Kamalto has two movements, the first for viola and voice and the second for solo viola. Kamalto is a fine combination of Iranian musical characteristics and contemporary compositional techniques, as Tavakol explains: “I have been experimenting with ideas of bringing my roots into my new works. As a kamancheh player, I can easily perform Iranian melodies, modes, and motives on my instrument, but how can I write a piece that makes this available and accessible to more than just me? Hence the creation of Kamalto; kamancheh and Alto (French for viola)”. Viola in many ways reminds Tavakol of his instrument, the kamancheh. Their similarities, including a somber and deep sound, nasal quality, range of colors from brilliant to dark, and capability of producing rough edges in the sound inspired him to choose viola for this piece. By writing the piece with scordatura tuning (D–A–D–A, a common tuning for kamancheh), he made the two instruments’ registers even closer, while also experimenting with a non-traditional range and color for viola. The text of the first movement comes from the opening verses of the Mathnavi (a poem written in rhyming couplets) by Jalālad-Dīn Muhammad Balkhī, more widely known as Rumi. The main theme in the beginning verses of this poetic masterpiece describes the human soul, symbolically referred to as the nay (Iranian wind instrument). The musical sound of the Farsi poetry (transliterated into a Latin alphabet in the score) contributes to the meaning of the piece; according to Tavakol, this poem, its message, and the musical rhythm imbedded in the original Farsi text inspired him greatly in the composition of Kamalto especially in including the female voice in the first movement.

Song and Whispers, was composed by Gity Razaz for Kimia Hesabi in 2019. Razaz explores two main ideas in this piece: a sound world created by pure atmospheric sounds, and an organic and original flavor of Iranian music. In Song and Whispers, Razaz creates an episodic structure in which each episode builds on the previous one. However, Razaz describes the structure as not completely successive, but rather one that has episodes constantly moving back and forth and intertwining. Razaz’s compositions have a sense of trajectory and dramatic flow in how she creates anticipation, climax, and resolution. This quality is reflected through not only the melodic and harmonic ideas but also in the rhythmic energy in her compositions. Song and Whispers comes from the relationship of the two sound worlds created by the melodic components and the atmospheric effects. Razaz envisions the atmospheric effect as “whisper,” with its pitch-less and soft quality, and how it can be intense yet barely noticeable at the same time. On the other hand, she creates melodic components, resembling qualities of a “song”. The alternations between atmospheric sounds and melody create dramatic contrasts that imbue the piece with narrative intensity.

Hani and Sheh Mureed was written for Kimia Hesabi by Mozhgan Chahian. This piece is in four movements, each depicting characters or tales from the Balochi folklore. This ancient tale dating back to the 15th century, mirrors the life of Balochi heroes, is a symbol of Balochistan’s philosophy and culture, and displays the tragic love story of Hani and Sheh Mureed. According to the story Hani and Sheh Mureed who were engaged to be married, become separated for almost 32 years due to Mir Chaker’s guile, who was the ruler at the time. Each movement in this pieces includes themes for different characters. The opening theme of the first movement and the closing theme of the fourth movement for example, are Hani’s theme and connect the different sections of the work. The episodic structure of this piece is created by combining various sections that are independent in nature, but connect and blend to shape the characters within the work. Chahian has been inspired by not only the tale of Hani and Sheh Mureed, but also the Balochi culture and music in creation of this piece. Her interpretation of the Balochi Muqams appears in this piece not through repeating and borrowing from the original material, but through her analysis of these Muqams and creating her unique musical language inspired by them. Chahian’s use of improvisatory motives, rhythms, and melodies, adds to the story-telling qualities of this work. 

In Variant, Mashayekhi incorporates flourishes that have an improvisatory character and are stemmed from a simple motif. These motives bring to mind the concept of āvāz, which are the unmetered vocal section of the mode in Iranian music. This piece displays a theme and variation form in which the variations grow in complexity, texture, dynamics, and drama. As these variations progress, more layers of drama unfold until we reach a climax in which we face intertwined and rapid chords. This climax is only the beginning of a set of climaxes that lead us to the end, where rapid passages and chords depict a suspenseful and breathtaking conclusion to this piece. Alireza Mashayekhi is a pioneer in the avant-garde music of Iran. He is one of the first composers of his generation to initiate a new movement in the contemporary music of Iran, and to combine elements of Iranian classical music with twentieth and twenty-first century techniques of composition. Mashaykhi’s explorations in a wide spectrum of twentieth century music, accompanied by his deep interest in Iranian culture were the cornerstones of his artistic and stylistic development.

Veiled for viola and electronics, composed by Niloufar Nourbakhsh originally for cello (commissioned by Amanda Gookin), was arranged for Kimia Hesabi by the composer for viola. According to Nourbakhsh, Veiled was inspired by two specific subjects: the hijab and the “veiled” presence of women in Iran. “The covered hair is a metaphor in general for women’s presence in the society. I thought about women’s voices, and them not being able to sing freely in Iran due to conservative cleric rules from the government, and other limitations women face in the country. On the other hand, I used the meaning and concept of “veiled” in creating sounds from the instrument that “dissolve” or are “covered” in various ways”. In 2017, a series of protests known as the Girls of Enghelab Street (Revolution Street) movement took place against the compulsory hijab for women in Iran. Nourbakhsh recalls being moved by this event and the tragedy and violence it provoked, and was motivated to center Veiled on it. Veiled includes both live and pre-recorded electronics; the live electronics are created and sent to Max through the contact mic and the pre-recorded electronic track includes sound effects and a female singing voice. In her composition process, Nourbakhsh created a sound world and characters through specific attention to pitch, register, and timbre. The vocal melody performs multiple roles: telling a story about Iranian women, depicting a feeling of being silenced, and trying to break free. Nourbakhsh explains that she sought a sense of “granulation of the sounds; a quality that can be described as a feeling of suffocation, fighting (or singing) with your last breath.” In addition, it also joins the viola to create what Nourbakhsh describes as a “collective force,” acting as both the arrival point of the first part of the piece, and a beginning for what comes next.