“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.

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.

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.

From Past Days…

Rare documents of Tehran Opera Company published in Europe

The year 2020 marks the 10th anniversary of Evlin Baghcheban’s death. She played a crucial role to promote opera and choral music in Persia (Iran). Born to an Assyrian-French family in Turkey, she studied singing and piano at the Ankara State Conservatory. In 1950 Evlin married the Persian composer and fellow student Samin Baghcheban and moved to Tehran.

HarmonyTalk Celebrates 11th Anniversary

April 6 marks the anniversary of launching HarmonyTalk.com. Back in 2004, HarmonyTalk was rather a blog dedicated to music. Gradually, however, it found its way to becoming a more sophisticated journal with an intensive but not exclusive concentration on classical music.

Avaye Naerika Percussion Orchestra

Avaye Naerika Percussion Orchestra is an Iranian percussion orchestra featuring 40 lady percussionists. The Orchestra was established as Iran’s largest all-female percussion orchestra in 2008 by Ms. Minoo Rezaei under the title Naerika Percussion Orchestra and changed its name to Avaye Naerika in 2017.

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.

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.

HarmonyTalk Journal’s Twentieth Anniversary Celebration

On the 10th of Khordad, 1403 (equivalent to May 30, 2024), the twentieth anniversary celebration of the online journal “HarmonyTalk” took place at the Ersbārān Cultural Center. The event garnered such interest from enthusiasts that the venue was completely filled.

Farhad Poupel (photo: Radafra)

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.

The Structure of Kurdistan Daf (VII)

Conclusion

“Daf” is one of type of percussion instruments that has a long history and is commonly known as circular instruments (with a rim). In some tribes, Daf was used as the main instrument in festivity and joy ceremonies; in another tribe it was used as the main instrument for war and campaign ceremonies and some others used it for ritual and religious ceremonies.

Journey to Iran Revisited: Celebrating 20 Years of Guity Adjoodani’s Return to Persian Roots

This year marks the 20th anniversary of “Journey to Iran,” an album by Iranian pianist Guity Adjoodani that has resonated with audiences worldwide. Released two decades ago, this album is a beautiful tapestry of twenty Persian folk songs, each carefully selected from the rich musical traditions of various regions in Iran. It also features four notable compositions by the esteemed Javad Maroufi (1915-1992): “Prelude,” “Jila Fantasia,” “Golden Dreams” (Khaab-haa-ye Talaayi), and “Isfahan Rhapsody.” Additionally, the album includes the beloved song “Kiss Me” (Maraa Bebous) by Majid Vafadar (1912-1975), adding depth to an already impressive collection.

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

Tajvidi thought of studying harmony and orchestration with Houshang Ostvar (who was eight years younger than him) at a time when he had gained a reputation among musicians. His humbleness, making him willing to kneel before the scholars at any age and position, became the key to his scientific success. After this period, Tajvidi made some of his works polyphonic, the most prominent of which is “Burn” set to a poem by Abdullah Ulfat. However, his ability to make his works polyphonic was not so great to make him self-sufficient; so he depended on musicians such as Farhad Fakhreddini, Fereydoun Naseri, Kambiz Roshanravan, Fereydoun Shahbazian and Morteza Hananeh for the arrangement of his compositions.