“Pledge of Love”

1 October 2015 – 12:14 pm Posted in Iranian Classical Music, News

The “Pledge of Love” is the first album in a series composed based on the tasnifs by the renowned Iranian tasnif-maker Mohammad Ali Amir Jahed and recorded by Sahba Kohan Ensemble with Ramin Bahiraie as signer. The album was released by Mahoor Institute of Culture and Arts in September 2015.

In this album, Sadjad Pourgahnad has re-composed Amir Jahed’s tasnifs’ by adding phrases and by making polyphonic the already existing ones. Pourghanad has also composed an overture entitled “Trannom” in which all instruments introduce themselves through the parts they play. The album cover written by composer reads:
“The current album results from the approach to the Persian music which was founded 90 years ago by Ali Naghi Vaziri and was followed by his students and colleagues and which has survived up to this day. In this school, there are no limitations for employing non-Persian musical techniques in composing; therefore, different techniques are used as long as they do not disturb the context of the Persian music.
“Due to unrestricted use of composing techniques some of which are totally new to the Persian music, works composed by the composers who follow this school have two important characteristics: 1. More variety and expanding composing horizons 2. Persian music becomes more attracting for those who are used to the Western classical music’s polyphony and are capable of following different sound lines.
This album consists of 6 Tasnifs by Mohammad Ali Amir Jahed which I have re-composed. In re-composing these Tasnifs, vocal parts are left intact while I have re-written the instrumental parts.
“In this album, I have tried to employ harmony, counterpoint and orchestration techniques for Iranian instruments to the extent that it does not disturb the context Amir Jahed had created. Based on each piece’s ambience, various polyphony and orchestration techniques are drawn upon the understanding of which is not challenging for trained listeners and those with the ability to follow multiple lines; however, those who are less familiar with polyphonic music might find them tough. Therefore, it is recommended that they listen to the album at least three times before they judge it!
“In the past several decades, one of the obstacles on the way of composing for an orchestra of Persian instruments has been the excessive use of percussion instruments to the extent that rhythmic variety has turned into an indispensible tradition for Persian orchestras. This tradition has made composers evade writing calculated and challenging counterpoints and impose the rhythmic variety and the continuous bass line to the audience in a primitive and deficient manner. Consequently, in this album percussion instruments were deliberately avoided so that in their absence counterpoint can play its role efficiently.
“This album includes some of the undiscovered or less listened-to Tasnifs by the great master of Iranian Tasnif-writing, Mohammad Ali Amir Jahed. I hope that the new approach applied to re-composing these Tasnifs adds to their beauty – Sadjad Pourghanad.”

This entry was written by HarmonyTalk
Tagged: Mohammad Ali Amir Jahed, MohammadAli AmirJahed, Ramin Bahiraie, Sadjad Pourgahnad, Sahba Kohan Ensemble, Sajjad Pourgahnad.

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.

Five Major Myths About Mozart’s Life

Wolfgang Amadeus Mozart, the renowned Austrian composer, is undoubtedly one of the greatest geniuses in the history of classical music. However, his life is surrounded by numerous myths and legends, some of which are not based on facts. This article explores five of the most common misconceptions about Mozart’s life.

Latest posts

From Past Days…

The Structure of Kurdistan Daf (IV)

Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Daf Structure The Structure of Daf in different cities of Iran has a great variety in terms of dimensions, components and even appearance; some of which are as follows: – Square Daf, on which the skin was stretched either on one or both sides, with strings installed inside it…
Read More »

Persian Music: “Mahour the Great” in Austria

In 1990 an Austria-based Persian musician Khosro Soltani, in cooperation with Hossein Alizadeh, put out an album entitled, Ancient Call A New (Nobang-e Kohan). After many years, a few ancient Persian instruments such as Sorna, Karna, Naghareh,etc. have been used, instruments which have been left out of the circle of Persian classical musical instruments for centuries.

A Persian Nocturne for Piano

A Night in a Persian Garden is the name of a Nocturne composed by the Persian (Iranian) contemporary composer Behzad Ranjbaran. This Nocturne, published recently by the Theodore Presser Company in the US, was performed for the first time in 2002 in New York City by the young Persian pianist Soheil Nasseri and has enjoyed many performances by other pianists.

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (4)

The collaboration between Mozart and Haydn blossomed during the late 18th century in Vienna, a city that served as the epicenter of musical innovation. Amidst this vibrant cultural milieu, the two composers developed a profound friendship that extended beyond mere professional admiration. This connection is reflected in the six string quartets dedicated by Mozart to Haydn, aptly known as the “Haydn Quartets.”

Maestro Hassan Nahid’s Role in Promoting the Ney

Maestro Hassan Nahid is one of the most prominent and distinctive artists who values high morals, discipline and hard work. His music activities include playing the Ney as both soloist and an accompaniment in the most important Iranian music orchestras and ensembles during the last fifty years, including the Orchestra of Iranian Instruments (Nusratullah Golpayegani), the Orchestra of National Instrumentalists of the Ministry of Culture and Arts (Payvar Orchestra), the Orchestra of Iranian Instruments (Morteza Hananeh) , Darvish Orchestra, Samaie Orchestra, Roudaki Orchestra, Maestros’ Ensemble, Aref Ensemble, as well as performances in various radio programs, many concerts in different countries, as well as a long teaching experience in the National Conservatory of Music, music universities and other music institutions to name but a few.

Principles of Violin Playing (VII)

4.3.1.3 Regarding the great linear distance and the unusual distance between the first and forth fingers, the first finger while playing the doubles of ninth and tenth interval, can be twisted in the knuckle area and the point mentioned in 3.1.2.5 paragraph in relation to the way first finger is placed indicating that the first joint of this finger in back of hand must be in line with the direction of forearm and left hand is not true here.

Principles of Violin Playing (III)

Violin players should always pay attention to the proper position of the left thumb and other points related to it and to its joining point to the palm.

Principles of Playing Violin (V)

3/1/2/5: When the first finger lands next to the nut, continuation of first phalange of this finger, on back of the hand, should be in line with continuation of the back of the wrist and the left hand; moreover, it should not pass them and bend at knuckles. Otherwise, an uncommon stretch is created in first finger’s knuckle also reducing the freedom of other fingers (especially the fourth finger) in finger placement.

A combination of technique and musicality in the fingers of a pianist

In the world of classical music, the position of soloist has always been exceptional. Apart from the technical ability that many orchestral musicians also have, the soloist must also have a special power to be able to present a different and unique perspective of a piece. The soloist must maintain its special power of expression not only in solo roles but also when interacting with the orchestra.

History’s Impact on Evaluating a Work of Art

With this description, we have automatically included a criterion called “History”, Until we know the time of the creation of a work of art, we cannot judge whether it has been easy to create or not. Suppose that, in a historical study, we find a musical work that is similar in compositional techniques (including form, melody, context, and orchestration) to a minor work of the nineteenth century; however, our research proves that, this work dates back to 200 years prior to that date. Can we still consider this work insignificant? Definitely not! So this is where the first use of history-based judgment comes into play.