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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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…

The Structure of Kurdistan Daf (II)

With its simple physical structure and captivating sound, the Daf never belonged to a particular culture or location, and every nation had different usages for this instrument considering their dominant customs and traditions.

Principles of Playing Violin (VI)

B. applying force: the force needed for putting finger on finger board is applied through finger tips and using the rest of hand set especially wrist is not allowed. To practice this, it is possible to hold violin without the bow and throw the fingers on the finger board from 1-2cm distance; apply force only through finger tips.

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)

“The Art of Silence” Project Will be Released

Shaahin Mohajeri, the award-winning Iranian microtonal compose, has contributed to The Art of Silence is an international project which features unpublished pieces by microtonal composers from Iran, Japan, the United States, and other countries.

Maestro Hassan Nahid’s Role in Promoting the Ney

Maestro Hassan Nahid is one of the most prominent and distinctive artists who values high morals, discipline and hard work. His music activities include playing the Ney as both soloist and an accompaniment in the most important Iranian music orchestras and ensembles during the last fifty years, including the Orchestra of Iranian Instruments (Nusratullah Golpayegani), the Orchestra of National Instrumentalists of the Ministry of Culture and Arts (Payvar Orchestra), the Orchestra of Iranian Instruments (Morteza Hananeh) , Darvish Orchestra, Samaie Orchestra, Roudaki Orchestra, Maestros’ Ensemble, Aref Ensemble, as well as performances in various radio programs, many concerts in different countries, as well as a long teaching experience in the National Conservatory of Music, music universities and other music institutions to name but a few.

Is the Iranian National Anthem a Copy? (I)

The alleged similarity between the Iranian and South Korean National Anthems has been a matter of discussion among musicians in Iran for several years. Earlier in 2021, the issue was taken to the media again with not only claims that the anthem is very similar to another song but also the suggestion that its musical content should draw more on the Iranian national music. Some even went to the extent to suggest replacing it with the song “O, Iran” composed by the late Rouhollah Khaleghi. Before delving more into the main issue, it would not go amiss to consider some technical characteristics of the song “O, Iran” composed in 1944.

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.

The Structure of Kurdistan Daf (V)

ehrouz Mohammadi, “Daf and its feasts in Ghaderieh’s Tekyeh” mentions that the outer thickness of arch where studs are located, [is] between one to one and a half centimeters (Mohammadi, 2001: 12). The thickness of arch should be gradually reduced from the installation place of rings to skin (Avazeh of Daf) to create a high volume, clear sound from Daf; also, the connection of arch to skin should not be less than one millimeter, because in this case the skin will be torn due to the sharpness of the wood (Mogharab Samadi, 2009: 79-78). The thickness of wood on the skin side is about two to three millimeters (Tohidi, 2002: 79).

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.

Ali Rahbari’s collaboration with Naxos as a Composer

Concertino for Violin and Orchestra entitled Nohe Khan was composed by Ali (Alexander) Rahbari while he was studying music in Vienna in 1972. This piece was composed having in mind the Ashoura events and inspired by the music which is used during the Ashoura ceremonies. The piece was first performed and recorded by Bijan Khadem…
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