Happy New Year... : )

    

Mohsen Sharifian

Lian Music Band

Homely Parish

Tracks:

01. Mahaleh-ye Khomuni - 3:33
02. Faez o Maftoon - 5:01
03. Panjeh Banki - 3:12
04. Neymeh - 3:19
05. Ghale - 5:31
06. Kuwait Ghulum - 5:18
07. Delshureh - 3:19
08. Khayyami - 6:39
09. Telebooni - 4:24
10. Jostojoo - 5:53
11. Verar - 3:36

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.·.ღ•:*´♥`*:•ღ.·.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

Mohsen Sharifian: 

 Regional Music of Iran: Bushehr

Taking traditional music from Iran to new collaborative heights

Interview by Madanmohan Rao

Mohsen Sharifian is a musician and composer from Iran, and heads the troupe Lian Band. He has spent the last two decades immersing himself in the musical traditions of the Bushehr region, writing several books and collecting songs and dance-tunes and composing new works inspired by them. He is a virtuoso performer on the two ancient, emblematic instruments of the Persian Gulf region, the Nay-Anban (bagpipe) and the Nay-Jofti (double-pipe reed flute). The Lian Band, formed in 1993, has released nine albums and performed around the world. Mohsen joins us in this exclusive interview on the highlights and challenges of his musical journey.

Q: How was your band formed?

My goal is to preserve and promote the folklore music of my region inside and outside of Iran. The band’s name is Lian and this is the ancient name of my city Boushehr. This name is about 3,000 years old and the meaning is ‘shining sun.’ The history of ancient Boushehr and its culture are deep and continuous sources of learning for us.

Q: Who would you say are the leading influences in your music, in terms of culture and family?

Music is in our family but remember however they were not willing for me to play music, because of the humiliating views by many in our society to folk musicians. But now I am happy, it’s honourable for the family, and they have never forbidden me.

Music across the world has been a part of society, and you can easily see the footprint of Indian music and songs, which I have seen in my trips to India and among the Indian workers in Boushehr. It’s amazing to see that the name of one of Boushehr’s parishes is Kuti; this is an Indian name meaning mansion. The spices in our food and the hotness in them is also because of Indians!

Q: Tell us about the more unusual instruments you have in your ensemble.

The bagpipe by the native name Ney-Anban is a special one, which has the identity of boushehri music. But we can see it all over the world. Even in India, but the bagpipes have their own accent.

This instrument is very unique and one of the aspects that makes it special is that the playing of this instrument at Bushehr is facing opposition, and this is unnecessarily radical and goes under a supposed religious facade.

Q: What is the profile of some of the artists in your band?

This band has working for about 20 years, and our relations began with activities during our student years, which eventually became a solid band going by the name of Lian.

Q: How would you describe your musical journey and its messages?
  
I believe that our work shows our birthplace of music and highlights our role as representatives for our music. The message that I want the world to hear is joy and peace, I’m glad that I did it with art and out of politics. Our albums like other artists of the world will change over the years, and sometimes may have effects on the world!

In my new album (to be released by Taraneh Sharghi), I have performed fusion music and tried a music speech to tell that our people were shaped by interaction and dialogue. So I composed a mixture of boushehri music with flamenco, Indian and modern music. It’s good to know I used an Indian musician by the name of Darchen Anand. He played tabla and sings a song with me. I would really love Indians to hear this album and explore opportunities to collaborate!

Q: How would you describe your composition process?

Most of the songs are composed by me; however I also get comments from musician of the band and audience reactions. Our folk music itself is composed from the combination of different music, including African, India and Arab. So essentially I believe in the combination forces of music, and over the years music of the world has intentionally or unintentionally absorbed other influences. How and to what extent it can be incorporated to introduce original music deserves reflection.

source of interview 

  

  
 The music of Bouchehr draws its distinct sounds from the diverse communities that settled in the region over many generations. This includes: the traditional music of several eras of Iranian history; the religious music of the Islamic, Zoroastrian and Christian communities of the region; fishing songs from coastal communities; influences from Chinese, Indian, Somali and Tanzanian merchants; and perhaps most importantly, the musical traditions of east African slaves who escaped and settled in Bouchehr.

 

*♥*

It takes two...

  

Sohrab PourNazeri
Nocturnal Gypsy Wind
2010

Tracks:

01 - Shabgard
02 - Kooliye Baad
03 - Saharkhani
04 - Rakhse Baad

Sohrab PourNazeri: Tanbour
Roubik Aroutzian: Duduk

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
  

 'Gypsy Wind's Nightwatch', ... by internationally acclaimed Iranian musician Sohrab Pournazeri was released ...

It was recorded in 2010 in Los Angeles, the US, Musicema reported.

The album features 'tanbur' player, Pournazeri, in duet with accomplished Armenian duduk player Roubik Aroutzian.

Pournazeri was born in 1983 in Kermanshah. His father, Keykhosro Pournazeri was a well-known musician who played 'tanbur' and tar. Keykhosro was the founder of the first ensemble of 'tanbur'. He introduced this instrument to the urban musical culture of Iran. His ensemble also introduced several musicians who later became noted artists of Persian music.

Sohrab began studying 'tanbur' and 'daf' from a very early age and later went on to 'tar' and 'setar' before finding his true interest by taking up 'kamancheh'.

His first choice was the folk instrument 'tanbur' due to his orientation, but he added 'kamancheh' to improve his career as Iranian classical musician. At the age of 15, he teamed up with 'Shamss' ensemble in performing before audiences.

Sohrab learned 'tanbur' from his father, Keykhosro, 'kamancheh' from Ardeshir Kamkar, vocalization from Hamid Reza Nourbakhsh.
  

  

Sohrab Pournazeri, virtuoso of the tanbour and the kamancheh, is a phenomenon in modern Iranian music. He is a singer and instrumentalist whose music has transcended the borders of Iran, fusing with cultures and artists as far and wide as China and the United States. His talent and courage have been acknowledged as extraordinary by no less than Mohammad Reza Shajarian, the great master of Iranian music.

Sohrab was born in 1982 to the musical Pournazeri family. His father Kaykhosro Pournazeri is one of Iran’s most influential musicians and musicologists, and his brother Tahmoures has sparked a new movement in Iranian music through his performances and compositions.

Music was Sohrab’s mother tongue; he learned it as other children learn to speak. At age 2 he would play his father’s tanbour (whose body was larger than his) and sing the poetry of Rumi and Hafez. At age 13 he was introduced to the stage as part of the Shams Ensemble, and today he is one of the core members of the group. Also at age 13, Sohrab began studying kamancheh with Ardeshir Kamkar, and because of his musical talent was able to begin performing as a soloist with the Shams Ensemble after just two years of study.

While following in the footsteps of his musical family, Sohrab has developed distinct and idiosyncratic instrumental, vocal and compositional techniques that have enabled him to steer the distinct Pournazeri musical form–with its emphasis on passion, emotion and inventiveness–toward new horizons.

Sohrab is well versed in the regional music of his native Iran, as well as in Western classical music, and he holds a degree in music performance. As an instrumental soloist and vocalist, Sohrab has collaborated with artists and ensembles worldwide, including Ostad Shajarian, Shujaat Hussain Khan, the Beyond Borders Project and the Pacific Symphony Orchestra.
  

 wiki

 

♥

Does anyone have any info about Roubik Aroutzian?!
  

♥
  

It takes a woman... and a man...

  

Faribâ Hedâyati Nikfekr
The Drop
2010

Tracks:

01. Colorful Dream (feat. Seyyed Behnam Ma'sumi)
02. Chaharmezrab (feat. Seyyed Behnam Ma'sumi)
03. Daramad Afshari
04. Araq & Qarayi
05. Maqam–e Saba
06. Seven Cities of Love (feat. Seyyed Behnam Ma'sumi)
07. Forud (Afshari)
08. Daramad Chahargah
09. Image of Sorrow (feat. Seyyed Behnam Ma'sumi)
10. Avaz in Bidad Mode
11. Lover & Beloved (feat. Seyyed Behnam Ma'sumi)
12. Avaz–e Hesar
13. Raha (feat. Seyyed Behnam Ma'sumi)
14. Forud (Chahargah)
15. Colorful Vision (feat. Seyyed Behnam Ma'sumi)

 Setar: Faribâ Hedâyati Nikfekr

Tombak & Kuze: Seyyed Behnâm Ma'sumi

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 Faribâ & Seyyed

*

 Fariba Hedayati NikFekr, was born in Tehran in a family with great love for traditional Iranian music and was introduced to this art at an early age by his father who also played the ney. In 1982 she began her tutorship of the setar with Ataollah Janguk, the renowned master of this instrument. She was tutored by Janguk in various radifs of traditional Iranian music for five years.

In order to further her knowledge of various styles of playing the setar, Fariba continued her training with such masters of this art as Ahmad Ebadi, Jalal Zolfonun, Hossein Alizadeh, and Daryush Talayi . Since 1987, Fariba was tutored by Hossein Alizadeh to whom she owes most of her expertise in this field.

Her first public performance was as a member of Khojaste Group, comprising exclusively of Iranian ladies, which performed a concert at Rudaki Concert Hall in Tehran under the leadership of Ms. Susan Aslani (Dehlavi) in 1992.

Ava-ye Doust Group was formed by Fariba in 1994 and has since performed several concerts both in Iran and abroad under her leadership. The music performed at the said concerts comprised entirely of her own composition.

Her participation in various international festivals as leader of the first traditional Iranian musical group comprising solely of Iranian ladies since the Islamic Revolution of Iran has served to reintroduce this concept to the international community. Two CDs of her concerts entitled ‘Rozaneh', and ‘Aseman' performed in Morocco (the Fez Festival), have already been published abroad.

In addition to composition and performance of concerts, Fariba has also been engaged in tutoring setar students for several years.

  

~♥~

To the Children of Iran

  

Hooshyar Khayam

Amir Eslami
All Of You

2010

Tracks:

01. Our Story - 9:17
02. Cheering - 4:07
03. Strum - 4:27
04. Mourning (Zaar) - 6:12
05. Troubadour - 5:05
06. Illusion - 3:37
07. All of You - 7:14
08. Dawn - 2:23
09. Flowerscatter - 5:29
10. Our City - 10:23

Hooshyar Khayam: Piano

Amir Eslami: Ney

 

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 
Music for Ney and Piano

 

 All of you (duet for piano and ney) is in its core an improvisation. Most of the pieces have been performed and recorded only once with no edits or retakes and only some use the technique of multilayer recording to achieve the desired effect. Sonorities heard are all of acoustic nature performed by the musicians and generated on their instruments 

 

 

Amir

 

Composer

 Born in 5th January 1971 in Isfahan, Iran.
Started Ney (Iranian Flute) from 1986 in Isfahan.

 

&

 

Hooshyar 

 

 Hooshyar Khayam (born 1978) is an Iranian pianist and composer. 

He was born in London into a family of artists. His father Massoud Khayam is a novelist, and his mother Pariyoush Ganji is a painter.

 

♥

&

♥

 

Persian Piano

  

Hooshyar Khayam
Thousand Acacias

2009

Tracks:

Sonnet I - XII
    
Performed by the composer Hooshyar Khayam (piano) 

plus Amir Minoo-Sepehr (violin) on track 12.

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
   

 The instrumental sonnets in this album are ghazals for solo piano resembling a long poem ("The Scent of Petunias and the Acacias That Flow Through Them") by distinguished Iranian contemporary poet Ahmadreza Ahmadi. 

Hooshyar belongs to the new movement of composer-performers in Iran.

He is active as pianist, as composer, and as improvisor and collaborator in the realm of world music. His music has been performed by Hossein Alizadeh, Aram Talalyan, Wayne Foster-Smith, Todd Palmer, and Stephen Prutsman among other artists. His works include music for solo piano, large symphonic ensembles, string orchestra, improvisational works, vocal works, music for film and for theater, and arrangements/revisions of traditional music of Iran.

He has been performed at Lincoln Center, University of Cambridge, University of London, Spoleto, Stefaniensaal Graz, and has hold concerts in Moscow, Tbilisi, Kiev, Berlin, New York, Charleston, Florence, Yerevan, and Tehran. His compositions have been premiered by Naregatsi Chamber Orchestra, Ukraine National Symphony Orchestra, Tehran Philharmonic, and Tehran Youth Symphony Orchestra.

He is the first prize award winner of "Franz Schubert and Modern Music International Composition Competition 2011" for his trio "I Waited for You in Rain".

He holds a doctoral degree from the University of Cincinnati, College-Conservatory of Music, and is currently an independent musician.

Hooshyar-Home

 *♥*

And the new one is... :-)

Masoud Shaari (Setar)

Arash Mitooic (Electric Guitar)

Hamsaz Ensemble

 In The Shade of The Wind
2007

Tracks:

01 - Hamsaz
02 - Ashin
03 - Hasti
04 - Dar Sayeye Bad

Personnel:

 Masoud Shaari (Setar)

Anthony Ardin (Saxófono)
Darshan Aanand (Tabla)
Arash Mitooic (Guitarra Eléctrica)
Pajham Ajavas (Tombak, Damam)
Mohamad Ali Sajadi (Barbat)
Sina Shaari (Guitarra Acústica)
Tahmineh Shahsavari (Setar)

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 In the year 1127, the artist {Abbot Suger} began reconstructing his Abbey Basilica of St. Denis in Paris. Suger's architectural ideas resulted in something never seen before, a "new look" neither classically Greek nor Roman or Romanesque. Eventually Suger's pioneer work led to an influential architectural style known as "gothic." Not knowing what to call Suger's work at the time, the society relied on a Latin name, "opus modernum." Today in the 21st century, in the context of Iranian society, {Masoud Shaari}'s interpretation of the ancient Persian Radiff allows for an "opus modernum" manifestation to occur in Persian classical music. His ground-breaking work, In the Shade of the Wind, intertwines the ancient with the modern age, marrying instruments such as setar to electric guitar, ney to saxophone. Each of the four tracks in this album are a journey to distant lands, where one can imagine Persian merchants offering the world their melodies and rhythms in exchange for nothing else but a sense of mutual understanding.

Shaari has unlocked the dusty box of the Radiff, letting ancient Iranian melodies play catch with the world. In 1978, the band ANCIENT FUTURE was the first ever to coin the term "world fusion music," defining their new style. Shaari’s album In the Shade of the Wind can fall under this category of music as well, where many cultures and sub-cultural musical styles are audibly interacting: classical North Hindustani rhythms and ragas are incorporated, 1950’s American pop-rock comes in and out of improvisatory segments, American Blue-Grass Country guitar is surprising to hear at times, jazz chord progressions harmonize in the background of a massive setar chorus, and psychedelic trance movements create an atmosphere close to that of the Sufi sama' ecstasy. Many of the trance-like sections in Shaari’s music is seriously influenced by the repetitiveness of Indian music and rock music. Through this conglomeration of musical styles and the process of fusion, Shaari unknowingly creates a new musical language that is nevertheless rooted in a Persian accent. The Radiff is still holds amidst the chaos of this fusion, exhibiting to the Western listener a sense of tradition. To Iranians, Masoud Shaari re-energizes the setar, revamping a tradition to adapt and still remain capable and applicable in the 21st century. The new generation of post-modern intellectuals is a movement towards globalization, and in Iran we are beginning to see this global influence in their music.

It must also be mentioned that other artists in Tehran are exhibiting the same ideological tendencies. A musician like {Mohsen Namjoo} has remained loyal to the emotional spirit within the Radiff, while creatively uplifting their Iranian musical heritage. In the case of In the Shade of the Wind, Shaari bears the weight of his artistic creation on developing the mastery of the Iranian setar. For example, in track one, "Hamsaz," one can not only hear but feel the many different new techniques Shaari has incorporated in his style of playing. Besides technique, his melody in the Nava modality still abides by bare structural laws of the Radiff, but the actual melody is something unheard of. This compromise between abiding by the structure of the Radiff but not the Radiff melodies set’s Shaari completely free in the creating process of melody, and distinguishes his musicianship from other fusion artists.

Fared Shafinury - TehranAvenue.com

   

♥♥♥

  

 Yes, Massoud Shaari again ... :-)

In recent years he has dedicated himself to opening musical dialogue with different cultures, playing with various non-Iranian musical instruments to experiment new feelings and expressions in music, while keeping the main essence of Iranian music.

   

 ♥

Maestro of Setaar

Ostad Sa’id Hormozi
Setar (2)
Persian Music Heritage 

2003

Tracks:

01. Dastgah-e-Shur - 7:44
02. Avaz-e-Dashti - 16:15
03. Avaz-e-Bayat Tork - 15:09
04. Avaz-e-Abuata - 11:31
05. Avaz-e-Afshari - 8:54
06. Avaz-e-Shooshtari - 10:33 

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

Saeed Hormozi 

(1897-1976) the prominent Iranian musician, the great radif master and virtuoso tar and setar player, the son of Mirza Hoseyn Khan Seqat-ol-Saltaneh, was born in Sangalaj quarter of Tehran. He showed his interest in music from an early age and grasped playing music despite the objections made by his family. He first began to play and practice music by himself and from 16 he learned tar from his brother Abolfatah Mirza who was a direct pupil of Aqa Hoseyn-Qoli. Afterwards he went to a pupil of Darvish Khan, Mahmud Ruhbakhsh, and then for a while he was accepted by Darvish Khan himself to study tar and setar and also the radif of Persian classical music. Soon Darvish Khan awarded him with the medal of the "Golden Hatchet," which he used to give to his prominent pupils. After the death of his great master, Hormozi studied the version of radif of Aqa Hoseyn-Qoli and Ali-Akbar Khan Shahnazi and also a repertoire of precomposed pieces with the latter. In 1928 he began his teaching career by founding a school of music in Shapur street in Tehran. However, because of his major responsibilities in Sepah Bank - where he had been employed - he had to abandon the teaching career for a certain period of time. Upon the foundation of the Center for Preservation and Propagation of Persian Music, he cooperated there as an ostad of setar and radif and trained numerous pupils. Sa`id Hormozi was a committed musician who was fervently engaged in teaching and preserving the tradition of Persian music. On December 27, 1976 while teaching at the "Center" Hormozi slipped into a deep coma and did never come back. He died at the same night in Tehran.

  

Saeed Hormozi a very great master of Persian setar.
 Some invaluable recordings have been preserved of him. In terms of performance techniques one can find traces of his ostad Darvish Khan in Hormozi’s style. His phrasing is mostly influenced by that of Aqa Hossein-Qoli.
 Two of his most important students are Mohammad Reza Lotfi and Hossein Alizadeh.
 

 ♥

Master of Setar

 

Massoud Shaari

Shabahang
Setar & Tombak 

2010

Tracks:

01. Pishdaramad Esfahan - 4:34
02. Daramad - 2:27
03. Jame Daran - 1:51
04. Chaharmezrab Saba - 3:21
05. Bayat Raje - 1:45
06. Ouj - 0:38
07. Chaharmezrab Hormozi - 4:08
08. Sooz O Godaz - 1:52
09. Masnavi - 2:12
10. Chahar Mezrab - 3:44
11. Pishdaramad Segah - 3:56
12. Daramad - 0:54
13. Kereshmeh - 2:01
14. Zang E Shotor - 1:20
15. Zabol - 0:54
16. Chaharmezrab Zobol - 0:58
17. Mooyeh - 1:13
18. Mokhalef - 2:58
19. Zarbi Mokhalef - 1:46
20. Maqloob - 0:30
21. Naghmeh Maghloob - 0:41
22. Zarbi Maghloob - 3:39
23. Hazin - 1:05
24. Mooyeh - 1:10
25. Zang E Shotor - 2:24
26. Samani - 1:32
27. Bahar Mast - 1:02

Setar: Massoud Shaari
Tonbak: Kushan Yaghmaee

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 Massoud Shaari

Massoud Shaari was born in 1961 in Tehran , Iran. From the very childhood, he was deeply attached to Iranian music and started learning Santur at the age of thirteen, taught by the lost artist Manijeh Ali-pour.  After a while, he turned to learn Setar, monitored by Dariush Talai and has continued playing it ever since. In 1982, he begun learning Tar, taught by Mohammad Reza Lotfi, through  whom he became acquainted with the art of Iranian traditional music systems (Radif) and its mysteries. In the meantime, he was honored to be trained by master Bahari and spent a while playing old pieces with him.

Great interest in Setar lead him to Hossein Alizadeh, and in fact his artistic promotion is indebted to this valuable master of Iranian music. As to the fact that, in his childhood, he had also been trained by some outstanding masters such as Hormozi and Forutan, managed to become fully familiar and accustomed to Iranian classical music and discovered its delicacies and beauties. Shaari has always tried to reconstruct the works of the pioneer masters of music and this high goal resulted in creation of two albums, "Shabahang" and "Karevan-saba".

In Shabahang we can see improvisation in Radif (Iranian traditional  music systems), and also reconstruction the works of some masters as Roknneddin Mokhtary, Saba, Hormozi, and Forutan. In Karevan-Saba, the chief goal is interpretation of some pieces of music for setar, originally composed by master Saba for violin.

Shaari has always endeavored to teach Iranian classical music and has been involved in Setar tuition since 1981 in art centers directed by private and public sectors. In this connection, he has trained many apprentices following his artistic school. Now, he teaches privately, as well as in Azad University, and artistic center of Kamkars Ensemble. He follows his special teaching method (which is under publish.)

Massoud Shaari, with his complete control over traditional Persian music, has tried to restore the almost forgotten melodies and rhythms of traditional Persian music, and confront it with contemporary music and modes of interpretation.

It seems that his insight of music is absolutely free, and he tries to restore the lost elements of Iranian music such as forgotten rhythms and melodies, and mix them with modern music.
     For the past ten years, he has been teaching Setar and theory of traditional Persian music in different places: Azad University, “Kamkar” musical center, and in various other musical centers in the private and public sectors..

home

  

♥

All together now...

Massoud Shaari

Christophe Rezai
Journey

2001

Tracks:

01 Presence 10:44
02 Journey 15:47
03 Fervor Of Love 08:50
04 Complaint 14:23
05 Rejoicing 09:1

Personnel:

Massoud Shaari - Setar
Christophe Rezaï - Composer

Darshan Jot Singh Anand - Tabla
Manu Codjia - Electric Guitar

and Reza Asgarzadeh

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

    

Journey is the fruit of collaboration between two musicians, Massoud Shaari, a traditional Iranian musician and a virtuoso of Persian setar and Christophe Rezaï, a French-Iranian composer of European culture.

Journey is introduced under the form of five pieces for Setar evoking four different modalities and therefore four different ambiences of traditional Persian music.

The Indian tabla (played by the Indian Darshan Jotsingh Anand), closely linked to the setar, takes us further to the east towards Indian tradition, which has many common points with Persian music.

Furthermore the accompaniment by classical or contemporary orchestral formations such as Strings, Electric Jazz Guitar, Sound Effects... takes us to the west towards the "European musical tradition" of the 21st century.

Journey is based on five pieces for setar evoking different modalities and ambiences of traditional Persian music. The Indian tabla, closely linked to the setar, takes us further east while classical and contemporary orchestral formations such as strings, electric jazz guitar, sound effects... pay tribute to European musical traditions of the present day.
  

 

Massoud Shaari

Born in 1961 (Tehran, Iran), started playing Santur at the age of 13 and soon his tendency to Setar led him to master Dariush Talai. In 1982 he started practicing Tar with masters Mohammad Reza Lotfi and Bahari, but his vocation for playing Setar became most apparent under the mentorship of master Hossein Alizadeh.

Since the mid 90s and parallel to his musical creation, he is actively teaching Setar and theory of traditional Persian music at the Open University Tehran and his self-established Hamsaz musical center.

So far he has recorded four albums (solos snd duo for setar and tabla). Shaari has also assisted Christophe Rezai in the composition of the Persian part of the "Peace Anthem for the 3rd Millenium" in June 200

link 

 Christophe Rezai

Born in Toulouse, France in 1966, Christophe Rezai studied music (theory, piano and vocals) alongside his college education in hydraulic engineering and marketing. As a composer, he has written the scores of a number of French and Iranian films and documentaries.

A tenor, he co-founded Aria Musica, a group that staged numerous concerts in Iran and India. He further established the Nour Ensemble, whose repertoire focuses on medieval, baroque, Kurdish and Persian vocal music. The Nour Ensemble has been featured in a documentary produced by Arte in 2002 and has performed in numerous concerts in France, Iran, Belgium, the Netherlands, South Korea and Austria. In the summer of 2004, Nour appeared in a second musical documentary, this time filmed at the Babakan Castle in Firouzabad. The arrangements of Journey (2001, Hermes Records) is also among Christophe's musical activities.

In 2003, Rezai won the first prize of the Avignon Film Festival for the best Film Music. Since then, he has concentrated on writing music for films and on developing the Nour Ensemble.

link

 rickdog says:

I absolutely love this recording.  This is contemporary Persian music, simple in orchestration but cinematic in sound.  The main instruments are the setar ... the tabla ...  These ... instruments are accompanied in parts by modern string orchestra, electric guitar and sound effects.  The result is sonically sensual and multi-textured.  For those not familiar with the fantastic contemporary music coming out of Iran then please check out the Hermes record label for consistently high quality releases.

 ♥

  

Following the Tracks...

 

Mehrdad Torabi

Siyavosh Akbari
Chaharpareh

2009

Tracks:

01. Chahargah - 17:28
02. Abu Ata - 13:32
03. Araq, Qarai - 15:08
04. Bayat-e-Esfahan - 17:42    

Setar: Mehrdad Torabi

Tonbak: Siyavosh Akbari

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 Mehrdad Torabi is a famous teacher of Tar and Setar who has written instructional books on Setar. He himself was one of the top students of Jalal Zolfonoun

 Siyavosh Akbari & Mehrdad Torabi

 Setar (Persian: سه‌تار‎, from seh, meaning "three" and tār, meaning "string") is a Persian musical instrument used across Greater Iran and Central asia. It is a member of the lute family, which is played with index finger of the right hand. Two and a half centuries ago, a fourth string was added to the setar. it has 25 - 27 moveable frets which are usually made of animal intestines or silk. It originated in Persia before the spread of Islam.

 

wiki

 ♥

Tar: The Traditional Style

Târ:

Musâ Ma'rufi

Yahyâ Zarpanje 

 2008

 

Tracks:

Musâ Ma'rufi

01. Avaz e Bayat e Kord
02. Dastgah e Homayoun
03. Dastgah e Mahoor

Yahyâ Zarpanje

04. Dastgah e Shur
05. Avaz e Afshari
06. Avaz e Afshari Zarbi
07. Avaz e Bayat e Tork
08. Avaz e Esfahan Pishdaramad & Reng
09. Avaz e Esfahan
10. Dastgah e Mahoor Sorud e Vatan
11. Dastgah e Mahoor, Pt. I
12. Dastgah e Mahoor, Pt. 2
13. Dastgah e Mahoor Tasnif e Be Gardesh

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

Musa Khan Maroufi was one of the masters of Tar in the late 19th century. 

This recording features master Musa Khan along with another master musician Yahya Zarpanjeh on Tar. The recoding features several sections (Goushehs) of various Radifs and some old songs by master NeyDavoud and Amir Jahed. 

  

 
Musâ Ma'rufi

Musa Marufi was born in 1897 to a wealthy family. He began his music studies using a piano at his house, and then studied tar with Aqa Hoseyn-Qoli. After the death of his master he joined in Darvish Khan classes when he was 30.

He had several courses on radif with Darvish Khan and graduated by receiving the Golden Halberd, a medal donated by Darvish Khan to his top students.

As early as High School of Music was founded by Ali-Naqi Vaziri (1923) he joined as a tar player to its orchestra, already joined by H. Gol-e Golab, M.-H. Adib, H. Saba, E. Mehrtash, and M.-S. Arbabi. He then became the tar master of Military School of Music which was active until 1934.
In 1965 Musa Marufi transcribed complete set of dastgahs of Persian classical music. It was published as Radif of Seven Dastgahs of Persian Music, with an introduction by Mehdi Barkeshli. This was a major contribution and largely helped to preserve the musical legacy of Persian classical music.

  

 
Yahyâ Zarpanjeh

Yahya Zarpanje was born in 1897 in Tehran. His father was a singer and dayere player. The profession of his family was music, and Yahya first studies with his brother Musa Khan, and for completing his studies went by Darvish Khan and became a professional tar player. Yahya was amongst the best players emerging from Tehran Jewish community. Due to his talents and interests he practiced hard and gain virtuosity. His plucking was rapid and strong, and his finger-work on the bass string was exemplary. To get skilled he even practiced with rough strings and on poor instruments. He was an expert in radif, and amongst dastgahs he regarded Shur as the most complete.

Yahya founded his own classes and trained several pupils, and recorded some of his performances. Among them a tasnif record composed by Morteza neydavud to lyrics by Ahmad Bakhtyari, presently held in the archives of Tehran Radio Corporation. Another famous recording is his Mahur. He died in 1932.

  

♥

Day & Night

Hossein Omoumi

Kia Tabasian

Zia Tabasian
Abolhassan Sabâ

Great Mediterranean Composers

2006

Tracks:

First part (dastgah-e Segah and Nava)

01. Daramad-e Segah
02. Samani
03. Zabol
04. Bahar-mast
05. Kereshmeh and Mouyeh
06. Mokhalef
07. Masnavi-ye Segah modulated to Nava
08. Shesh zarbi-e Nahoft
09. Chahar mezrab-e Nava

Second part (Avaz-e Bayat-e Tork and Afshari)

10. Do zarbi-ye Bayat-e tork
11. Chahar Mezrab-e Bayat-e tork
12. Feyli
13. Shekasteh
14. modulated to Afshari
15. Raghs-e chupi
16. Ghara-ii
17. Daramad-e Dashti
18. Zard-e malijeh
19. Gilaki20.Karevan
21. Deylaman
22. Pacheh leyli
23. Reng-e Dashti

Ney and Vocals: Hossein Omoumi
Setar: Kiya Tabassian
Tonbak: Ziya Tabassian

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

   

Abol Hasan Sabā

 

If there are a few artists who have heavily influenced the twentieth century Persian classical music by their work and style, Abolhasan Saba is for sure one of them.

More than fifty years after his death this multi-instrumentalist, composer, researcher and master of Radif (the Persian Classical Repertoire) continues to pour vitality and freshness through his important contributions.

Saba was born in Tehran at the turn of the Century, in November 17th, 1902 into a family that had for long embraced music and literature by tradition. His familiarity with music began when learning the basics of Setar from his father Kamal ol Saltaneh and Tombak from his aunt's maid. He finished school at the American College of Tehran (later called Alborz) and let his ever growing desire of studying music to be fulfilled by attending, nothing less than the courses of the greatest masters of the Persian Classical Music of the moment: Mirza Abdollah Farahani for Setar, Darvish Khan for Tar, Hossein Esmail Zadeh for Kamancheh, Hossein Hang Afarin for Violin, Ali Akbar Shahi for Santoor and Haji Khan for Tombak.

In 1923, as Colonel Ali Naghi Vaziri founded his Superior School of Music, Saba was one of the first students attending Violin courses and even becoming part of the Vaziri Orchestra as the first Violin. But according to Sasan Sepanta (Persian Music specialist and historian) in his Perspective of Music in Iran, Vaziri had to convince young Abolhasan’s father to let him enter his School, amidst an atmosphere of fierce opposition to the foundation of the institution (Many cultivated spheres would consider Vaziri’s views as being too much of a Western style and opposed the creation of the school).

Saba was soon to become one of Vaziri’s favorite students and assistants, learning fast the secrets of Violin and the theory of European Classical Music. Quite naturally in 1929, the Colonel appointed him as the head of the School of Fine Arts (Conservatory) in the Caspian city of Rasht. Indeed, no need to insist on the fact that this was a dreamed position for Saba, as he would have been able to resume research and collection of folkloric music and melodies of the regions of Gilan and Mazandaran. Later he composed numerous classical melodies based on those researches including famous “Zard e Malijeh”, “Koohestani”, “Deylaman” and “Tabari”, most of them in Avaz e Dashti or Avaz e Bayat e Tork modes.

read it all here

♥

Tonbak & Tar

 

The Art Of Improvisiation -
Pouyan Biglar - Tar
Sina Khoshk Bijari - Tonbak
Tehran. 2013
پویان بیگلر : تار
سینا خشک بیجاری : تنبک

***

shut up and listen... :-)

* 

 

Tar sweet Tar (Duo for Tar & Tonbak)

  

Pouyan Biglar & Saeid Jalalian
Ashk Afshan 

2011

Tracks:

01. Pishdaramad - 7:44
02. Daramad - 2:26
03. Chaharmezrab - 5:15
04. Jamedaran, Bayat Raje - 3:57
05. Zarbi Bayat Raje - 4:40
06. Araq - 3:12
07. Zarbi Araq - 5:39
08. Edameh-ye-Raje - 1:06
09. Zarbi Ouj o Forud - 6:00

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 

Bio

پویان بیگلر
متولد 1361 همدان
آموزش
دوره ابتدایی :نزد آقایان سیاوش دیهیمی و داریوش زرگری
دوره متوسط :نزد آقایان رضا وهدانی ، ارشد تهماسبی
ورود به هنرستان موسیقی و اخذ مدرک کارشناسی نوازندگی ساز ایرانی
دوره عالی : در محضر استادان داریوش طلائی ، محمد رضا لطفی
ورود به دانشگاه هنر و اخذ مدرک کارشناسی ارشد و استفاده از محضر استاد شریف لطفی ، محسن حجاریان ،
کنسرتها
اجرای کنسرتهای پژوهشی همراه با داریوش طلایی ( تالار رودکی) ، اجرا ی کنسرت دشتی همراه با گروه همنوازان شیدا و سرپرستی استاد محمد رضا لطفی (تالار بزرگ کشور) ، اجرا کنسرت سپیده همراه با گروه همنوازان شیدا و سرپرستی محمد رضا لطفی (تالار بزرگ کشور) ، همکاری در پروژه سیمرغ همراه با محمد رضا درویشی ، حمید متبسم و همایون شجریان ( باشگاه انقلاب) ، و اجرا کنسرتهای مختلف در داخل و خارج از کشور .کنسرت خانه غریب در تالار وحدت به همراهی وحید تاج و گروه همنوازان نی داوود.
آلبوم ها
همکاری در آلبوم وطنم ایران همراه گروه شیدا به سرپرستی محمدرضا لطفی به خوانندگی محمد معتمدی به شکل صوتی و تصویری
همکاری در آلبوم تصویری سپیده به همراهی گروه شیدا به سرپرستی محمدرضا لطفی و به خوانندگی محمد معتمدی
همکاری در آلبوم یادواره عارف قزوینی گروه شیدا به سرپرستی محمد رضا لطفی به خوانندگی محمد معتمدی
همکاری در آلبوم سیمرغ همراه با حمید متبسم و همایون شجریان
ساخت و سرپرستی آلبوم خانه غریب به خوانندگی وحید تاج (اثربرگزیده جشن خانه ی موسیقی در سال ۱۳۹۰)
ساخت و سرپرستی آلبوم سوگ بهار به خوانندگی علیرضا شاه محمدی
بداهه نوازی در آواز بیات اصفهان اشک افشان به همراهی تنبک سعید جلالیان
سفر خاموش بداهه نوازی همراه با تنبک پژمان حدادی
سرپرستی آلبوم می فروشان به خوانندگی علیرضا شاه محمدی ، اجرای تصانیف قدیمی
سرپرستی و تکنوازی در آلبوم یادواره شیدا و عارف 1 اصفهان و ابوعطا
سرپرستی و تکنوازی در آلبوم یادواره شیدا و عارف 2 ، ماهور
ساخت موسیقی چند فیلم کوتاه و مستند
ساخت قطعه انسانم آرزوست به خوانندگی وحید تاج به سفارش کمیته ملی المپیک به مناسبت افتتاح المپیک 2008 پکن
فعالیت های آموزشی
تدریس در مراکز دانشگاهی در ایران مانند داشنگاه علمی کاربردی و ...
مدیر موسسه موسسه فرهنگی – هنری بسته نگار 

Pooyan

Tar

Sweet Tar : )

♥

Canon of Qanun (3)

  

Masters of Qânun

Qânun Playing in

Contemporary Period

2014

Tracks:

01. Dastgah-E Shur - Jalal Qanuni & Manuchehr Shirazi - 1:35
02. Avaz-E Dashti - Jalal Qanuni - 11:55
03. Interview with Jalal Qanuni - Jalal Qanuni - 9:53
04. Dastgah-E Segah - Jalal Qanuni - 3:22
05. Dastgah-E Homayoun - Jalal Qanuni - 6:24
06. Avaz-E Bayat-E Esfahan - Mehdi Meftah - 12:01
07. Dastgah-E Segah, Pt. 2 - Akbar Sodeyf - 3:32
08. Avaz-E Nayat-E Esfahan - Simin Aqarazi - 5:09
09. Avaz-E Shushtari - Simin Aqarazi - 3:08
10. Pishdaramad Bayat-E Esfahan - Simin Aqarazi - 2:38
11. Avaz-E Bayat-E Esfahan, Pt. 2 - Simin Aqarazi - 1:50
12. Dastgah-E Mahoor - Maliheh Saeedi - 4:51
13. Avaz Bayat-E Esfahan - Maliheh Saeedi - 3:52
14. Avaz Bayat-E Esfahan, Pt. 2 - Maliheh Saeedi - 1:39

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  

Compilation & Accompanying notes by
Malihe Saeidi

Qânun Introduction

Qânun is a right-trapezoid-shaped, plucked musical instrument. Materials used in the construction of qânun are wood, bone, gut, metal etc. Qânun belongs to the chordophone class of instruments, and since the strings are all played open—i.e. there are no frets and fingerings—a player has the possibility of plucking multiple strings at the same time.

In his book, Modâvemat Dar Osul-e Musiqi-ye Iran (Consistency in Iran’s music principals) (p. 103), Mehdi Forugh writes [Abd-ol-Qâder] Ebn-e Gheibi believes that it was Plato who invented qânun, while others consider it to be Fârâbi’s invention. The writer of Kanz-al-tohaf is the only person who extensively talks about qânun, mentioning that the depth of its box should be a little more than ten centimeters and it should be made out of grapevine wood […] the number of strings are 74, while Ebn-e Gheibi says it is 72 Although there are several theories and hypotheses about qânun’s origin and history, one thing is for sure: it goes way back. The oldest document about qânun and similar instruments are Assyrian carvings. Apparently, due to restrictions that were put on music, playing qânun was abandoned only after Timurid era, because towards the end of Timurid dynasty and in the early Safavid, there had been many well-known and celebrated players. In his book Badâye’ al-Vaqâye’, Zein-al-Din Mahmoud Vâsefi, 15th century scientist and musician, has referred to a number of renowned qânun players.

In works of Safavid era, there are two images showing a qânun player performing in paintings of Chehel-Sotun palace in Esfahan It was only c. 1892 that qânun returned to Iran by Rahim Qânuni who then had studied the instrument under great Arab masters of Basra, Baghdad, Syria and Egypt.

source & more to read :)

Malihe Sa'idi

Qanun Players

Rahim Qânuni (1905-1944), Shiraz, according to Hâshem Qânuni, son of Rahim (1875-1935), Shiraz. He learned music from his father. In the age of 16 or 17, he traveled to Basra, Baghdâd, Syria and Egypt to learn qânun and in a specific period he was the only player of the instrument in Iran. He had some pupils and traveled from Shiraz to Tehran a few times. Qânuni and Atâ'ollâh Zâhed performed a number of live programs in Radio Tehran.

Jalâl Qânuni (1900-1983), Shiraz, according to Nejât Qânuni, born 1906, Shiraz. He started learning the instrument from his father at the age of fifteen. He was considered to be the best player of the instrument after his father. He performed in Radio Tehran several times and a number of his recordings are still available.
Performances of Jalâl Qânuni on this compilation are made available to us by his son Nejât, to whom we express our gratitude.

Mehdi Meftâh (1911-1996), Tehran. Also a skillful violin player, he was the first writer/teacher of methodical playing of qânun in the National School of Music. His writings and recordings on teaching of violin and qânun are available. Meftâh's best-known students are Simin Âqârazi and Malihe Sa'idi.

Akbar Sodeyf (b. 1939), Tehran, started playing the flute at the age of fourteen. He spent two years at Mehdi Meftâh's open courses learning qânun and continued studying under Jalâl Qânuni. Sodeyf began his professional career with Radio Tehran's orchestras led by Abbâs Shâpuri, Homâyoun Khorram, Anushiravân Rohâni, among others. He moved to the United States to study and now lives in Texas.

Simin Âqârazi Dormani (1938-2009), Tehran, received her diploma from National School of Music, where her first instrument was violin and qânun her second. She was employed at the Ministry of Art and Culture. Simin had worked with various art groups. One solo performance of her has remained, which was recorded in the 1980's.

Malihe Sa'idi (b. 1948), Tehran. In addition to playing qânun, she is a researcher, teacher, composer and writer. She used to be the head teacher of girl's conservatory. She started learning tombak at the age of four. She was graduated from the National School of Music in both classical and Persian styles of violin-playing when Hosein Dehlavi was the head of the school. In 1976 she was graduated from the Faculty of Fine Arts of Tehran University in field of music. In 2002 she was titled with the highest artistic rank from the Ministry of Culture and Islamic Guidance.

Malihe Sa'idi learned violin, alto, piano, qeychak and qânun while studying at the Art School and University but chose qânun as her first instrument. In conservatory, she studied the instrument under Mehdi Meftâh as her second instrument and then began teaching it in the National School of Music. In the Center for Proliferation and Preservation of Music, she had the opportunity to study the different aspects of Persian music under great masters such as Dâryoush Safvat, Nur-Ali Borumand, Mahmoud Karimi, Yusef Forutan and Sa'id Hormozi. She then incorporated what she learned from these accomplished masters into her style.

  

 Malihe Sa'idi is the first musician who plays qânun in an entirely Persian style and her strenuous efforts to improve the quality of playing has attracted so much attention to the instrument that it is now widely chosen as a first instrument at music schools and students can gain a diploma certificate for playing the instrument. In music universities, students can attend specialty courses of qânun and a master's degree of the instrument can be granted. After twenty two years of research, Sa'idi wrote the first book on teaching qânun. The first volume of this method was published in 1990. She is now teaching qânun at Bachelor's degree at the Music Conservatory (Faculty of Applied Science and Technology) and also is the leader of Neyriz music group.

***

Qanun

The qanun is a descendent of the old Egyptian harp. It has played an integral part in Arabic music since the 10th century. The word qanun means 'law' in Arabic, and the word exists in English in the form of "canon." The qanun was introduced to Europe by the 12th Century, becoming known during the 14th to the 16th Century as a psaltery or zither. the qanun also resembles a dulcimer.

The form of the qanun consists of a trapezoid-shaped flat board over which 81 strings are stretched in groups of three with 24 treble chords consisting of three chords to each note. The instrument is placed flat on the knees or table of the musician; the strings are plucked with the finger or with two plectra, one plectrum attached to the forefinger of each hand. A long bridge on the right-hand side of the instrument rests on goat (or fish) skin covered windows in the top of the instrument; on the left hand side, each course of strings passes over a series of small brass levers that are used to make microtonal changes in pitch.

Since the qanun only includes 8 notes (groups of 3 strings) per octave, the player initially sets the levers to create the scale of the starting maqam. when the player needs to modulate to another maqam, they need to switch some levers back and forth with the left hand while playing with the right hand. Quick modulation can also be achieved by using the fingernail of the left thumb to temporarily raise the tuning of some strings.

In Arabic music, the instrument lays down the law of pitch for other instruments and singers.

Masters of the qanun: Muhammad El 'Aqqad (Egypt), Abraham Salman (Iraq).

source 
   

 ♥