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
- 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)
- Gholam Reza Khan Minbashian: a pioneer in Iranian music (I)
- Polyphony in Iranian Music (VI)
- Prominent Iranian Musicologist Passes Away in Vienna
- Polyphony in Iranian Music (V)
- Violin’s inner mold, an essential factor in developing the idea of violin
- Three singers in one larynx
From Past Days…
188.8.131.52.sometimes, a player, due to different reasons, may decisively want to play continuously two notes with a half-step by means of the same finger, in such a case, it’s necessary to open the interior curve of the finger like a spring. Naturally coming back, the curve of finger should be closed and the finger should become curved shape again (see paragraph 184.108.40.206).
Nine-bridge and twelve-bridge Sanours were both used until the early Pahlavi dynasty. However, as Faramarz Payvar devised new methods for playing the nine-bridge Sanour, this variety of the instrument which was hammered by felted sticks became popular.
Mohsen Renani in the preface of his book entitled “The Political Economy of nuclear conflict; an introduction to traversing the civilizations” writes:
Antonio Stradivari (1644 – 18 December 1737) was an Italian luthier and is considered the most significant and greatest artisan in this field.
With Dehlavi it is not all about fame but recognition. Hossein Dehlavi is not a popular musician (like pop singers) whom everybody might know when he is walking on streets of Tehran; however, he is recognized by both amateur and distinguished musicians of the country.
Farshad Sanjari, one of the most renowned Iranian conductors in the 1970s in Iran died after fire broke in his apartment in Vienna on November 22, 2019. Farshad Sanjari was not involved in politics; however, he was one of the victims of the Iranian Islamic Revolution in 1979. After the victory of the Islamic Revolution, his name was never seen as the conductor of any programmes.
Gholamreza Khan Minbashian taught courses such as organology, orchestration of military music and harmony based on the books which were translated from French into Persian with the help of Aliakbar Mozayyan-o-Dolleh (1846-1932).
Joint application of the two techniques of “Lip” and “Nose” could be effectively applied for hearing and playing far-away intervals, by the Classical Guitar. Before this, a Classical Guitar player had to waive playing intervals not possible with the left hand, and had to replace or eliminate some notes, making it possible to play such intervals; specifically the capability of the left hand of the musician, was also a factor in such a selection. These methods are hereby illustrated by photographs and a video-file, in order to provide optimum comprehension of applying these methods, invented by the author; specifically the “Lip” technique, which is considered to be a more significant technique, emphasized by the author.
Ashura Opera was composed by Behzad Abdi, the Iranian composer, in 2008 based on librettos compiled by Behrouz Gharib. The main source for the libretto is poems by Mohtasham Kashani, a sixteenth century Iranian poet.
Amidst the popularity of traditionalism in the Iranian music, Parviz Meshkatian (1955- 2009) moved from Neyshabur to Tehran. He learnt to play Santour and became educated in the Radif of Iranian music at the Centre for Preservation and Promotion of Music which was at the forefront of promoting the return to musical traditions. Despite his studies at a centre which promoted the use of the phrase “traditional music” in Iran, Parviz Meshkatian emerged as a creative artist whose innovative and unique ideas attracted the admiration of Iranian artists and people from different walks of life. This article studies the reason behind Meshkatian’s deviation from the wrong approach of traditionalism strongly promoted by the Centre and argues that apart from the issue of theory of Iranian music, he can be considered as Ali Naqi Vaziri’s successor.