Behzad Abdi’s opera Rumi was physically released by Naxos

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.

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Iranian Fallacies – Global Performance

One of the most important criteria for measuring the quality of a piece of classical music is number of times the piece has been performance by different ensembles and orchestras in different eras. This belief has become so pervasive in some societies, such as Iranian society, that it is considered the only criterion for measuring the quality of a piece of classical music.

Iranian Fallacies – School of Vaziri

The term “School of Vaziri” is often used in writings on Iranian music, but the exact meaning of the term is not clear; some of the authors have used the term to only refer to the group of Vaziri’s students, including a large group of his conservatory students and his Tar students such as Abolhassan Saba, Rouhollah Khaleghi, Ahmad Foroutan Rad, Hossein Sanjari, Heshmat Sanjari and others. But can we consider all Vaziri’s students as followers of his school of thought? This is definitely a mistake, because we know that some of Vaziri’s students have chosen a completely different path than that of Vaziri.

From Past Days…

Principles of Violin Playing (VII)

4.3.1.3 Regarding the great linear distance and the unusual distance between the first and forth fingers, the first finger while playing the doubles of ninth and tenth interval, can be twisted in the knuckle area and the point mentioned in 3.1.2.5 paragraph in relation to the way first finger is placed indicating that the first joint of this finger in back of hand must be in line with the direction of forearm and left hand is not true here.

New Technique for Playing Classical Guitar (I)

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.

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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Violin’s inner mold, an essential factor in developing the idea of violin

A part of the secrets of the masterpieces from the golden era lies in the special design of the instruments, as a result of a profound insight to and awareness of the significance of the precise calculation of the various components of the object of arts being created, such as making a violin or a bow.

Ennio Morricone’s music for Quentin Tarantino’s The Hateful Eight

After watching Quentin Tarantino’s latest movie, The Hateful Eight, everyone was excited by its novel music besides the beautiful scenes of blood and guts.
The Hateful Eight is the first collaboration between the world-famous film music composer, Ennio Morricone, and Quentin Tarantino as a famous director.

Polyphony in Iranian Music (V)

In addition to the above-mentioned, polyphony can be also formed when a melody is performed by several singers in different ambiances or different sound registers according to their physiologic abilities. An example of this has been performed in rituals of Khanqah of Ghaderi darawish of Mahabad[i].

Simorgh Criticised

Simorgh (Simorq) Orchestra was founded by the renowned Iranian composer, Hamid Motebassem, in 2011. Simorgh Orchestra is the largest orchestra featuring Iranian national instruments. Although the orchestra established by Master Hossein Dehlavi, the great Iranian composer, in 1993 was larger than Simorgh Orchestra, it only featured the Iranian plucked string instruments unlike the latter one. The first album which was recorded by the Orchestra, conducted under Motebassem’s baton, was his Simorq based on Zal story from Shahnameh by Ferdowsi, the great Iranian poet.

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.

Developments in Iranian Music Since Qajar Era (II)

Santour:
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.

Prominent Iranian Musicologist Passes Away in Vienna

Khosrow Djafarzadeh, musicologist and architect, who was also one of the main authors of HarmonyTalk journal passed away on 15 July 2019.