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 fired musicians was published in response to this conversation, which you read:
The National Symphonic Orchestra is not a place to discover talent Mr. Mehdi Salem, greetings and respect Since a few days ago, an interview with you was published by the “Our Music” website, some issues were discussed that surprised the experts and other readers and the reader’s mind goes to this side that your advisers deliberately or inadvertently knowingly or unknowingly have a wrong and misleading purpose. Therefore, we decided to accompany you as experts in this profession and art and those who have studied music in high school and university for nearly 20 years and have been present in the highest artistic degree of the country, namely the symphony orchestra, and convey some issues to your esteemed opinion: 1- In none of the orchestras around the world, salaries are paid based on position and seat, but based on the years of presence of that musician and experience in the orchestra. This is a misconception that the seat of musicians is like paying for a ticket seat and position of the audience. The musicians’ protest was based on the wrong principle of this issue. 2- Regarding the selection of musicians by the orchestra leader, it should be noted that any leader, especially the invited leader, cannot select an orchestra musician because the musicians are fixed orchestra hosts and guest leaders and incidentally this issue is reversed and this orchestra leader is first as a guest leader in one concert will be present and by the musicians and then according to the satisfaction of the audience will be selected for example selection of leader by musicians of Berlin Philharmonic Orchestra is an example in this case.

Another issue that is worth mentioning is the examination of the orchestra in the whole world, in no orchestra in the world does the main body of the orchestra change since each city in each country has several orchestras of parliament, symphony philharmonic, ballet and opera One musician from one orchestra to another orchestra based on taste or better income changes location and does not lose his job.

Also, musicians retire after 30 years of being in the orchestra, so the orchestra directors publish a call for only one or more specific positions and vacant posts in the orchestra.
Expressing the issue that the Rudaki Foundation seeks to discover
talent; In the mind of the audience, reminiscent of talent show programs, but the symphony orchestra of the countries is not a place to discover talent, but every musician must go through the difficult way of studying this art and grow from the conservatory and music conservatory under the supervision of caring and professional teachers, continue his studies at the university and then, with a single exam in front of a jury made up of the musicians of the same orchestra, get into the orchestra and enter the professional world alongside other experienced musicians.
Pay attention to the Berlin Philharmonic Orchestra, which is one of the most professional orchestras in the world. In a country like Germany with a population of 84 million or America with a population of 340 million people, are there no other talents that can find their way to the mentioned orchestras?

They definitely have, but the directors know that the essence of an orchestra is that the musicians playing together and the experience of playing an orchestra and ensemble and harmony between the musicians, and the main body of the orchestra has a special value.

6- Since you mentioned receiving the musicians’ salaries during the Covid era, we must inform you that, as you know, the basis of musicians’ salaries is not based on the salaries of an expert in a profession and field; Rather, it is the lowest base salary and based on labor rights, and it should be noted that in 2014, the Rudaki Foundation did not pay the salaries and insurance of the musicians in full, and this year was not counted as part of their work records. What is the orchestra like in Germany? The interview of the main orchestra player and tympanist of one of the most professional orchestras in Germany (Gwandhaus Leipzig Orchestra) explains the correct method and the rule of the orchestra that is common in the world. You know that after 6 months of trying to improve the current situation, unfortunately, we faced the narrow-mindedness of the orchestra’s management, and contrary to the respected opinion of the Rudaki Foundation, none of them were looking for blackmail, but only sympathetic and concerned about the plight of the situation. We are the Tehran Symphony Orchestra.

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Timeless or Timely: The Role of Historical Context in Defining Artistic Value

Imagine that, in the course of historical research, we discover a musical piece whose compositional techniques (including form, melody, texture, and orchestration) resemble those of a second-rate 19th-century composition. But further investigation reveals that this work predates that period by 200 years. Can we still deem it insignificant? Certainly not. Here, the first major role of historical judgment becomes evident.

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)

From Past Days…

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.

Call for papers SIMF 1396

The Association of Iranian Contemporary Music Composers (ACIMC) and SHAHREAFTAB Art & Cultural Association are pleased to announce a call for papers for SIMF 1396.

A Promising Concert by National Instruments Orchestra

The National Instruments Orchestra of Iran performed its first concert amid much hope and anxiety on July 18, 2015. The Orchestra is founded by Roudaki Cultural and Arts Foundation which is a semi-private foundation in Iran. The Arts Director for the National Instruments Orchestra of Iran is cand the Orchestra Executive Director is Sadjad Pourghand.

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.

Polyphony in Iranian Music (IV)

Two choirs alternatively perform Veŝ Tavaré Na avaz (Transcription 5). The second group starts the avaz before the first group finishes it; consequently, two different voices coincide (Transcription 5, staves 2 and 5).

Principles of Violin Playing (IX)

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.

Principles of Violin Playing (III)

Violin players should always pay attention to the proper position of the left thumb and other points related to it and to its joining point to the palm.

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.

Developments in Iranian Music Since Qajar Era (III)

Developments in Composing

Along with developments in the Iranian instruments, composition of the Iranian pieces developed as well. As a matter of fact, the developments of the two, mutually affected each other. In other words, instrumental developments led to developments in composition and vice versa.

The Structure of Kurdistan Daf (I)

Today, percussion instruments have such a high place in music that are an essential element of orchestras. This has attracted many people to this type of instrument with roots as old as the first humans. A historical study of music, shows that humans used the sound of these instruments to defend themselves against wild animals and, over time, for alerting each other, signaling their readiness and encouraging people for war, ritual ceremonies, dances, etc. in a manner that is still clearly visible in music and some ritual ceremonies.