A Miracle in the Iranian Music: About Tehran Flute Choir’s Eight-year Tenacity

1 August 2022 – 3:30 pm Posted in Articles' List, Iranian Classical Music

Translated by Mahboube Khalvati

Tehran Flute Choir is a 40-member orchestra of Iran’s best flutists; Iran’s best flutists? Yes! If you write down the names of the greatest Iranian flute players who participate at concerts and contribute to academic centers in Iran, you will see that most of them are among the choir’s members.
So, what makes Tehran Flute Choir’s eight-year activity exceptional? It needs some familiarity with the Iranian “orchestra culture” to be able to understand that the founders of Tehran Flute Choir, Firouzeh Navai and Saeed Taghadosi, have done an exceptionally great job in keeping this orchestra going. A choir consisting of the best Iranian flutists who not only work together very well through the choirs’ demanding disciplines (without letting personal and professional disagreements to interrupt their collaboration) but also serve as sponsors to ensure the continued work of the team. Well, these conditions might not only seem illogical and unappealing to Iranian musicians but also to musicians from materially and spiritually richer countries. But, Tehran Flute Choir is an exception!
Eight years ago, two international artists, Firouzeh Navai and her husband, Saeed Taghadosi, who had the experience of teaching and playing flute in European choirs as well as conducting them, approached me with the idea of establishing a flute choir. I considered it impossible unless pre-requisites such as recruiting flutists younger than twenty years of age with little experience, specified finances, etc. were met.
However, the presence of three people who were really the embodiment of humanity and commitment to the art of music changed the story in a different way; Dr. Azin Movahed, the founder of the Iranian Flute Association (a maestro, an experienced and successful professor of flute and classical music theory, and of course a national figure who is well respected by Iran lovers), together with Saeed Taghodsi and Firouze Navai, with a profound knowledge of music and exemplary humbleness gathered together a group of Iranian flutists and established a flute choir of which the Iranian classical music society is rightly proud.

Firouzeh Navai, who was offering a master-class for flutists, taught me a very beautiful lesson in the first meeting of Tehran Flute Choir; “if no one is interested in playing the bass flute, I will do it. Otherwise, I will offer refreshments to you during rehearsals; after all, you need someone to serve you and to clean the rehearsal hall …”, Navai humbly said. These remarks were in no way Ta’arof but a characteristic which the choir’s veteran musicians have.
This year, Tehran Flute Choir celebrated its 8th birthday with a record of important domestic and international performances. Tehran Flute Choir proved that one can dearly love music and cherish humanity while remaining professional.

This entry was written by Sadjad Pourghanad
Tagged: Azin Movahed, Firouzeh Navai, flute, Saeed Taghadosi, Tehran Flute Choir.

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 Legacy of Khosrow Jafarzadeh

This year marks the fifth anniversary of the passing of Khosrow Jafarzadeh (Khosrow Djafar-Zadeh), a distinguished architect and pioneering researcher of Iranian music, whose contributions to the magazine “Harmony Talk” have left an indelible mark on the field. The absence of this remarkable individual has significantly impacted the expansion and advancement of his theories, which are heralded as some of the most progressive in the history of Iranian music

Latest posts

From Past Days…

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.

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.

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.

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.

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.

The Legacy of Khosrow Jafarzadeh

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.

Harmony in the Iranian Music (II)

One of his works was the translation of Harmony, which was carried out with the help of Mozayyan al-Dowleh, and included a pamphlet based on which he used to teach the subject to the students of the school of music; the pamphlet was never published. It was, in fact, a kind of simple harmony for the piano with no quadriads, it rather featured the engagement of both the right hand and the left hand which was being taught at the music school for the first time. Salar-Mo’azez also composed military marches and hymns for schools, which he harmonized to be performed and piano. Likewise, he used to compose for military orchestras.

Farhad Poupel’s piece, Road to Bach, performed at Suntory Hall

On June 19, 2021 , young Iranian composer and pianist, Farhad Poupel’s piece, Road to Bach, was performed at the prestigious Suntory Hall by the great Japanese pianist, Kotaro Fukuma. The piece was commissioned by Kotaro Fukuma to have its world premiere in Suntory Hall during a concert by the same name.

Illusion or Ingenuity?

Mohsen Renani in the preface of his book entitled “The Political Economy of nuclear conflict; an introduction to traversing the civilizations” writes: