“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 Khaleghi Orchestra in Washington DC to preserve Persian music. BBC’s Pejman Akbarzadeh has reviewed her career.
The year 1974 was the beginning of Golnoush Khaleghi’s professional career. She was invited to Persia to establish the National Radio and Television’s choir, known as ‘Hamavazan’. This choral group performed various concerts focused on Western classical music.
“The Television at that time had a quite successful chamber orchestra which was formed some years earlier. They were going to expand the activities of this orchestra and have a professional choral group to collaborate with it. Therefore, when I suggested to establish a choral group, the Television warmly received the idea.” Golnoush Khaleghi said in a 2016 interview.

The choral group’s career expanded a lot but the victory of the Islamic Revolution halted its activities. The last work of this choir was the secretive recording of Azadi [Freedom] anthem by Golnoush Khaleghi with lyrics by Fereydoun Moshiri.

Golnoush Khaleghi in the same interview said: “One day that I was heading to the Television the chief sound engineer said to me ” I’ve heard that you have written a beautiful anthem!” The choir members had told him. He asked me “Are you not willing to record this work?” I replied: “I would love to record it but don’t know if I am allowed to record that.” He said: “No, they will not allow you to record this piece but we will do it secretly!” – The chief sound engineer was Yousef Shahab. He said “I will provide you a studio but if the Revolutionary Guard finds out about that, they will not allow you to record. So, you can perform just twice, and you must perform well during this session!” Choir members had already rehearsed so we performed twice with the orchestra and recorded the piece…”

Golnoush Khaleghi, less than a year after the 1979 revolution, moved to the United States. After various activities, in 1985 she established Rouhollah Khaleghi Orchestra in Washington DC and performed new arrangements of works by Persian music masters. The orchestra’s activities were stopped after some years due to financial difficulties.

In 1990, for the 25th anniversary of Rouhollah Khaleghi’s death, Golnoush travelled to Iran to conduct in few concerts. The then authorities did not allow her to conduct on stage due to being a woman. In her 2016 interview with Pejman Akbarzadeh, Khaleghi says: “Although I was going to cover my hair during the performance and wear Islamic dress, they did not allow me to conduct on the stage. Later when they tried to be kind, they told me “You can perform only for women!” – I said “I will never do that. If I perform a concert it should be free for all to come and listen. Why should it be just for women?!”

Golnoush Khaleghi later established Rouhollah Khaleghi Artistic Center in the United States to preserve her father’s legacy. Such efforts caused publications of Rouhollah Khaleghi’s work in Persia and the United States. But many of her own compositions have not been released yet.
Golnoush Khaleghi is survived by her husband, American organist Stephan Ackert, and two sons, Ramin (David) and Julian.

Source: BBC Persian

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…

Five Major Myths About Mozart’s Life

Wolfgang Amadeus Mozart, the renowned Austrian composer, is undoubtedly one of the greatest geniuses in the history of classical music. However, his life is surrounded by numerous myths and legends, some of which are not based on facts. This article explores five of the most common misconceptions about Mozart’s life.

Rouhollah Khaleghi Artistic Center established in Washington DC

Golnoush Khaleghi (1941-2021), a Washington-based Persian musician and the daughter of the contemporary Persian (Iranian) composer and theoretician Rouhollah Khaleghi (1906-1965) founded a musical center called RKAC to keep the name and the work of her father alive.

A combination of technique and musicality in the fingers of a pianist

In the world of classical music, the position of soloist has always been exceptional. Apart from the technical ability that many orchestral musicians also have, the soloist must also have a special power to be able to present a different and unique perspective of a piece. The soloist must maintain its special power of expression not only in solo roles but also when interacting with the orchestra.

Ashoura Opera

Ashura Opera was composed by Behzad Abdi, the Iranian composer, in 2008 based on librettos compiled by Behrouz Gharib. The main source for the libretto is poems by Mohtasham Kashani, a sixteenth century Iranian poet.

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.

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:

Jamshid Andalibi passed away!

Jamshid Andalibi, one of the most famous ney players in Iran, passed away on the fifteenth of Esfand, 1402, at the age of 66 due to a heart attack at his private residence. Andalibi was a member of a family that had a significant presence in the field of Iranian music in the sixties and…
Read More »

“Guitar Memories” Released

The album “Guitar Memories” consists of the performance of baroque to recent era masterpieces, by Mehrdad Mahdavi, and is published by Tanin-e Honar Publication.

In this album there are pieces composed and arranged by artists such as: Sylvius Leopold Weiss, Johann Anton Logy, Fernando Sor, Yuquijiro Yocoh, Leo Brouwer.

Timeless or Timely: The Role of Historical Context in Defining Artistic Value

Imagine that, in the course of historical research, we discover a musical piece whose compositional techniques (including form, melody, texture, and orchestration) resemble those of a second-rate 19th-century composition. But further investigation reveals that this work predates that period by 200 years. Can we still deem it insignificant? Certainly not. Here, the first major role of historical judgment becomes evident.

Polyphony in Iranian Music (I)

Despite the fact that Iranian folk music (regional music of Iran), like the Radif of Iranian traditional music, is monophonic and follows heterophony in principal, we experience polyphonic forms, albeit, majorly unconscious.