Motherland Orchestra Broke the Spell of the Covid-19 Restrictions

The Motherland Orchestra staged the first concert since the outbreak of the pandemic under the baton of Nezhat Amiri. The orchestra went on stage on December 23-24, 2021 in memory of Rouhollah Khaleghi and Golnoush Khaleghi at Vahdat Hall, Tehran, Iran. Since the pandemic outbreak, concerts were held online and restrictions were imposed on in-person concerts.

The Motherland Orchestra performed a full-capacity concert which was warmly welcomed by the audience. Observing the Covid-19 protocols and with the collaboration of four soloists, the orchestra performed pieces by Rouhollah Khaleghi, Morteza Mahjoubi, Golnoush Khaleghi, Tofiq Alief, Mehrdad Delnavazi and Behzad Abdi.

The concert project manager was Sadjad Pourghannad, while Ebrahim Ghaedi was the Motherland Orchestra manager and Boroumand Haghighi was the producer and financial manager. The concert singer was Zadbeh (Ghaffar Zabeh) and soloists were Seda Sodeifi: Qanoon, Maryam Khodabakhsh: Oud, Ali Najafi Maleki: Ney and Shima Shahmohammadi: Qeychak. Nezhat Amiri who conducted the orchestra is the first Iranian woman to conduct a state-owned orchestra since the Islamic Revolution of 1979.

The last concert of the Motherland Orchestra dates back to two years ago when an orchestra consisting of women went on stage in the Vahdat Hall garden under the baton of Nezhat Amiri in memory of nurses taking care of Covi-19 patients. The concert which was filmed and available to audience offline featured a piece by the late Iranian Tar player and Iranian classical music composer Aminollah Hossein.
***
Golnoush Khaleghi, the daughter of Rouhollah Khaleghi, was one of the most successful Iranian musicians and a pioneer of conducting orchestras as a woman. She learned to play piano under his father and Maestros such as Hossein Saba, Javad Maroufi and Emanuel Malik-Aslanian. She also receive harmony lessons from Mostafa Kamal Pourtorab. According to the website of the Rouhollah Khaleghi Artistic Center, Golnoush Khaleghi “Golnoush spent three-and-half years at the Akademie Mozarteum in Salzburg, specializing in conducting under the tutelage of Professor Kurt Prestel and Professor Gerhard Wimberger. She has Bachelor’s and Master’s degrees in the same field from Oberlin College and the University of Wisconsin, respectively.

“Ms. Khaleghi has worked closely with such renowned conductors as Helmuth Rilling, Robert Fountain, Karol Teutsch, and the late Rouben Gregorian, and has performed in the United States, Europe, Canada, Venezuela, and Iran. She is the founder of the National Iranian Radio and Television Choir (Hamavazan) in Tehran and the Rouhollah Khaleghi Orchestra in Washington DC. Since the cultural upheaval of the Islamic Revolution in 1979, she has been a prominent figure in promoting Persian music and culture through the concerts of the Rouhollah Khaleghi Orchestra and other activities abroad”. (rkac)

In 1985, she established the Rouhollah Khaleghi Orchestra in Washington DC featuring 25 musicians intending to follow her father’s path; she managed to stage several pieces for a national Iranian orchestra; however, the orchestra did not last long.

In 1990, she returned to Iran to rework and stage his father’s pieces, she was not allowed to do it though and only managed to publish “Mey-e Nab” album. She passed away February 2021 in the US with the unfulfilled wish to conduct an orchestra in her home country.

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…

Interview with the Makers of the New Qeychak (III)

In this project, my specialized responsibility  was the basic drawings of the desired instrument with the help of engineering and mechanical software.  I have also the carried out phases related to engineering designs, related variables, and volume and weight calculations under Mr. Ziaei’s direct supervision from the very beginning. Regarding the challenges of this work, suffice it to say that the set of designs for the instrument lasted more than 9 months in the final stage of the project only.

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.

A few steps on the “Road to Bach”

The world of music has unparalleled respect for Bach. Bach is considered the spiritual father of classical music; Bach’s great position is due not only to his great achievements in the fields of harmony, counterpoint, and compositional sciences but also to his respect for and adherence to the artistic principles of classical music. In the history of classical music, it is recorded that Bach walked about fifty kilometers to listen to the music played by the great German organist Dieterich Buxtehude, and this is the path that every idealistic classical music student should walk.

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.

Last Year under the Light of Music

Almost three months into the new Iranian year (starting March 21), it is still not too late to have a look at the last year and the challenges that the musicians faced. The following article was published on the first day of the New Year in the Persian edition of the HarmonyTalk journal.

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.

Harmony in the Iranian Music (I)

Translated by Mahboube Khalvati The article you are about to read was written by Rouhollah Khaleqi (1906-1965), composer, and conductor of Golha Orchestra (established in 1956). Khaleqi was one of the most prominent promoters of polyphony for the Iranian music and is one of the best representatives of the school of Ali Naghi Vaziri. In…
Read More »

New Technique for Playing Classical Guitar (I)

Joint application of the two techniques of “Lip” and “Nose” could be effectively applied for hearing and playing far-away intervals, by the Classical Guitar. Before this, a Classical Guitar player had to waive playing intervals not possible with the left hand, and had to replace or eliminate some notes, making it possible to play such intervals; specifically the capability of the left hand of the musician, was also a factor in such a selection. These methods are hereby illustrated by photographs and a video-file, in order to provide optimum comprehension of applying these methods, invented by the author; specifically the “Lip” technique, which is considered to be a more significant technique, emphasized by the author.

Principles of Violin Playing (II)

Since for playing violin, it’s necessary that the player’s palms and fingers be inclined toward the fingerboard, therefore, the player, while bringing up his hand, should turn it toward the fingerboard.

Whose dream?! Whose reality?!

(A review of the “So Faraway” album; Tar and Tonbak duet; Siavash Imani, Pedram Khavarzmini)