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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From Past Days…
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,…
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.
Gholam Hossein Banan was born in 1911 in Tehran. He was born in an affluent art-loving family who were Naser al-Din Shah Qajar (1848-1896)’s relative. The Qajar King was his mother’s uncle on her father’s side. He learnt his first lessons in music while his father sang Iranian avaz (improvised rhythmic-free singing), he then attended classes by the renowned Iranian composer, Morteza Neydavoud (1900-1990) along with his sisters; the composer is, therefore, considered as his first teacher. He then learnt Iranian avaz under the supervision of Mirza Taher Zia Resaee (Zia-o Zakerin) and Naser Seif in an oral manner.
Iranian pianist Layla Ramezan has always sought to create a connection between her Persian origin and the contemporary music which she encounters daily. Sound, phrasing, a particular sense of rhythm and a refined understanding of the “time of musical development” are the foremost qualities of her interpretations. Her musical and pianistic education began in Tehran at the age of 8 with Mostafa-Kamal Poortorab. Having moved to Paris and received a scholarship from Albert Roussel Foundation, she integrated the classes of Jean Micault and Devi Erlih at the Ecole Normale de Musique de Paris Alfred Cortot, where she received a Diplôme de Virtuosité in piano performance and chamber music.
The author of the “Illusion or Ingenuity” article, who is apprehensive of the future of the Music in Iran, enumerates some symptoms of the music weakening in the country for example decreasing in the quality of the music as well as lack of the innovation in creating them, a gradual decline in the music public taste and the drop in the application of layered sound and polyphony in music. He explains that one reason for this gradual weakening might be our unawareness of the fact that we are not so intelligent nation. He believes that we, Iranians, have a comprehensive “Illusion of the high national intelligence “that make us ignorant of the unfavorable realities of our music and consequently no searching for the remedy is taking place. His point of view brings to the mind a patient who thinks he is healthy, therefore delays the treatment and finally is killed by the disease. The author also refers to the national difficulties which gradually will lower the national intelligence score such as the increased rate of the immigration and brain drain, low quality of the nutrition, incompetence of the education system and etc and predicts that the condition of the music of Iran might deteriorate in the future because of the mentioned illusion of its great status.
The “Pledge of Love” is the first album in a series composed based on the tasnifs by the renowned Iranian tasnif-maker Mohammad Ali Amir Jahed and recorded by Sahba Kohan Ensemble with Ramin Bahiraie as signer.
The Association of Iranian Contemporary Music Composers (ACIMC) and SHAHREAFTAB Art & Cultural Association are pleased to announce a call for papers for SIMF 1396.
Mohsen Renani in the preface of his book entitled “The Political Economy of nuclear conflict; an introduction to traversing the civilizations” writes:
In the few days prior to the New Iranian year (March 2015), the news of the revival of Tehran Symphony Orchestra under Ali (Alexander) Rahbari’s conductorship was announced. Ali Rahbari, who served as assistant to Herbert von Karajan in Berlin Philharmonic Orchestra at a very young age, was also invited to conduct Tehran Symphony Orchestra in 2005; however, the election of Mahmoud Ahmadinejad’s government put an end to his collaboration with this Orchestra. Recently, it was announced that Rahbari is invited to conduct an orchestra in the U.S.
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…