Whose dream?! Whose reality?!

1 September 2024 – 1:24 pm Posted in Articles' List, Criticism, Iranian Classical Music

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

Man’s passions and wishes constantly find a way to his dreams. Desires create a story in an imaginary dream with joy and taste or with prayer and supplication.

In these dreams, we sometimes lose our “self”. We see ourselves in the place of others and sometimes others in our own body.

But a dream is never a dream in itself. In the horizons of dreams, everything is as real as in the illusory reality of awakeness. Saigyo, the insane Japanese monk, said: How can I accept that a dream is a dream when I don’t accept that the truth is the truth?!
***
“So Faraway” is the idea of a dream that “Young Latfi” sees in his most loving and glowing days -his nights- :
He dreams, he no longer has only the voice and the restless and seditious excitement of singing, has been sung, perfectly! And so free that even in a moment, he shouts from the depths of his soul: “Aakh”!

He dreams that his springs of Shahnaz and Majd are boiling and roaring more than ever!

He dreams that by his side he is not just a percussionist, but a musician who, following the refined state of his every moment, is himself a cover of music. One by one, it is the rain of comets of this bright night. It is not the only voice that is audible! His creation is visible.

He dreams of what a fluid, slippery and comfortable, his sentences like a flowing stream, flow from the green fields of Segah to the desert of Humayun and fall into turmoil and floods in the Hesar stacks.

Also, in the magical world of this dream and imagination, he constantly turns into “others”. He plays like sound of rosary beads. The finger glide on the handle of Tar. His plectrum gets closer and closer… and he comes back to himself and plays with “his own” way in tremolos; that sound as if they are dying. And in the end, he becomes completely selfless. He wears clothes and clothes. He wears a suit. Shahnaz gets excited and wakes up with the last sound…
***
Imani and Khavarzemini have exhibited such a dream on an stage in Delhi. “So Faraway” is a show that tells the story of a dream. But this show itself is not a dream! It is not a dream to sit and watch us! Our delight and tears are not a dream! Is it? Maybe!

Everything and everyone’s dream is spectacular. It is worth seeing – hearing – living. I do not accept that a dream is a dream! How can I accept that reality is reality?!

This entry was written by Saeed Yaghoubian
Tagged: Pedram Khavarzmini, Siavash Imani.

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…

From Tradition to Trend: The Evolution of Decorative Arts in Iranian Dafs

Daf is one of the percussion instruments associated with the Kurdistan region of Iran, which has a special place in Iranian music. In the past, animal skin was used for the drum head, but now most of the tambourines in the market are made with artificial skin, which are designed with various decorations.

Music education in third-world countries

Music education in third-world countries is facing many problems that limit access to it and it’s full of challenges. These rising and falling obstacles are made of the socioeconomic, cultural educational systems, etc.

Jamshid Andalibi passed away!

Jamshid Andalibi, one of the most famous ney players in Iran, passed away on the fifteenth of Esfand, 1402, at the age of 66 due to a heart attack at his private residence. Andalibi was a member of a family that had a significant presence in the field of Iranian music in the sixties and…
Read More »

Polyphony in Iranian Music (VI)

Torqeh or jal is the same bird (Bimaculated lark) and is the name of a muqam which is well-known in Torbate Jam and those areas. Jal muqam is called Torqeh in Esfarayen and Bojnourd. This muqam which was used to be played by Bakhshis/Bagşies (dutar-players) in the past is seldom performed today.

“The Art of Silence” Project Will be Released

Shaahin Mohajeri, the award-winning Iranian microtonal compose, has contributed to The Art of Silence is an international project which features unpublished pieces by microtonal composers from Iran, Japan, the United States, and other countries.

The 4th Iranian Festival of Music Websites and Weblogs

The 4th Iranian Festival of Music Websites and Weblogs was held in Niavaran Cultural Center, in Tehran, Iran on Feb. 28th, 2015. The initiator of the festival was Sajjad Pourghanad, Iranian music writer, researcher, founder of the festival and Persian setar and tar player.

Loss of Development in Iranian Music

The mention by music instructors, academicians, students, and music enthusiasts about the lack of development in Iranian music is a topic that has been repeatedly heard, resulting in a superficial understanding and misinterpretation of Iranian music, which has been conveyed to students of the arts. This short essay aims to critique and examine this claim.

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.

Polyphony in Iranian Music (I)

Despite the fact that Iranian folk music (regional music of Iran), like the Radif of Iranian traditional music, is monophonic and follows heterophony in principal, we experience polyphonic forms, albeit, majorly unconscious.

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.