Whose dream?! Whose reality?!

(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?!

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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.

Leading the Charge in Censorship

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)

From Past Days…

Principles of Playing Violin (VI)

B. applying force: the force needed for putting finger on finger board is applied through finger tips and using the rest of hand set especially wrist is not allowed. To practice this, it is possible to hold violin without the bow and throw the fingers on the finger board from 1-2cm distance; apply force only through finger tips.

Hossein Dehlavi: the Composer

With Dehlavi it is not all about fame but recognition. Hossein Dehlavi is not a popular musician (like pop singers) whom everybody might know when he is walking on streets of Tehran; however, he is recognized by both amateur and distinguished musicians of the country.

Principles of Violin Playing (IX)

4.3.1. To practice playing of doubles of notes involving two different fingers, each note is played at separate bows with slow tempo, each note is played perfectly regarding its bass and tenor sounds and then the considered double is played at another bow while considering the resulted sound of the double.

A year without Mohsen Ghanebasiri

The year 1396 (21 March 2017-20 March 2018) was the most sorrowful year for HarmonyTalk journal. One month after holding HarmonyTalk’s 13th establishment anniversary in Mohsen Ghanebasiri’s house in Tehran in April 2017, he untimely passed away. Mohsen Ghanebasiri was the prominent HarmonyTalk author.

Motherland Orchestra Broke the Spell of the Covid-19 Restrictions

The Motherland Orchestra staged the first concert since the outbreak of the pandemic under the baton of Nezhat Amiri. The orchestra went on stage on December 23-24, 2021 in memory of Rouhollah Khaleghi and Golnoush Khaleghi at Vahdat Hall, Tehran, Iran. Since the pandemic outbreak, concerts were held online and restrictions were imposed on in-person concerts.

Kayvan Mirhadi and O.R.P Qaurtet

Establishing O.R.P. Quartet is Kayvan Mirhadi’s latest activity as a guitarist, composer and conductor of Kamerata Orchestra. Besides working with this Quartet, Mirhadi is busy these days recording and mixing some of his own works as well as some pieces by 20th century composers. O.R.P Quartet performed a concert in Rasht, Gilan Province in late May 2016 and offered a master class.

Women and the Music Environment in Iran

The life territory of the female-male relations in the Iranian cultural context is basically a domestic territory and not a social-living one in the labour and leisure domains. To prove this, it only suffices to consider the Iranian men’s viewpoints about women. For the Iranian men, there are three perspectives regarding the women: mother, sister and wife. Mother represents the emotional territory; sister represents the logical territory at home while wife represents the sexual territory.

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…
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A few steps on the “Road to Bach”

The world of music has unparalleled respect for Bach. Bach is considered the spiritual father of classical music; Bach’s great position is due not only to his great achievements in the fields of harmony, counterpoint, and compositional sciences but also to his respect for and adherence to the artistic principles of classical music. In the history of classical music, it is recorded that Bach walked about fifty kilometers to listen to the music played by the great German organist Dieterich Buxtehude, and this is the path that every idealistic classical music student should walk.

From the Last Instrumentalist to the First Composer (II)

Rouhollah Khaleghi was the master of composing beautiful melodies. He was the premier of the course of history which was first established by Ali Naghi Vaziri and which improved the Iranian music from simply a gathering music to the classical music of the country. First efforts to compose independent and instrumental music can be also traced in Khaleghi’s works.