Interview with Farhad Poupel (II)

HT: Please tell us more about this piece and your background with this orchestra.
FP
: My acquaintance with the eminent American pianist, Jeffrey Biegel, was made through my piano work, Fantasia on One Note.
Fantasia on One Note was my first professional work for piano, which had its world premiere by the great pianist Peter Jablonski in Sweden, and it has been performed by various pianists in the UK, Germany, France, and the Czech Republic. The recording of this work has also been broadcast on the Dutch public radio, NPR Radio 4.
Since 1999, the prominent American pianist and professor at the Brooklyn Conservatory, Jeffrey Biegel, after working with Ellen Taaffe Zwilich, the first Pulitzer Prize-winning female composer, began to collaborate with the most prominent American composers on new commissions for solo and orchestra performances. This includes Kenneth Fuch, Richard Danielpour and… I was the first non-American composer that worked with him. After some talk, we came to the story of Bijan and Manijeh, and after my explanation about the Shahnameh, he suggested the use of the Persian choir. I myself did not expect to be able to use Ferdowsi’s poems in Farsi, so I eagerly accepted.
The Windows Symphony Orchestra in Canada was the first professional orchestra to perform my work, Zayandeh Rud for string orchestra in April 2019 (This work could have had its world premiere by Deutsche Radio Philharmonie; however, the concert was cancelled unfortunately). The orchestra performed Zayndeh Rud in seven concerts conducted by Daniel Wiley (Daniel Wiley is now the assistant conductor of the Cincinnati Orchestra and will soon be performing my Childhood Memories under his direction with the Cincinnati Youth Orchestra), and since then, I’m having a close relationship with this orchestra.
HT: Will this piece be performed by other orchestras as well?
FP
: Yes, it will be performed with Key Chorale in February 2024 in Florida. This work could have been performed with the Cincinnati Youth Orchestra, which unfortunately was cancelled due to planning for the choir, and the Childhood Memories will be performed instead. Probably, other orchestras will perform The Legend Bijan and Manijeh in the future, which will be announced.
HT: The complete audio file or the video of this concert has not been released yet; is there any reasons behind this
?
FP: Unfortunately, we have not yet been able to release the recording of the premiere footage due to specific laws in Canada and Ontario regarding the release of the recording. But the Florida performance of this work will be released.
HT: Have you been happy with this commission and will you continue working with them?
FP: Windows Symphony Orchestra is a professional and flexible orchestra (the premiere was done well with only two rehearsals), especially due to its conductor and music director, Robert Franz, who has previously worked with the Iranian composer, Behzad Ranjbaran.
HT: You are one of Dr. Mohammad Saeed Sharifian’s most successful pupils; do you still find his influence in your work
?
FP: You are very kind. He influenced me enormously, from composing to understanding music and even how to look at life.
A very significant point was his freedom in education so that each of his students has a different philosophy and style from each other. I had the honour of being his student for five and a half years and if I were born again, I would definitely repeat the same choice.

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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…

Iranian Fallacies: Iranian Chords

Finding a way to harmonize the Iranian music has been the subject of controversy among Iranian musicians for a long time. Some believe in the creation of harmonies for Iranian music based on a method which is similar to the tierce harmony; while others have either selected or invented some other methods. There are also some musicians who do not basically agree with the harmonization of the Iranian music.

Interview with Farhad Poupel (II)

Fantasia on One Note was my first professional work for piano, which had its world premiere by the great pianist Peter Jablonski in Sweden, and it has been performed by various pianists in the UK, Germany, France, and the Czech Republic. The recording of this work has also been broadcast on the Dutch public radio, NPR Radio 4.

The response of the fired musicians to the interview of the managing director of Rudaki Foundation

Following an interview by Mehdi Salem, the director of the Rudaki Foundation, with the “Our Music” website, a response from the dismissed musicians was published in response to this conversation, which you read:

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.

Developments in Iranian Music Since Qajar Era (I)

At the end of the Qajar era and as Iran entered the power transition period, known as the constitutional era, the Iranian music went through a lot of changes. These changes gained momentum as the students and followers of Ali Naqi Vaziri’s entered the musical scene. These changes greatly influenced designs of instruments, playing methods, singing, composing, etc.

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.

Iranian Fallacies – Global Performance

One of the most important criteria for measuring the quality of a piece of classical music is number of times the piece has been performance by different ensembles and orchestras in different eras. This belief has become so pervasive in some societies, such as Iranian society, that it is considered the only criterion for measuring the quality of a piece of classical music.

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.

Women and the Music Environment in Iran

The life territory of the female-male relations in the Iranian cultural context is basically a domestic territory and not a social-living one in the labour and leisure domains. To prove this, it only suffices to consider the Iranian men’s viewpoints about women. For the Iranian men, there are three perspectives regarding the women: mother, sister and wife. Mother represents the emotional territory; sister represents the logical territory at home while wife represents the sexual territory.