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.

Post a Comment

Required fields are marked *
*
*
Your email is never shared.

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…

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 Look at Ali Tajvidi’s Manifold Musical Activities (I)

Ali Tajvidi (1920 – 2004), one of the most prominent Iranian musicians, passed away sixteen years ago. He was one of the most distinguished Iranian artists. To specify one of the fields in which he was unique, one can refer to Tasnif composition. A brief review of his manifold musical activities is presented below.

“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.

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.

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

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.

Polyphony in Iranian Music (V)

In addition to the above-mentioned, polyphony can be also formed when a melody is performed by several singers in different ambiances or different sound registers according to their physiologic abilities. An example of this has been performed in rituals of Khanqah of Ghaderi darawish of Mahabad[i].

Interview with Farhad Poupel (II)

Fantasia on One Note was my first professional work for piano, which had its world premiere by the great pianist Peter Jablonski in Sweden, and it has been performed by various pianists in the UK, Germany, France, and the Czech Republic. The recording of this work has also been broadcast on the Dutch public radio, NPR Radio 4.

A brief examination of Ardavan Kamkar’s Santour playing style

I still think of those fish in a crystal bowl for the Haft sin table and those disappointed old men who went out to sell blackfish.

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.

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.