Tehran Flute Choir was established in 1394 (late 2015) by Firouzeh Navai. Tehran Flute Choir, Iran’s first largest flute choir, recruited its members mostly from young talented flutists of Iranian Flute Association. Featuring piccolo, flute, alto flute and bass flute, Tehran Flute Choir, directed by Firouzeh Navai, premiered under the batons of Saeed Taghadosi on January 7-8, 2016 at Roudaki Hall in Tehran.
Soheil Koushanpour, Arts Director and Ehsan Tarokh, the Executive Director of the Choir were also two key role players in the arrangements and coordination for the concert.
The Choir aims at introducing international standards for playing flute in Iran and for supporting flutists. Moreover, the Choir seeks to establish an environment for interaction and exchange of ideas to bring flutists close together.
Firouzeh Navai and Saeed Taghadosi are an Iranian flutist couple who have both graduated from Tehran Higher Conservatory of Music and then moved to Austria to further their education upon receiving scholarships in 1970s. After graduation they both returned to Iran and join Tehran Symphony Orchestra in 1978 which was then conducted by Farhad Meshkat (born 1937). Firouzeh Navai was the first female flutist in Tehran Symphony Orchestra then.
They got married in October 1979, they moved to Vienna in 1980. Both Navai and Taghadosi have participated in James Galway and Wolfgang Schulz’ master classes and are among the most prominent Iranian flutists. The couple currently resides in Switzerland.
Tehran Flute Choir’s concert was very promising with the spirit of friendship, cooperation and caring which prevail the choir’s ambiance. The couple has not been successful in only sharing their knowledge and expertise with choir members but also their love and affection. The main goal of the Choir, as stated by its founders, is therefore to create and maintain a friendly environment without any unhealthy competition.
Tehran Flute Choir intends to attract more members; therefore, a piece of good news for aspiring young flutists is that registration is still open to join the Choir.
- Inefficiency of some chords and harmonization systems in Iranian music
- The response of the fired musicians to the interview of the managing director of Rudaki Foundation
- Loss of Development in Iranian Music
- Last Year under the Light of Music
- Interview with Farhad Poupel (II)
- Interview with Farhad Poupel (I)
- About Davoud Pirnia, the founder of “Golha” radio program
- Rouhollah Khaleghi Artistic Center established in Washington DC
- Ruggero Chiesa’s Legacy
- The Structure of Kurdistan Daf (VII)
- The Structure of Kurdistan Daf (VI)
- The Structure of Kurdistan Daf (V)
From Past Days…
The mention by music instructors, academicians, students, and music enthusiasts about the lack of development in Iranian music is a topic that has been repeatedly heard, resulting in a superficial understanding and misinterpretation of Iranian music, which has been conveyed to students of the arts. This short essay aims to critique and examine this claim.
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.
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.
One of the most popular terms used by Iranian instrumentalists is the existence or a lack of musical “sense”. Both musicians and fans of music consider having “sense” while playing music as an important principle to the extent that they use it vis-a-vis having technique.
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.
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.
22.214.171.124 Regarding the great linear distance and the unusual distance between the first and forth fingers, the first finger while playing the doubles of ninth and tenth interval, can be twisted in the knuckle area and the point mentioned in 126.96.36.199 paragraph in relation to the way first finger is placed indicating that the first joint of this finger in back of hand must be in line with the direction of forearm and left hand is not true here.
4.3.1. To practice playing of doubles of notes involving two different fingers, each note is played at separate bows with slow tempo, each note is played perfectly regarding its bass and tenor sounds and then the considered double is played at another bow while considering the resulted sound of the double.
Farshad Sanjari, one of the most renowned Iranian conductors in the 1970s in Iran died after fire broke in his apartment in Vienna on November 22, 2019. Farshad Sanjari was not involved in politics; however, he was one of the victims of the Iranian Islamic Revolution in 1979. After the victory of the Islamic Revolution, his name was never seen as the conductor of any programmes.
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.