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.
Tag Archives: Mehdi Navai
- Homayoun Rahimian & Iran’s National Orchestra
- Negation of Changes in Iranian Music: Embracing Tradition
- Music education in third-world countries
- A brief examination of Ardavan Kamkar’s Santour playing style
- Lilly Afshar, Iranian Guitar Legend, passed away
- Mohammad Esmaili passes away
- Inefficiency of some chords and harmonization systems in Iranian music
- The response of the fired musicians to the interview of the managing director of Rudaki Foundation
- Loss of Development in Iranian Music
- Last Year under the Light of Music
- Interview with Farhad Poupel (II)
- Interview with Farhad Poupel (I)
From Past Days…
April 6 marks the anniversary of launching HarmonyTalk.com. Back in 2004, HarmonyTalk was rather a blog dedicated to music. Gradually, however, it found its way to becoming a more sophisticated journal with an intensive but not exclusive concentration on classical music.
Tehran Flute Choir is a 40-member orchestra of Iran’s best flutists; Iran’s best flutists? Yes! If you write down the names of the greatest Iranian flute players who participate at concerts and contribute to academic centers in Iran, you will see that most of them are among the choir’s members.
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.
The life territory of the female-male relations in the Iranian cultural context is basically a domestic territory and not a social-living one in the labour and leisure domains. To prove this, it only suffices to consider the Iranian men’s viewpoints about women. For the Iranian men, there are three perspectives regarding the women: mother, sister and wife. Mother represents the emotional territory; sister represents the logical territory at home while wife represents the sexual territory.
3/1/2/5: When the first finger lands next to the nut, continuation of first phalange of this finger, on back of the hand, should be in line with continuation of the back of the wrist and the left hand; moreover, it should not pass them and bend at knuckles. Otherwise, an uncommon stretch is created in first finger’s knuckle also reducing the freedom of other fingers (especially the fourth finger) in finger placement.
The present series of training articles, “Principles of Violin Playing”, seek to help students, to appropriately understand this field, by gradually introducing, categorizing, and teaching the myriad relevant points. One of the principles of playing violin, which must be always kept in mind, is that the selection of the most natural position for the body parts while playing is the best and most appropriate solution. As a matter of fact, any unnatural body part position which requires lots of energy or unusual stretching to maintain, is wrong.
One of the most popular terms used by Iranian instrumentalists is the existence or a lack of musical “sense”. Both musicians and fans of music consider having “sense” while playing music as an important principle to the extent that they use it vis-a-vis having technique.
Born in Isfahan, Iran, and based in the UK, Farhad Poupel’s music has been performed and will be performed in numerous prestigious concert halls and festivals throughout the world including Suntory Hall in Tokyo, Japan; La Roque-d’Anthéron Piano Festival, La Roque-d’Anthéron, France; Biarritz Festival, Biarritz, France; Stoller Hall, Manchester, UK; Janacek academy of music and performing art, Brno, Czech Republic; Karlskrona International Piano Festival, Karlskrona, Sweden; by distinguished artists such as Kotaro Fukuma, Peter Jablonski, Daniel Grimwood, Margaret Fingerhut, Catherine Carby, Kristýna Znamenáčková,Jeffrey Biegel, Jean-Francois Bouvery and orchestras such as Windsor Symphony Orchestra or broadcasted on the NPR Radio 4, Netherland. The following is an interview with him on the ocaasion of the premier of the Legend of Bijan and Manijeh.
“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).
Nine-bridge and twelve-bridge Sanours were both used until the early Pahlavi dynasty. However, as Faramarz Payvar devised new methods for playing the nine-bridge Sanour, this variety of the instrument which was hammered by felted sticks became popular.