“Symphonic Poems from Persia” Released in Germany

While the name “Persia” (Western historical name of Iran) has attracted tens of thousands of people from around the world to London’s British Museum to visit ancient Persian artifacts, the Nuremberg-based music company, Colosseum, invites Europeans to listen to eight masterpieces of Persian symphonic music.
Ali Rahbari, with financial support from Persian (Iranian) Ministry of Culture and Art, in the late 1970s recorded works by Persian contemporary composers, Hossein Dehlavi, Aminollah Hossein, Mohammad-Taghi Massoudieh, Ahmad Pejman, and one of his own compositions. These pieces were released as three LPs in Germany in 1980, entitled, “Symphonische Dichtungen aus Persien” [“Symphonic Poems from Persia”] which, for some reason, were not imported to Persia (Iran). Fortunately, after a quarter of a century, Colosseum decided to release those LPs as a double CD album.
“Symphonic Poems from Persia” is the first collection of Persian symphonic music masterpieces available worldwide. Such pieces as the valuable collections recorded by Manouchehr Sahbai in Austria and Bulgaria in the 1990s have been distributed locally.
Following are the works recorded in “Symphonic Poems from Persia”:
1. “Persian Mysticism around G” by Ali (Alexander) Rahbari, who is one of the greatest Persian conductors. This work was originally called “Persian Blood around G”. “Strauss has a piece called ‘Wiener Blut’ (Vienna Blood). When I used ‘Blood’ in the title of my piece some Europeans recalled that work, so I changed the title,” Rahbari said. “This work really sounds Persian. I tried not to use Western harmony rules, and mostly used counterpoint.” “Persian Mysticism around G” received its first performance by the Vienna Musicians Symphony Orchestra in 1977, and then by the Tehran Conservatory Symphony Orchestra at Tehran’s Roudaki Hall.
Ali Rahbari was born in 1948 in Tehran and studied violin and composition with Rahmatollah Badiee and Hossein Dehlavi at the Persian National Music Conservatory. He continued his studies at the Vienna Music Academy with Gottfried von Einem and Hans Swarosky.  In 1977, he received the first prize of International Conducting Competition in Besanson, France, and one year later the silver medal of the Geneva Conducting Competition in Switzerland. In 1979, Rahbari was invited by Herbert von Karajan to conduct the Berlin Philharmonic Orchestra as a guest conductor, and from 1988 to 1996 he was the permanent conductor of Belgian Radio and Television Philharmonic Orchestra in Brussels. Rahbari has conducted some of the most famous orchestras around the world such as the Vienna Symphony, French National Orchestra, Czech Philharmonic, London Philharmonic, etc.
2,3,4 Three pieces by Ahmad Pejman, entitled “Dance,” “Ballet-Impressions,” and “Rhapsody.” “Dance” is an extract from an opera in Persian, commissioned by the Tehran Opera in 1976. It is a dance of villagers with a folkloric character, making use of extremely interesting rhythms borrowed from Persian Music. “Ballet-Impressions” was commissioned by Roudaki Hall in 1973. Two soloists from the Berlin Opera took leading roles in the premiere. Written while he was studying in Vienna, Pejman’s first symphonic work, “Rhapsody,” was performed by the Vienna Radio Orchestra conducted by Heinz Sandauer. Ahmad Pejman was born in 1937 and studied composition with Hossein Nassehi in Tehran. The Ministry of Culture and Art granted him a scholarship to continue his studies in composition at the Vienna Music Academy, where he was taught by Thomas Christian David, Alfred Uhl and Hans Jelinek. For the opening night of Roudaki Hall (the Tehran Opera House), Pejman was commissioned to write the “Delaavar-e Sahad,” which is the first serious opera in the Persian language. Among his other works are: “The Persians Overture” and “Ayaaraan” (for Persian instruments).
5. “Sheherazade” (Shahrzad), in seven movements, is by Aminollah (Andre) Hossein (1906-1984), the first Persian composer who was able to present his works in international concerts. He completed his studies at the Paris Conservatory, and his first work, the ballet “Toward the Light,” was performed in 1938 at the Paris Opera House. Hossein’s most famous works are: “The Ruins of Persepolis” and “Persian Miniatures,” which demonstrate his deep love for the ancient culture of Persia. But his “Sheherazade” has a more Arab than Persian character, like what we hear in Hollywood movies about ancient Persia that erroneously portray Persia as part of the Arab world and culture! Ironically, the Russian composer Rimsky-Korsakov’s Shaherazade sounds more Persian than the Persian composer Hossein’s Sheherazade! The actor Robert Hossein is Aminollah Hossein’s son.
6. “Bijan & Manijeh” (in six movements) by Hossein Dehlavi. Originally in 26 movements, this work was performed for the first time in 1975 at Tehran’s Roudaki (Vahdat) Hall as a ballet. Some of the other movements of “Bijan & Manijeh” were recorded by the Vienna Radio Symphony Orchestra, conducted by Thomas Christian David in 1977.  This work is based on Ferdowsi’s “Shahnameh” (the national epic of Persia).
Hossein Dehlavi was born in 1927 in Tehran and studied composition at the Tehran Conservatory of Music with Hossein Nassehi. He studied Persian classical music with Abolhassan Saba and, from 1957 to 1967, was the principal conductor of the Persian Fine Arts Administration Orchestra. For ten years, Dehlavi was the director of and professor at the Persian National Music Conservatory in Tehran, and Ali Rahbari was one his pupils. In 1992, with the cooperation of nearly 70 players of Persian instruments, Dehlavi established the Plectrum Orchestra. His works include several pieces for Persian instruments and orchestra, voice and orchestra, choir and orchestra, and three operas. As his contribution to the Year of the Child (1979), he wrote an opera for children called “Mana & Mani,” which has never been performed.
7. “Suite Iranienne” (Iranian Suite) by Houshang Ostovar. This piece is the only available work by Ostovar, one of the greatest Persian composers.  In three movements (Pishdaramad, Avaz, Reng), the suite is composed in the Persian mode ‘Chahargaah,’ and was first performed in October 1973 by the Tehran Symphony Orchestra, conducted by Farhad Meshkat.
Ostovar was born in 1928 in Tehran and studied basic composition with Parviz Mahmoud (founder of the Tehran Symphony Orchestra). He completed his studies at the Royal Conservatory of Music in Brussels. For many years, he was professor at the Tehran Conservatory. His works include “Sayyareh” [Planet], a ballet; “Ojaagh-e Sard” [Cold Stove], based on Nima Youshij’s poems, for voice and piano; “Persian Symphonic Sketch,” “Four Modes” for strings, and many piano pieces.
8. “Mouvement Symphonique” (Symphonic Movement), by the “Father of Ethnomusicology in Persia,” Mohammad Taghi Massoudieh (1927-1999). This piece is written in sonata form in 1976 and was first performed in 1977 by the Tehran Symphony Orchestra, conducted by the Dutch guest conductor Jo van  Diedern.
Massoudieh was born in Mashhad, Persia in 1927; he studied violin, composition and ethnomusicology at the Tehran Conservatory, the Paris National Conservatory, the Leipzig Music Academy and Cologne University. His Ph.D. dissertation, entitled, “Awaz-e Sur; Zur Melodiebildung in der Persischen Kunstmusik,” was published in 1968 in Regensburg. This book is among the most important books on Persian classical music in German. Some of Massoudieh’s other works, such as the “Fantasy for String Orchestra” and the “Persian Suite,” have been recorded by Manouchehr Sahbai with the Plovdiv Philharmonic Orchestra in Bulgaria, which is to be released soon.

Post a Comment

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

Leading the Charge in Censorship

Davoud Pirnia, writer and musicologist was the founder of “Golha” (Flowers of Persian Song and Music) programs on Tehran Radio (1956-1966). He received his early education from his father, Hassan Pirnia (Moshir al-Douleh), and several tutors of the time (Taraghi, interview, July 1989) and continued his studies at Saint Louis School in Tehran and then in Switzerland and graduated in law. While studying law, Pirnia got acquainted with European classical music. Upon returning to Iran, he was employed by the Ministry of Justice and founded the Lawyers’ Guild. Then he was transferred to the Ministry of Finance and established the Department of Statistics in this ministry. Later, he became the head of the state inspection office at the Prime Ministry; he was, then, promoted to the position of the Deputy Prime Minister (Navab Safa, interview, August 1999)

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

From Past Days…

A note on “Illusion or Ingenuity” article

The author of the “Illusion or Ingenuity” article, who is apprehensive of the future of the Music in Iran, enumerates some symptoms of the music weakening in the country for example decreasing in the quality of the music as well as lack of the innovation in creating them, a gradual decline in the music public taste and the drop in the application of layered sound and polyphony in music. He explains that one reason for this gradual weakening might be our unawareness of the fact that we are not so intelligent nation. He believes that we, Iranians, have a comprehensive “Illusion of the high national intelligence “that make us ignorant of the unfavorable realities of our music and consequently no searching for the remedy is taking place. His point of view brings to the mind a patient who thinks he is healthy, therefore delays the treatment and finally is killed by the disease. The author also refers to the national difficulties which gradually will lower the national intelligence score such as the increased rate of the immigration and brain drain, low quality of the nutrition, incompetence of the education system and etc and predicts that the condition of the music of Iran might deteriorate in the future because of the mentioned illusion of its great status.

Women and the Music Environment in Iran

The life territory of the female-male relations in the Iranian cultural context is basically a domestic territory and not a social-living one in the labour and leisure domains. To prove this, it only suffices to consider the Iranian men’s viewpoints about women. For the Iranian men, there are three perspectives regarding the women: mother, sister and wife. Mother represents the emotional territory; sister represents the logical territory at home while wife represents the sexual territory.

Violin’s inner mold, an essential factor in developing the idea of violin

A part of the secrets of the masterpieces from the golden era lies in the special design of the instruments, as a result of a profound insight to and awareness of the significance of the precise calculation of the various components of the object of arts being created, such as making a violin or a bow.

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.

History’s Impact on Evaluating a Work of Art

With this description, we have automatically included a criterion called “History”, Until we know the time of the creation of a work of art, we cannot judge whether it has been easy to create or not. Suppose that, in a historical study, we find a musical work that is similar in compositional techniques (including form, melody, context, and orchestration) to a minor work of the nineteenth century; however, our research proves that, this work dates back to 200 years prior to that date. Can we still consider this work insignificant? Definitely not! So this is where the first use of history-based judgment comes into play.

Polyphony in Iranian Music (II)

With regard to each polyphonic form, only one specific and distinguished example is analyzed. These polyphonic forms are as follows:

The Structure of Kurdistan Daf (IV)

Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Daf Structure The Structure of Daf in different cities of Iran has a great variety in terms of dimensions, components and even appearance; some of which are as follows: – Square Daf, on which the skin was stretched either on one or both sides, with strings installed inside it…
Read More »

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

Gholamreza Khan Minbashian taught courses such as organology, orchestration of military music and harmony based on the books which were translated from French into Persian with the help of Aliakbar Mozayyan-o-Dolleh (1846-1932).

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.

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).