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Alisher Latif-Zade (Tajik: Алишер Латифзода; born 2 June 1962) is a Tajik-born American composer and music educator. His catalogue includes orchestral, chamber, piano, vocal and choral music, as well as works for theatre, film, ballet and opera.[1]

  • Comment: Draft reads like a résumé, plus most sources still are youtube links. Youtube is a content platform, not a reliable source. NeoGaze (talk) 21:04, 25 August 2026 (UTC)
  • Comment: Almost all sourcing hinges on youtube videos which are unreliable. Sulfurboy (talk) 20:13, 17 July 2026 (UTC)


Born (1962-06-02) 2 June 1962 (age 64)
Dushanbe, Tajikistan
EducationMoscow Conservatory
OccupationsComposer, music educator
Yearsactive1980s–present
Quick facts Alisher Latif-Zade, Born ...
Alisher Latif-Zade
Алишер Латифзода
Born (1962-06-02) 2 June 1962 (age 64)
Dushanbe, Tajikistan
EducationMoscow Conservatory
OccupationsComposer, music educator
Years active1980s–present
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Latif-Zade has participated in projects involving musical exchange between Central Asian and Western traditions, including the Silk Road Project founded by cellist Yo-Yo Ma.[2]

Early life and education

Alisher Latif-Zade was born in Dushanbe, Tajikistan. He began studying music as a child at the Republican Special Music School in Dushanbe.[3]

He later studied at the Moscow Conservatory, graduating in 1985 in composition. His teachers included Alexander Pirumov in composition, Yuri Kholopov in harmony and Karen Khachaturian in orchestration.[3]

Teaching career

From 1987 to 1992, Latif-Zade taught ear training, composition, improvisation and arrangement at the Ziyodullo Shahidi Republican Specialized Music School in Dushanbe.[3]

In 1993, during the civil conflict in Tajikistan, he moved with his family to Uzbekistan. He subsequently taught composition, arrangement and improvisation at the State Conservatory of Uzbekistan in Tashkent.[3]

He later taught composition and theoretical subjects at the Kurmangazy Kazakh National Conservatory in Almaty, where he worked until 2004.[3]

Compositional career

Latif-Zade's first international recognition as a composer came with Oriental Sketch for saxophone and chamber orchestra. He composed the work in 1987 while serving in the Soviet Army. In 1989, the composition was selected for performance in Germany, and Latif-Zade was invited to attend its premieres in Schwedt and Angermünde. The work was subsequently performed internationally. On 20 September 1996, saxophonist Rouslan Babajanov performed Oriental Sketch with the Tasmanian Symphony Orchestra under conductor William Southgate.[4] In 2000, Alisher Latif-Zade was selected as one of sixteen composers for the international Silk Road Project, founded by cellist Yo-Yo Ma. The selected composers represented countries and musical traditions associated with the historic Silk Road. His commissioned work Circles of Time was presented as part of the project.[2]

Following his participation in the Silk Road Project, Latif-Zade was granted United States immigration status as an artist of extraordinary ability.

Selected performances and premieres

On 11 November 2001, Elegy (Don't Weep) for two guitars received its premiere at the Knitting Factory in New York during the Sonic Boom festival. Commissioned by guitarist William Anderson and dedicated to the victims of the September 11 attacks, the work was performed by Anderson and Oren Fader.[5]

On 10 December 2002, the New Juilliard Ensemble, directed and conducted by Joel Sachs, gave the world premiere of Alisher Latif-Zade's Tolerance at Alice Tully Hall in New York.[6] The premiere was announced in The New York Times “Footlights” column in an item titled “Eastern Influence”.[7]

In 2011, Latif-Zade appeared as a violinist at events held at the Library of Congress in Washington, D.C., and at the United Nations in New York.

Works

Latif-Zade's catalogue includes works for the stage, symphony orchestra, chamber ensembles, piano, voices and choir, as well as music for theatre and cinema.[1]

Stage works

Opera and ballet

  • 2025 — Sick–Suck, pamphlet musical
  • 2023 — Qiyomat (Apocalypse), opera in three acts and six scenes
  • 2020 — Savitri, nano-opera
  • 2018 — Fountain of Tears, ballet-oratorio.[8]

Ballet and action projects

  • 2026 — Soul & Body, rock ballet
  • 2003 — Dervish's Book, musical project in six chapters
  • 1999 — Manas, musical chronicle based on the epic

Symphonic music

  • 2020 — Angel Wings, music installation involving 35 countries.[9]
  • 2017 — Circles of Time II, for Silk Road instruments, in four movements.[10]
  • 2008 — The Night Gone with My Fantasy, fantasy for trumpet and symphony orchestra.[11]
  • 2002 — Tolerance, for conductor, musicians and tape.
  • 2002 — Lattaro Waltz, for string orchestra.
  • 2000 — Perceptio, for violin and symphony orchestra
  • 1998 — Alvidoh, wreath of memory for violin, cello, bells and symphony orchestra.
  • 1998 — An American in Tashkent, ragtime for symphony orchestra.
  • 1998 — Vivat, France, for piano and symphony orchestra
  • 1996 — Taronai Dil (Strings of the Heart), for soz and symphony orchestra.
  • 1991 — Sound & Rhythmic, for double symphony orchestra
  • 1991 — Oriental Miniatures, Piano Concerto No. 2.[12]
  • 1989 — Liber Scriptus, symphony-concerto for strings and piano.
  • 1989 — Piano Concerto No. 1, for piano and symphony orchestra.[13]
  • 1988 — Navo, concerto for viola and symphony orchestra
  • 1988 — Tone Poem, for symphony orchestra
  • 1987 — Festive Overture, for symphony orchestra
  • 1987 — Bakhoriyet, concerto for large symphony orchestra
  • 1985 — Chamber Symphony, for strings, in four movements.
  • 1985 — Violin Concerto, for violin and symphony orchestra, in three movements
  • 1982/1987 — Takhir and Zukhra, tone poem for chamber orchestra.

Chamber and instrumental music

  • 2024–2026 — Collection of Pieces, Vol. 3, for violin, piano, guitar and school ensembles
  • 2023 — Seven’s Cradle of Crimea, for septet and tape.[14]
  • 2020 — Collection of Pieces, Vol. 2, for violin, piano, guitar and school ensembles
  • 2019 — Collection of Pieces, Vol. 1, for violin, piano, guitar and school ensembles
  • 2018 — Miniature of Ancient Sogdiana, for strings and piano
  • 2018 — Wisdom of the Ancestors, for female narrator, duduk, oboe and bassoon; text by Silva Kaputikyan.[15]
  • 2016 — Silver Tango, for cello, bandoneon and ensemble
  • 2015 — American Stars Fireworks, fanfares for brass and percussion
  • 2014 — Confession of the Devil, trio for piano, vibraphone and cello.
  • 2014 — At a Potter’s Wheel, for harpsichord.[16]
  • 2014 — Supplicium. Ab Exterioribus ad Interior, for organ
  • 2013 — West–East Sphere, for mezzo-soprano, oud, percussion and strings
  • 2013 — Franklin’s Whistle, for Franklin’s string quartet
  • 2013 — Quasi Poco a Poco No. 3, for saxophone quartet
  • 2013 — China–Lux, for fourteen instruments: seven classical and seven traditional Chinese instruments
  • 2011 — Infinity, for solo harp.
  • 2011 — Dalishef Suite, for piccolo, flute, bassoon, violin and tape
  • 2010 — Seeds of Peace, for strings
  • 2010 — La Porte Fermée, for piano and violin
  • 2009 — Sogdian Suite, for three trumpets, three trombones, French horn and tuba
  • 2008 — Partita da Gamba XXI, for six violas
  • 2008 — Kids’ Suite, for violin, cello and piano
  • 2005 — Spectrum – All in Two, for two multipercussionists and tape
  • 2004 — Fighon-Moon, for four guitars.
  • 2002 — Falak-Abegg, for violin, cello and piano
  • 2002 — Tajik–Persian Patterns, for string quartet and folk instruments
  • 2002 — Usulname, for multipercussionist and piano.[17]
  • 2002 — Nayohang, for flute and piano.[18]
  • 2002 — Sogdian Mixing, for string quartet and folk instruments
  • 2001 — Toccata (Bukhorocha), for two pianos.
  • 2001 — Brass Patterns, for French horn, four trumpets, four trombones and tuba
  • 2001 — Et Incarnatus, for six musicians
  • 2001 — Elegy (Don’t Weep), for two guitars.
  • 2001 — Toj, for folk winds, percussion, tape and synthesizer
  • 2000 — Timpanium, for nine timpanists
  • 2000 — Reflection Four Solo in Four, for solo guitar
  • 2000 — Circles of Time, octet in two parts and coda
  • 1998 — Jazz-Waltz, for violin, cello and piano
  • 1998 — Al Zikr, for piano, strings and percussion.[19]
  • 1997 — Cross & Crescent, trio à la quintet for violin, clarinet and marimba, in three movements
  • 1995 — Invasion, divertissement for strings
  • 1992 — Sonorita da Orientale, for solo double bass
  • 1992 — Burla al Orientale, for six percussionists
  • 1991 — Apocalypse, tone poem for seven percussionists and tape
  • 1990 — Diptych, for violin and piano.[20]
  • 1990 — ChahorZarb, for piano, folk percussion and strings.
  • 1989 — Sonata-Fantasy, for violoncello and piano
  • 1988 — Suite, for violin and piano, in five parts
  • 1987 — Oriental Sketch, for alto saxophone and chamber orchestra.[21]
  • 1987 — Monologue-Imagination, for solo flute.
  • 1985 — Humoresque, for brass quintet.
  • 1981 — Sonatine, for trumpet and piano, in three movements
  • 1981 — Naghmaho, for woodwind quintet

Vocal and choral music

  • 2024 — Crimean Sonnets, a fifteen-movement work for SSAATTB choir, setting poems by Adam Mickiewicz in Crimean Tatar translation
  • 2020 — Psalom, for choir a cappella
  • 2020 — Romance, for mezzo-soprano, tenor, tanbur and string quartet
  • 2016 — Lullaby for Edem, vocalise for mother’s voice and piano
  • 2010 — Pushkin’s Bouquet, romances for bass and piano
  • 2009 — Black Swan, vocalise for two sopranos and piano.
  • 2009 — Super Astra Ferri, for unaccompanied choir.[22]
  • 2009 — Three Songs, for bass, harp and piano
  • 2004 — Heaven’s Voice, for soprano and tape
  • 2002 — German Album, five choirs a cappella
  • 2002 — The Rhythmic Pattern, for mixed choir and folk instruments
  • 1985/1990 — Cantata, for children’s choir and symphony orchestra, in seven movements
  • 1983–1984 — Four Songs, for female choir and piano
  • 1980–2016 — approximately 200 songs and arrangements of Azerbaijani, Afghan, Crimean Tatar, Iranian, Jewish, German, Korean, Kazakh, Kyrgyz, Norwegian, Russian, Tajik, Turkmen and Uzbek melodies

Piano works

The following piano works are listed in Latif-Zade's official catalogue.[1]

  • 2018–2025 — Children’s Pieces, for piano, four and six hands
  • 2021 — Bakhtohang, for two pianos
  • 2017 — HSU Suite, for piano four hands
  • 2016 — Sabrie, suite for two pianos in six movements
  • 2016 — Romanian Counterpoint, for piano four hands, guitar and tape.[23]
  • 2016 — Golden Dreams, arrangement for piano four hands.
  • 2016 — Made in India, for piano six hands
  • 2008 — Dance on Sheva Berachot, for two pianos.[24]
  • 2005 — Music Appreciation, for piano six hands.[25]
  • 2005 — The Rain’s Prelude, for piano
  • 2002 — Splashes, cycle of piano pieces
  • 2002 — Frescoes of Ancient Penjikent, cycle of piano pieces
  • 2001 — Zimchurud, for piano
  • 1999 — Etude–Prelude, for piano
  • 1999 — Joke, for three pianos and eight hands.
  • 1992 — 1000 & One Second in Notes, concerto for two pianos.[26][27]
  • 1990 — Concert Music, for two pianos
  • 1988 — Musical Kaleidoscope, for piano and various instruments
  • 1985 — Kids’ Album, 24 piano pieces
  • 1980/2016 — Toccata, for piano.[28]

Theatre music

  • 2003 — Nathan the Wise, Uzbek Drama Theatre, Tashkent; directed by A. Hodzhakuli
  • 2000 — The Mountain Giants, music for a production at the Russian Drama Theatre in Tashkent, directed by Sebastiano Maria Salvato.[29]
  • 1999 — Solar Beam, Bishkek State Drama Theatre; directed by B. Parmanov
  • 1999 — People-Birds, Tashkent State Puppet Theatre; directed by B. Parmanov
  • 1998 — The Quinces’ Dreams, Russian Drama Theatre, Tashkent; directed by A. Hodzhakuli
  • 1986–1991 — Music for six theatrical productions at the Tajik Aini Opera and Ballet Theatre, Lakhuti Academic Theatre, Khujand Drama Theatre and Tajik State Puppet Theatre

Cinema music

  • 2003 — Tulip under the Snow, feature film, Uzbekfilm, Fifth Studio
  • 1999 — February, feature film; producer E. Tuychiev
  • 1999 — The Enamored Shepherd, India–Uzbekistan co-production
  • 1986–1999 — music for five documentary films produced in Uzbekistan and Tajikistan

Published works

Selected compositions by Latif-Zade have been issued by publishers in the United States, France, Belgium, Russia and Tajikistan.[30]

  • Circles of Time, for octet — G. Schirmer, New York, 2003
  • Liber Scriptus, for piano and chamber orchestra — Le Chant du Monde, Paris, 2003
  • Supplicium: Ab exterioribus ad interior, for organ — Le Chant du Monde, Paris, 2010
  • Five Splashes–Five Senses, for piano — New Consonant Music, Belgium, 2007
  • Eastern Sad Humoresque, for flute choir — Falls House Press, United States, 2005
  • Blue Book: Chamber and Instrumental Music, volume 1 — Dushanbe, 2012
  • 1986 — Humoresque, for brass quintet — Sovetsky Kompozitor, Moscow

Musical style

Latif-Zade's musical language combines elements of Tajik and broader Central Asian traditional music with Western classical forms, contemporary compositional techniques and jazz. Folk-derived melody and rhythm frequently form the basis of his compositions.[31]

His works often bring together Western orchestral instruments and instruments associated with the musical cultures of the historic Silk Road. This cross-cultural approach is also reflected in his participation in the Silk Road Project and in compositions such as Circles of Time, Cross and Crescent, Tolerance and West–East Sphere.[2][31]

In several compositions, Latif-Zade gives performers a theatrical role in addition to their musical function, incorporating gesture, movement and elements of staged action into the performance.[3]

Scholarly reception

Latif-Zade's music has been discussed in studies of contemporary Central Asian composition. In a 2018 survey of Tajik composers during the final decade of the twentieth century, Manzura Hasanova discussed his combination of Eastern and Western idioms, jazz and classical elements, melodic writing and polyphonic development. She cited works including Nayohang, Sogdian Miniature, Cross & Crescent, Apocalypse, Circles of Time, Tolerance and Heaven's Voice.[32]

In a study of neo-ritualism, musicologist Sitora Davlatova analysed Latif-Zade's 1998 composition Al Zikr, examining its recurring motifs, instrumental colours and formal organization as a musical representation of a Sufi dhikr ritual.[33]

Prof. Marina Drozhzhina examined Latif-Zade's use of traditional instruments in Manas, Tajik–Persian Patterns and Dervish's Book. She described the traditional instrument in these works as a structural and dramatic participant rather than merely a source of local colour, discussing this approach in relation to the Silk Road Project.[34]

Aliya Sidikova analysed Latif-Zade's piano-ensemble music, with particular attention to Silver Tango, its rhythmic organization, interaction between the instrumental parts and questions of performance interpretation.[35]

In 2023, Yulduz Dadajonova devoted an article to Oriental Sketch, discussing the work's combination of blues and jazz elements with features derived from Central Asian musical traditions.[36]

In his 2017 book Music after the Fall, Tim Rutherford-Johnson included Latif-Zade among composers associated with the Silk Road Ensemble in a discussion of globalization and cross-cultural composition.[37]

References

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