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.

Celebrating 20 Years of Harmony Talk’s Journey: Resilience, Evolution, Honoring the Legacy and Navigating Future Growth

In a momentous celebration of two decades, the “Arasbaran Cultural Center” was the stage for the 20th anniversary of “Harmony Talk”, an online journal that has become a cornerstone in the music community. Sadjad Pourghanad, the editor-in-chief, delivered a speech that resonated with gratitude and vision.

HarmonyTalk Journal’s Twentieth Anniversary Celebration

On the 10th of Khordad, 1403 (equivalent to May 30, 2024), the twentieth anniversary celebration of the online journal “HarmonyTalk” took place at the Ersbārān Cultural Center. The event garnered such interest from enthusiasts that the venue was completely filled.

From Past Days…

Jamshid Andalibi passed away!

Jamshid Andalibi, one of the most famous ney players in Iran, passed away on the fifteenth of Esfand, 1402, at the age of 66 due to a heart attack at his private residence. Andalibi was a member of a family that had a significant presence in the field of Iranian music in the sixties and…
Read More »

Is the Iranian National Anthem a Copy? (II)

In response, it should be said that it is better for the national anthem of a country to use the musical material exclusive to that country; however, some problems might come up in doing so the most important of which include: lack of familiarity of other countries’ music performer with the concerned country’s specific music intervals and special musical technique; and secondly, the strangeness of that music to the foreign listener.

Hassan Kassai, Ney Virtuoso

The name of Maestro Hassan Kassai is so vehemently intertwined with Ney (Persian reed flute) that one cannot imagine one without the other immediately coming into mind. Ney is one of the instruments which went through a lot of ups and downs in the history of the Iranian music since the time of Sassanid kings to the time when shepherds found playing it consoling when they took their cattle for grazing. However, Nay could never demonstrate its main capacities to gain a stable position among the musicians and the people like other instruments including Oud, Tar, Santour, all sorts of bowed string instruments and plucked string instruments.

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.

Iranian Fallacies – Global Performance

One of the most important criteria for measuring the quality of a piece of classical music is number of times the piece has been performance by different ensembles and orchestras in different eras. This belief has become so pervasive in some societies, such as Iranian society, that it is considered the only criterion for measuring the quality of a piece of classical music.

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 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.

Layla Ramezan, Iranian Pianist

Iranian pianist Layla Ramezan has always sought to create a connection between her Persian origin and the contemporary music which she encounters daily. Sound, phrasing, a particular sense of rhythm and a refined understanding of the “time of musical development” are the foremost qualities of her interpretations. Her musical and pianistic education began in Tehran at the age of 8 with Mostafa-Kamal Poortorab. Having moved to Paris and received a scholarship from Albert Roussel Foundation, she integrated the classes of Jean Micault and Devi Erlih at the Ecole Normale de Musique de Paris Alfred Cortot, where she received a Diplôme de Virtuosité in piano performance and chamber music.

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.

Hossein Aslani passed away!

Hossein Aslani, Iranian pianist residing in the US, passed away due to cancer in late January 2020. His last musical activity was an article written for Harmony Talk entitled “Iran amidst musical struggle” in 2016, his memoir entitled “I Play You Again” in the same year and his album “Symbolic Emotion” published by Arganoun Publications in 2014. Here is a brief biography of Hossein Aslani according to his own website: