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.
Interview with Farhad Poupel (II)
Latest posts
- From Tradition to Trend: The Evolution of Decorative Arts in Iranian Dafs
- Whose dream?! Whose reality?!
- Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (1)
- Celebrating 20 Years of Harmony Talk’s Journey: Resilience, Evolution, Honoring the Legacy and Navigating Future Growth
- HarmonyTalk Journal’s Twentieth Anniversary Celebration
- A combination of technique and musicality in the fingers of a pianist
- Jamshid Andalibi passed away!
- Homayoun Rahimian & Iran’s National Orchestra
- Negation of Changes in Iranian Music: Embracing Tradition
- Music education in third-world countries
- A brief examination of Ardavan Kamkar’s Santour playing style
- Lilly Afshar, Iranian Guitar Legend, passed away
From Past Days…
Inefficiency of some chords and harmonization systems in Iranian music
Discussions and research have been conducted on the harmonization of “dastgah” and melodies in Iranian music, and several books have been published on this topic, including “Armenian Music of Iran” by Ali Naghi Vaziri, “Harmony of Iranian Music” by Farhad Fakhreddini, and “Harmony of Iranian Music” by Ali Ghamssari. A master’s thesis titled “Presenting a Solution for Harmonizing Based on the Structure of Tritone Intervals” was written by Atefeh EinAli in 2014. Additionally, the invention and use of “Even Harmony” by Morteza Hannaneh should be mentioned.
Principles of Violin Playing (I)
The present series of training articles, “Principles of Violin Playing”, seek to help students, to appropriately understand this field, by gradually introducing, categorizing, and teaching the myriad relevant points. One of the principles of playing violin, which must be always kept in mind, is that the selection of the most natural position for the body parts while playing is the best and most appropriate solution. As a matter of fact, any unnatural body part position which requires lots of energy or unusual stretching to maintain, is wrong.
A year without Mohsen Ghanebasiri
The year 1396 (21 March 2017-20 March 2018) was the most sorrowful year for HarmonyTalk journal. One month after holding HarmonyTalk’s 13th establishment anniversary in Mohsen Ghanebasiri’s house in Tehran in April 2017, he untimely passed away. Mohsen Ghanebasiri was the prominent HarmonyTalk author.
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.
The Structure of Kurdistan Daf (III)
“Our ancestors believe powerful blows upon the Daf scatters evil spirits of disease and distress to create a clean and holy space filled with health and prosperity. Adding tools to Daf increases this instrument’s purification, spreading, and summoning powers of evil forces and goddesses. Daf was mostly depicted by red, color of blood, in ancient times or sometimes it was depicted with green, the color of plants and nature. There were probably some mysterious designs painted upon the wooden body and frames of these instruments just like today” (Pahlavan, 2013: 44).
The Structure of Kurdistan Daf (VI)
Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Hooks and attached rings: The junction of the ring to the arch is about 3 centimeters from the skin. The ring with its side rings should be as far as the diameter of a ring (about one and a half to one and eight centimeters) to make a proper…
Read More
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…
Read More
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.
Qanun, a feminized instrument?
In the world music culture, there are instruments which were traditionally associated with a certain gender. It remains disputable to what extent these gender-based perceptions have been logical and scientific. For example, as playing wind instruments need more breath strength and the public opinion believe that men have stronger breath compared to women, these instruments are predominantly a male domain. Harp is also considered a female instrument as the public opinion believe that women have finer fingers and can therefore better perform nuances and delicate techniques on the instrument.
Polyphony in Iranian Music (V)
In addition to the above-mentioned, polyphony can be also formed when a melody is performed by several singers in different ambiances or different sound registers according to their physiologic abilities. An example of this has been performed in rituals of Khanqah of Ghaderi darawish of Mahabad[i].