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

1 March 2021 – 1:59 pm Posted in Articles' List, Contemporary Music, General Information, Iranian Classical Music

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

This entry was written by Pejman Akbarzadeh
Tagged: Golnoush Khaleghi.

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.

Latest posts

From Past Days…

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 »

From the Last Instrumentalist to the First Composer (II)

Rouhollah Khaleghi was the master of composing beautiful melodies. He was the premier of the course of history which was first established by Ali Naghi Vaziri and which improved the Iranian music from simply a gathering music to the classical music of the country. First efforts to compose independent and instrumental music can be also traced in Khaleghi’s works.

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.

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.

Payam Taghadossi: Talented Iranian-Austrian Cellist

Payam Taghadossi (born in 1989) started his musical education at the age of 4 years with Monika Scherbaum in Bregenz (Austria). At the Conservatory Feldkirch he joined the class of Imke Frank and Martin Merker. Later he studied in Zurich (Switzerland) with Thomas Grossenbacher and Christian Proske, where he 2011 graduated as a Bachelor of Arts in Music Performance. Two years later as the student of Rafael Rosenfeld he received his Master of Arts in Music Performance diploma and later graduated as a Master of Arts in spezialized Music Performance in 2016 from the Hochschule für Musik Basel FHNW.

Parviz Meshkatian’s Heart Beat for People (I)

Amidst the popularity of traditionalism in the Iranian music, Parviz Meshkatian (1955- 2009) moved from Neyshabur to Tehran. He learnt to play Santour and became educated in the Radif of Iranian music at the Centre for Preservation and Promotion of Music which was at the forefront of promoting the return to musical traditions. Despite his studies at a centre which promoted the use of the phrase “traditional music” in Iran, Parviz Meshkatian emerged as a creative artist whose innovative and unique ideas attracted the admiration of Iranian artists and people from different walks of life. This article studies the reason behind Meshkatian’s deviation from the wrong approach of traditionalism strongly promoted by the Centre and argues that apart from the issue of theory of Iranian music, he can be considered as Ali Naqi Vaziri’s successor.

Interview with Farhad Poupel (II)

Fantasia on One Note was my first professional work for piano, which had its world premiere by the great pianist Peter Jablonski in Sweden, and it has been performed by various pianists in the UK, Germany, France, and the Czech Republic. The recording of this work has also been broadcast on the Dutch public radio, NPR Radio 4.

Parviz Meshkatian’s Heart Beat for People (II)

As such, the young Meshkatian reached the position of a great maestro in the Iranian music. Up until 1997, Meshkatian remained prolific and composed many pieces which were characterized by progressiveness while drawing on the music of the past Iranian musicians. In some of Meshkatian’s works, one can trace the influence of maestros such as Faramarz Payvar; however, this influence is so balanced that one can neither say that Meshkatian is a progressive and deconstructionist composer nor does he use cliché forms in his compositions.

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).

The Structure of Kurdistan Daf (III)

“Our ancestors believe powerful blows upon the Daf scatters evil spirits of disease and distress to create a clean and holy space filled with health and prosperity. Adding tools to Daf increases this instrument’s purification, spreading, and summoning powers of evil forces and goddesses. Daf was mostly depicted by red, color of blood, in ancient times or sometimes it was depicted with green, the color of plants and nature. There were probably some mysterious designs painted upon the wooden body and frames of these instruments just like today” (Pahlavan, 2013: 44).