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.

Five Major Myths About Mozart’s Life

Wolfgang Amadeus Mozart, the renowned Austrian composer, is undoubtedly one of the greatest geniuses in the history of classical music. However, his life is surrounded by numerous myths and legends, some of which are not based on facts. This article explores five of the most common misconceptions about Mozart’s life.

Bahma Rajabi Passed Away!

Bahman Rajabi, the renowned tonbak (Persian goblet drum) player and educator, passed away at his home at the age of 86 due to a heart condition. He was the founder of a distinctive school of tonbak playing, and his teaching methods have been widely used by instructors of the instrument for decades..

From Past Days…

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.

Polyphony in Iranian Music (I)

Despite the fact that Iranian folk music (regional music of Iran), like the Radif of Iranian traditional music, is monophonic and follows heterophony in principal, we experience polyphonic forms, albeit, majorly unconscious.

A Note on the Occasion of Houshang Zarif’s Demise

No introduction is needed when talking about the position of the late Houshang Zarif (1938-2020) in the Iranian music. His character and personality are so well-known among musicians that his name per se is a symbol and role model for the Iranian youth. “Becoming Houshang Zarif” is the dream of many young people who enter the world of music in Iran and many of whom retire regretting the realisation of this dream.

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.

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.

Last Year under the Light of Music

Almost three months into the new Iranian year (starting March 21), it is still not too late to have a look at the last year and the challenges that the musicians faced. The following article was published on the first day of the New Year in the Persian edition of the HarmonyTalk journal.

Interview with the Makers of the New Qeychak (I)

On occasion of the 8th anniversary of launching HarmonyTalk Online Journal on 6 April 2012, Reza Ziaei, master luthier and researcher on classical music instruments (violin family), announced that the first phase of the project to improve Qeychak has borne fruit. The new instrument would feature a bowl of ribs and the material used for the surface would be wooden. Carrying out the second phase of the project took more than 7 years engaging the new members of Reza Ziaei’s Workshop. In this phase, new researches were conducted from different aspects on the Qeychak and the modern versions of the instrument which were introduced previously by other instrument makers. The available versions of the instrument were studied in terms of their weak and strong technical features.

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (1)

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets* Basic Ideas and General Structure The Enlightenment, an epoch of intellectual fervor marked by reason, individualism, and cultural evolution, indelibly left its imprint on the arts. Mozart, a luminary of this transformative era, intricately wove these ideals into his compositions, particularly his string quartets. This article…
Read More »

A Miracle in the Iranian Music: About Tehran Flute Choir’s Eight-year Tenacity

Tehran Flute Choir is a 40-member orchestra of Iran’s best flutists; Iran’s best flutists? Yes! If you write down the names of the greatest Iranian flute players who participate at concerts and contribute to academic centers in Iran, you will see that most of them are among the choir’s members.

Banan: the Artist of the Age

Gholam Hossein Banan was born in 1911 in Tehran. He was born in an affluent art-loving family who were Naser al-Din Shah Qajar (1848-1896)’s relative. The Qajar King was his mother’s uncle on her father’s side. He learnt his first lessons in music while his father sang Iranian avaz (improvised rhythmic-free singing), he then attended classes by the renowned Iranian composer, Morteza Neydavoud (1900-1990) along with his sisters; the composer is, therefore, considered as his first teacher. He then learnt Iranian avaz under the supervision of Mirza Taher Zia Resaee (Zia-o Zakerin) and Naser Seif in an oral manner.