Fereydoun Shahbazian, An Iranian Musical Icon Passed Away

A Musical Legacy
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.

Born in 1942 in Tehran, Fereydoun was immersed in music from a young age. His father, Hossein Shahbazian, a violinist and a Abolhassan Saba student, was a radio orchestra member. At just eight years old, Fereydoun began learning music by playing the violin under the guidance of Ataollah Khadem Misagh. He later studied with his Russian teacher, Serge Khotziv, until completing his primary education.
He continued his violin studies at night classes with Luigi Pasanari, the concertmaster of the Tehran Symphony Orchestra at the time. At eighteen, he joined the Tehran Symphony Orchestra under the baton of Hashmat Sanjari and subsequently collaborated with the Golha Radio Orchestra.

**The Maestro Behind Iconic Collaborations
During Houshang Ebtehaj and later by Javad Maroufi’s management of the radio music, Shahbazian became a key figure in the organization. It was during this time that he began his serious work as a composer, producing pieces featuring artists such as Elahé, Pari Zangeneh, Shajarian, and Nader Golchin.

In 1976, he was appointed the conductor of the radio choir and symphony orchestra and collaborated with Ahmad Shamlu and Shajarian to record a joint album titled “Rubaiyat of Khayyam,” which remains one of his most beloved works. He also composed music for several albums featuring Ahmad Shamlu and Houshang Ebtehaj

*A Pioneer of Post-Revolutionary Classical and Pop Music
After the revolution in the 1980s, Shahbazian turned his talents to film scoring. He was actively involved in radio councils from the early years of the Islamic revolution and produced numerous musical works that were composed polyphonic and had arranged to have multi-parted harmonies. Among his most significant and best-selling works are the albums “Soroush Asmani” and “Charkh e Gardoon,” based on compositions by Ali Tajvidi, featuring vocal performances by Ali-Asghar Shahzidi and “Bouye Gol (Shabahang)” sung by Abdolhossein Mokhtabad.

Shahbazian’s experience in radio music before the revolution positioned him to initiate an influential movement in post-revolutionary pop music during the early 1990s. Consequently, many have dubbed him the father of post-revolutionary pop music. He also played a crucial role in introducing several pop singers, particularly Mohammad Esfahani, to the music community.

Fereydoun Shahbazian held the baton of the National Orchestra of Iran from September 2016 until April 2019. After resigning from his artistic management and permanent leadership role, he was appointed as a music consultant for the Rudaki Foundation, from which he also stepped down on May 21, 2019.

In April 2021, while recording music for the television series “Yavar,” Shahbazian suffered fractures in his right hand and pelvis. After being transferred to the hospital, despite needing immediate surgery due to the urgency of preparing music for the series broadcast, he refused hospitalization and surgery at the insistence of the “Yavar” production team and completed the music for five episodes before undergoing surgery.

Fereydoun Shahbazian had been hospitalized recently due to respiratory issues and passed away on January 12, 2024, due to acute respiratory complications.

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Tafazzoli: Monolingualism drives music into obscurity (1)

Between the year 1403 (2024–25) and today, the name of Mohammadreza Tafazzoli—composer and faculty member of the Faculty of Music at the University of Art, Iran—has appeared several times as a composer with various orchestras. In 1403, part of his suite *Dena* was performed by the National Orchestra; in 1404, the same work was performed in full by the Mitra Orchestra, and in the same year, his symphony *Vaghouyeha* (*Murmurings*) was staged with the Tehran Symphony Orchestra. Recently, in Mordad of the current year, we witnessed the performance of *Elegy* for string orchestra by the Vivo Orchestra, composed by him. Tafazzoli has tested diverse languages in his works—from the neotonal and at times atonal language of the twentieth century to a fully tonal language. But in most of his works, the combination of Iranian melodies with the neotonal language of the first half of the twentieth century is most visible. Below, on the occasion of the staging of *Elegy* by the Vivo Orchestra, we spoke with him about his activities and the atmosphere of his works. What follows is the text of that conversation.

Parva, Iranian Singer, Passes Away!

Parva, a singer of Iranian music, has passed away after a period of illness. In recent years, she had been residing in both Iran and Austria.

From Past Days…

Is the Iranian National Anthem a Copy? (I)

The alleged similarity between the Iranian and South Korean National Anthems has been a matter of discussion among musicians in Iran for several years. Earlier in 2021, the issue was taken to the media again with not only claims that the anthem is very similar to another song but also the suggestion that its musical content should draw more on the Iranian national music. Some even went to the extent to suggest replacing it with the song “O, Iran” composed by the late Rouhollah Khaleghi. Before delving more into the main issue, it would not go amiss to consider some technical characteristics of the song “O, Iran” composed in 1944.

The Mystery of Messiah

Antonio Stradivari (1644 – 18 December 1737) was an Italian luthier and is considered the most significant and greatest artisan in this field.

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.

The First Saba Student Music Festival Concluded in Tehran

Preparations for Saba Student Music Festival started in the summer of 2016; the Student Music Festival will be held annually by the students of music at Arts University. The first part of the closing ceremony of the Festival was dedicated to the celebration of the life, work and strives by Maestro Hossein Dehlavi to upgrade the level of music as an academic discipline. The name of the award-winning students and ensembles were announced at the second part of the ceremony.

Principles of Violin Playing (VIII)

1.5.1.3.sometimes, a player, due to different reasons, may decisively want to play continuously two notes with a half-step by means of the same finger, in such a case, it’s necessary to open the interior curve of the finger like a spring. Naturally coming back, the curve of finger should be closed and the finger should become curved shape again (see paragraph 3.1.2.1).

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)

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.

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…
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New Technique for Playing Classical Guitar (II)

When the author was working on the piece “Playing Love” by Ennio Morricone (from the legend of 1900), he realized a failure of the Lip Technique. Needing to play a chord in the 14th position of the guitar and in order to complete the harmony, it is necessary to play a harmonic note on the 7th or 5th position; it was not possible to touch the string to play this harmonic note, because the Lip Technique is used for getting the notes and not to touch the string and producing harmonic notes. Naturally, the only possible way to touch the string was to use the nose at the required position and playing the note with the right hand, and this was the best option the author found to how to play such harmonic notes, and where the Nose Technique was generated.

The Structure of Kurdistan Daf (I)

Today, percussion instruments have such a high place in music that are an essential element of orchestras. This has attracted many people to this type of instrument with roots as old as the first humans. A historical study of music, shows that humans used the sound of these instruments to defend themselves against wild animals and, over time, for alerting each other, signaling their readiness and encouraging people for war, ritual ceremonies, dances, etc. in a manner that is still clearly visible in music and some ritual ceremonies.