Hossein Aslani passed away!

Hossein Aslani, Iranian pianist residing in the US, passed away due to cancer in late January 2020. His last musical activity was an article written for Harmony Talk entitled “Iran amidst musical struggle” in 2016, his memoir entitled “I Play You Again” in the same year and his album “Symbolic Emotion” published by Arganoun Publications in 2014. Here is a brief biography of Hossein Aslani according to his own website:
Hossein Aslani was born in the village of Shahghaji in Gilan, Iran in 1936. After elementary education, he moved alone to Tehran. While completing his high school years and surviving for sustenance on labor-intensive daily jobs, he entered the music world by mastering accordion.

audio file Listen to “Hope and Hopelessness” for Piano

Recommended by a close clarinet virtuoso friend the late Hossein Shahverdi, he entered the international conservatory of music in Tehran in Vahdat Hall in 1958. He was trained under the tutelage of renowned western classical music scholars of the era in piano by Tatania Kharatian, music theory and solfeggio by Fereidun Farzaneh, and harmony and orchestration by Houshang Ostovar. Hossein Aslani was also invited to join the national radio Iran as a composer, arranger and pianist in 1965.

audio file Liaten to a part of the String Quartet

In an era when Pop music was still regarded as an artistic classic genre, Aslani was instrumental in popularizing it among the youth in particular, through his innovative polyphonic and independent melodic lines. He employed wind instrument ensembles, electric guitar and percussion. This was manifest through performances by the late vocalist Mohammad Nouri and many other singers of the era during 1968-71. Concurrently, with his professional endeavors, he has tirelessly continued piano instructions since 1960. Aslani’s first written composition was a piece for piano and orchestra, conducted by Feredun Shahbazian, and performed by the Grand National Radio Orchestra in 1971.

audio file Listen to “A Shadow at Midnight” featuring Mohammad Nouri (singer)

This popular notoriety prompted Aslani’s involuntary emigration to New York U. S. A. and his trials and tribulations that followed in a foreign land. Committed for life to contemporary music as anchored on his intrinsic affinity and love for music, he earned his master’s degree in music composition from the State University of New York Conservatory of Music specializing in contemporary music and orchestration. His lifelong cooperation with his university mentors as Professors Dary John Mizelle and Joel Thome for 20th century harmony, Suzanne Farrin for music literature and critique, Steven Lubin for classic, Brady Brookshire and Stuart Isakoff for music analysis as perceived by the musicians and listeners, has continued.

audio file Listen to “Moments of Solitutde” featuring Aref (singer)

His work has remained most inspired by the folkloric music of Gilan and other regions of his motherland Iran, combined with nostalgic melancholy of his early years as well as his extensive research of the works of renowned Master contemporary composers Charles Ives, Aaron Copland, Igor Stravinsky John cage, Bella Bartok, Leonard Bernstein and Houshang Ostovar. Aslani’s unique approach to contemporary music is deemed progressive; nonetheless, emanated from noble well rooted origins. This has thus far yielded a number of pieces and proses that are multidimensional and unimaginable at times.
Hossein Aslani’s firm belief in humanity and community, nurtured by his beloved mother Gilaneh, is heralded through his lifelong philanthropy, altruism and voluntarism.

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Homayoun Rahimian & Iran’s National Orchestra

The Roudaki Foundation presented the permanent conductor of the National Orchestra (Orchestr Melli), Homayoun Rahimian, in a ceremony, and finally, after four years, the national orchestra found a permanent conductor. Homayoun Rahimian is the fourth permanent conductor of this orchestra after Farhad Fakhreddini, Bardia Kiaras, and Fereidoun Shahbaziyan. He, who has previously had experience of conducting concerts besides being Meister’s concert of this orchestra, performed the concert “Autumns” on the 20th of Tir, performing works by Rouhollah Khaleqi, Javad Ma’roufi, and Hossein Dehlavi.

Negation of Changes in Iranian Music: Embracing Tradition

The perspective that denies any alteration or innovation beneath the realm of Iranian music, and more broadly, the performance and even the structure of Iranian music instruments, stems from the discourse of “tradition-oriented”* and the “return to self” movement in Iranian music. Given that some educators still adhere to this discourse and emphasize the necessity of preserving tradition, a perception is formed among art students that Iranian music, including Radif, lacks dynamism and is confined within a rigid framework.

From Past Days…

Principles of Violin Playing (VIII)

1.5.1.3.sometimes, a player, due to different reasons, may decisively want to play continuously two notes with a half-step by means of the same finger, in such a case, it’s necessary to open the interior curve of the finger like a spring. Naturally coming back, the curve of finger should be closed and the finger should become curved shape again (see paragraph 3.1.2.1).

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…
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Polyphony in Iranian Music (IV)

Two choirs alternatively perform Veŝ Tavaré Na avaz (Transcription 5). The second group starts the avaz before the first group finishes it; consequently, two different voices coincide (Transcription 5, staves 2 and 5).

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.

Developments in Iranian Music Since Qajar Era (I)

At the end of the Qajar era and as Iran entered the power transition period, known as the constitutional era, the Iranian music went through a lot of changes. These changes gained momentum as the students and followers of Ali Naqi Vaziri’s entered the musical scene. These changes greatly influenced designs of instruments, playing methods, singing, composing, etc.

Three singers in one larynx

Sima Bina (b. 1945) is a unique singer among the singers of Golha radio programmes which were broadcast on Iranian National Radio for 23 years from 1956 to 1979. She received her first lessons in music from her father who was a poet, a musician and the most important supporter of Sima’s cultural activities.

Loss of Development in Iranian Music

The mention by music instructors, academicians, students, and music enthusiasts about the lack of development in Iranian music is a topic that has been repeatedly heard, resulting in a superficial understanding and misinterpretation of Iranian music, which has been conveyed to students of the arts. This short essay aims to critique and examine this claim.

The Structure of Kurdistan Daf (V)

ehrouz Mohammadi, “Daf and its feasts in Ghaderieh’s Tekyeh” mentions that the outer thickness of arch where studs are located, [is] between one to one and a half centimeters (Mohammadi, 2001: 12). The thickness of arch should be gradually reduced from the installation place of rings to skin (Avazeh of Daf) to create a high volume, clear sound from Daf; also, the connection of arch to skin should not be less than one millimeter, because in this case the skin will be torn due to the sharpness of the wood (Mogharab Samadi, 2009: 79-78). The thickness of wood on the skin side is about two to three millimeters (Tohidi, 2002: 79).

Homayoun Rahimian & Iran’s National Orchestra

The Roudaki Foundation presented the permanent conductor of the National Orchestra (Orchestr Melli), Homayoun Rahimian, in a ceremony, and finally, after four years, the national orchestra found a permanent conductor. Homayoun Rahimian is the fourth permanent conductor of this orchestra after Farhad Fakhreddini, Bardia Kiaras, and Fereidoun Shahbaziyan. He, who has previously had experience of conducting concerts besides being Meister’s concert of this orchestra, performed the concert “Autumns” on the 20th of Tir, performing works by Rouhollah Khaleqi, Javad Ma’roufi, and Hossein Dehlavi.

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.