From the Last Instrumentalist to the First Composer (II)

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Rouhollah Khaleghi was the master of composing beautiful melodies. He was the premier of the course of history which was first established by Ali Naghi Vaziri and which improved the Iranian music from simply a gathering music to the classical music of the country. First efforts to compose independent and instrumental music can be also traced in Khaleghi’s works.
Pursuant to Vaziri’s activities, Khaleghi managed to incarnate attractive capacities of mahour, rast panjgah and other dastgahs of Iranian music in orchestral compositions. He developed the Iranian music to the extent that today the Iranian composers can draw on its dramatic diversity. Appropriate use of instruments and their employment in a way that represent special and various human feelings was one of the most significant measures which was introduced by Khaleghi’s efforts. It was Khaleghi who established a musical ambience which resulted in the emergence of composers able to create various works.
Khaleghi knew very well that a lively and rich art necessitates moral genealogy on the part of its creator. Khaleghi realised how the absence of values of the Iranian music in our culture has tragically constructed an ill structure for closed-circle gatherings of short-sighted people unable to think. He tried his best to solve such problems of music and use this opportunity for the sake of a valuable and wise presence. For the same reason, Khaleghi paid a great attention to moral genealogy of students he audited for music school. Khaleghi and Abolhassan Saba are the pillars of reviving the Iranian national music. Two pillars which have Vaziri at their foundation; a musician who blew the spirit of Constitutional Revolution into our music and paved the ground for the activities of enthusiastic young artists such as Khaleghi and Saba. These three artists redirected our country’s national music to a path that will never turn into an area for prejudiced people’s manoeuvrings. Today, we have masters like Javad Maroufi, Hossein Dehlavi, Farhad Fakhredini, Kambiz Roshan Ravan and Faramarz Payvar who were educated in the afore-mentioned national Iranian music school. An artist like Faramarz Payvar added more styles to the school.
The influence of this school on Iranian music was even evident vis-à-vis the opponents of the school. When the traditional school of music, which was inclined towards reviving Qajari style, had to offer orchestral works as necessitated by the requirements of the Revolution, it had to draw on the achievements of the national music school for orchestration. This incident proves that Iranian national music school could even meet the basic needs of its opponents as well.
As a result of this, in contemporary Iran, we have a new generation of composers who seek to complete efforts by previous groups. Composers such as Mohammad Reza Darvishi, Kazem Davoudian, Peyman Soltani, to name but a few, are the artists whose activities not only strengthen the Iranian composers’ styles but also can lead to the emergence of new styles in the country’s art through avant-garde experiences.
Rouhollah Khaleghi is the first professional national Iranian composer. Let us hope that the initiative Khaleghi took lead to the creation of more musical styles and make Iranian music influential beyond Iranian borders.

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Iranian Contradictions: Iranian Chords

Finding a way to harmonize the Iranian music has been the subject of controversy among Iranian musicians for a long time. Some believe in the creation of harmonies for Iranian music based on a method which is similar to the tierce harmony; while others have either selected or invented some other methods. There are also some musicians who do not basically agree with the harmonization of the Iranian music.

Principles of Violin Playing (IX)

4.3.1. To practice playing of doubles of notes involving two different fingers, each note is played at separate bows with slow tempo, each note is played perfectly regarding its bass and tenor sounds and then the considered double is played at another bow while considering the resulted sound of the double.

From Past Days…

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Iannis Xenakis’ Persephassa

Shiraz Arts Festival which was held in Shiraz from 1967 to 1977 featured many contemporary renowned artists who were commissioned by the Iranian royalty to compose or create works of art for performance in the arts festival. Iannis Xenakis (1922-2001) participated in Shiraz Arts Festival three times in 1968, 1969 and 1971. The Greek-French composer,…
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Call for papers SIMF 1396

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Illusion or Ingenuity?

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Principles of Playing Violin (IV)

Principles of Playing Violin (IV)

Pattern No.3/1 Left hand finger Placement: 3/1/1: Landing Fingers on one String: In preliminary stages of training, an apprentice should pay attention to the principle of keeping fingers while placing them on the fingerboard. Professional violinists pay less attention to this principle. Novice player’s complying with this principle, in preliminary stages of training, has several…
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