The National Instruments Orchestra of Iran performed its first concert amid much hope and anxiety on July 18, 2015. The Orchestra is founded by Roudaki Cultural and Arts Foundation which is a semi-private foundation in Iran. The Arts Director for the National Instruments Orchestra of Iran is Ali (Alexander) Rahbari and the Orchestra Executive Director is Sadjad Pourghand.
The National Instruments Orchestra of Iran can be considered as an evolution upon Faramarz Payvar’s Orchestra, established in 1968, and the Plectrum Orchestra which was founded by Hossein Dehlavi in 1993. The feature which these three orchestras share with each other is the support they received from state organizations.
One of the most significant orchestras on such a large scale, as the National Instruments Orchestra of Iran, was Simorq Orchestra founded by Hamid Motebassem an Iranian composer and Tar and Setar player. Simorq Orchestra, a private one, could stage several performances in Iran and even embarked on a concert tour in Europe. Hamid Motebassem also served as the concert soloist for his own piece entitled “Vanoosheh.”
Hossein Alishapour and Vahid Taj were the concert singers whose performance drew the audience’s admiration.
The National Instruments Orchestra of Iran includes both plucked, bowed, wind and percussion instruments: Tar, Bam Tar, Setar, Santour, Qanoon, Oud, Kamancheh, Gheichak, Bass Gheichak, Alto Gheichak, Ney, Dayereh, Daf, Tonbak.
The Orchestra was conducted by Iranian conductor Esmaeel Tehrani. Tehrani who is in his late 60s was born in Tehran and is a graduate from National Music Conservatory of Iran. He plays santour and is a composer as well.
The concert repertory included compositions by five generations of composers who follow Ali Naghi Vaziri’s school of thought. One of the most prominent composers of Vaziri’s school of though is Hossein Dehlavi. For this reason, the concert was opened with Dehlavi’s “Nokhost Golbang-e Mezrabi (for plectrum orchestra)” as a tribute to the composer.
Given the disputable belief that the Iranian classical music is unison by nature, the National Instruments Orchestra of Iran was convened to perform polyphonic Iranian pieces composed for all the above-mentioned Iranian instruments.
The concert brochure reads:
Based on ethnomusicological evidences, Iran is one of the few countries which possess national classical music. In all the years that the Iranian classical music has been developing in terms of performing and composing techniques, need for a state-owned orchestra which would be capable of performing polyphonic Iranian music was highlighted.
However, the issue was never addressed in a sustainable manner. In other words, orchestras which were established for performing the Iranian classical music had brief existences due to different problems such as budget shortage, lack of state support.
One of the challenges this orchestra is dealing with is the lack of pieces composed for an orchestra with such a capability in terms of versatility and inclusiveness of Iranian musical instruments as an instance.
Although the National Instruments Orchestra of Iran still has to walk a long way to attract its audience from the public, its goal and path is well understood and appreciated among the majority of the Iranian musicians including those who deny it
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- Hassan Kassai, Ney Virtuoso
- Iranian Fallacies – Global Performance
- Iranian Fallacies – School of Vaziri
- Women and the Music Environment in Iran
- Parviz Meshkatian’s Heart Beat for People (II)
- Ali Rahbari’s collaboration with Naxos as a Composer
- Hossein Aslani passed away!
- Parviz Meshkatian’s Heart Beat for People (I)
- Farshad Sanjari, Forgotten Iranian Conductor Met His Tragic End
- Gholam Reza Khan Minbashian: a pioneer in Iranian music (II)
From Past Days…
The Association of Iranian Contemporary Music Composers (ACIMC) and SHAHREAFTAB Art & Cultural Association are pleased to announce a call for papers for SIMF 1396.
The album “Guitar Memories” consists of the performance of baroque to recent era masterpieces, by Mehrdad Mahdavi, and is published by Tanin-e Honar Publication.
In this album there are pieces composed and arranged by artists such as: Sylvius Leopold Weiss, Johann Anton Logy, Fernando Sor, Yuquijiro Yocoh, Leo Brouwer.
After watching Quentin Tarantino’s latest movie, The Hateful Eight, everyone was excited by its novel music besides the beautiful scenes of blood and guts.
The Hateful Eight is the first collaboration between the world-famous film music composer, Ennio Morricone, and Quentin Tarantino as a famous director.
As such, the young Meshkatian reached the position of a great maestro in the Iranian music. Up until 1997, Meshkatian remained prolific and composed many pieces which were characterized by progressiveness while drawing on the music of the past Iranian musicians. In some of Meshkatian’s works, one can trace the influence of maestros such as Faramarz Payvar; however, this influence is so balanced that one can neither say that Meshkatian is a progressive and deconstructionist composer nor does he use cliché forms in his compositions.
3/1/2/5: When the first finger lands next to the nut, continuation of first phalange of this finger, on back of the hand, should be in line with continuation of the back of the wrist and the left hand; moreover, it should not pass them and bend at knuckles. Otherwise, an uncommon stretch is created in first finger’s knuckle also reducing the freedom of other fingers (especially the fourth finger) in finger placement.
Simorgh (Simorq) Orchestra was founded by the renowned Iranian composer, Hamid Motebassem, in 2011. Simorgh Orchestra is the largest orchestra featuring Iranian national instruments. Although the orchestra established by Master Hossein Dehlavi, the great Iranian composer, in 1993 was larger than Simorgh Orchestra, it only featured the Iranian plucked string instruments unlike the latter one. The first album which was recorded by the Orchestra, conducted under Motebassem’s baton, was his Simorq based on Zal story from Shahnameh by Ferdowsi, the great Iranian poet.
Two choirs alternatively perform Veŝ Tavaré Na avaz (Transcription 5). The second group starts the avaz before the first group finishes it; consequently, two different voices coincide (Transcription 5, staves 2 and 5).
Payam Taghadossi (born in 1989) started his musical education at the age of 4 years with Monika Scherbaum in Bregenz (Austria). At the Conservatory Feldkirch he joined the class of Imke Frank and Martin Merker. Later he studied in Zurich (Switzerland) with Thomas Grossenbacher and Christian Proske, where he 2011 graduated as a Bachelor of Arts in Music Performance. Two years later as the student of Rafael Rosenfeld he received his Master of Arts in Music Performance diploma and later graduated as a Master of Arts in spezialized Music Performance in 2016 from the Hochschule für Musik Basel FHNW.
The term “School of Vaziri” is often used in writings on Iranian music, but the exact meaning of the term is not clear; some of the authors have used the term to only refer to the group of Vaziri’s students, including a large group of his conservatory students and his Tar students such as Abolhassan Saba, Rouhollah Khaleghi, Ahmad Foroutan Rad, Hossein Sanjari, Heshmat Sanjari and others. But can we consider all Vaziri’s students as followers of his school of thought? This is definitely a mistake, because we know that some of Vaziri’s students have chosen a completely different path than that of Vaziri.
Hossein Aslani, Iranian pianist residing in the US, passed away due to cancer in late January 2020. His last musical activity was an article written for Harmony Talk entitled “Iran amidst musical struggle” in 2016, his memoir entitled “I Play You Again” in the same year and his album “Symbolic Emotion” published by Arganoun Publications in 2014. Here is a brief biography of Hossein Aslani according to his own website: