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…

Henry Cowell: “Persian Set”

Persian Set: Four Movements for chamber orchestra: Moderato; Allegretto; Lento; Rondo

Henry Cowell, one of the most innovative American composers of the 20th century, was born in 1897. Cowell and his wife visited Iran in 1956 and stayed there the whole winter, upon the invitation by the Iranian Royal Family, when he composed his album “Persian Set” in four movements for chamber orchestra. His composition is expressive of the characteristic quality of the Persian or the Iranian music.

Rare documents of Tehran Opera Company published in Europe

The year 2020 marks the 10th anniversary of Evlin Baghcheban’s death. She played a crucial role to promote opera and choral music in Persia (Iran). Born to an Assyrian-French family in Turkey, she studied singing and piano at the Ankara State Conservatory. In 1950 Evlin married the Persian composer and fellow student Samin Baghcheban and moved to Tehran.

Behzad Abdi’s opera Rumi was physically released by Naxos

Composing a traditional Iranian opera using the Iranian modal system, dastgāh, has always been my dream. I first approached this by composing an opera called Ashura followed by the operas Rumi and Hafez. I believe that in order to attract an international audience for Iranian opera, it is essential to fuse dastgāh with Western classical forms.

A Look at Ali Tajvidi’s Manifold Musical Activities (I)

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.

Principles of Playing Violin (V)

3/1/2/5: When the first finger lands next to the nut, continuation of first phalange of this finger, on back of the hand, should be in line with continuation of the back of the wrist and the left hand; moreover, it should not pass them and bend at knuckles. Otherwise, an uncommon stretch is created in first finger’s knuckle also reducing the freedom of other fingers (especially the fourth finger) in finger placement.

Principles of Violin Playing (VII)

4.3.1.3 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 3.1.2.5 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.

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:

The 4th Iranian Festival of Music Websites and Weblogs

The 4th Iranian Festival of Music Websites and Weblogs was held in Niavaran Cultural Center, in Tehran, Iran on Feb. 28th, 2015. The initiator of the festival was Sajjad Pourghanad, Iranian music writer, researcher, founder of the festival and Persian setar and tar player.

Whose dream?! Whose reality?!

(A review of the “So Faraway” album; Tar and Tonbak duet; Siavash Imani, Pedram Khavarzmini)

Principles of Violin Playing (II)

Since for playing violin, it’s necessary that the player’s palms and fingers be inclined toward the fingerboard, therefore, the player, while bringing up his hand, should turn it toward the fingerboard.