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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Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (2)

The Enlightenment era championed innovation, creativity, and the relentless pursuit of knowledge, values that resonate prominently in Mozart’s string quartets. Mozart, a luminary of the Enlightenment, used the quartet form as a playground for his inventive spirit, pushing the boundaries of traditional structures and harmonic progressions.

From Tradition to Trend: The Evolution of Decorative Arts in Iranian Dafs

The daf is one of the percussion instruments related to the Kurdistan region of Iran, holding a special place in Iranian music. In the past, animal skins were used for the drumhead, but now most of the dafs available in the market are made with synthetic skins, which are designed with various decorations.

From Past Days…

Whose dream?! Whose reality?!

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

Homayoun Rahimian & Iran’s National Orchestra

The Roudaki Foundation presented the permanent conductor of the National Orchestra (Orchestr Melli), Homayoun Rahimian, in a ceremony, and finally, after four years, the national orchestra found a permanent conductor. Homayoun Rahimian is the fourth permanent conductor of this orchestra after Farhad Fakhreddini, Bardia Kiaras, and Fereidoun Shahbaziyan. He, who has previously had experience of conducting concerts besides being Meister’s concert of this orchestra, performed the concert “Autumns” on the 20th of Tir, performing works by Rouhollah Khaleqi, Javad Ma’roufi, and Hossein Dehlavi.

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

Ali Tajvidi (1920 – 2004), one of the most prominent Iranian musicians, passed away sixteen years ago. He was one of the most distinguished Iranian artists. To specify one of the fields in which he was unique, one can refer to Tasnif composition. A brief review of his manifold musical activities is presented below.

Principles of Playing Violin (V)

3/1/2/5: When the first finger lands next to the nut, continuation of first phalange of this finger, on back of the hand, should be in line with continuation of the back of the wrist and the left hand; moreover, it should not pass them and bend at knuckles. Otherwise, an uncommon stretch is created in first finger’s knuckle also reducing the freedom of other fingers (especially the fourth finger) in finger placement.

“Guitar Memories” Released

The album “Guitar Memories” consists of the performance of baroque to recent era masterpieces, by Mehrdad Mahdavi, and is published by Tanin-e Honar Publication.

In this album there are pieces composed and arranged by artists such as: Sylvius Leopold Weiss, Johann Anton Logy, Fernando Sor, Yuquijiro Yocoh, Leo Brouwer.

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.

Non-profit “Microtona” Project Released

Microtona is a sixty-eight-page Booklet with personal comments by the contributing microtonal artists. The booklet also includes a DVD which consists of 8 original video tracks and 9 original audio tracks. The project is an international one featuring unpublished pieces by composers from Iran, Japan, U.S., France, Austria, Germany and Belgium.

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.

Women Musicians in Large Iranian Orchestras

It is more than a century now that the sociologists consider the presence of women in different social domains as a benchmark for a society’s progress. They analyze the presence of women in society by the means of available statistics. Unfortunately, as with regard to the Iranian society, statistics related to women’s engagement, has not been available to the researchers, if they existed at all.

History’s Impact on Evaluating a Work of Art

With this description, we have automatically included a criterion called “History”, Until we know the time of the creation of a work of art, we cannot judge whether it has been easy to create or not. Suppose that, in a historical study, we find a musical work that is similar in compositional techniques (including form, melody, context, and orchestration) to a minor work of the nineteenth century; however, our research proves that, this work dates back to 200 years prior to that date. Can we still consider this work insignificant? Definitely not! So this is where the first use of history-based judgment comes into play.