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.

Rouhollah Khaleghi founded Persian National Music Conservatory [Honarestaan-e Musighi-e Melli) in 1949 in Tehran. He was the chief editor of Chang and Payaam-e Novin magazines and conducted the Tehran’s Radio “Gol-ha Orchestra” for several years. Among his most famous theoretical works are a three volume book entitled “History of the Persian Music” [Sargozasht-e Musighi-e Iran] and the popular anthem-like song ‘O Persia’ [Ey Iran] .

Graduated from Tehran Conservatory and Wisconsin University, Golnoush Khaleghi conducted the National Iranian Radio and TV’s Choir called “Ham-Avaazaan” from 1974 to 1978. After the 1979 revolution, she immigrated to America and together with 25 Persian and American musicians, she founded an orchestra under the name of her father in 1985. In addition to the performance of works by Rouhollah Khaleghi, this orchestra performed pieces by other famous Persian (Iranian) composer such as Alinaghi Vaziri, Morteza Mahjoubi and Hossein Dehla! vi in New York and Washington DC until 1990 when it had to stop its activity due to the lack of financial support from cultural institutes (whether Persian or American).

Apparently, Rouhollah Khaleghi had told his daughter before his death that ‘I aspire to enter a musical hall outside Persia one day and see that they are performing Persian music that is arranged in such a way to make it enjoyable even for non-Persian audience.’ According to Golnoush Khaleghi, her second motivation to establish the above orchestra was ‘to perform Persian Music during the time when musical activities came to an almost standstill in Iran due to religious limitations.’

Foundation of RKCA [Rouhollah Khaleghi Artistic Center] in fact the revival of the same organization that was active only in the form of a chamber orchestra.

The establishment of a website on the artistic activities and works of Rouhollah Khaleghi is one of the major activities of RKAC. Reproduction of his works on CDs, performance of concerts and offering scholarship to talented Persian (Iranian) students to study Music are among other activities of this center. In addition to introduction of R. Khaleghi’s works, the other major goal of RKAC is to encourage Persian youth to study music, particularly those who live abroad and are therefore unfamiliar with Persian culture.

***

HarmonyTalk

Golnoush Khaleghi published two books entitled Ey Iran: Memorial volume of Ruhollah Khaleghi (Mahoor Institute Publications, 2006) and Rouhollah Khaleghi’s Compositions & Arrangements (Mahoor Institute Publications, 2019) in Iran. She also published R. Khaleghi’s sheet music collection with Roudaki and Nogan publications.

 

Post a Comment

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

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…

Journey to Iran Revisited: Celebrating 20 Years of Guity Adjoodani’s Return to Persian Roots

This year marks the 20th anniversary of “Journey to Iran,” an album by Iranian pianist Guity Adjoodani that has resonated with audiences worldwide. Released two decades ago, this album is a beautiful tapestry of twenty Persian folk songs, each carefully selected from the rich musical traditions of various regions in Iran. It also features four notable compositions by the esteemed Javad Maroufi (1915-1992): “Prelude,” “Jila Fantasia,” “Golden Dreams” (Khaab-haa-ye Talaayi), and “Isfahan Rhapsody.” Additionally, the album includes the beloved song “Kiss Me” (Maraa Bebous) by Majid Vafadar (1912-1975), adding depth to an already impressive collection.

Is the Iranian National Anthem a Copy? (II)

In response, it should be said that it is better for the national anthem of a country to use the musical material exclusive to that country; however, some problems might come up in doing so the most important of which include: lack of familiarity of other countries’ music performer with the concerned country’s specific music intervals and special musical technique; and secondly, the strangeness of that music to the foreign listener.

Polyphony in Iranian Music (II)

With regard to each polyphonic form, only one specific and distinguished example is analyzed. These polyphonic forms are as follows:

Developments in Iranian Music Since Qajar Era (I)

At the end of the Qajar era and as Iran entered the power transition period, known as the constitutional era, the Iranian music went through a lot of changes. These changes gained momentum as the students and followers of Ali Naqi Vaziri’s entered the musical scene. These changes greatly influenced designs of instruments, playing methods, singing, composing, etc.

Hossein Aslani passed away!

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:

The Structure of Kurdistan Daf (VI)

Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Hooks and attached rings: The junction of the ring to the arch is about 3 centimeters from the skin.  The ring with its side rings should be as far as the diameter of a ring (about one and a half to one and eight centimeters) to make a proper…
Read More »

Whose dream?! Whose reality?!

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

The Structure of Kurdistan Daf (VII)

Conclusion

“Daf” is one of type of percussion instruments that has a long history and is commonly known as circular instruments (with a rim). In some tribes, Daf was used as the main instrument in festivity and joy ceremonies; in another tribe it was used as the main instrument for war and campaign ceremonies and some others used it for ritual and religious ceremonies.

Fereydoun Shahbazian, An Iranian Musical Icon Passed Away

Fereydoun Shahbazian, the renowned Iranian composer, passed away at the age of 82 due to respiratory illness in Tehran. His last significant activity was leading the National Orchestra before the appointment of Homayoun Rahimian.

Ali Rahbari’s collaboration with Naxos as a Composer

Concertino for Violin and Orchestra entitled Nohe Khan was composed by Ali (Alexander) Rahbari while he was studying music in Vienna in 1972. This piece was composed having in mind the Ashoura events and inspired by the music which is used during the Ashoura ceremonies. The piece was first performed and recorded by Bijan Khadem…
Read More »