Parviz Meshkatian’s Heart Beat for People (II)

Translated by Mahboube Khalvati

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.

Unlike many of his contemporaries, Parviz Meshkatian did not take risks in composing to prevent a situation when his work is no longer under his control. He did not offer repetitious works which would lack novel forms either. In fact, he practiced equilibrium in his composition resulted from his personal attitude, culture and interaction with the elite.

With the appointment of Ataollah Mohajerani as the Minister of Culture in 1997 and the emergence of an era called “the Spring of Concerts” in Iran, Parviz Meshkatian who had become disappointed and depressed distanced himself from the society and retired himself! Probably his family problems worsened his depression and led to his isolation. He no longer went on stage; his works were published on and off with rarely any new compositions added to his oeuvre. Meshkatian’s avoided artistic activities until 2004.

In 2004, Meshkatian’s hard-working friend and colleague, Alireza Javaheri, convinced him that a performance by Aref Ensemble can revive his links with his old audience. Finally in the same year, Aref Ensemble composing of Meshkatian’s fellow musicians who had worked with him for years went on the stage of the Interior Ministry’s Hall. Shahram Nazeri, who had collaborated with Meshkatian in the Chavosh project was the singer. The concert ended but it could not live up to the expectations of its audience. However, after the concert some issues were raised by the ensemble musicians which disheartened Meshkatian and led him to isolate himself for the next three years. There were even rumors spread by the members of Aref Ensemble that Meshkatian intended to dissolve the ensemble. This rumor further disappointed Meshkatian.

After three years Alireza Javaheri came up with an initiative asking music writers who were active on the internet to write criticism on Meshkatian’s works and the necessity of attention to his inactivity. Along with the pieces written about Meshkatian’s oeuvre he was also invited to resume his activities. I also wrote an article entitled “Why Meshkatian?” in which I discussed the reason for choosing Meshkatian and not another musician. With the publication of the above-mentioned articles and their reception by readers, especially their welcoming comments on the writings, once again he decided to break his silence and go on stage.

On 5 January 2006, Parviz Meshkatian performed a few pieces during a ceremony held to commemorate Iraj Bastami (1957- 2003) at Vahdat Hall in Tehran. Having received huge applause from the audience for his performance, Meshkatian promised to hold another concert. The promised concert was held less than a year later at Vahdat Hall with Hamid Reza Nourbakhsh as the vocalist and an ensemble compromising of young and old members of Aref Ensemble. Despite shortcomings, this last concert was also very well-received by the audience but still sideline stories lingered with the ensemble and further isolated Meshkatian.

Before the controversial presidential election in 2009 in Iran, Parviz Meshkatian was believed to intend to give a concert with Mohammad Reza Shajarian; however, the post-election tensions once again disrupted his plans and resulted in his deeper disappointment. His sudden death at the age of 54 made headlines in 2009.

Even though his untimely death was painful, it was not unexpected as people believed that Meshkatian’s heart beat for his people.

Post a Comment

Required fields are marked *
*
*
Your email is never shared.

 Ahmad Pejman Passed Away!

Composer and music teacher Ahmad Pejman (1935–2025) passed away on August 29 in Los Angeles, USA, after several weeks of illness. His most recent symphonic work performed in Iran was Land of the Brave (“Sarzameen-e Delavaran”), which was staged in 2017 with the Tehran Symphony Orchestra. According to the family’s decision, his body will be laid to rest in the United States.

Timeless or Timely: The Role of Historical Context in Defining Artistic Value

Imagine that, in the course of historical research, we discover a musical piece whose compositional techniques (including form, melody, texture, and orchestration) resemble those of a second-rate 19th-century composition. But further investigation reveals that this work predates that period by 200 years. Can we still deem it insignificant? Certainly not. Here, the first major role of historical judgment becomes evident.

From Past Days…

Call for papers SIMF 1396

The Association of Iranian Contemporary Music Composers (ACIMC) and SHAHREAFTAB Art & Cultural Association are pleased to announce a call for papers for SIMF 1396.

A note on “Illusion or Ingenuity” article

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.

Farhad Poupel’s piece, Road to Bach, performed at Suntory Hall

On June 19, 2021 , young Iranian composer and pianist, Farhad Poupel’s piece, Road to Bach, was performed at the prestigious Suntory Hall by the great Japanese pianist, Kotaro Fukuma. The piece was commissioned by Kotaro Fukuma to have its world premiere in Suntory Hall during a concert by the same name.

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.

Hassan Kassai, Ney Virtuoso

The name of Maestro Hassan Kassai is so vehemently intertwined with Ney (Persian reed flute) that one cannot imagine one without the other immediately coming into mind. Ney is one of the instruments which went through a lot of ups and downs in the history of the Iranian music since the time of Sassanid kings to the time when shepherds found playing it consoling when they took their cattle for grazing. However, Nay could never demonstrate its main capacities to gain a stable position among the musicians and the people like other instruments including Oud, Tar, Santour, all sorts of bowed string instruments and plucked string instruments.

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.

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.

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.

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.

A Persian Nocturne for Piano

A Night in a Persian Garden is the name of a Nocturne composed by the Persian (Iranian) contemporary composer Behzad Ranjbaran. This Nocturne, published recently by the Theodore Presser Company in the US, was performed for the first time in 2002 in New York City by the young Persian pianist Soheil Nasseri and has enjoyed many performances by other pianists.