Hossein Aslani passed away!

1 February 2020 – 11:52 am Posted in Contemporary Music, Iranian Classical Music, Jazz - Blues, Western Classical Music

Hossein Aslani, Iranian pianist residing in the US, passed away due to cancer in late January 2020. His last musical activity was an article written for Harmony Talk entitled “Iran amidst musical struggle” in 2016, his memoir entitled “I Play You Again” in the same year and his album “Symbolic Emotion” published by Arganoun Publications in 2014. Here is a brief biography of Hossein Aslani according to his own website:
Hossein Aslani was born in the village of Shahghaji in Gilan, Iran in 1936. After elementary education, he moved alone to Tehran. While completing his high school years and surviving for sustenance on labor-intensive daily jobs, he entered the music world by mastering accordion.

Listen to “Hope and Hopelessness” for Piano

Recommended by a close clarinet virtuoso friend the late Hossein Shahverdi, he entered the international conservatory of music in Tehran in Vahdat Hall in 1958. He was trained under the tutelage of renowned western classical music scholars of the era in piano by Tatania Kharatian, music theory and solfeggio by Fereidun Farzaneh, and harmony and orchestration by Houshang Ostovar. Hossein Aslani was also invited to join the national radio Iran as a composer, arranger and pianist in 1965.

Liaten to a part of the String Quartet

In an era when Pop music was still regarded as an artistic classic genre, Aslani was instrumental in popularizing it among the youth in particular, through his innovative polyphonic and independent melodic lines. He employed wind instrument ensembles, electric guitar and percussion. This was manifest through performances by the late vocalist Mohammad Nouri and many other singers of the era during 1968-71. Concurrently, with his professional endeavors, he has tirelessly continued piano instructions since 1960. Aslani’s first written composition was a piece for piano and orchestra, conducted by Feredun Shahbazian, and performed by the Grand National Radio Orchestra in 1971.

Listen to “A Shadow at Midnight” featuring Mohammad Nouri (singer)

This popular notoriety prompted Aslani’s involuntary emigration to New York U. S. A. and his trials and tribulations that followed in a foreign land. Committed for life to contemporary music as anchored on his intrinsic affinity and love for music, he earned his master’s degree in music composition from the State University of New York Conservatory of Music specializing in contemporary music and orchestration. His lifelong cooperation with his university mentors as Professors Dary John Mizelle and Joel Thome for 20th century harmony, Suzanne Farrin for music literature and critique, Steven Lubin for classic, Brady Brookshire and Stuart Isakoff for music analysis as perceived by the musicians and listeners, has continued.

Listen to “Moments of Solitutde” featuring Aref (singer)

His work has remained most inspired by the folkloric music of Gilan and other regions of his motherland Iran, combined with nostalgic melancholy of his early years as well as his extensive research of the works of renowned Master contemporary composers Charles Ives, Aaron Copland, Igor Stravinsky John cage, Bella Bartok, Leonard Bernstein and Houshang Ostovar. Aslani’s unique approach to contemporary music is deemed progressive; nonetheless, emanated from noble well rooted origins. This has thus far yielded a number of pieces and proses that are multidimensional and unimaginable at times.
Hossein Aslani’s firm belief in humanity and community, nurtured by his beloved mother Gilaneh, is heralded through his lifelong philanthropy, altruism and voluntarism.

This entry was written by HarmonyTalk
Tagged: .

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.

Latest posts

From Past Days…

A Look at Ali Tajvidi’s Manifold Musical Activities (II)

Tajvidi thought of studying harmony and orchestration with Houshang Ostvar (who was eight years younger than him) at a time when he had gained a reputation among musicians. His humbleness, making him willing to kneel before the scholars at any age and position, became the key to his scientific success. After this period, Tajvidi made some of his works polyphonic, the most prominent of which is “Burn” set to a poem by Abdullah Ulfat. However, his ability to make his works polyphonic was not so great to make him self-sufficient; so he depended on musicians such as Farhad Fakhreddini, Fereydoun Naseri, Kambiz Roshanravan, Fereydoun Shahbazian and Morteza Hananeh for the arrangement of his compositions.

Parviz Meshkatian’s Heart Beat for People (II)

As such, the young Meshkatian reached the position of a great maestro in the Iranian music. Up until 1997, Meshkatian remained prolific and composed many pieces which were characterized by progressiveness while drawing on the music of the past Iranian musicians. In some of Meshkatian’s works, one can trace the influence of maestros such as Faramarz Payvar; however, this influence is so balanced that one can neither say that Meshkatian is a progressive and deconstructionist composer nor does he use cliché forms in his compositions.

Mohammad Esmaili passes away

Master Mohammad Ismaili, a prominent musician and renowned tombak player, passed away on August 13, 2023, after battling an illness in the ICU of Rasoul Akram Hospital. His funeral will take place on Thursday, August 17, at 10 am in front of Vahdat Hall, and he will be laid to rest in the Artists’ Section of Behesht Zahra Cemetery.

Principles of Playing Violin (V)

3/1/2/5: When the first finger lands next to the nut, continuation of first phalange of this finger, on back of the hand, should be in line with continuation of the back of the wrist and the left hand; moreover, it should not pass them and bend at knuckles. Otherwise, an uncommon stretch is created in first finger’s knuckle also reducing the freedom of other fingers (especially the fourth finger) in finger placement.

Negation of Changes in Iranian Music: Embracing Tradition

The perspective that denies any alteration or innovation beneath the realm of Iranian music, and more broadly, the performance and even the structure of Iranian music instruments, stems from the discourse of “tradition-oriented”* and the “return to self” movement in Iranian music. Given that some educators still adhere to this discourse and emphasize the necessity of preserving tradition, a perception is formed among art students that Iranian music, including Radif, lacks dynamism and is confined within a rigid framework.

Rouhollah Khaleghi Artistic Center established in Washington DC

Golnoush Khaleghi (1941-2021), a Washington-based Persian musician and the daughter of the contemporary Persian (Iranian) composer and theoretician Rouhollah Khaleghi (1906-1965) founded a musical center called RKAC to keep the name and the work of her father alive.

Whose dream?! Whose reality?!

(A review of the “So Faraway” album; Tar and Tonbak duet; Siavash Imani, Pedram Khavarzmini)

Ashoura Opera

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.

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].

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.