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Persian gardens *
UNESCO World Heritage Site
Type	Cultural
Criteria	i, ii, iii, iv, vi
Reference	1372
Region **	Asia and Australasia
Inscription history
Inscription	2011 (35th Session)
* Name as inscribed on World Heritage List ** Region as classified by UNESCO

The tradition and style in the garden design of Persian gardens (Persian باغ ایرانی) has influenced the design of gardens from Andalusia to India and beyond. The gardens of the Alhambra show the influence of Persian Garden philosophy and style in a Moorish Palace scale from the era of Al-Andalus in Spain. The Taj Mahal is one of the largest Persian Garden interpretations in the world, from the era of the Mughal Empire in India.

History[link]

A schematic diagram of a Persian garden. Note the quadripartite structure with focal water feature, connecting aqueducts, and surrounding trees, as well as the placement of the palace

Shazdeh Garden is one of the largest gardens of Kerman Province.

From the time of the Achaemenid Dynasty the idea of an earthly paradise spread through Persian literature and example to other cultures, both the Hellenistic gardens of the Seleucids and the Ptolemies in Alexandria. The Avestan word pairidaēza-, Old Persian *paridaida-^{[note 1]}, Median *paridaiza- (walled-around, i.e., a walled garden), was borrowed into Greek in the form Ancient Greek: παράδεισος parádeisos, then rendered into the Latin paradīsus, and from there entered into European languages, e.g., French paradis, German Paradies, and English paradise. The word entered Semitic languages as well: Akkadian pardesu, Hebrew pardes, and Arabic firdaws.^[1]

As the word expresses, such gardens would have been enclosed. The garden's purpose was, and is, to provide a place for protected relaxation in a variety of manners: spiritual, and leisurely (such as meetings with friends), essentially a paradise on earth. The Common Iranian word for "enclosed space" was *pari-daiza- (Avestan pairi-daēza-), a term that was adopted by Christian mythology to describe the garden of Eden or Paradise on earth.^[2]

The garden's construction may be formal (with an emphasis on structure) or casual (with an emphasis on nature), following several simple design rules. This allows a maximization, in terms of function and emotion, of what may be done in the garden.

Origins and development[link]

Persian gardens may originate as early as 4000 BCE. Decorated pottery of that time displays the typical cross plan of the Persian garden. The outline of the Pasargad Persian Garden, built around 500 BCE, is viewable today.

During the reign of the Sassanids (third to seventh century CE), and under the influence of Zoroastrianism, water in art grew increasingly important. This trend manifested itself in garden design, with greater emphasis on fountains and ponds in gardens.

During the Arab occupation, the aesthetic aspect of the garden increased in importance, overtaking utility. During this time, aesthetic rules that govern the garden grew in importance. An example of this is the chahār bāgh (چهارباغ), a form of garden that attempts to emulate Eden, with four rivers and four quadrants that represent the world. The design sometimes extends one axis longer than the cross-axis, and may feature water channels that run through each of the four gardens and connect to a central pool.

The invasion of Persia by the Mongols in the thirteenth century led to a new emphasis on highly ornate structure in the garden. Examples of this include tree peonies and chrysanthemums. The Mongol empire then carried a Persian garden tradition to other parts of their empire (notably India).

Babur introduced the Persian garden to India. The now unkempt Aram Bāgh garden in Agra was the first of many Persian gardens he created. The Taj Mahal embodies the Persian concept of an ideal, paradise-like garden.

The Safavid Dynasty (seventeenth to eighteenth century) built and developed grand and epic layouts that went beyond a simple extension to a palace and became an integral aesthetic and functional part of it. In the following centuries, European garden design began to influence Persia, particularly the designs of France, and secondarily that of Russia and the United Kingdom. Western influences led to changes in the use of water and the species used in bedding.

Traditional forms and style are still applied in modern Iranian gardens. They also appear in historic sites, museums and affixed to the houses of the rich.

Elements of the Persian garden[link]

Sunlight and its effects were an important factor of structural design in Persian gardens. Textures and shapes were specifically chosen by architects to harness the light.

Iran's dry heat makes shade important in gardens, which would be nearly unusable without it. Trees and trellises largely feature as biotic shade; pavilions and walls are also structurally prominent in blocking the sun.

The heat also makes water important. A form of underground tunnel below the water table, called a qanat, irrigates the garden and its environs. Well-like structures then connect to the qanat, enabling the drawing of water.

Alternatively, an animal driven Persian well would draw water to the surface. Such wheel systems also moved water around surface water systems, such as those in the chahar bāgh style. Trees were often planted in a ditch called a jub, which prevented water evaporation and allowed the water quick access to the tree roots.

The Persian style often attempts to integrate indoors with outdoors through the connection of a surrounding garden with an inner courtyard. Designers often place architectural elements such as vaulted arches between the outer and interior areas to open up the divide between them.

Descriptions[link]

The oldest representational descriptions and illustrations of Persian gardens come from travelers who reached Iran from the west. These accounts include Ibn Battuta in the fourteenth century, Ruy Gonzáles de Clavijo in the fifteenth century and Engelbert Kaempfer in the seventeenth century. Battuta and Clavijo make only passing references to gardens and do not describe their design.

Kaempfer made careful drawings and converted them into detailed engravings after his return to Europe. They show chahar bāgh type gardens that featured: an enclosing wall, rectangular pools, an internal network of canals, garden pavilions and lush planting. There are surviving examples of this garden type at Yazd (Dowlatabad) and at Kashan (Bāgh-e Fin). The location of the gardens Kaempfer illustrated in Isfahan (city) can be identified.

Styles[link]

The garden in the Golestan Palace of Tehran.

The six primary styles of the Persian garden may be seen in the following table, which puts them in the context of their function and style. Gardens are not limited to a particular style, but often integrate different styles, or have areas with different functions and styles.

Hayāt[link]

Publicly, it is a classical Persian layout with heavy emphasis on aesthetics over function. Man-made structures in the garden are particularly important, with arches and pools (which may be used to bathe). The ground is often covered in gravel flagged with stone. Plantings are typically very simple - such as a line of trees, which also provide shade.

Privately, these gardens are often pool-centred and, again, structural. The pool serves as a focus and source of humidity for the surrounding atmosphere. There are few plants, often due to the limited water available in urban areas.

Meidān[link]

Naghsh-i Jahan square, the charbagh Royal Square (Maidan) in Isfahan, constructed between 1598 and 1629

This is a public, formal garden that puts more emphasis on the biotic element than the hayāt and that minimises structure. Plants range from trees, to shrubs, to bedding plants, to grasses. Again, there are elements such as a pool and gravel pathways which divide the lawn. When structures are used, they are often built, as in the case of pavilions, to provide shade.

Chahar Bāgh[link]

These gardens are private and formal. The basic structure consists of four quadrants divided by waterways or pathways. Traditionally, the rich used such gardens in work-related functions (such as entertaining ambassadors). These gardens balance structure with greenery, with the plants often around the periphery of a pool and path based structure.

Dariush Grand Hotel, Kish Island, is a newly-built construction. Its garden combines elements of both Persian and Caribbean styles.

Park[link]

Much like many other parks, the Persian park serves a casual public function with emphasis on plant life. They provide pathways and seating, but are otherwise usually limited in terms of structural elements. The purpose of such places is relaxation and socialisation.

Bāgh[link]

Like the other casual garden, the park, bāgh emphasizes the natural and green aspect of the garden. Unlike the park it is a private area often affixed to houses and often consisting of lawns, trees, and ground plants. The waterways and pathways stand out less than in the more formal counterparts and are largely functional. The primary function of such areas is familial relaxation.

World Heritage Sites[link]

1

2

3

4

5

6

7

8

9

10

11

12

Location of Persian Garden World Heritage Sites

The Persian Gardens:

1. Pasargad Persian Garden at Pasargadae, Iran
2. Chehel Sotoun, Isfahan,Iran
3. Fin Garden, Kashan, Iran
4. Eram Garden, Shiraz, Iran
5. Shazdeh Garden, Mahan, Kerman, Iran
6. Dolatabad Garden, Yazd, Iran
7. Abbasabad Garden, Abbasabad, Mazandaran, Iran
8. Akbarieh Garden. South Khorasan province, Iran
9. Pahlevanpour Garden Iran^[3]
10. Taj Mahal, Agra, India
11. Humayun's Tomb, New Delhi, India
12. Shalimar Gardens, Lahore, Pakistan

View of the garden at the Taj Mahal, Agra, India.

See also[link]

Gardening portal

Notes[link]

References[link]

Further reading[link]

• Khonsari, Mehdi; Moghtader, M. Reza; Yavari, Minouch (1998). The Persian Garden: Echoes of Paradise. Mage Publishers. ISBN 0-934211-46-9.
• Multiple authors (2010). "Garden". Encyclopædia Iranica. http://www.iranicaonline.org/articles/garden-index. 
• Newton Wilber, D (1979). Persian Gardens and Garden Pavilions. Washington.
• Michel Conan, Dumbarton Oaks (2007). Middle East Garden Traditions: Unity and Diversity.

External links[link]

Wikimedia Commons has media related to: Gardens in Iran

• Isfahan "Persian Garden Design" website. Retrieved 3 January 2012.
• Babur's Garden - video from the Asia Society, US
• Animated film inspired by the Persian Architecture
• Farnoush Tehrāni, The Meaning of the Persian Garden, in Persian, Jadid Online, 12 Novembre 2009.

• Audio slideshow: [2] (5 min 58 sec).

• Farnoush Tehrāni, The Face of the Persian Garden, in Persian, 13 November 2009.

• Audio slideshow: [3] (6 min 16 sec).

v t e Architecture of Iran Styles Parsi style · (includes Pre-Parsi style and Achaemenid architecture) Parthian style · (includes Sassanid architecture) Khorasani style · Razi style · Azari style · Isfahani style Elements Bazaars · The Persian Garden (hayāt) · Windcatchers · Shabestan · Kucheh · Talar · Iwan · Howz · Panjdari · Hashti · Andaruni · Biruni · Dalan e Vorudi · Qanat · Kariz · Gonbad · Ab anbar · Yakhchal · Caravanserais · Robats · Burj · Khaneqah · Tekyeh · Sahn · Imamzadeh · Mosques Notable traditional cities Architecture of Tehran · Bam · Bukhara · Ctesiphon · Derbent · Herat · Gur-e Amir  · Isfahan · Amol · Kashan  · Mashhad  · Merv  · Nishapur  · Persepolis  · Qazvin · Qom · Samarkand · Shahrisabz · Shiraz · Susa · Tabriz  · Takht-i-Suleiman  · Yazd Theory and analysis Traditional Persian residential architecture · Traditional water sources of Persian antiquity · Islamic architecture Lists List of ab anbars of Qazvin · List of historical Iranian architects · List of mosques · Args, castles, and ghal'ehs · List of ziyarat-gahs

v t e World Heritage Sites in Iran The Armenian Monastic Ensembles of Iran (St Thaddeus Monastery, St Stepanos Monastery, Chapel of Dzordzor, Chapel of Chupan, and Church of the Holy Mother of God) · Bam and its Cultural Landscape · Bistoun · Chogha Zanbil · Naqsh-e Jahan Square · Pasargadae · Persepolis · The Persian Gardens (Pasargad Pserian, Chehel Sotoun, Fin, Eram, Shazdeh, Dolatabad, Abbasabad, Akbarieh and Pahlevanpour) · Sheikh Safi's Tomb · Soltaniyeh · Shushtar Historical Hydraulic System · Tabriz Bazaar · Takht-i-Suleiman

Fariborz Sahba

Sahba's Lotus Temple in India.

Fariborz Sahba (Persian: فريبرز صهبا‎, born 1948 in Mashhad^[1]) is an Iranian Bahá'í architect, now living in Canada.^[1]

Career[link]

He has a Masters degree from Faculty of Fine Arts at the University of Tehran.^[1] Among his designs are:

• Bahá'í House of Worship in New Delhi, India, also known as the Lotus Temple.
• The Terraces of the Shrine of the Báb on Mount Carmel, in Haifa, Israel.

He is also the chief-editor of Varqá, an International Children's Magazine, founded in 1970.

In Iran, Mr. Sahba was involved in the design of a wide range of prestigious buildings.

In 1976, the international governing body of the Bahá'í community selected Mr. Sahba to design the Bahá'í House of Worship for the Indian subcontinent in New Delhi, India. This project, on which he worked for 10 years as the architect and project manager, was described by Canadian architect Arthur Erickson as "one of the most remarkable achievements of our time, proving that the drive and vision of spirit can achieve miracles." With over 3.5 million visitors a year, this building, commonly known as the "Lotus of Bahapur," is one of the most visited sites in the world.

In 1987, Mr. Sahba was assigned by the Bahá'í World Centre the task of designing 18 terraces as a majestic approach to the Shrine of the Báb, the martyred Herald of the Bahá'í Faith, one of the most holy places of the Bahá'í Faith. He was also appointed project manager to execute the Bahá'í World Centre building projects on Mount Carmel. The Terraces of the Shrine of the Báb received the 1998 Ephraim Lifshitz Award from the Municipality of Haifa and the 1999 Magshim Award from the Council for a Beautiful Israel.

Mr. Sahba has received many international awards, among them the First Honor Award in 1987 for "Excellence in Architecture" from the Interfaith Forum on Religion, Art, and Architecture, an affiliate of the American Institute of Architects. Articles about his work have been published in almost 400 magazines and newspapers throughout the world.

See also[link]

• Persian architecture
• List of historical Iranian architects

References[link]

External links[link]

Wikimedia Commons has media related to: Fariborz Sahba

• The Architecture of Fariborz Sahba
• Water and light: two works by Bahá'í architect by Eliza Rasiwala, Israel.
• Varqá International Children's Magazine

This Bahá'í-related article is a stub. You can help Wikipedia by expanding it. v t e

This article about an Iranian architect is a stub. You can help Wikipedia by expanding it. v t e

Dame Joan Augusta Sawyer, DBE, PC (b. November 26, 1940, George Town, Exuma, Bahamas) was President of the Bahamas Court of Appeal from September 5, 2001.^[1] Formerly Chief Justice of the Commonwealth of the Bahama islands from October 26, 1996 to September 4, 2001, Sawyer was the first woman to ever serve as Chief Justice and President of the Court of Appeal of The Bahamas.^[2] Sawyer retired from the Court of Appeal in 2010.

Education[link]

Sawyer received her early education at the George Town Public School, Government High School, Aquinas College and the Government High School Evening Institute. In 1970, aged 29, she began law school, matriculating from the University of London.

Career[link]

As a member of the Honourable Society of Gray's Inn she was called to the English Bar on July 19, 1973 and to the Bahamas Bar two months later.

Background[link]

Sawyer's career history began in 1958 as a clerk-trainee at what is now the Ministry of Public Works.

Family[link]

Joan Sawyer was married to the late Geoffrey Sawyer; they had one son, Samuel Anthony Sawyer.

References[link]

Constructs such as ibid., loc. cit. and idem are discouraged by Wikipedia's style guide for footnotes, as they are easily broken. Please improve this article by replacing them with named references (quick guide), or an abbreviated title. (July 2010)

1. ^ Dame Joan Sawyer biodata
2. ^ Ibid.

External links[link]

• http://unjobs.org/authors/joan-sawyer
• http://www.indianjurists.org/Judges.html

Liza Lehmann (11 July 1862 – 19 September 1918) was an English operatic soprano and composer, known for her vocal compositions.

Biography[link]

She was born Elisabetha Nina Mary Frederica Lehmann in London. Her father was the German painter Rudolf Lehmann and her mother was Amelia (A.L.) Chambers, a music teacher, composer and arranger. Liza "grew up in an intellectual and artistic atmosphere" (Baker, 1992, p. 1030) and lived in Germany, France, and Italy in her early years. She studied singing in London with both Alberto Randegger and Jenny Lind, and her composition teachers included Hamish MacCunn in London, Niels Raunkilde in Rome, and Wilhelm Freudenberg in Wiesbaden.

On 23 November 1885, she made her singing debut at a Monday Popular Concert at St James's Hall, and spent the next nine years performing many important concert engagements in England. She received encouragement from important European musicians such as Joseph Joachim and Clara Schumann.

She retired from the stage after a final concert at St James's Hall on 14 July 1894, and married the composer and painter Herbert Bedford. The couple's grandsons include the conductor Steuart Bedford and the composer David Bedford. For the rest of her life she concentrated on composing music. She completed one of her best known works two years later, in 1896, the song cycle for four voices and piano titled In a Persian Garden, settings of selected quatrains from Edward FitzGerald’s version of the Rubāiyāt of Omar Khayyām. She composed many more song cycles including The Daisy Chain and an In Memoriam based on Alfred Lord Tennyson's poem. She also became known for her parlour songs and other works in the following years.

In 1904 she was commissioned by Frank Curzon to compose the score for the Edwardian musical comedy Sergeant Brue with a libretto by Owen Hall and lyrics by James Hickory Wood. The piece was a success, but Lehmann was unhappy that Curzon added other composers' music to her score. Although she refused to write any further musicals, Lehmann composed the score for a comic opera adaptation of The Vicar of Wakefield in 1906, with a libretto by Laurence Housman. This piece was a modest success but did not lead to further comic operas.

In 1910, Lehmann made a tour of the United States, where she accompanied her own songs in recitals. She became the first president of the Society of Women Musicians in 1911 and 1912 and was a professor of singing at the GSM. She also wrote a voice study text, Practical Hints for Students of Singing. In 1916, Lehmann wrote the score for an opera, Everyman, which was produced by the Beecham Opera Company.

Lehmann and Maude Valerie White were England's foremost female composers of songs at the beginning of the 20th century. Although they both composed solo settings of serious texts, they excelled in setting lighter material. Some of Lehmann's compositional practices, such as her frequent use for four-voice cycles and writing piano links between songs, were consistent with her time, yet her pieces were inventive; they are now often overlooked and disregarded. She wrote many children's songs, ranging from the sweet and trivial "There are fairies at the bottom of our garden" to the melodically and harmonically passionate "Stars" in The Daisy-Chain. Her tenor song "Ah, moon of my delight" from In a Persian Garden is operatic.

Lehmann died at Pinner, Middlesex at the age of 56.

Musical works[link]

Stage[link]

• Seargeant Brue, musical farce (London, 14 June 1904)
• The Vicar of Wakefield, light opera (Manchester, 12 November 1906)
• Everyman, 1-act opera (London, 28 December 1915)

Vocal with orchestra[link]

• Young Lochinvar, text by Walter Scott, baritone, chorus, and orchestra (1898)
• Endymion, text by Longfellow, soprano and orchestra (1899)
• Once Upon a Time, cantata (London, 22 February 1903)
• The Golden Threshold, text by S. Naidu, S, A, T, Bar, chorus, and orchestra (1906)
• Leaves from Ossian, cantata (1909)

Vocal quartets with piano[link]

• In a Persian Garden (E. FitzGerald, after O. Khayyām) (1896)
• The Daisy-Chain (L. Alma-Tadema, R.L. Stevenson and others) (1900)
• More Daisies (1902)
• Nonsense Songs (from L. Carroll: Alice in Wonderland) (1908)
• Breton Folk-Songs (F.M. Gostling) (1909)
• Prairie Pictures (Lehmann) (1911)
• Parody Pie (1914)

Songs for solo voice[link]

• Mirage (H. Malesh) (1894)
• Nine English Songs (1895)
• Eight German Songs (1888)
• Twelve German Songs (1889)
• In memoriam (Tennyson) (1899)
• Cameos: Five Greek Love-Songs (1901)
• Five French Songs (G. Boutelleau, F. Plessis) (1901)
• To a Little Red Spider (L.A. Cunnington) (1903)
• The Life of a Rose (L. Lehmann) (1905)
• Bird Songs (A.S.) (1907)
• Mr. Coggs and Other Songs for Children (E.V. Lucas) (1908)
• Liza Lehmann Album (1909)
• Five Little Love Songs (C. Fabbri) (1910)
• Songs of a ‘Flapper’ (Lehmann) (1911)
• Cowboy Ballads (J.A. Lomax) (1912)
• The Well of Sorrow (H. Vacaresco: The Bard of the Dimbovitza) (1912)
• Five Tenor Songs (1913)
• Hips and Haws (M. Radclyffe Hall) (1913)
• Songs of Good Luck (Superstitions) (H. Taylor) (1913)
• Magdalen at Michael’s Gate (H. Kingsley) (1913)
• The Poet and the Nightingale (J.T. White) (1914)
• The Lily of a Day (Jonson), 1917
• There are Fairies at the Bottom of Our Garden (R. Fyleman), 1917
• When I am Dead, My Dearest (C. Rossetti), 1918
• Three Songs for Low Voice (Meredith, Browning) (1922)

Other vocal works[link]

• The Secrets of the Heart (H. Austin Dobson), soprano, alto, and piano (1895)
• Good-Night, Babette! (Austin Dobson), soprano, baritone, violin, ‘cello, and piano (1898)
• The Eternal Feminine (monologue, L. Eldée) (1902)
• Songs of Love and Spring (E. Geibel), alto, baritone, and piano (1903)
• The Happy Prince (recitation, O. Wilde) (1908)
• Four Cautionary Tales and a Moral (H. Belloc), two voices and piano (1909)
• Four Shakespearean Part-Songs (1911)
• The Selfish Giant (recitation, Wilde), 1911
• The High Tide (recitation, J. Ingelow) (1912)
• Behind the Nightlight (J. Maude, N. Price) (1913)
• Three Snow Songs (Lehmann), solo voice, piano, organ, female chorus (1914)

Instrumental[link]

• Romantic Suite, violin and piano (1903)
• Cobweb Castle, piano solo (1908)

Writings[link]

• The Life of Liza Lehmann, by Herself (T Fisher Unwin, London, 1919)
• Practical Hints for Students of Singing

External links[link]

• Liza Lehmann Biography at www.naxos.com a biography of Liza Lehmann
• Liza Lehmannn at British Theatre Guide
• Sheet music for "There are Fairies at the Bottom of Our Garden", Chappell & Co., Ltd., 1917.
•  "Lehman, Liza". New International Encyclopedia. 1905. 

References[link]

• Baker, Theodore (1992), "Lehmann, Liza", in Slonimsky, Nicolas, Baker's Biographical Dictionary of Musicians, Eighth Edition, New York: Schirmer Books, pp. 1030–1031, ISBN 0-02-872415-1 .
• Banfield, Stephen. "Liza Lehmann", Grove Music Online, ed. L. Macy (accessed 3 June 2008), grovemusic.com (subscription access).
• Banfield, Stephen (1995), "Lehmann, Liza", in Sadie, Julie Anne & Rhian Samuel, The Norton/Grove Dictionary of Women Composers, New York: W. W. Norton, pp. 275–277, ISBN 0-333-51598-6 .
• Stern, Susan (1978), Women Composers: A Handbook, Metuchen, New Jersey: The Scarecrow Press, Inc., pp. p. 109, ISBN 0-8108-1138-3 

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2010)

Behzad Ranjbaran (born 1955, Tehran) is a leading Persian composer.

Ranjbaran was born and raised in Iran. He entered the Tehran Conservatory at the age of 9. Ranjbaran continued his study of composition at Indiana University. He obtained a DMA from the Juilliard School.

Ranjbaran's music is strongly rooted in the Neo-Romantic movement of the late 20th Century, as well as showing the influence of Iranian and other non-Western music. He has written compositions for, among others, Joshua Bell, Renée Fleming, and Yo-Yo Ma, as well a piano concerto for Jean-Yves Thibaudet.^[1]

Many of his works are inspired by Persian culture and literature. Persian Trilogy, a large orchestral cycle completed in 2000, was inspired by the Shahnameh of the 11th Century Persian poet Ferdowsi. He has been on the faculty of the Juilliard School since 1991.^[2]

Selected works[link]

Orchestral

• Elegy for string orchestra (1985)
• Persian Trilogy

1. Seemorgh (1991)
2. The Blood of Seyavash (1994)
3. Seven Passages (2000)

• Symphony No. 1 (1992)
• Awakening for string orchestra (2005)
• Saratoga (2005)
• Mithra (2010)

Concertante

• Concerto for violin and orchestra (1994)
• Concerto for cello and orchestra (1998)
• Elegy for cello and orchestra (1998)
• Moto Perpetuo for violin and string orchestra (2001)
• Elegy for cello (or clarinet) and string orchestra (2004)
• Concerto for piano and orchestra (2008)
• Concerto for violin, viola and orchestra (2009)

Chamber music

• Six Caprices for 2 violins (1988)
• String Quartet No. 1 (1988)
• Dance of Life for violin and double bass (1990)
• Caprice No. 1 for violin solo (1995)
• Moto Perpetuo for violin and piano (1998)
• Ballade for double bass solo (1999)
• Elegy for cello and piano (2000)
• Moto Perpetuo for flute and piano (2004)
• Piano Quintet (2005)
• Shiraz for violin, cello and piano (2006)
• Isfahan for clarinet, harp, 2 violins, viola, cello and double bass (2007)
• Fountains of Fin for flute, violin and cello (2008)

Piano works

• Nocturne (A Night in a Persian Garden) (2002)

Vocal

• Songs of Eternity for soprano and orchestra (1998)
• Thomas Jefferson for narrator, solo cello and orchestra (1998)
• Three Songs for soprano and piano

Choral

• Open Secret for mixed chorus and chamber ensemble (1999)
• We Are One for mixed chorus (2008)

Awards[link]

^{[citation needed]}

• Rudolf Nissim Award
• Charles Ives Award

Students[link]

• James Lavino

See also[link]

• Persian Symphonic Music
• Music of Iran
• List of Iranian musicians

References[link]

External links[link]

• Behzad Ranjbaran official website