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.

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.

With this description, we have automatically included a criterion called “History”, Until we know the time of the creation of a work of art, we cannot judge whether it has been easy to create or not. Suppose that, in a historical study, we find a musical work that is similar in compositional techniques (including form, melody, context, and orchestration) to a minor work of the nineteenth century; however, our research proves that, this work dates back to 200 years prior to that date. Can we still consider this work insignificant? Definitely not! So this is where the first use of history-based judgment comes into play.

Translated by Mahboube Khalvati The article you are about to read was written by Rouhollah Khaleqi (1906-1965), composer, and conductor of Golha Orchestra (established in 1956). Khaleqi was one of the most prominent promoters of polyphony for the Iranian music and is one of the best representatives of the school of Ali Naghi Vaziri. In…
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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.

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.

It is more than a century now that the sociologists consider the presence of women in different social domains as a benchmark for a society’s progress. They analyze the presence of women in society by the means of available statistics. Unfortunately, as with regard to the Iranian society, statistics related to women’s engagement, has not been available to the researchers, if they existed at all.

The term “School of Vaziri” is often used in writings on Iranian music, but the exact meaning of the term is not clear; some of the authors have used the term to only refer to the group of Vaziri’s students, including a large group of his conservatory students and his Tar students such as Abolhassan Saba, Rouhollah Khaleghi, Ahmad Foroutan Rad, Hossein Sanjari, Heshmat Sanjari and others. But can we consider all Vaziri’s students as followers of his school of thought? This is definitely a mistake, because we know that some of Vaziri’s students have chosen a completely different path than that of Vaziri.

In heterophonic variant, two performers perform a single melody simultaneously and change it. Performing and changing a single melody simultaneously by two performers leads to the coincidence of different voices.

The Enlightenment era championed innovation, creativity, and the relentless pursuit of knowledge, values that resonate prominently in Mozart’s string quartets. Mozart, a luminary of the Enlightenment, used the quartet form as a playground for his inventive spirit, pushing the boundaries of traditional structures and harmonic progressions.