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.

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (3)

Wolfgang Amadeus Mozart, a musical prodigy of the Classical era, was deeply influenced by the intellectual currents of the Enlightenment. His exposure to Enlightenment ideas was multifaceted, shaped not only by the cultural milieu of his time but also by the relationships within his family and his own interactions with prominent figures of the Enlightenment. This exploration will delve into Mozart’s acquaintance with Enlightenment ideas through his father’s relationships and his own encounters with influential personalities of the era, including Christian Fürchtegott Gellert, Baron Melchior Grimm, Madame d’Epinay, and Joseph von Sonnenfels. Additionally, the essay will examine the impact of Joseph II’s reforms on Mozart’s life and artistic endeavors.

Journey to Iran Revisited: Celebrating 20 Years of Guity Adjoodani’s Return to Persian Roots

This year marks the 20th anniversary of “Journey to Iran,” an album by Iranian pianist Guity Adjoodani that has resonated with audiences worldwide. Released two decades ago, this album is a beautiful tapestry of twenty Persian folk songs, each carefully selected from the rich musical traditions of various regions in Iran. It also features four notable compositions by the esteemed Javad Maroufi (1915-1992): “Prelude,” “Jila Fantasia,” “Golden Dreams” (Khaab-haa-ye Talaayi), and “Isfahan Rhapsody.” Additionally, the album includes the beloved song “Kiss Me” (Maraa Bebous) by Majid Vafadar (1912-1975), adding depth to an already impressive collection.

From Past Days…

The response of the fired musicians to the interview of the managing director of Rudaki Foundation

Following an interview by Mehdi Salem, the director of the Rudaki Foundation, with the “Our Music” website, a response from the dismissed musicians was published in response to this conversation, which you read:

The Role of Arts in Development of Societies

Mr. Mohsen Ghanebasiri, author and critic in the field of economy, culture and arts, as the next speaker, highlighted the role of arts, specially the music, in development of societies: “As far as the individual upbringing is concerned, a newborn baby is absolutely dependent. The relation between the baby and the parents is based on orders. There is lots of relativity in these orders; therefore, they are political orders. In the economy, however, the relations are mutual and based on common logic; hence, the formation of the concepts of democracy and individuality.

Jamshid Andalibi passed away!

Jamshid Andalibi, one of the most famous ney players in Iran, passed away on the fifteenth of Esfand, 1402, at the age of 66 due to a heart attack at his private residence. Andalibi was a member of a family that had a significant presence in the field of Iranian music in the sixties and…
Read More »

From Tradition to Trend: The Evolution of Decorative Arts in Iranian Dafs

The daf is one of the percussion instruments related to the Kurdistan region of Iran, holding a special place in Iranian music. In the past, animal skins were used for the drumhead, but now most of the dafs available in the market are made with synthetic skins, which are designed with various decorations.

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.

Iranian Fallacies: Iranian Chords

Finding a way to harmonize the Iranian music has been the subject of controversy among Iranian musicians for a long time. Some believe in the creation of harmonies for Iranian music based on a method which is similar to the tierce harmony; while others have either selected or invented some other methods. There are also some musicians who do not basically agree with the harmonization of the Iranian music.

Iranian Fallacies – School of Vaziri

Iranian Fallacies – School of Vaziri

The term “School of Vaziri” is often used in writings on Iranian music, but the exact meaning of the term is not clear; some of the authors have used the term to only refer to the group of Vaziri’s students, including a large group of his conservatory students and his Tar students such as Abolhassan Saba, Rouhollah Khaleghi, Ahmad Foroutan Rad, Hossein Sanjari, Heshmat Sanjari and others. But can we consider all Vaziri’s students as followers of his school of thought? This is definitely a mistake, because we know that some of Vaziri’s students have chosen a completely different path than that of Vaziri.

New Technique for Playing Classical Guitar (I)

Joint application of the two techniques of “Lip” and “Nose” could be effectively applied for hearing and playing far-away intervals, by the Classical Guitar. Before this, a Classical Guitar player had to waive playing intervals not possible with the left hand, and had to replace or eliminate some notes, making it possible to play such intervals; specifically the capability of the left hand of the musician, was also a factor in such a selection. These methods are hereby illustrated by photographs and a video-file, in order to provide optimum comprehension of applying these methods, invented by the author; specifically the “Lip” technique, which is considered to be a more significant technique, emphasized by the author.

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.

Harmony in the Iranian Music (I)

Translated by Mahboube Khalvati The article you are about to read was written by Rouhollah Khaleqi (1906-1965), composer, and conductor of Golha Orchestra (established in 1956). Khaleqi was one of the most prominent promoters of polyphony for the Iranian music and is one of the best representatives of the school of Ali Naghi Vaziri. In…
Read More »