When I reflect on my journey as a conductor, I am constantly reminded of the lessons I inherited from my teacher, Emilio Pomarico, who studied directly with Sergiu Celibidache. Celibidache was a conductor renowned for his transcendental performances and his ability to communicate profound musical meaning. Pomarico passed on to me not just technical mastery, but also a deep understanding of music as an expressive, living art form. This philosophy shapes every rehearsal, every performance, and every lesson I give to students. Conducting, in my view, is about more than beating time; it is about guiding an orchestra to fully inhabit the world of the music.
The Role of Memory and Focus
One of the most transformative aspects of Celibidache’s teaching was conducting entirely by memory. This method forces a conductor to internalize the music on every level. From structural form to emotional nuance, every detail must be understood and felt before stepping onto the podium. For me, this approach has been crucial in interpreting both classical and contemporary repertoire. Whether I am leading a Beethoven symphony, a Schoenberg chamber work, or the avant-garde compositions of Georg Friedrich Haas, memory allows me to be fully present with the musicians, responding to their energy in real time.
Integrating Philosophical Perspectives
Beyond technical precision, Celibidache and Pomarico incorporated philosophies from both Eastern and Western traditions into their teaching. This holistic approach encourages a conductor to consider space, silence, and flow as part of the musical narrative. I apply this not only in my own performances but also in my teaching. I encourage students to explore how philosophical ideas can influence phrasing, timing, and ensemble dynamics. Music becomes a conversation that extends beyond notes on a page; it becomes an exploration of time, presence, and shared experience.
Avant-Garde Inspirations
My early fascination with the works of Arnold Schoenberg, Alban Berg, and Anton Webern shaped my approach to complex and modern music. These composers challenged traditional tonality and explored new ways of structuring sound. As I continued my journey, I was drawn to Luigi Nono, Pierre Boulez, Georg Friedrich Haas, Salvatore Sciarrino, and Toshio Hosokawa. Conducting these works with my ensembles, especially ENSEMBLE / PARALLAX, allowed me to introduce audiences to music that is often unfamiliar but deeply rewarding. The thrill comes from helping musicians and listeners engage with sound in new ways, finding meaning in unexpected textures and harmonies.
Multimedia as a Bridge
One of the ways I have expanded the audience’s experience of contemporary music is through multimedia. At ENSEMBLE / PARALLAX, every performance is paired with visuals specifically created for the music. Video artists, choreographers, and designers collaborate with the musicians to create immersive experiences that amplify the emotional impact of the compositions. Multimedia allows audiences to see, feel, and inhabit the music in ways that deepen understanding and engagement. It is particularly effective when presenting avant-garde works that might initially feel abstract or challenging.
Lessons from Premieres
A highlight of my career was conducting the first fully staged U.S. production of Georg Friedrich Haas’s opera ATTHIS with Opera Cabal in New York City. The performances were sold out and received critical acclaim, including praise from the New York Times. Experiences like this reinforce the importance of blending careful preparation, philosophical insight, and collaboration with cutting-edge artistry. Bringing a complex contemporary work to life requires patience, flexibility, and a willingness to engage deeply with both the music and the creative vision of collaborators.
Teaching as Performance
My approach to conducting naturally extends to teaching. As a former Associate Professor at Berklee College of Music, I emphasized memory, structural understanding, and philosophical awareness in my lessons. Students learn to internalize the score, to listen actively, and to approach every rehearsal as an opportunity to create something alive. I also encourage them to explore interdisciplinary approaches, integrating visual arts or choreography into their performances whenever possible. Conducting is not just about leadership; it is about cultivating an environment where creativity can flourish.
A Living Legacy
The influence of Celibidache, Pomarico, and the composers I have studied and performed continues to shape my work. It is a living legacy that informs every aspect of my career, from directing ensembles to commissioning new works and teaching future musicians. I also encourage audiences to explore my compositions, which are published through the American Composers Alliance. You can explore my published works and recordings here: Farzinpour Music Collection. This collection reflects my own explorations of sound, structure, and multimedia, and it offers a window into how philosophy, composition, and performance intersect in my work.
Looking Forward
For me, conducting is never static. It is a journey that combines history, philosophy, innovation, and collaboration. As I continue to lead ensembles, commission new works, and explore multimedia performance, I remain inspired by the possibilities that emerge when tradition meets experimentation. The lessons I received from Celibidache and Pomarico remind me that music is a living art, and that every performance is an opportunity to connect deeply with musicians and audiences alike. The future of performance lies in this combination of discipline, creativity, and immersive experience.