Parviz Meshkatian’s Heart Beat for People (I)

Translated by Mahboube Khalvati
Amidst the popularity of traditionalism in the Iranian music, Parviz Meshkatian (1955- 2009) moved from Neyshabur to Tehran. He learnt to play Santour and became educated in the Radif of Iranian music at the Centre for Preservation and Promotion of Music which was at the forefront of promoting the return to musical traditions. Despite his studies at a centre which promoted the use of the phrase “traditional music” in Iran, Parviz Meshkatian emerged as a creative artist whose innovative and unique ideas attracted the admiration of Iranian artists and people from different walks of life. This article studies the reason behind Meshkatian’s deviation from the wrong approach of traditionalism strongly promoted by the Centre and argues that apart from the issue of theory of Iranian music, he can be considered as Ali Naqi Vaziri’s successor.
Unlike many students at the Center for Conservation and Promotion of Music and the University of Fine Arts (whose approach to the Iranian music was similar to that of the Center for Conservation and Promotion of Music), Parviz Meshkatian was not only influenced by the traditionalist and anti-West atmosphere of the time, but also by the family culture and interaction with the elite took a different approach which eventually led him to a different course in his career.
In 1978, a year before the Islamic Revolution in Iran, Meshkatian formed an ensemble called “Aref” in collaboration with Hossein Alizadeh (b.1973), who, like himself, was educated at the Centre for Conservation and Promotion of Music; however, Alizadeh had new tendencies. Meshkatian and Alizadeh’s ensemble was named after the constitutional era composer and lyricist Abolqassem Aref Qazvini (1882-1934). Aref Ensemble was established parallel with Sheida Ensemble named after a Qajar musician and lyricist Ali Akbar Sheida (1844-1906) and founded by Mohammad Reza Lotfi (1947-2014). The names they had chosen for their ensembles suggested that they intended to work in line with the school of thought of the Centre for the Preservation and Promotion of Music and re-perform the works by diseased musicians. As time passed, they changed their path though.
After the protests on 8 September 1978 (17 Shahrivar 1357) and killing of the protestors by the Shah regime in Jaleh Square in Tehran, Meshkatian and some of the musicians of his ensemble together with Sheida Ensemble joined the wave of people who wanted change and established Chavosh Institute. In Chavosh Institute these musicians worked together and put aside their differences of opinions on issues such as Qajar music and different methods of playing Satour, etc. Their concern was the needs of the elite and the ideals which required the empathy and support of a larger number of people.
Meshkatian’s music was, therefore, informed by the culture and the humane aspects of life. After the Islamic Revolution 1979, the extent of Meshkatian’s activities expanded and he became almost as prolific as the other great Iranian Santour player and composer, Faramarz Payvar. Meshkatian’s works were published little by little and won the hearts of the people and the admiration of artists and the elite.

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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

Whose dream?! Whose reality?!

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

From Past Days…

HarmonyTalk Journal’s Twentieth Anniversary Celebration

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Qanun, a feminized instrument?

In the world music culture, there are instruments which were traditionally associated with a certain gender. It remains disputable to what extent these gender-based perceptions have been logical and scientific. For example, as playing wind instruments need more breath strength and the public opinion believe that men have stronger breath compared to women, these instruments are predominantly a male domain. Harp is also considered a female instrument as the public opinion believe that women have finer fingers and can therefore better perform nuances and delicate techniques on the instrument.

“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.

The Structure of Kurdistan Daf (I)

Today, percussion instruments have such a high place in music that are an essential element of orchestras. This has attracted many people to this type of instrument with roots as old as the first humans. A historical study of music, shows that humans used the sound of these instruments to defend themselves against wild animals and, over time, for alerting each other, signaling their readiness and encouraging people for war, ritual ceremonies, dances, etc. in a manner that is still clearly visible in music and some ritual ceremonies.

Prominent Iranian Musicologist Passes Away in Vienna

Khosrow Djafarzadeh, musicologist and architect, who was also one of the main authors of HarmonyTalk journal passed away on 15 July 2019.

Musical Sense or Technique?

One of the most popular terms used by Iranian instrumentalists is the existence or a lack of musical “sense”. Both musicians and fans of music consider having “sense” while playing music as an important principle to the extent that they use it vis-a-vis having technique.

A year without Mohsen Ghanebasiri

The year 1396 (21 March 2017-20 March 2018) was the most sorrowful year for HarmonyTalk journal. One month after holding HarmonyTalk’s 13th establishment anniversary in Mohsen Ghanebasiri’s house in Tehran in April 2017, he untimely passed away. Mohsen Ghanebasiri was the prominent HarmonyTalk author.

Farhad Poupel’s piece, Road to Bach, performed at Suntory Hall

On June 19, 2021 , young Iranian composer and pianist, Farhad Poupel’s piece, Road to Bach, was performed at the prestigious Suntory Hall by the great Japanese pianist, Kotaro Fukuma. The piece was commissioned by Kotaro Fukuma to have its world premiere in Suntory Hall during a concert by the same name.

Is the Iranian National Anthem a Copy? (I)

The alleged similarity between the Iranian and South Korean National Anthems has been a matter of discussion among musicians in Iran for several years. Earlier in 2021, the issue was taken to the media again with not only claims that the anthem is very similar to another song but also the suggestion that its musical content should draw more on the Iranian national music. Some even went to the extent to suggest replacing it with the song “O, Iran” composed by the late Rouhollah Khaleghi. Before delving more into the main issue, it would not go amiss to consider some technical characteristics of the song “O, Iran” composed in 1944.

Interview with the Makers of the New Qeychak (III)

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