Tag Archives: Malawi

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.

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…

Farhad Poupel (photo: Radafra)

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.

A Promising Concert by National Instruments Orchestra

The National Instruments Orchestra of Iran performed its first concert amid much hope and anxiety on July 18, 2015. The Orchestra is founded by Roudaki Cultural and Arts Foundation which is a semi-private foundation in Iran. The Arts Director for the National Instruments Orchestra of Iran is cand the Orchestra Executive Director is Sadjad Pourghand.

Polyphony in Iranian Music (III)

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.

Call for papers SIMF 1396

The Association of Iranian Contemporary Music Composers (ACIMC) and SHAHREAFTAB Art & Cultural Association are pleased to announce a call for papers for SIMF 1396.

Polyphony in Iranian Music (II)

With regard to each polyphonic form, only one specific and distinguished example is analyzed. These polyphonic forms are as follows:

Qanun, a feminized instrument?

In the world music culture, there are instruments which were traditionally associated with a certain gender. It remains disputable to what extent these gender-based perceptions have been logical and scientific. For example, as playing wind instruments need more breath strength and the public opinion believe that men have stronger breath compared to women, these instruments are predominantly a male domain. Harp is also considered a female instrument as the public opinion believe that women have finer fingers and can therefore better perform nuances and delicate techniques on the instrument.

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.

Tehran Flute Choir Established

Tehran Flute Choir was established in 1394 (late 2015) by Firouzeh Navai. Tehran Flute Choir, Iran’s first largest flute choir, recruited its members mostly from young talented flutists of Iranian Flute Association. Featuring piccolo, flute, alto flute and bass flute, Tehran Flute Choir, directed by Firouzeh Navai, premiered under the batons of Saeed Taghadosi on January 7-8, 2016 at Roudaki Hall in Tehran.

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.