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.
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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.

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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 (III)

Developments in Composing

Along with developments in the Iranian instruments, composition of the Iranian pieces developed as well. As a matter of fact, the developments of the two, mutually affected each other. In other words, instrumental developments led to developments in composition and vice versa.

Ennio Morricone’s music for Quentin Tarantino’s The Hateful Eight

After watching Quentin Tarantino’s latest movie, The Hateful Eight, everyone was excited by its novel music besides the beautiful scenes of blood and guts.
The Hateful Eight is the first collaboration between the world-famous film music composer, Ennio Morricone, and Quentin Tarantino as a famous director.

Leading the Charge in Censorship

Davoud Pirnia, writer and musicologist was the founder of “Golha” (Flowers of Persian Song and Music) programs on Tehran Radio (1956-1966). He received his early education from his father, Hassan Pirnia (Moshir al-Douleh), and several tutors of the time (Taraghi, interview, July 1989) and continued his studies at Saint Louis School in Tehran and then in Switzerland and graduated in law. While studying law, Pirnia got acquainted with European classical music. Upon returning to Iran, he was employed by the Ministry of Justice and founded the Lawyers’ Guild. Then he was transferred to the Ministry of Finance and established the Department of Statistics in this ministry. Later, he became the head of the state inspection office at the Prime Ministry; he was, then, promoted to the position of the Deputy Prime Minister (Navab Safa, interview, August 1999)

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.

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.

A Note on the Occasion of Houshang Zarif’s Demise

No introduction is needed when talking about the position of the late Houshang Zarif (1938-2020) in the Iranian music. His character and personality are so well-known among musicians that his name per se is a symbol and role model for the Iranian youth. “Becoming Houshang Zarif” is the dream of many young people who enter the world of music in Iran and many of whom retire regretting the realisation of this dream.

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).

Henry Cowell: “Persian Set”

Persian Set: Four Movements for chamber orchestra: Moderato; Allegretto; Lento; Rondo

Henry Cowell, one of the most innovative American composers of the 20th century, was born in 1897. Cowell and his wife visited Iran in 1956 and stayed there the whole winter, upon the invitation by the Iranian Royal Family, when he composed his album “Persian Set” in four movements for chamber orchestra. His composition is expressive of the characteristic quality of the Persian or the Iranian music.

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.

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.