Payam Taghadossi: Talented Iranian-Austrian Cellist

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.

Audio FileWatch Payam playing cello at the age of 18.

The cellist won several awards. (e. g. 1st prize and a special award at the competition of the International Fajr Music Festival (2008), the 2nd Prize at the International Karl Davidov Cello Competition in Latvia. Furthermore he is a 5 times winner of the 1st prize at the austrian national Prima La Musica Competition).

As a soloist he has performed Tschaikovsky`s Rokoko Variations with the Basel Symphony Orchestra in Switzerland, the Schumann Cello and Brahms Double Concerto with the Orchestra of Albstadt in Germany, the Haydn C-Major Cello Concerto with the Ensemble Viatores in Austria, the Beethoven Tripel Concerto with the Orchestra Liechtenstein-Werdenberg and Tschaikovky`s Pezzo Capriccioso with the Philharmonie Budweis.

He received further impetus by attending masterclasses of David Geringas, Ivan Monighetti, Frans Helmerson, Wolfgang Boettcher, Miklos Perenyi, Reinhard Latzko, Jens-Peter Maintz, Wolfgang Emmanuel Schmidt, Valter Despalj and Wenn-Sinn Yang. He received scholarships by the Meadow Mount School of Music (New York), the P.E. Förderkreis (Mannheim, Germany) and the International Richard Wagner Association.

One focus of his musical activities is chamber music. In 2009 he founded, together with Romaine Bolinger and Alexander Boeschoten, the piano trio “Gagliano Trio”. The Trio gave it`s debut in 2009 at the Zurich University of Arts. During its studies the ensemble was decisively influenced by Stephan Goerner (Carmina Quartet), Benjamin Engeli (Tecchler Trio), Eckart Heiligers (Trio Jean Paul), Rafael Rosenfeld (Merel Quartet), Zakhar Bron, Thomas Grossenbacher und Prof. Homero Francesch. The Trio has already been a guest at international concert venues and festivals (e. g. Schubertiade Hohenems (Austria), Kammermusik Basel, Rüttihubeliade). Their repertoire draws a line from the works of the classical period, via the Romantic idea of „poetic music“ to the music of today. Several concerts were recorded by the Austrian Broadcasting Corporation (ORF). Recently the ensemble triumphed at the chamber music competition of the August Pickart foundation. By naming their ensemble Gagliano Trio, the three musicians refer to the neapolitan luthier family, who wrote music history by making stringed instruments in the 18th and 19th century. The violinst Romaine Bolinger plays on an instrument made by Ferdinando Gagliano and Payam Taghadossi plays a cello made by Lorenzo Ventapane, who was a pupil of Nicolo Gagliano.
Payam Taghadossi collected essential orchestral experience as an intern and later substitude at the Zurich Tonhalle Orchestra and as principal cellist with the Basel Sinfonietta, Bron Chamber Orchestra and the Symphony Orchestra of Liechtenstein before the Basel Symphony Orchestra hired him in 2014. He appeared as a soloist and in various chamber ensembles from North America, Europe and the Middle East, to South Korea and Japan. He currently plays a Lorenzo Ventapane cello from the year 1820.

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Nasser Masoudi: The Voice of Gilan and a Legacy of Iranian Music

In Iranian music, certain singers have become emblematic of their homelands through their distinctive voices. Historical figures such as Eghbal Sultan, who epitomized the grandeur of Azerbaijani music, and Taj Isfahani, who conveyed the authentic essence of Isfahan, serve as notable examples from the Qajar era. Nasser Masoudi occupies a similar position; his voice emerged as a symbol of Gilan while also achieving national acclaim. Before him, Master Ahmad Ashurpur represented Gilan’s musical landscape, but his extended residence outside Iran limited his continuous engagement in the music scene. In contrast, Masoudi’s consistent presence allowed him to introduce the voice of Gilan to audiences across Iran.

Farhad Poupel: The Voice of the Shahnameh in the Orchestras Around the World

In an era when almost no trace of contemporary Iranian music can be heard in international concert halls, except (so-called!) avant-garde works that owe their existence solely to the fashionable slogans of the “pseudo-intellectual” crowd who have seized the already meager resources for performing classical music from the true artists of the field, the numerous performances of Farhad Poupel’s works shine as a ray of hope for lovers of sincere musical art. Without resorting to trendy slogans, he has kept the flame of Iranian classical music alive purely through the power of his artistry.

From Past Days…

The response of the fired musicians to the interview of the managing director of Rudaki Foundation

Following an interview by Mehdi Salem, the director of the Rudaki Foundation, with the “Our Music” website, a response from the dismissed musicians was published in response to this conversation, which you read:

Avaye Naerika Percussion Orchestra

Avaye Naerika Percussion Orchestra is an Iranian percussion orchestra featuring 40 lady percussionists. The Orchestra was established as Iran’s largest all-female percussion orchestra in 2008 by Ms. Minoo Rezaei under the title Naerika Percussion Orchestra and changed its name to Avaye Naerika in 2017.

Parviz Meshkatian’s Heart Beat for People (I)

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.

HarmonyTalk Journal’s Twentieth Anniversary Celebration

On the 10th of Khordad, 1403 (equivalent to May 30, 2024), the twentieth anniversary celebration of the online journal “HarmonyTalk” took place at the Ersbārān Cultural Center. The event garnered such interest from enthusiasts that the venue was completely filled.

The Role of Arts in Development of Societies

Mr. Mohsen Ghanebasiri, author and critic in the field of economy, culture and arts, as the next speaker, highlighted the role of arts, specially the music, in development of societies: “As far as the individual upbringing is concerned, a newborn baby is absolutely dependent. The relation between the baby and the parents is based on orders. There is lots of relativity in these orders; therefore, they are political orders. In the economy, however, the relations are mutual and based on common logic; hence, the formation of the concepts of democracy and individuality.

Music education in third-world countries

Music education in third-world countries is facing many problems that limit access to it and it’s full of challenges. These rising and falling obstacles are made of the socioeconomic, cultural educational systems, etc.

Principles of Violin Playing (II)

Since for playing violin, it’s necessary that the player’s palms and fingers be inclined toward the fingerboard, therefore, the player, while bringing up his hand, should turn it toward the fingerboard.

A combination of technique and musicality in the fingers of a pianist

In the world of classical music, the position of soloist has always been exceptional. Apart from the technical ability that many orchestral musicians also have, the soloist must also have a special power to be able to present a different and unique perspective of a piece. The soloist must maintain its special power of expression not only in solo roles but also when interacting with the orchestra.

HarmonyTalk Celebrates 11th Anniversary

April 6 marks the anniversary of launching HarmonyTalk.com. Back in 2004, HarmonyTalk was rather a blog dedicated to music. Gradually, however, it found its way to becoming a more sophisticated journal with an intensive but not exclusive concentration on classical music.

Is the Iranian National Anthem a Copy? (I)

The alleged similarity between the Iranian and South Korean National Anthems has been a matter of discussion among musicians in Iran for several years. Earlier in 2021, the issue was taken to the media again with not only claims that the anthem is very similar to another song but also the suggestion that its musical content should draw more on the Iranian national music. Some even went to the extent to suggest replacing it with the song “O, Iran” composed by the late Rouhollah Khaleghi. Before delving more into the main issue, it would not go amiss to consider some technical characteristics of the song “O, Iran” composed in 1944.