, rather than a group whose activities were limited to the works of a single composer. This proposal marked a conceptual turning point between the early Pre-UACO projects and the emergence of UACO as a more structured project in the field of contemporary music.

Founding Meeting

With the support of Khalifeh, Ebadinia, and members of the ensemble, Soleimani invited representatives of the Faculty of Music, University of Art, to discuss the future of the ensemble.

Among those invited were Rebecca Ashooghian, then Head of the Department of Global Performance; Dr. Madjid Tahriri, then Head of the Department of Composition; Mohammadreza Tafazzoli; and Dr. Babak Khazraei, then President of the Faculty of Music at the University of Art — along with approximately ten members of the ensemble. Dr. Khazraei was unable to attend the meeting, but the proposal and the content of the meeting were subsequently conveyed to him.

Soleimani opened the meeting by presenting the proposed direction for the ensemble's future, after which the faculty members and musicians in attendance discussed the idea. The meeting provided the initial support necessary for the project to move from an informal student ensemble toward a more structured initiative.

Towards UACO

Following the meeting, Soleimani began developing a formal proposal for the project. After receiving approval and support from the relevant university authorities, the proposal was presented to the Rudaki Foundation.

This marked the beginning of a new stage: the development of a project that would eventually become the University of Art Contemporary Orchestra (UACO).

Formation of UACO

The official formation of UACO began following two earlier student projects and with a meeting held in December 2024 at the Faculty of Music of the University of Art.

The central idea was to establish a contemporary ensemble capable of performing works by Iranian composers and to create an ongoing platform for collaboration among composers, instrumentalists, and conductors. Sepehr Soleimani, Founder and Artistic Director of UACO, developed the initial idea and began the process of transforming it into a structured project.

The project was formed through the collaboration of a broader group of instrumentalists and students who had participated in the previous projects, alongside new collaborators in artistic and administrative roles.

From Proposal to Production

The orchestra's formal proposal was developed and submitted for approval to the relevant authorities at the University of Art. Following approval from the President of the Faculty of Music of the University of Art and the heads of the departments, the project was presented to the Rudaki Foundation.

The involvement of the Rudaki Foundation enabled the project to move toward an official concert production and to undergo the necessary administrative and licensing procedures.

At this stage, the project was no longer simply a student ensemble, but had developed into a structured contemporary music project bringing together composers, instrumentalists, conductors, production staff, and cultural institutions.

Artistic Direction

The primary focus of the project was the performance of contemporary Iranian music. During the development of the programme, the inclusion of works from the standard repertoire was also proposed. Ultimately, two works by Gustav Mahler — the first movement of Symphony No. 1 and the song cycle Lieder eines fahrenden Gesellen — were included alongside selected works by contemporary Iranian composers.

The final programme therefore combined selected works by contemporary Iranian composers with orchestral repertoire, while contemporary Iranian music remained at the core of the project.

Sina Kheirabadi, an active conductor and music educator, was invited to conduct the orchestra. Rasa Ebadinia joined the project as Assistant Conductor, while Danial Khalifeh served as Concertmaster.

Open Call

One of the principal components of the project was the publication of an open call for contemporary Iranian composers. The call was published on January 4, 2025, inviting composers to submit works for the specified instrumentation. The initial submission deadline was set for April 4, 2025, and was subsequently extended by one week.

The open call represented an important step toward one of UACO's central aims: rather than limiting the programme to works already connected to the members of the orchestra, composers from across Iran were invited to submit their works for consideration and performance.

Jury

Three jurors were invited to review the submitted works: Mohammadreza Tafazzoli, Dr. Madjid Taheri, and Rebecca Ashooghian.

The jury ultimately selected ten works as the shortlist from among the submissions, by composers Mohsen Ebrahimi, Salman Itzhaqi, Abolfazl Jafari, Mehdi Darvishvand, Parsa Rahman Mashhadi, Habib Rahimi, Aref Shahednavaz, Mohammadreza Sadeghdoust, Matin Zohrabi, and Mojtaba Norouzi.

From these ten works, four were selected for the final performance by the orchestra's conductor, Sina Kheirabadi, based on their feasibility and suitability for performance given the orchestra's available resources: Ode to Wonder by Abolfazl Jafari, Dwagõn Mēnõy by Mohsen Ebrahimi, Mahār by Salman Itzhaqi, and The Dual Life of A Clown by Parsa Rahman Mashhadi.

Rasa Ebadinia, in addition to serving as Assistant Conductor, conducted The Dual Life of A Clown as part of the programme. The process of selecting and announcing the shortlisted works was also publicly documented through UACO's social media channels.

Building a Professional Production

Developing this project required a process considerably more extensive than the earlier student performances. Alongside the artistic preparation, the project required coordination and management of orchestra rehearsals, instrumental parts, member coordination, licensing procedures, performance and venue planning, visual identity, advertising, photography and videography, promotional teasers, and project financing.

Sepehr Soleimani and Danial Khalifeh played roles in various aspects of the orchestra's preparation and rehearsal management, while Behnoud Amiri, as Executive Secretary, played an important role in administrative matters, executive affairs, and the licensing process.

Nima Vadipour was responsible for the project's social media management and digital communications, and also contributed to developing its online presence and advertising strategy. The project's visual identity was developed by graphic designer Mohammadreza Fazlollah-Khani, while photography, videography, and teaser production were carried out by Amirabbas Ghamari and Amirreza Ghamari.

The Initially Scheduled Premiere

UACO's first performance was scheduled for June 20 and 21, 2025, at Roudaki Hall. Following months of artistic and administrative preparation, rehearsals, licensing procedures, production planning, and promotion, the project was on the verge of its first public performance. Ticket sales opened on June 12, 2025.

With the outbreak of the twelve-day war the following day, the scheduled performances were cancelled, bringing the production process to an abrupt halt only days before the planned performance.

Rebuilding the Project

Despite the cancellation, the project was not abandoned, and orchestra rehearsals resumed in August 2025. Two new performance dates, November 14 and 15, 2025, were reserved, and the licensing and preparation processes resumed.

The second phase of preparation followed a more structured approach. Rehearsals were moved from the university to Namaud Music Institute, allowing for a more organised and professional rehearsal schedule.

As the preparation process became longer and more intensive, the need for financial support for the instrumentalists also increased. In response, UACO sought financial support for part of the project's expenses, and Mehdi Amini, director of Hezarava Academy, agreed to support the project, contributing to covering the instrumentalists' fees and other production expenses.

The November and December Performances

The renewed production was also accompanied by further changes and difficulties. The first performance took place at Roudaki Hall on November 14, allowing UACO to finally bring part of its official programme to the stage after months of preparation.

The second performance, originally scheduled for November 15, was cancelled and the remaining performance was rescheduled for November 30, 2025. By this stage, the project had been in development for nearly a year and had involved multiple licensing procedures, several rehearsal periods, changes to the performance schedule, and numerous artistic and administrative activities.

Despite continued preparation for the November 30 performance, it was also cancelled one day before the scheduled date due to severe air pollution. Nevertheless, the November 14 performance marked an important point in UACO's history, as it was the first official performance of a project conceived from the outset as a platform for the performance of contemporary Iranian composers' works.

UACO's First Season

Although the project ultimately could not be completed according to its original plan, it established UACO's first official season.

Over the course of nearly a year, the project brought together contemporary Iranian composers, conductors, instrumentalists, university faculty members, production staff, and cultural institutions around a shared goal: creating a sustainable platform for the performance of works by contemporary composers in Iran. The project also established artistic, organisational, and collaborative foundations that can support UACO's future activities.

Thus, UACO's first season was not merely a concert; it represented the transition from the student ensembles of 2023 and 2024 toward a more structured contemporary music project.