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…

Ali Rahbari’s collaboration with Naxos as a Composer

Concertino for Violin and Orchestra entitled Nohe Khan was composed by Ali (Alexander) Rahbari while he was studying music in Vienna in 1972. This piece was composed having in mind the Ashoura events and inspired by the music which is used during the Ashoura ceremonies. The piece was first performed and recorded by Bijan Khadem…
Read More »

Iranian Fallacies – Composition and Arrangement

In the tradition of classical music, it is generally tried to use the same technical terms related to music in all countries. Even in the cultures in which native terms exist to refer to musical terms, usually the better known universal terms are employed.

The Structure of Kurdistan Daf (VII)

Conclusion

“Daf” is one of type of percussion instruments that has a long history and is commonly known as circular instruments (with a rim). In some tribes, Daf was used as the main instrument in festivity and joy ceremonies; in another tribe it was used as the main instrument for war and campaign ceremonies and some others used it for ritual and religious ceremonies.

The Legacy of Khosrow Jafarzadeh

This year marks the fifth anniversary of the passing of Khosrow Jafarzadeh (Khosrow Djafar-Zadeh), a distinguished architect and pioneering researcher of Iranian music, whose contributions to the magazine “Harmony Talk” have left an indelible mark on the field. The absence of this remarkable individual has significantly impacted the expansion and advancement of his theories, which are heralded as some of the most progressive in the history of Iranian music

Developments in Iranian Music Since Qajar Era (II)

Santour:
Nine-bridge and twelve-bridge Sanours were both used until the early Pahlavi dynasty. However, as Faramarz Payvar devised new methods for playing the nine-bridge Sanour, this variety of the instrument which was hammered by felted sticks became popular.

Polyphony in Iranian Music (VI)

Torqeh or jal is the same bird (Bimaculated lark) and is the name of a muqam which is well-known in Torbate Jam and those areas. Jal muqam is called Torqeh in Esfarayen and Bojnourd. This muqam which was used to be played by Bakhshis/Bagşies (dutar-players) in the past is seldom performed today.

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.

Inefficiency of some chords and harmonization systems in Iranian music

Discussions and research have been conducted on the harmonization of “dastgah” and melodies in Iranian music, and several books have been published on this topic, including “Armenian Music of Iran” by Ali Naghi Vaziri, “Harmony of Iranian Music” by Farhad Fakhreddini, and “Harmony of Iranian Music” by Ali Ghamssari. A master’s thesis titled “Presenting a Solution for Harmonizing Based on the Structure of Tritone Intervals” was written by Atefeh EinAli in 2014. Additionally, the invention and use of “Even Harmony” by Morteza Hannaneh should be mentioned.

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.”

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.