Persian Music: “Mahour the Great” in Austria

In 1990  an Austria-based Persian musician Khosro Soltani, in cooperation with Hossein Alizadeh, put out an album entitled, Ancient Call A New (Nobang-e Kohan). After many years, a few ancient Persian instruments such as Sorna, Karna, Naghareh,etc. have been used, instruments which have been left out of the circle of Persian classical musical instruments for centuries.
The above album, which is improvisational in the Dastgah-e Shour, was performed by some of the superior Persian (Iranian) musicians and singers, and was well received by Persian music lovers.

14 years later, the second volume of this series, which is limited to improvisation in the Dastgah-e Mahour, has been produced with the title, Mahour the Great.

This CD includes nine tracks entitled, Einleitung (Daramad), Nachtigal (Morgh-e Sahar) [based on a melody by Morteza Neydavoud], KhosravaniTousi (based on lyrics by the Persian poet Baba Taher), RengBastehnegarKoroghli-RakNaghmehZanguoleh, and Kharazm.

Among interesting points in this collection is the performance of traditional Persian melodies with harp. Known as chang in Persia , this instrument has been widely used in Persian music from ancient times through the Safavid period (1501-1734), but gradually thereafter it has been forgotten in Persia (Iran) but survived and evolved in Europe.

Farzaneh Navai (1956-2004), the alum’s harp player, learned to play this instrument at the Tehran Conservatory of Music and the Academy of Music in Vienna. Using this instrument, for many years she studied Persian music under Houshang Zarif (one of the most prominent Persian tar soloists). In this album, for the first in a few hundred years, she has attempted to create a Persian style for playing harp.

Other artists who have contributed to the album are: Ali Akbar Shekarchi (Kamancheh, played like the cello); Majid Derakhshani (Tar, Sitar, Robab); Mohammad Ghavi Ghalam (Tombak), Ali Reza Ghorbani and Afsaneh Rasai (singers).

Composer and arranger, player of Sorna and Karna, Khosro Soltani was born in Tehran in 1953 and, upon completion of his studies in playing the bassoon at the Tehran Conservatory of Music and the Vienna Music Academy, he accompanied the Tehran Symphony Orchestra for some time. After immigrating to Austria in 1981, he formed the Shiraz Ensemble in order to preserve and promote Persian (Iranian) music in Europe. In addition to performing various concerts in Persian and Western classical music, he has been occupied with teaching the bassoon in a few musical academies in Austria and Switzerland.

This article was first published in 2004 on payvand.com 

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…

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.

Interview with the Makers of the New Qeychak (II)

Regarding the classification of a new instrument in an instrument family, one can point to a number of fundamental issues, one of the most obvious of which is the instrument’s visual features. If we look at how the new instrument has changed compared to its historical versions, the set of visual elements that link the instrument to the Qeychak family becomes apparent. But other characteristics such as the geometric dimensions of the instrument, characteristics of the instrument’s various parts and how they relate to each other, its systematic performance, its sound range (compared to modern versions), the material and color of the sound, the way it is played and the like, can be considered in order to classify the instrument in the Qeychak family.

Interview with the Makers of the New Qeychak (I)

On occasion of the 8th anniversary of launching HarmonyTalk Online Journal on 6 April 2012, Reza Ziaei, master luthier and researcher on classical music instruments (violin family), announced that the first phase of the project to improve Qeychak has borne fruit. The new instrument would feature a bowl of ribs and the material used for the surface would be wooden. Carrying out the second phase of the project took more than 7 years engaging the new members of Reza Ziaei’s Workshop. In this phase, new researches were conducted from different aspects on the Qeychak and the modern versions of the instrument which were introduced previously by other instrument makers. The available versions of the instrument were studied in terms of their weak and strong technical features.

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (1)

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets* Basic Ideas and General Structure The Enlightenment, an epoch of intellectual fervor marked by reason, individualism, and cultural evolution, indelibly left its imprint on the arts. Mozart, a luminary of this transformative era, intricately wove these ideals into his compositions, particularly his string quartets. This article…
Read More »

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.

A Look at Ali Tajvidi’s Manifold Musical Activities (I)

Ali Tajvidi (1920 – 2004), one of the most prominent Iranian musicians, passed away sixteen years ago. He was one of the most distinguished Iranian artists. To specify one of the fields in which he was unique, one can refer to Tasnif composition. A brief review of his manifold musical activities is presented below.

A Miracle in the Iranian Music: About Tehran Flute Choir’s Eight-year Tenacity

Tehran Flute Choir is a 40-member orchestra of Iran’s best flutists; Iran’s best flutists? Yes! If you write down the names of the greatest Iranian flute players who participate at concerts and contribute to academic centers in Iran, you will see that most of them are among the choir’s members.

“I Will Never Perform Just for Women!”: Golnoush Khaleghi Passes Away in Exile

Golnoush Khaleghi, first Persian woman conductor and daughter of legendary composer Rouhollah Khaleghi, passed away on February 14. She was 80. Golnoush Khaleghi was the conductor of the NIRT (National Iranian Radio & Television) Choir in the 1970s. Shortly after the 1979 Islamic Revolution Ms. Khaleghi moved to the United States and founded the Rouhollah…
Read More »

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).

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.