Mohammad Esmaili passes away

Master Mohammad Ismaili, a prominent musician and renowned tombak player, passed away on August 13, 2023, after battling an illness in the ICU of Rasoul Akram Hospital. His funeral will take place on Thursday, August 17, at 10 am in front of Vahdat Hall, and he will be laid to rest in the Artists’ Section of Behesht Zahra Cemetery.

Born on September 25, 1934, in Tehran, Mohammad Ismaili was introduced to Hussein Tehrani, by his cousins Morteza and Mostafa Gorgin Zadeh in 1954. He also had the opportunity to perform in the presence of Amir Nasser Eftetah. While he spent eight years learning classical clarinet alongside tombak, he primarily focused on tombak playing and never pursued a professional career in clarinet despite receiving invitations to perform with classical music orchestras.

In 1965, Ismaili joined the Ministry of Culture and Art’s music ensembles and, following the death of his mentor Hussein Tehrani, became the head of the National Instrument Orchestra under the supervision of Faramarz Payvar. This collaboration continued even after Payvar’s passing.

Ismaili was part of the first tombak group initiated by Hussein Tehrani with the encouragement of Ruhollah Khaleghi. In collaborating with Houshang Zarif, Mahmoud Rahmanipour, and Nasrollah Golpayegani, he began his musical journey. He was the only one specializing in tombak, while others had expertise in different instruments.

He was selected as a teacher at the National Music Conservatory instead of Tehrani based on the recommendations of music experts. During this period, Ismaili, along with Hossein Dehlavi and others (Houshang Zarif, Farhad Fakhreddini, and Mostafa Kamal PourTorab), started writing the book “Tombak Instruction.” This book was the first significant step in teaching Iranian percussion instruments and remains an important resource for tombak education due to multiple revisions made by Ismaili and his students.

In 1964, he began teaching tombak at the National Music Conservatory as a representative of his mentor. After the revolution, when tombak instruction was banned at the conservatory, he secretly taught the instrument to his students in the conservatory’s pantry area, ensuring that the legacy of his teacher, Hussein Tehrani, was not forgotten.

After the disbandment of Faramarz Payvar’s ensemble following the revolution, Ismaili’s stage activities in Iran were suspended until the revival of the Payvar ensembles. Both groups, the Masters and the Payvar ensemble, resumed their extensive activities under Payvar’s leadership.

Mohammad Ismaili has left numerous works in the form of ensemble and solo performances, with most of his notable works being collaborations with the Payvar Group.

A commemoration ceremony for Mohammad Ismaili was held on December 1, 2017, at Vahdat Hall in Tehran, attended by a group of artists. The event, organized by RadnoAndish Cultural Institute, honored Ismaili’s five decades of significant contributions to Iranian music and tombak playing. It is worth mentioning that Majid Ismaili, a renowned violinist, is Mohammad Ismaili’s son.

Post a Comment

Required fields are marked *
*
*
Your email is never shared.

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…

Musical Sense or Technique?

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.

Ennio Morricone’s music for Quentin Tarantino’s The Hateful Eight

After watching Quentin Tarantino’s latest movie, The Hateful Eight, everyone was excited by its novel music besides the beautiful scenes of blood and guts.
The Hateful Eight is the first collaboration between the world-famous film music composer, Ennio Morricone, and Quentin Tarantino as a famous director.

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:

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.

Motherland Orchestra Broke the Spell of the Covid-19 Restrictions

The Motherland Orchestra staged the first concert since the outbreak of the pandemic under the baton of Nezhat Amiri. The orchestra went on stage on December 23-24, 2021 in memory of Rouhollah Khaleghi and Golnoush Khaleghi at Vahdat Hall, Tehran, Iran. Since the pandemic outbreak, concerts were held online and restrictions were imposed on in-person concerts.

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.

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).

From the Last Instrumentalist to the First Composer (II)

Rouhollah Khaleghi was the master of composing beautiful melodies. He was the premier of the course of history which was first established by Ali Naghi Vaziri and which improved the Iranian music from simply a gathering music to the classical music of the country. First efforts to compose independent and instrumental music can be also traced in Khaleghi’s works.

Ashoura Opera

Ashura Opera was composed by Behzad Abdi, the Iranian composer, in 2008 based on librettos compiled by Behrouz Gharib. The main source for the libretto is poems by Mohtasham Kashani, a sixteenth century Iranian poet.

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.