Behzad Abdi’s opera Rumi was physically released by Naxos, “the world’s leading classical label,” on 8/10/2018.
The composer’s note on the piece reads:
Composing a traditional Iranian opera using the Iranian modal system, dastgāh, has always been my dream. I first approached this by composing an opera called Ashura followed by the operas Rumi (Molawi) and Hafez. I believe that in order to attract an international audience for Iranian opera, it is essential to fuse dastgāh with Western classical forms.
Rumi, which can be considered as the first national opera of Iran, is based on the life of the Sufi mystic and poet, Rumi, and the circumstances of his time, from when the Mongols invaded Persia, killing the Iranian poet Sheikh Attar, to his time in Konya and his life-changing meeting with Shams. However, the librettist and director, Behrouz Gharibpour, chose not to reflect the events directly, instead creating a symbolic libretto based on Rumi’s thoughts and words.
This redefinition and distancing from the historical narrative is considered to be the most significant point of the text in this opera, and was in fact the only way to grasp the latent meanings of Rumi’s words. The unifying message of the work—the promise of the ‘immortality of truth’—is repeated throughout the narrative. The audience is also exposed to various other stories along the way.
Those familiar with 13th-century Iranian literary texts know that due to the successive attacks of the Mongols and the reports of massacres, the Iranian people had turned to Sufism and nihilism. This is why there are sometimes contradictions in the realm of ideas from that era, which complicates understanding, for our generation, of the secrets that lie within the literature of that time.
The key to understanding Rumi’s poetry is its far-reaching look at human aspirations; the power that we call love and the temptations that take us away from false mundane charms and attractions (which Iranian mystics in many poems refer to as wisdom or common sense).
Rumi is based on Iranian dastgāh and is the first opera to use this traditional form. The work fuses Persian and Western classical music, which creates a unique timbre and harmonic colour. Iranian music may form the base of this work, but I was not unaware of modern Western music techniques, and unlike most Iranian symphonic music, it is not based on any specific ‘ism’ or school of thought, and in all parts of the opera, Western composition techniques are employed.
In Rumi, the use of the polytonal technique is not limited to the classical elements, and it is often heard in various dastgāh simultaneously—a technique that helps to reflect the unique concepts of the poetry, and one that was also used in the opera Ashura.
The text of this opera, which is set in 15 acts, is mainly based on Rumi’s writings with several parts taken from other poets. Rumi’s poetry is not distorted and the poems are read in their original form.
For the listener, especially those familiar with Rumi’s writing, what Gharibpour has done is astonishing and admirable. Due to his long-time involvement with these concepts and careful selection of Rumi’s texts, he has created one of the best and most important libretti among Iranian operas. Gharibpour not only considered Rumi’s literary and conceptual techniques but created an artistic mix of drama, history and literature. He was able to look at Rumi’s life and his eternal teachings from several aspects.
- 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…
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.
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.
Torqeh or jal is the same bird (Bimaculated lark) and is the name of a muqam which is well-known in Torbate Jam and those areas. Jal muqam is called Torqeh in Esfarayen and Bojnourd. This muqam which was used to be played by Bakhshis/Bagşies (dutar-players) in the past is seldom performed today.
Shaahin Mohajeri, the award-winning Iranian microtonal compose, has contributed to The Art of Silence is an international project which features unpublished pieces by microtonal composers from Iran, Japan, the United States, and other countries.
Persian Set: Four Movements for chamber orchestra: Moderato; Allegretto; Lento; Rondo
Henry Cowell, one of the most innovative American composers of the 20th century, was born in 1897. Cowell and his wife visited Iran in 1956 and stayed there the whole winter, upon the invitation by the Iranian Royal Family, when he composed his album “Persian Set” in four movements for chamber orchestra. His composition is expressive of the characteristic quality of the Persian or the Iranian music.
Despite the fact that Iranian folk music (regional music of Iran), like the Radif of Iranian traditional music, is monophonic and follows heterophony in principal, we experience polyphonic forms, albeit, majorly unconscious.
The Association of Iranian Contemporary Music Composers (ACIMC) and SHAHREAFTAB Art & Cultural Association are pleased to announce a call for papers for SIMF 1396.
Tehran Flute Choir was established in 1394 (late 2015) by Firouzeh Navai. Tehran Flute Choir, Iran’s first largest flute choir, recruited its members mostly from young talented flutists of Iranian Flute Association. Featuring piccolo, flute, alto flute and bass flute, Tehran Flute Choir, directed by Firouzeh Navai, premiered under the batons of Saeed Taghadosi on January 7-8, 2016 at Roudaki Hall in Tehran.
Composing a traditional Iranian opera using the Iranian modal system, dastgāh, has always been my dream. I first approached this by composing an opera called Ashura followed by the operas Rumi and Hafez. I believe that in order to attract an international audience for Iranian opera, it is essential to fuse dastgāh with Western classical forms.
Translated by Mahboube Khalvati The article you are about to read was written by Rouhollah Khaleqi (1906-1965), composer, and conductor of Golha Orchestra (established in 1956). Khaleqi was one of the most prominent promoters of polyphony for the Iranian music and is one of the best representatives of the school of Ali Naghi Vaziri. In…