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.

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From Past Days…

Illusion or Ingenuity?

Mohsen Renani in the preface of his book entitled “The Political Economy of nuclear conflict; an introduction to traversing the civilizations” writes:

From the Last Instrumentalist to the First Composer (I)

Music as an art has its own special history; emergence of a singer, of an instrumentalist and then the emergence of the strong character of a composer covers three significant phases of the art of music. With the emergence of composer which was simultaneous with the emergence of the language of music, this art managed to offer a domain for criticism for its composer; a procedure which led to a magnificent variety and evolution in musical production. Even though the conflicts between singers and instrumentalists have not met their end in the Iranian society and while singers can achieve high, instrumentalists have yet to play behind curtains . In a special era, with the efforts of musicians such as Ali Naghi Vaziri (1887-1979) and Rouhollah Khaleghi (1906-1965), glimmers of a composing era started to glow bearing fruit in Khaleghi’s achievement as Iran’s first professional composer. Khaleghi made his reputation as a composer while Vaziri deserved to pioneer this path. By then Vaziri was well-known as a Tar player.

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

Tajvidi thought of studying harmony and orchestration with Houshang Ostvar (who was eight years younger than him) at a time when he had gained a reputation among musicians. His humbleness, making him willing to kneel before the scholars at any age and position, became the key to his scientific success. After this period, Tajvidi made some of his works polyphonic, the most prominent of which is “Burn” set to a poem by Abdullah Ulfat. However, his ability to make his works polyphonic was not so great to make him self-sufficient; so he depended on musicians such as Farhad Fakhreddini, Fereydoun Naseri, Kambiz Roshanravan, Fereydoun Shahbazian and Morteza Hananeh for the arrangement of his compositions.

The Structure of Kurdistan Daf (VII)

Conclusion

“Daf” is one of type of percussion instruments that has a long history and is commonly known as circular instruments (with a rim). In some tribes, Daf was used as the main instrument in festivity and joy ceremonies; in another tribe it was used as the main instrument for war and campaign ceremonies and some others used it for ritual and religious ceremonies.

Loss of Development in Iranian Music

The mention by music instructors, academicians, students, and music enthusiasts about the lack of development in Iranian music is a topic that has been repeatedly heard, resulting in a superficial understanding and misinterpretation of Iranian music, which has been conveyed to students of the arts. This short essay aims to critique and examine this claim.

Developments in Iranian Music Since Qajar Era (III)

Developments in Composing

Along with developments in the Iranian instruments, composition of the Iranian pieces developed as well. As a matter of fact, the developments of the two, mutually affected each other. In other words, instrumental developments led to developments in composition and vice versa.

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While the name “Persia” (Western historical name of Iran) has attracted tens of thousands of people from around the world to London’s British Museum to visit ancient Persian artifacts, the Nuremberg-based music company, Colosseum, invites Europeans to listen to eight masterpieces of Persian symphonic music.

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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.

Principles of Violin Playing (VIII)

1.5.1.3.sometimes, a player, due to different reasons, may decisively want to play continuously two notes with a half-step by means of the same finger, in such a case, it’s necessary to open the interior curve of the finger like a spring. Naturally coming back, the curve of finger should be closed and the finger should become curved shape again (see paragraph 3.1.2.1).