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 seventies.

Jamshid Andalibi started learning music at the age of 10 with an accordion at the cultural and art classes in Sanandaj, under the supervision of Hassan Kamkar. He then joined the youth group and the adult orchestra of the Sanandaj Cultural and Art Center and performed concerts alongside the adult orchestra while receiving various music lessons. Influenced by the ney performances of Hassan Kasaei, Andalibi became interested in playing the ney and initially started learning the instrument without a teacher. In 1354, he was accepted into the Faculty of Fine Arts at the University of Tehran in the music field.

During this period, he learned from Dr. Hossein Omoumi, a ney player, and also attended classes by other masters such as Nasrollah Nasehpour, Noor Ali Borumand, and Mohammad Reza Lotfi. By forming the Aref group with Parviz Meshkatiyan and Hossein Alizadeh, he joined this group and performed concerts and recordings with this group in the sixties. Andalibi went to Isfahan in 1360 to complete advanced ney playing techniques with Hassan Kasaei.

He was considered one of the most hardworking ney players in the sixties and seventies, especially collaborating closely with Mohammad Reza Shajarian on albums such as “Bidad”, “Nava”, “Dastan”, “Dood-e Oud”, “Aseman-e Eshgh”, “Yad-e Ayam”, “Rasvay-e Del”, “Payam-e Nasim”, “Del-e Majnoon”, and “Sarv-e Chaman”.

In addition to playing the ney, Andalibi was also active in composing music, with albums like “Mehman-e To”, “Paeize Neyzar”, and “Mounese Jan” among his works. Andalibi also arranged and played instructional versions of Abolhasan Saba’s Radif for ney.

However, Jamshid Andalibi’s most famous album, “Neynava,” was composed by Hossein Alizadeh. In this work, Andalibi played the ney as soloist. He also appeared on some albums by his brother Jalil Andalibi with the Molana group, leaving remarkable solo performances on albums like “Bigharar” and “Hey Gol.”

Jamshid Andalibi also worked as a ney instructor and contributed players to the artistic community.

Andalibi’s playing style had unique characteristics that distinguished his performances from other ney players.

In recent years, Jamshid Andalibi did not have much activity in ney playing and lived in seclusion.

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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…

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.

Avaye Naerika Percussion Orchestra

Avaye Naerika Percussion Orchestra is an Iranian percussion orchestra featuring 40 lady percussionists. The Orchestra was established as Iran’s largest all-female percussion orchestra in 2008 by Ms. Minoo Rezaei under the title Naerika Percussion Orchestra and changed its name to Avaye Naerika in 2017.

The Structure of Kurdistan Daf (III)

“Our ancestors believe powerful blows upon the Daf scatters evil spirits of disease and distress to create a clean and holy space filled with health and prosperity. Adding tools to Daf increases this instrument’s purification, spreading, and summoning powers of evil forces and goddesses. Daf was mostly depicted by red, color of blood, in ancient times or sometimes it was depicted with green, the color of plants and nature. There were probably some mysterious designs painted upon the wooden body and frames of these instruments just like today” (Pahlavan, 2013: 44).

Transition to Enlightenment: Six Lectures on Mozart’s String Quartets (3)

Wolfgang Amadeus Mozart, a musical prodigy of the Classical era, was deeply influenced by the intellectual currents of the Enlightenment. His exposure to Enlightenment ideas was multifaceted, shaped not only by the cultural milieu of his time but also by the relationships within his family and his own interactions with prominent figures of the Enlightenment. This exploration will delve into Mozart’s acquaintance with Enlightenment ideas through his father’s relationships and his own encounters with influential personalities of the era, including Christian Fürchtegott Gellert, Baron Melchior Grimm, Madame d’Epinay, and Joseph von Sonnenfels. Additionally, the essay will examine the impact of Joseph II’s reforms on Mozart’s life and artistic endeavors.

A year without Mohsen Ghanebasiri

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Non-profit “Microtona” Project Released

Microtona is a sixty-eight-page Booklet with personal comments by the contributing microtonal artists. The booklet also includes a DVD which consists of 8 original video tracks and 9 original audio tracks. The project is an international one featuring unpublished pieces by composers from Iran, Japan, U.S., France, Austria, Germany and Belgium.

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.

Last Year under the Light of Music

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Layla Ramezan, Iranian Pianist

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A Persian Nocturne for Piano

A Night in a Persian Garden is the name of a Nocturne composed by the Persian (Iranian) contemporary composer Behzad Ranjbaran. This Nocturne, published recently by the Theodore Presser Company in the US, was performed for the first time in 2002 in New York City by the young Persian pianist Soheil Nasseri and has enjoyed many performances by other pianists.