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. The concert was before the release of Mr. Fukuma’s Bach transcriptions album, released by Naxos, and it tries to look at the influences that Bach music has had since.

The program included:

Farhad Poupel: “Road to Bach”
Brahms: 6 Piano Pieces, Op. 118
J. S. Bach (arr. Brahms): Chaconne in D minor, BWV 1004
J. S. Bach (arr. Liszt): Prelude and Fugue in A minor, BWV 543
List: Great Paganini Studies, S. 141

Road to Bach will be published in Japan mid-September, 2021. Composer Farhad Poupel in his interview with English pianist and author Frances Wilson said:
‘The Road to Bach’ was commissioned by great Japanese pianist Kotaro Fukuma for a concert of the same name in Suntory Hall, Tokyo on June 19. Approximately 3 to 4 months before being contacted by Kotaro Fukuma, I was studying Bach intensely and I was profoundly influenced by his dramatic use of harmonic and tonal language. So I’ve decided to write a piece which gains its movement primarily through its harmonies, but with modern harmonic language.

“…Working with Kotaro is one of the most delightful experiences of my life, even though writing this piece was quite challenging for me, especially since it was one of the most difficult times in my personal life. We had so many useful discussions regarding the work and I even changed the piece based on a good suggestion from him. The piece is quite challenging, but after he sent a video of himself performing it considerably musically, I was jubilant beyond measure since I saw all of our challenges led to this moment. And after he suggested my work be published in Japan, the sense of triumph was even greater, since this is my first publication by a publisher so far…”.

The work will also have three performances in France, Including the prestigious La Roque-d’Anthéron Festival on July 25. It will also have its Belgian-premier in Flagey, Brussels on October 31.
The pianist and commissioner of this work, Kotaro Fukuma, has a career in music, including performances at Wigmore Hall, Suntory Hall and Carnegie Hall, and performances with the world’s most important orchestras, including the NHK, the Finnish Radio Symphony Orchestra and the Cleveland Orchestra.

***

Farhad Poupel is described as “knowledgeable, highly competent and a serious musical thinker.it will be rewarding to follow his progress” (Simon Mundy, International festival review) and his music is described as “.. Immediately captures the audience’s attention. Whether ethereal or intense, the harmonies and melodies are fused with love, passion, and colorful sonic landscape..”(Jeffrey Biegel, American Pianist)

Born in Isfahan, Iran, his music has been performed and will be performed in numerous prestigious concert halls and festivals throughout the world Such as Suntory Hall in Tokyo, Japan; La Roque-d’Anthéron Piano Festival, La Roque-d’Anthéron, France;Biarritz Festival, Biarritz, France; Stoller Hall, Manchester,UK; Janacek academy of music and performing art, Brno, Czech Republic; Karlskrona International Piano Festival, Karlskrona, Sweden; by distinguished artists such as Kotaro Fukuma, Peter Jablonski, Daniel Grimwood, Margaret Fingerhut, Catherine Carby, Kristýna Znamenáčková,Jeffrey Biegel, Jean-Francois Bouvery and orchestras such as Windsor Symphony Orchestra or broadcasted on the NPR Radio 4, Netherland

His music received critical acclaim worldwide which led to commissions such as Road to Bach for Piano by Kotaro Fukuma and The Legend of Bijan and Manijeh for Piano, Choir and Orchestra with Jeffrey Biegel, to be premiered by Windsor Symphony Orchestra.

At the age of nine, Mr. Poupel commenced his musical journey by studying the Persian Dulcimer (Santur). Soon thereafter, he began piano lessons under the tutelage of Amin Savabi and finally studied Harmony, Counterpoint, and composition with the great Iranian composer, Saeed Sharifian privately for 5.5 years. After a brief gap between his studies( about 6 months), he launched his international career by Zayande-Rud for string orchestra which has its first professional performance by Windsor Symphony orchestra in Canada, and his music has been demanded throughout the world ever since

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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.

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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…

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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.

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.

Davoud Pirnia (1900 - 1971)

About Davoud Pirnia, the founder of “Golha” radio program

Davoud Pirnia, writer and musicologist was the founder of “Golha” (Flowers of Persian Song and Music) programs on Tehran Radio (1956-1966). He received his early education from his father, Hassan Pirnia (Moshir al-Douleh), and several tutors of the time (Taraghi, interview, July 1989) and continued his studies at Saint Louis School in Tehran and then in Switzerland and graduated in law. While studying law, Pirnia got acquainted with European classical music. Upon returning to Iran, he was employed by the Ministry of Justice and founded the Lawyers’ Guild. Then he was transferred to the Ministry of Finance and established the Department of Statistics in this ministry. Later, he became the head of the state inspection office at the Prime Ministry; he was, then, promoted to the position of the Deputy Prime Minister (Navab Safa, interview, August 1999)

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A brief examination of Ardavan Kamkar’s Santour playing style

I still think of those fish in a crystal bowl for the Haft sin table and those disappointed old men who went out to sell blackfish.

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With its simple physical structure and captivating sound, the Daf never belonged to a particular culture or location, and every nation had different usages for this instrument considering their dominant customs and traditions.