Gholam Reza Khan Minbashian: a pioneer in Iranian music (I)

Translated by Mahboube Khalvati

Gholam Reza Khan Minbashian, a.k.a Salar-Mo’azez, was a pioneer in several domains in the history of the Iranian music. He is recognized as the first Iranian musician who was educated in classical music. He is also the first Iranian the score of whose works were published in Europe. He is the first Iranian to have launched courses on Western classical music and was also the first Iranian teacher of classical music. Moreover, he is the first founder of a string orchestra in Iran, the first author of the Iranian Radif which was available in oral form. Minbashian is also the first Iranian who studied music in Europe.
Minbashian is undoubtedly the father of classical music as well as military music in Iran. Gholamreza Minbashian, son of Nasrallah, was born in 1862 in Tehran. His mother, Qamar al-Zaman, was the first Iranian woman to play the piano. Minbashian studied at Dar al-Funun School. He had shown a talent for painting and language before starting to learn music and had even ranked second at school and had received a medal from Nasser al-Din Shah Qa’jar.
Because of Minbashian’s interest in music, his father, Nasrallah Khan, enrolled him at Dar al-Funun’s music branch where he spent eight years under the supervision of Alfred Jean-Baptiste Lemaire. He graduated as the first Dar al-Funun music student. It is worth mentioning that Lemaire’s system of teaching at Dar al-Funun was based on military music rather than classical music.
After graduation as a military officer, Gholamreza Minbashian started teaching music as an assistant to Lemaire in Dar al-Funun. In 1882, he was promoted to Sultanate rank in the Persian Cossack Brigade and became commander of music of the Cossack Cavalry. In four years’ time he was promoted to the rank of commander of musicians.
After eleven years of service, he reached the Mirpanj rank, and in the same year he went to the Soviet Union to study music at St. Petersburg Conservatory (Petrograd at the time) under the renowned musician of that time, Rimsky Korsakov. He took his eldest son, Nasrallah Minbashian (who was named after his grandfather and played piano and partly violin, cello and clarinet), with him. Gholamreza Minbashian’s education under the supervision of Korsakov was brief as he returned to Iran; however, Nasrallah studied there for seven years.
Upon his return to Iran, Gholamreza Minbashian re-assumed his former position. His return coincided with the Constitutional Revolution, so he resigned from his position because of his interest in the Constitutional fighters and left for France to study music. At the same time, he began composing the official Iranian anthem entitled “Hello Iran’s Majestic Government” the score for which he published, for the piano, in Europe.
Early in the reign of Ahmad Shah, he returned to Iran and was appointed director general of the music branch of the system.
In 1920, he was commissioned by the Ministry of Education (later renamed the Ministry of Culture and Art, today known as the Ministry of Culture and Islamic Guidance) to form the Royal String Orchestra, the first string orchestra in Iran. It was at this time that he was promoted to the rank of Amir Touman, and was awarded the diamond-decorated badge.
In 1916, Alfred Jean-Baptiste Lemaire passed away and after a year, Gholamreza Khan was appointed as the Head of the music branch of Dar al-Funun. Two years later, Gholamreza Khan was honored with the title of Salar-Mo’azez.

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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.

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.

From Past Days…

Call for papers SIMF 1396

The Association of Iranian Contemporary Music Composers (ACIMC) and SHAHREAFTAB Art & Cultural Association are pleased to announce a call for papers for SIMF 1396.

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.

From the Last Instrumentalist to the First Composer (I)

Music as an art has its own special history; emergence of a singer, of an instrumentalist and then the emergence of the strong character of a composer covers three significant phases of the art of music. With the emergence of composer which was simultaneous with the emergence of the language of music, this art managed to offer a domain for criticism for its composer; a procedure which led to a magnificent variety and evolution in musical production. Even though the conflicts between singers and instrumentalists have not met their end in the Iranian society and while singers can achieve high, instrumentalists have yet to play behind curtains . In a special era, with the efforts of musicians such as Ali Naghi Vaziri (1887-1979) and Rouhollah Khaleghi (1906-1965), glimmers of a composing era started to glow bearing fruit in Khaleghi’s achievement as Iran’s first professional composer. Khaleghi made his reputation as a composer while Vaziri deserved to pioneer this path. By then Vaziri was well-known as a Tar player.

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.

Developments in Iranian Music Since Qajar Era (III)

Developments in Composing

Along with developments in the Iranian instruments, composition of the Iranian pieces developed as well. As a matter of fact, the developments of the two, mutually affected each other. In other words, instrumental developments led to developments in composition and vice versa.

Simorgh Criticised

Simorgh (Simorq) Orchestra was founded by the renowned Iranian composer, Hamid Motebassem, in 2011. Simorgh Orchestra is the largest orchestra featuring Iranian national instruments. Although the orchestra established by Master Hossein Dehlavi, the great Iranian composer, in 1993 was larger than Simorgh Orchestra, it only featured the Iranian plucked string instruments unlike the latter one. The first album which was recorded by the Orchestra, conducted under Motebassem’s baton, was his Simorq based on Zal story from Shahnameh by Ferdowsi, the great Iranian poet.

Whose dream?! Whose reality?!

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

Illusion or Ingenuity?

Mohsen Renani in the preface of his book entitled “The Political Economy of nuclear conflict; an introduction to traversing the civilizations” writes:

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.

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.