Samir Odeh-Tamimi



Clara Rempe


+49 30 214 594-233

General Management

CR Thomas Kujawinski


09.09. 11:00
Kapelle Klein-Jerusalem

Samir Odeh-Tamimi,  Uffukk für Solo Cello

Samir Odeh-Tamimi, composition
Elodie Théry, violoncello

10.10. 20:00
Palais Stutterheim Erlangen

Samir Odeh-Tamimi,  Adad für Schalmei und Akkordeon

Ensemble mixtura
Samir Odeh-Tamimi, composition

31.10. 20:00
Kunstmuseum Stuttgart

Samir Odeh-Tamimi,  Šamaš für Viola und Streichorchester

Samir Odeh-Tamimi, composition
Stuttgarter Kammerorchester
Peter Rundel, conductor


Samir Odeh-Tamimi has developed his own distinctive musical language which draws upon his intense involvement with both western avant-garde music and Arabic musical performance practice. Full of enthusiasm for the European classics as well as new music, the Palestinian-Israeli composer arrived in Germany at the age of 22, where he studied the works of his compositional role models - including Giacinto Scelsi and Iannis Xenakis - as well as questioning the musical culture of his native country, which he had studied in his youth as a member of an ensemble performing traditional Arabic music on contemporary instruments.

 Samir Odeh-Tamimi’s works are regularly performed at renowned festivals and concert halls throughout Europe, and he has received commissions from Deutschlandfunk, the Donaueschingen Festival, European Centre of the Arts in Hellerau, WDR Radio, SWR Symphony and musica viva Munich. In 2010, his music theatre piece Leila und Madschnun received its world premiere at the Ruhrtriennale in Bochum. As part of the project into Istanbul, initiated by Ensemble Modern and the Siemens Arts Programme in cooperation with the Goethe Institute, he composed a piece for Ensemble Modern inspired by his stay in the Turkish metropolis. During the last few years, Samir Odeh-Tamimi has also closely collaborated with the Boulanger Trio and the Neue Vocalsolisten Stuttgart. The singers have since travelled to the composer’s birthplace and parents’ home close to Tel Aviv to discover his musical roots for the premiere of a new piece for Stuttgart’s Eclat Festival.

Samir Odeh-Tamimi’s oratorio Hinter der Mauer (Behind the Wall) was commissioned by the RIAS Kammerchor on the occasion of the 20th anniversary of German reunification. Following its world premiere in the Berlin Radialsystem it was again performed by the RIAS Kammerchor and the musikFabrik ensemble in Jerusalem and Dresden. Mansúr, the celebrated work commissioned by the Salzburg Festival and performed for the first time in 2014 by the Bavarian Radio Choir and members of the Bavarian Radio Symphony Orchestra, deals with the Sufi mystic and revolutionary Mansur Al-Hallağ.  In 2016, the Klarafestival in Brussels commissioned a new work as part of Pierre Audi’s staged version of Bach’s St. John Passion. The intermezzo L’Apokalypse Arabe I, performed in between the two parts of the passion, was based on texts by the Lebanese poet Etel Adnan, and was also performed in 2017 at the Muziekgebouw Amsterdam.

The SWR Orchestra recently premiered Gidim for orchestra and electronics, which deals with Sumerian death-rituals, and was composed for the occasion of the 500th anniversary of the reformation. Amongst other projects, the composer is currently working on a viola concerto for the Stuttgart Chamber Orchestra. The 2017/18 season will begin with the premiere of a new music theatre work Capricornus given by the Ensemble Mosaik at the pyramidale Berlin. Elsewhere, the Zaafran Enesmble has recorded a portrait CD in cooperation with RBB and Kairos that will be released this autumn.

Samir Odeh-Tamimi was made a member of the Akademie der Künste in Berlin in 2016, when he was also awarded a German Music Author’s Prize by GEMA.

2017/18 season

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In his intermezzo “And you Must Suffer”, a setting of the poem “L’apocalyse arabe” by the Lebanese painter and writer Etel Adnan, Samir Odeh-Tamimi displays deep imagination and a sense of complexity. Here, an important Arabian voice is making himself heard in Europe.
Opernwelt, Shirley Apthorp, May 2017 (on the Opera Forward Festival Amsterdam)

Also strong was “Jarich (Mondgott)”, in which the Palestinian Samir Odeh-Tamimi remembered the suffering of his family, victims of the Israeli-Palestinian conflict. Here, three dramatically articulated female voices were recorded onto tape, and transformed in a nightmarish fashion. To this were added decontextualized aural snapshots of Palestine: ritual songs, Sufi music, gongs and drums. This work created a sonic maelstrom.
Stuttgarter Nachrichten, Verena Grosskreutz, 11/2/2014 (on the ECLAT Festival Neue Musik Stuttgart)

In their works “Cihangir” and “üg” for ensemble and electronics, composed in 2008 as part of the Siemens Arts Program project “into Istanbul”, Samir Odeh-Tamimi and Marc Andre listened directly to the city on the Bosphorus. Odeh-Tamimi portrays a modern metropolis; Andre paints a perhaps clichéd yet nevertheless alluring picture of an oriental city. Both convey the sense that there is no reason to fear the “other”. Such ambassadors would be invaluable to states and nations.
Der Standard, Heidemarie Klabacher, 2/8/2014 (on the Salzburger Festspiele)

The world premiere of Samir Odeh-Tamimi’s “Oh Leute, rettet mich vor Got” was a sensational aural experience. In this work, the Palestinian-Israeli composer refers to the medieval Islamic mystic Mansur Al-Hallaj, combining his religious texts with two poems by the Syrian lyric poet Adonis, born in the 1930s, which describe the alienation of man from their origins through destruction and technological rationality. Language and words here lie at the centre of existence. Odeh-Tamimi’s piece is appropriately eloquent, with spinning vocal figures that stammer, become ecstatic, solidify and then break apart again. Sudden tempo changes shift the work between meditative chant and roaring at breakneck speeds. The audience in the Südkirche was overwhelmed.
Esslinger Zeitung, Dietholf Zerweck, 11/9/2012 (on the Musikfest Stuttgart)

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Media Centre

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Chamber Music

Zafraan Ensemble, Salome Kammer, Manuel Nawri
Kairos, 2017, 0015023KAI

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