Arpezh Khayat Teymoorian | آرپژ خیاط تیموریان

The big cultural center & music school

arpezh — Mon, 08 Mar 2010 00:32:42 +0000

Schunck www.schunck.nl
the big cultural center & music school
situated in Heerlen(The Netherlands),
organizes under the guidance of master Hamid Motebassem

workshops, seminars, and concerts regarding iranian classical music.
The next concert will be held on Saturday the 13th of March 2010 in the film-room of Schunck
for more information see the poster

Private sponsors and iran music

arpezh — Tue, 02 Feb 2010 14:07:45 +0000

27 azar 1385, Monday.

In one of the internet media recently, this topic was so clear. Private sponsors for supporting music groups cooperate with fajr music festival for the first time.

What is your idea? Is it positive or negative?

With a short glance to governmental organization process, we will get that most of them delivered to private sectors, and according to some people refered to contractor, and just music festival left. It is in a country that its music is parlly closed and short part of music under the pretext of fajr music festival and musical group supported a little.

So , as a mather of fact, there is no need to private sponsors just because of two months musical activity with no huge expences.

By optimistic judgement, we come to these results that government pays nothing for music and declares indirectly this subject even for music festival.

Iran, a country that its concerts during a year, its foreign concerts travel, and invilation of different musical groups is not so eye – catching, is so poor that for its musical festival even one time a year needs to private sponsor? Is it the duty of washing – machin factory, car break oil factory and shoe producers

That support fajr music festival?

Experience proved that most of the private sponsors think to their personal profits more that financial and spiritual help to their counterpart; infact, these hearts bleed for to their factories more than their country art and culture.

And it is the crisis that threats this year musical festival and by this way musical society prepares for another shock ( with private sponsors)

Nine – drum class – life class

arpezh — Tue, 02 Feb 2010 14:05:40 +0000

5- farvardin , 1386 , Sunday.

We are going to bahmen rajabi drumelass – Tehran, near enghelab square – an alley that has a special sence for its school students at least, we are entering the class – a great teacher teaches and after greeting invites us to sit down respectfully. Theclass wall is full of pictures – the picture of those who you can call them human – people who have special influence on their time by special way – from Ernesto cheguara to vartan- dr.amirhossein arianpour- amir naser estetah – forough farrokhzad- ahmad shamloo- golsorkhi – sedaq hedaiat and etc.

There pictures and on rajabi class wall for years; rajabi, initially studied their effects, personality, believes and behaviours and then put their pictures there.

In fact putting pictures of different people needs either belief, thought and stability or deep understanding for years in order to under no position and no time changes the pictures.

Making rajabi a great man and special person is not my purpose by this writing because he is not surely satisfied by this and as other persons he has a special weakness feeling. This writing includes subjects that every body can get by going to rajabi class several times. So the purpose of this can get by going to rajabi class several times. So the purpose of this writing is telling fact for those who have a special love for knowing facts, and sometimes reviewing facts is so intereting. His tried to express subjects informally, it is not harmful sometimes to read or write informal subjects since feeling and honesty are more in informal subject that formal unique text.

Bahman rajabi fought lonely for years and his weapon is just his thought and his friend is just himself. Many accompanied with him during these years but returned in middle of way, because they are forced to have opposite ideas and also find belief, thought and purification, because of this he tried to fight alone and pass the time. Rajabi life in an example life and we can know about his mood by studying his daily life, he always keeps himself stable without saying anything but it is so clear by studying his life since under every situation he goes to mountain once a week even with wounded knee or after operation, and so mountain is an example of stability.

He is so kind; for instance, always tell his students after class and when got home call him to inform him about their healthy reaching, and if they didn’t pay attention to this and didn’t call, he called himself, isn’t it just the message of kindness?

Surely, we can say that 90% of music teachers don’t even think about this. He is strongly polite and respectful: for women day called allof his female students and their mother even for congratulation and giving them gift.

In his melal orchestra performance, when came to scene as a solist and after playing, orchestra leader pointed out “ don’t stand up because of raising encouraging voice” we used to call those who speak politely dress uniquely and behave differently more special and pay attention to appearance and never think about people.

Behavior and this is one of the most important reason of our misleading.

Rajabi cloth shows his respect to iran and fight – seeking by thoughtand expression weapon and his purpose is to improve iran – recent conditions.

Rajabi selects loneliness and all misuse this and tell his family left him, but he knows that it is generally wrong. Rajabi loves his wife and children madly. He knows himself and his mood well and because of this selects loneliness.

So he knows that his mood is not equal with his family rhythm and because of preventing any hurt to his family lives with them from faraway and this shows that rajabi is not a selfish person and because of love and affection passes his hours with his friends and students lonely. At least no teachers admire his wife infront of his students heartfully and look her as a spirifual person. At least no teachers perform a concert with youngers and his students but rajabi did this several times honorably. He loves his colleagues and tries voraciously to save his cultural and artistic personality. He wishes his colleagues as an artist were in a higher position than normal people and cause other artistic and thinking level improvement and this subject was never understood by his colleagues.

It is so interesting that every where they say about his angriness and ignore his behavioural benefits. Iran today world goes to illusion and impurification quickly in all aspects every day and for rigilant persons have nothing except depression, hurt and bab feeling. Playing drum is the best pretext for going to rajabi school and learning life.

Conversation with Saeed Farajpouri about “ Chavoosh” organization.

arpezh — Tue, 02 Feb 2010 14:03:26 +0000

Conversation with Saeed Farajpouri about “ Chavoosh” organization.

We are at the service of saeed farajpouri , a powerful kamanche player, because of his concerts with “ Shajarian” and hopefully aii who are interested in iran music whether in iran or in Europe and America reach to their answers about the music questions: before every thing, I want to tell us about your music starting point and camache playing?

I say hello and my respect to all friends all over the world and hope to be good. I have started my music since child hood and my stating point was sanandaj and with mr. kamkar for teaching music , after several years, we formed a children concert that has done group activities and by growing we have performed concerts in different chties in adult concerts, after that emigrated to Tehran, and join sheida group in “ chavoosh “ organization with mr. mohammad reza lotfi responsibility. I have had musical activities with “ aref” group too, and I also cooperate with mr. paivar group ava group with mr. shajarian and dastan group by 2000 and beside this, I allocate a part of my job to teaching in chavoosh, hefz center, art university, music school and…..

Saeed farajipour named easily some names that are a special part of Loveland in today music world, specially “ chavoosh” that is an important part of iran music I with , tell us more about chavoosh.

Nearly, around 28 years ago I entered chavoosh, and really at that moment according to iran revolution and limited musical activities, all musical responsibilities were on chavoosh group. Chavoosh players have activities in two groups:

1- sheida group with mr – mohammadreza lotfi, 2 – aref group with parviz meshkatian and hossein alizade, and sometimes we gathered to gether and did some common plan. There were good friends in these groups such as kamkarha brothers, aliakbar shekarchi, hadi montezeri, hamid motabasem, zied …. Toloee, forokh mazhari, majid derakhani, arshad tahmasbi, jornal samavati, abdolnaghi afsharnia jamshid andolibi , naser farhangfar, arjand kamkar and….. , and we used hooshang ebtehaj guidance very much too and he was one of chavoosh basis.

Chavoosh was located in hoghughi avenue at that moment and it was not only our teaching place but also our practice place, do you think those day will return?

This complex structure was the result of that time situation, we were younger and there was love to work, friendship and honesty more among members and works that are recorded those days are more permanent fortunately. Then , a lot of them emigrated to Europe as mr. majid derakhshani and worked there. Majid derakhshani returned to iran formed a group with mr shajarian , please tell us about this cooperation.

Nearly one year ago, we started our job with mr. shajarian invifation , we didn’t have special plan but started our job and performance in Europe don’t you have any plan in America?

It is just starting and we don’t know will happen.

Who made these parts?

Me, mr. derakhshani and mr shajarian

Saeed farajipour was a continual musician, and was always present in music, hom many hours do you practice?

( with smiling respectfully) you are treating me well, but according to the music knowledge, music job reguires much time and work and there are a lot of experiences in this practices and performances.

Finally, if you want to tell something special, you can tell us.

I didn’t have special message and I wish to thank all those who support music and give help to our music.

A conversation with Peiman Soltani about iran song.

arpezh — Tue, 02 Feb 2010 14:01:26 +0000

A conversation with Peiman Soltani about iran song.

With hello and greeting, our today conversation is about iran song music. I wish to know your idea as player. Music maker an orchestra leader?

Song music separates from musicorginal concepts since it is a non – conveptual art and attempts always to separates from external references, the most influencial reference is poem. In fact poem causes music to have tangible nd clear evidences and prevent audience impressions. Of course it is a long discussion and need another opportunity.

Please explain more?

Song music is a kind of poem reading by my idea, I mean singer has a special contact with music and it is based on poem, exactly a classic one.

There will be new parts in this contact that will be explained. Poem is the most important part of iran music and with out that we will have problem. So the singer should pay attention to his behaviour to poem and could have a good performance of poem based on classic and new literature command, poem and music combiration knowledge. There aren’t good singers who are in harmony with poem, there are a little who say fluently as khansari, homaioonpour. Ghavami and ….

So , according to this, who is a successful singer?

I think a good singer should have a good command of poem and literature in addition to his good voice, and surely with a good knowledge and conscious can enter new literature world. The second important feature is his command on rhythm and then creativity. And the most salient one is voice distinguishing. If I want to speak about today alive singer, I can name three more than others: mr. sadif, mohammadreza shajarian and shahram nazeri. They are the pioneers of iran song music. They have personal distinqushing personality. They are now good example mr. shajarian has a good knowledge of old songs, knows rhythm well, has special voice, makes good voice and has a good literature command. Mr. sharam nazeri is just the only important singer who has personal identity and has identity in music, and makes his song root special independently. Although he is dependent on previous values, customs and knowledge, he has a special voice.

Mr. sadif has also an adventurous spirit in his ongoing words and is a complex of old music, he makes alive amir ghasemi, taherzade, eghbal , and even zali. Although he is interested in old song, he has his own special song; however, unfortunately there is a limited number of work. These three singers have their own identity in addition to this goneration, there are two ofter generation in iran music song. The first group has no social popularity because of no activity and suitable publicity as menbari and mehrparvaran, unless they refer to low- class music and performance as eflekhari. But I think historical position and social condition are important in this case after revolution. This second generation faces a lot of critical conditions. Instead of social and musical crises in 70 decade and first generation crises after 1357 unwillingly, there are conditions that first generation can with music genre deletion and other music kinds prevention take power and put their work at high- level with quality. They are also creative in all musical effect and unfortunately prevents second generation activity. The main discussion is the third generation or today generation activity and pass the most critical period. Unfortunafely most of third generation singers repeat one of three first generation singers works continually and this imitation misleads audiences and makes singers dependent because it is as training period. It makes iran music vague little by little.

I have no doubt that people are different because of training, culture, geography and other enormous differences, but they forget factors such as voice quality, sound system structure and form should be controlled while imitation. This kind of depression is so common in third generation.

Larynix is able to imilute objectively, most sigers today are mr. shajarian imitators, even if it is not so bad naturally, what is your idea?

Imitation is one way to convey and access to information in training, but it should be continued to reach experience, technique and way. All imitations lead to personal creativity deletion because it is on surface.

Please explain more?

Most singers suffer lack of classic literature command and generally unable to sing performance freely. As I heard new songs, none of them aren’t so fluent and rich.

Poems are not good, there are no rhythm and silence, they are just musical considerable.

There are two or three young good singers as alishapour and hamaioon shajarian, but unfortunately mr. alishopour doesn’t have satisfied activity, even if he is so talented. Homaioon shajarian is also dependent to his father just and never uses his taste in his work selection. Alishapour has classic literature commond more and mild performance, knows rhythm well, has independent voice and is himself generally and completely. Unfortunately most of iran previous generation musicians who are in song music today pay more atlention to mass media publicity. In fact they made an obstacle for young singers. Howadays among new young singers I just prefer h.shajarian and alishapour as a good singers.

Why these two singers are just powerful?

Surely, there are other youngmen, but I just judge among those who I heard their voice, also I tell you the factors of a powerful singer, alishapour has singing knowledge and homaioon shajarian has fundamental technique. For instance, when you give a poem to alishapour , he treats as the poem.

Can we say that after singing a poem the singer can have these factors you told. Please extend this subject psychologically?

We have two factors in psychology and they are very important for singing: masculine and faminie.

What is their role?

Masculine refers to men and faminie refers to women. We can use faminie factor in solving all of our problem because it is the factor of patience and can make a difficult situation easier and with a lot of practice patiently performs a play; it is also common in our daily life. But those parts that need thought and concentration can be done by masculine. I mean that for finding a way to perform a difficult play need thought and concentration.

In iran music , faminie refers to the writhing and masculine refers to performance, these two singers use both elements. An ortist who uses just one singing element is not brave and don’t have courage and one day will face problem, most of our today singers are not brave! Teday singing needs both bravery and courage I heard other voice and songs among young generation; but unforlunately they cant find their place in mass media. Now a days, new generation has song space and hopefully to have more successful singers.

A conversation with Hamid Motebassem about mezrab grat group.

arpezh — Tue, 02 Feb 2010 13:59:41 +0000

A conversation with Hamid Motebassem about mezrab grat group.

Dear professor Motebassem had a lot of interviews with dastan group in recent weeks about your last performance, I mean dastan concert with homaioon shajarian , and are in people hand by mass media, but we are informed that inaddition to your cooperation with dastan group you are the responsible of another group abroad namely mezrab, and just playsplectrum instrument by young people. Unforfunately it is paid less affention by media and also it is a hard wark abroad. We refer to mezrab group in this interview and I tell you young musician concerns, please guide us.

1) how do you think about forming mezrab orchestra? (tell us a complete biography) I you want your environment be in harmony with you, you should have activity in it, a plant gives ou beauty and fresh sense and wants you give it water and protect it a music instrument especially those who is not specialist needs mofiration for going on work and can play for himself. I mean; atthough it is composed of so many young players, there are many old youths.

2) Mr. delhavi has formed iran mezrabi orchestra in 1371 – 1372 and hossein behrooznia, one of the dastan group member played there. It was closed becaused of lack of government support, it restrated if activity in 1383 with young players and had performance 3 night in vahdat and fajr festival in 1384 and again closed. I don’t know , you layed there at the first year; but I always had this question that did you form mezrabi group because of mr. dehlavi mezrabi rchestra or your personal idea?

Undoubtedly human starts their activity exactly at other reaching points it was completely by accident, and there is no limitation for other musical instrument.

3) how many players do you have in this orchestra? And which kind of musical instrument do you have? We have 26 playes with different kinds of musical instrument

4) how do you prepore its parts and regulate it ?

most of my parts have played up tonow but one part of our training is growing music making taste which results in parts of other colleagues. Bahman kamkar who studies music in netherland and is this group leader makes ome parts.

5) surely, there are a few number of iran music players in netherland and young players have different way; for example , there is a big difference between playing in group and n orchestra , is it easily understandable for this orchesra players? It is easy in words but little by little they learned or will learn.

6) Are all group players your students? Perhaps one or two of them were not my students formally

7) Are all fold initially, most of them have other jobs and learned in Europe.

8) You must orchestra leader too, specially a young one, do you think tat it is necessary? Is it effective in work development? I mean all players don’t know rules and cant obey it.

The problem is hearing eachother in a big group sowe need to a person who was obeyed by group and guide them for pace . additionally, the purpose of mezrab group is just training and it is not a professional job.

9) you have worked with dastan group, made music, thought music for years and one of the most important musicians and help for improvement, so with these experiences how can you sit near some young players and play patiently? What is your sense? And basically who do you do that ?

they are wise reasons but it is not match with your question about love reflection.

It is important to play patiently not with who and where; additionally, these friends play by all means, what can I do just playing by nonor?

10) how many countries have you had performance?

In some citos of dutchland and netherland

12) how was western professional musicians reflection to this concert?

They encouraged our friends according to the mentioned work

13) have you used dastan group xperiences or are they different parts or experiences? Surely it was, I believe that group work experiences made this possible and experience withot knowledge does nothing.

14) have you published anyalbum? Will you publish any aibum from mezrab group as dastan group? It is so soon perhaps to speak about this.

15) suppose that a netherland youth is interested to barbat, prepareit and start to play it, after playing parts a while, he will start play rhythm. How can he find the difference among iran various musical part? We know that Iranian music is a part of our life and we can understand it easily but for a european youth it is not so understandable, interesting or exciting. There is huge difference between learning something and making a relationship with that. Violin is a good example. I is not refered to special country but all countries whether rich or poor has a part of that.

It would be better to say that we accosfomed, grew and lived with music. There are some people within us who don’t pay attention to music so much, they are those who divide music to two parts: happy and sad. They just music. Music is an abstract phenomenon so you cant ay what is our music influence on others; therefore, we cant say western cant enjoy our music because we don’t know what happens within them or what is their feeling. I have seen a lot of reflection these years by European people that are too unique. So I never judge quicly. Of course in a common interpretation we can say that music is like language but without that limitation , political bordors and national sunject. Our today music is something wide to eurpean countries and has some similarities too.

17) you have said about dastan group future but not mezrab group, how is mezrab group future? We do our best with all attempts.

18) so now, please tell us mezrab group members?

19) you never told us about your musical education, can you tell s about you have academic education?

I studied music is art school and national usic school, and some informal bodies whose effect was more.

20) you have a good harmony , music playing and instrument familiarity , have you played western instrument? No

21) basically , playing different instrument is good whether Iranian or western one, what is your idea?

I believe just one instrument for all ages; however, I play two, but not equally.

22) is it suitable and necessary for a young oerson whose job is music to have a academic education?

Yes, just lessons or techniques even in school or private classes, in addition to a good environment.

23) sorry, but young people here need an example or guidance for development. Can you tell us, you as a person who involved in various parts, how you can do all jobs together? How many hours a day do you play? What is a good technique for playing? Basically , what should we do? Young people here face these problems and don’t know what we should do? All play music but it is different from iran basic music, and finally quit the job, find ourself without any talent, take a bad mood and there is no way for this.

You should do a lot of works with no expectancy in art. It is as a child growing you should just do and never think about this. You should work with plan and directly focus on subject. As I know, all young people just want to play quickly all parts. You need to think in addition to play just. Music should influence you not excited. Also, it is impossible that all players to be a good players. You need a lot of things for being a good musicians, and it is not just playing all those who play will be just a player and play just other performances and some of them start activity in training part.

24) how do you assess iran music? ( by all aspects)

music around the world has government support, there is no orchestra that is alive just with its own income , and all musical saloons have formal or informal sponsors. Music is just the only art. Phenomenon that you are ingaged in unwillingly . it is an independent art and complete other arts, it makes heart clear and against violence and seeks peace. Support your basic part of your life.

25) please tell us anything special?

Thank you for your time

A conversation with Hamid Motabasem a bout “ in the name of red rose album”

arpezh — Tue, 02 Feb 2010 13:57:50 +0000

A conversation with Hamid Motabasem a bout “ in the name of red rose album”

My guestion is about the change of your musical taste before every thing, during last decade, your musical taste changed unless the effects that you are the player. This changes are so clear in your melodic way of your effects, instrument regulation and poem selection. Fot example “ travel to other part” , “ gijak kouli” , “ the smell of norouz” , “ bribe moon “ , “ in the name of red rose” albums have their our world according to playing and even players. The purpose of my question is not just giving scores to your effects, the purpose is thinking about this change, is your musical sense under change?

All phenomena in the world aroundus are under changes, the nature is so and we are a part of nature, if we don’t change, we will fight with our nature. In making lelody, it would be better the melody maker doesn’t change his signature and taste so every part should have its unique feature, the love gives human life and I always in love with my work and every love is a beginning , …. Look at the gragen plants and sky, every moment they are in a new color, it is their nature to change, I should be so too, it is a wheel that orbits forward.

This effect is made in chahargah you used this structure because of its wide facilities or your reason was just your musical sense?

Apparently, you pay mor attention to my effect in chahargah structure, it is my first effect in this structure after “ bamded” and “ raghsenaz” , and other asked effects are in other strurtures.

There are 10 parts in this album, and among those. There is a part namely “ dibache” which is divided in 3 parts, please say your purpose of dividing and explain is there any emotional or musical relationship between these three parts of songs?

“dibache” complex is in fact a musical composition, so since internal part making is under influence of various parts and the beatiness of shafi kadkani poem, these changes were mentioned by the name , as various parts of a story. In shafi speech , there are different spaces together in one complex.

Do you make your music based on kadkani poem? Or at first making melody and then selecting his poem. It seems so simple but I want to pay this point that Iranian musical making comcerns is based on involvement of poem and melodies in his mind or musical instrument, regulation and melody, if the involvement is between poems and melody, what is the difference between a Iranian melody maker and a western one who pay less attention to poem, don’t you think that Iranian melody maker by selecting poem for transferring general sense and story to listeners makes himself relaxed?

My musical parts were made by the influence of poem without exceptions and I didn’t put poem on melody up to now and generally I am not match with this way. Every one makes a melody or sing a song with poem called melody maker in our music, but in western classic music there is another way, so it would be better to compare these two categories with more attention, but there are a lot of words and works about composition making art in iran music, persion classic poem facilities lets melody makers to make a song by an easy way based on poem, there are those who without enough knowledge and with a little taste make composition and it is sometimes good, since the producer is not aware of his influence on that work and it is Persian classic poem that makes it easy, you can hear that all new and old songs have same rhythm but here words and concepts are in less attention Persian poem changed and sing and melody making ehanged too, today we shouldn’t make easy works. It is against the nature of art. Art is a part of human nature so we should work hard for it.

If we look so. Then words not only make your work easy but also it needs its own expertise and difficulties.

Initially, did you make these parts for salar aqili sound?

While I was making the first parts of “ in the name of red rose”. I hadn’t known salar aqili and his abilities well , but by last five years I knew that he will sing this song.

Many listeners believe that salar aqili didn’t tell this idea well and in their idea he doesn’t read all parts in the same harmony, what is your idea?

In stead of my personal idea, and looking technically, he is undoubtedly one of the best singers of iran and oppeared very well in this work. All things salar song except the first two lines was in the same way and really song well. And I thank him. It is not just my idea, all believe this. Those ideas that you mentioned is respectful but don’t reduce my belief and honest to my ear and in tellogence.

What was the purpose of using sitar in this complex? Is it an integrative iran – India effects by adding a non – Iranian instrument? Don’t you think that the sudden entrance of this instrument hurts iran musical atmosphere and iran musical frame work too? Because “ in the name of red rose “ complex is based on iran instrument since sifar is an lidian original instrument. Also , tell us please is there any note for ditar or player plays it just based on its sense and mood.

The mood and spece of sifar explained to the player and all notes were writhen in advance, and since sifar doesn’t play original Indian music and is based an writer , we cant call it integrative one.

Basically, in art , searching purpose, am and need is not necessary and art discipline is different from ofter phenomena discipline; in art nature, there is a chaos and creating a new discipline by the use of dis order.

Creating new thing in iran music is not match with concerns about hurting its frame, those things that are revolutionized surely changed and hurt its previous frame, also just at that effect! Near me, as a little one, there are great ones that are supporters of old frame of this art. So we shouldn’t worry about this.

Was sifar recorded in India, or did you go to another country?

This young player lives in India, and for recording this part we went to germany.

Is mr.hart kishna familiar with iran music and dastan works?

He knew it recently.

Is there any force to perform this job with dastan group? You use 3 guest players in this CD: mr. hart kishna , sifar , mr. poya saraee, dulci. Mr. reza abaee; girak. It seems that if we make a comparison in this work, we will come to this point that you use girak as violin, use dulci for work color and as piano. Sifar is the soloist; so wouldn’t it be better to perform this job a western orchestra ? the force of using Iranian instrument by sifar entrance reduced, why didn’t you do that in order to make work fluently and decrease the heaviness of work and its philosophical aspects?

You mean that if we do that, wont it be a heavy and philosophical work ?

You mean that isn’t good to be logical or heavy? Or do you want to say that violin and piano are lawful to do that and dulci or gigak no? and if your meaning is that to be fluent is to be understood easily and refers to complexity of this effect it will prove “ in the name of red rose” and encourage me. Because a new music reguires new ear and it is not match with single believes and narrow- minding. According to making this effect with western playing instrument; I should say that all these things can be done and it refers to just the writer to deliver his performance. Dastan group is the best same playing in iran, and it is my honor to perform this work with dastan and force is not a good word. His possible to use other playing instrument in dastan group based on need.

I didn’t have this meaning that using samphonic orchestra is a way to reduce heaviness and philosophy, or it is not good to be in this way. I mean to have quick relationship with the audience. You know Iranian ears knew geat orchestra for years such as golha and….. even if new playing instruments formed by 50 decade and had good performance, people have a good relation ship with great orchestra yet. And it is interesting to know that all new playing instruments are great orchestra recently and follow our old great orchestra such as golha – national and …. And just melal archestra has a new way, and because if its huge expenses it is hard to work with great expenses since it needs factors that are unavailable here suchas agog place for practice, a good orchestra leader and …. Personally I believe that saying your meaning with a 8 – 9 persons orchestra is more difficult than a 50 persons orchestra, but audiences have another understanding, please explain about this, if you want to say something.

I belive that art should have its effect on time and the arlist shouldn’t put his work quality on this mother . the orchestra volume doesn’t show its quality and every special musical effect has its own special form. Although it is true that call “ in the name of redrose” heavy and logical , it is not the player purpose and it is because of work nature and inevitable thing. It would be better instead of calling it heavy and philosophical, call it a special performance, it is like this mother that you cook a traditional food with it special food and it is under question because of its different cooking way, in this matter you had a non – fraditional food with traditional materials. Now we should pay attention to this mather that the tester has a heathy taste? Or originally it is just a person for tasting others favours. Any way, I as a responsible and creator, respect those who assess “ in the name of red rose” by a kind heart and consideration rather than traditional measures and I am all ears. I wish to consider technically, how long does its recording take?

I cant remember truly, but I think 4 – days generally.

Did you record playing instrument one by one or in a group?

We generally try to record in a group but for this work we recorded one by one.

As you know, dastan members are not here in iran except mr. farajpouri , and you traveled here just for performance; by the way, when did you record this album? We were in iran recently for along time and had a lot of concerts, additionally, our common travel to different places let us be with each other , work together, practice more about our future.

What will be your plan for future?

I up date my two old works namely: “vanoush” and “ raghsenaz” and hopefully next fall with the help of “ noghte tariff” institute will perform it .

Now , we are preparing for “ homaioon shajarian” cancert with dastan group and performing “ khorshid arezoo” and “ ghizhak kooli” in Europe and northern America. We will perform at stage “ in the name of red rose” by 2010 and continue our job with “ homaioon shajarian” simorgh music project, a work on the “ zal” story from “ferdosi shahname” , from 1375 is on my hand and will finish as soon as possible and formally start its activity and practice.

A conversation with Gholamreza Mirhashemi

arpezh — Tue, 02 Feb 2010 13:54:59 +0000

A conversation with Gholamreza Mirhashemi; one iran setar makers.

Hello, and thank you for your time. Please tell us about you completely

I am Gholomreza Mirhashemi, B44, Tehran. There was music in our family as I was child, my father and older brother were engaged in music. I loved woodwork by child hood and made a lot of wooden thing even a playing instrument, but mr. jacarieri site made me interested and wated him to start making playing instrument. He was our relatives and so I learned both making and playing.

You told you have done playing, how was it ?

I played in order to find my musical instrument voice, those makers who find their instrument voices are more successful; however, I never played professionally.

Have you had other professors in this field?

In my early year; I was introduced to mehdi kamalian. I have worked with both of instrument maker but also a handwriter and photographer professionally. He had met a lot of old professors. His way of making was unique; but he never called himself a powerful makers and did just repairing. Nowadays; of course his techniques were imitated by a lot of makers. And all said that we were his student; even if it is not right.

Does his musical instrument differ from others ?

Yes , his instruments are so soft and all cant play with those, they are special instrument with special quality. He had two patterns and also he put a name on them.

What is the relationship between playing and making an instrument? According to your idea as a musical instrument player. I mean that knowing instrument structure influences his playing.

Yes, surely. All players should know about their instrument structure, how to keep it and how to play it well. Those who know the structures are more successful; for example, we can refer to kalhor and lotfi. Playing instruments like other machines have their own complexity and knowing its structure helps its playing.

What is the effect of time , patience and interest ?

A person who just makes his instrument for money without love can be a successful person; there are a lot of kpeople with these features and now there isn’t any name. although they were successful finabcially, the first thing is love. An instrument maker should research regularly, ask old ones, test different woods and new tools in order to make a permanent instrument and this just needs time, patience and interest. All salient makers are always testing, experiencing and examining.

Which one is better?

At first to take order and them make an instrument or first make it and take an order for selling .

A conversation about Mezrabi Orchestra

arpezh — Tue, 02 Feb 2010 13:50:58 +0000

A conversation with Farid Omran, kamal PortorAb, Nezhat Amiri and Hoshang Zarifi about mezrabi archestra performance.

Iran mezrabi orchestra composed of 70 young players, with hosein dehlavi responsibility and nazhat amiri leadership in 24 and 25 of shahrivar 1384 has a performance in vahdat.

After orchestra performance we went to some musical experts who observe this performance directly in order to ask their idea about this performance, and also have a conversation with orchestra leader to know about this work and the ongoing plans of this orchestra.

Our first conversation was with mr. Farid Omran who kindly took his class time to welcome us, mr. omran with hello and respect , please tell us your idea about iran mezrabi orchestra performance

If hafez thought in this way about 700 years ago, what do you think a bout my thought with living in this age?

I have thought forever that every new musical job with no new idea is just a repetition of last words. At one case repelition is a good idea and it is a just for teaching and it is very useful job for new generation to know about their previous generation job. Supposedly, mezrabi archstra with a series of effects nearly around 15 years ago has had aperformance on stage and after that there was no performance until a new one. It would be so useful for new generation who came to musical field at this moment. It is a way to convince mazart works repetition in the world, his works don’t belong to our era but its training dimension informs those who hear today music and want to know about music past and future. So repetition of previous jobs reasons are just its training dimension and nothing else, please you, as a reporter and one of mezrabi orchestra player, tell us what are the new dimensions of this performance?

There was not a new dimension. There was not this kind of multi – sound music in iran before this , and mr. dehlavi has done this for the first time in iran. These parts performed around 12 – 13 years ago with his leadership and that moment it was a new job.

I am so glad to hear your honest response. It was a new job because ms. Amiri leads this orchestra and she was one of my student and one of my active parts of class too and leads this orchestra with great knowledge. It was a new job and I don’t think it happened or will happen in iran.

We require women shine in art more and have a great role; and also their social status improves in the world because women are not first class citizens yet in many countries. I even say about Islamic countries that women there have no right to take part in election and even driving too. Women have a lot of limitation and poverty in the world and they are not as same as men, but a lot of these problems solved and they can have different activity.

A woman presence on vahdat stage was a great event for me. Ms. Amiri is an active woman, and because of this I am so happy. It was the biggest advantage of this program and a new innovation; also a cue for us to know something new will happen. I am so hopeful that half of my music class composed of girls. In mezrabi orchestra, all parts were old and made by mr. dehlavi. I heard the works, some parts are new and some parts are just repetition, and in future by time we will delete this disadvantage. We require new ideas and new musical players. It would be so sorrowful with a lot of facilities, budget , 70 players, a saloon with a lot of audiences during two nights and many eager people who want a new and alive job to repeat just some old performances. We shouldn’t misuse these people need and respect their choice. It is not true to wake new just our old performances and tell them it is a very modern performance.

Thank you for your time allocated to us.

A conversation with Hooshang Zarif.

With hello and respect, please tell us your idea about iran mezrabi orchestra performance?

Well, this orchestra has formed several years ago and performed some program; and now after several years and deletion formed again, its players are younger and its leadership is by a young lady and hopefully to continue.

What is your idea about orchestra parts and how is the quality?

Orchestra parts that are mostly made by mr.dehlavi have high- qulity and performed recently.

How can we provide more material for this orchestra?

New parts should be used from new players that needs great effort.

And finally?

This job needs country art responsible and it would be their honor that this archestra works with this situation; give it a good sabon for practice in order to be alive and give enough budget and facilities to improve too

A corversation with Mostafa Kamal Pour torab.

Thanks for your time, please tell us your idea about iran mezrabi orchetra performance? It was a good orchestra specially its female leader, and it had great performance during these two nights. As a malter of fact, it is very hard to gather this orchestra and need great trying, it would be sorrowful to delete one day.

Please tell us your idea about the performed parts by this orchstra?

It is a very nice job to pertom Iranian music by oranian musical instrument with multi – sound, and also created by mr dehlavi and a very good regulation.

What is your idea the orchestra rhythm generally?

The interesting part was the harmony among 70 instrument and their rhythm, and the problems just refer to instrument not player. Even if Iranian musical instruments are not designed for this work, it has a very good sound generally.

We went to ms. Amiri for more information about orchestra new practices and same subjects that are very nice to say and their new performance.

Ms. Amiri! When did iran mezrabi orchestra restart their practices exactly?

By 29 aban 1384, we started our practice and continued it regularly.

What is the reason of stop in practice after concert performance till aban 29?

The main reason was the lack of practice place. We lost our practice place suddenly after concert, we satisfied for just a place for practice and put our all energy to take a place for practice from responsibles, and at the first time I mean aban 29 started our practice again. Hopefully, continue our job.

There are same problems as before and nothing new happened. The only thing that we can do is just to do our duty with this little facilities.

Is there enough part for orchestra?

We called various professors for reguired parts such as keivan saket who gave me alinaghi vaziri effects and others, of course all of given effects should be regulated again for performing by mezrabi orchestra; and it takes a long time who makes you next performance parts? Will you play again your last parts? If our performance happens recently, we wont have enough time for new parts, but probably we well perform mr. vaziri parts in our secand till other professors work prepared. We may allocate our performance to old and new professors.

We will add some mezrabi instruments to orchestra in second series, and perhaps use some Iranian drums instrument.

Wont you update orchestra musical language?

Surely, iran mezrabi orchestra moves purposefully, we are so interested to perform iran new music and it is not so good for us to repeat last performances; however, we can do this job now really, because of lack of facilities, spiritual and financial facilities so we should delay it to future and requires government long- run support.

A conversation with Behroozinia

arpezh — Tue, 02 Feb 2010 13:47:31 +0000

Behroozinia: I sold my lutes to play barbot.

When we talked about barbat , unconsciously remember hossein behroozinia and his activity in this field, a player who play slute but it is nearly 2 decodes after centuries introduced again this musical mstrument to Iran music by the help of Mr. ghanbari mehr.

Our conversation deals with more the details of playing this instrument since we believe that playing barbat needs a technique rather than lute, and the player should play his own technique unfortunately it is so common that musical instrunment players use other techniques to call their instrument , and this way has no advantage just repetition and boredom.

My first question is in this way, where did you know this musical instrument originally?

I had a narimani lute with a problem that needs repairing everal years ago, I brought that to Mr. ghanbari mehr , while he was visiting that to find the prolem , I looked at the place and found a lute with special characteristic in a corner , I asked him about its special characteristics , and he answered it is not a lute , it is a barbat , an old musical instrument, I played it and enjoyed it very much , I asked him to borrowit but he told me it is made for museum. After a while , I gave him my performance CD, and after listening invited my to his place , gave me barbat and told me have a common way, I remade this musical instrument and you replayed it . I worked with that instrument for a while in order to used it, it was at the same time of one of my concert abrood , I decided to play barbat there , but he told me you are not used to this instrument. It would be bether to bring a lute with you there. I didn’t like that, I played barbat there and it was so joyful for mewithout any trouble.

I had some first – grade lutes , sold them to have nothing for playing.

One of the barbat problems is that it didn’t have regular rhythm as lute , did you try to write a regular rhythm forit ?

I have worked with mirza abdollah rhythm for years and made some notes for using both barbat players and lute players , I think 2 years later they are ready for publication.

I knew that you formed a training class in your short trip to Iran this summer, please tell us a little about this .

I am living in Canada, I received some calls and e- mails sometimes that these instrument player wish to participate in my training class. Most of them don’t know that I am not living in iran and promise thern to form a class in my trip to iran, in last two years , I didn’t have any opportunity to do this unfortunately , however , this time I decided to form a class for those who are interested . what is the level of your class ? it is for players who played several years.

One of problems that we face as around the world players is the physical problems during playing. There is a solution for this problem around the world and it has special remedy, even by the first days they taught him some techniques to prevent aches such as bachache , neckache , shoulder drop, wrist ache and ….. , some of them use yoga techniques for solving this problem , but in iran there isn’t any special plan.

In barbat playing, wrist is mostly involved and after several minutes it contracted and had a slow movement , so wrist cant move easily on wires and you cant hear left and right plectrum well , do you have any solution for this problem as a player andteacher ?

This problem refers to the way of taking plectrum , there are a lot of ways for taking lute plectrum around the world , and unconsciously influenced our ways. My students who participate in my training class are all good players but most of them have problem with plectrum taking . if a player learn a wrong way , if will b so difficull for him to change it and learn something new .

According to wrist ache , we hend wrist when weare playing lute and barbat .

Some don’t know how much it should bend , and bend it more , this hurts their wrist and all hand nerves and after some minutes makes him fired , in left hand it should be paid attention.

Why do we use our first , second and third fingers more I barbat?

The forth finger and also three other fingers used more in Arabic style and it is because their playing melody. Accidently one or two yong players have the same problem in iran , since think that arabs have high technique and the problem is just putting fingers in right places , and put their finger like arab and it is generally wrong because of our special melody. Mr . nariman way of playing and his melody uses forth finger less and it has no problem: I believe that the way of using fingers refer to melody.

So doesn’t using forth finger hurt this musical instrument playing?

No , players should have the ability of using all fingers around the world .

How notewriting for barbat is different from notewriting for tar ?

There isn’t any difference here , as it is not known to all players , we use the same far techniques and it is not a correct way.

How can barbat players perform a high – technique part quickly ?

There are two factors in playing par: 1) sometimes the player performs the part quickly , at that moment you should ask him perform that part clearly and slowly. When you play quickly , you may lose some notes and just hear a sound volume. I believe that a successful player is a player who can play slowly and little by little increase his pace 2) the practice duration and accuracy is very valuable , you should at first play slowly and with accuracy focus on notes then increase your pace , in this way you can learn each separate notes easilyand gradually. What do you mean by gradually? One month , two months, six months , a year?

H doesn’t depend on year and month.

Finally , we should know that music is not a driving match or horseriding, and pace is not just important in playing.

If a player was ordered to play quickly but he didn’t pay attention to play quickly , what is his responsibility?

I believe that the layer should improve his techniquesand play hard parts because in every situation you need a special technique and ability

How should a barbat player practice daily?

It depends on the artist stage of playing.

I mean a person who is completely involved in music.

It depends on training method more. I ofter that if students want to have daily practice, it will be better to heat their hand slowly and initially play right and left plectrum , then change their plectrum, generally start slowly and then increase their pace.

How do you practice as a professoned person? Do you practice in this wayer practice differently?

Nowadays. My practiceis different from 30years ago practice , I practiced at least 8 hours those days , my time duration decreased now or basically didn’t practice for 3 days, but in the forth day practice 5 hours; however always for playing at first make my hand worm just by playing various plectrum

You know that there isn’t special wire for barbat and players are forced to use lute wires, what should they do? Do you offer special wire that is either nice- sound or regular?

Well , there is special wire for special musical instrument , we should try an various wire to get good sound nd also the way of putting wire for barbat is various from lute. If you use mr. ghanbarimehr way, it wont lead to a problem.

Iran barbat and lute playes mostly use different plastic cans, is it right?

Nowadays, there are diffent kinds of plectrum in playing shoping, but I myself never use his kind of plectrum and always suitable plastic materials and are enough flexible .

Are you considering make a special barbat council?

Accidentally , it is my suggestion to every organization whose responsibility is to regulate our country music ( I think music home) invite various people and consider about this musical instrument training and decide which one belongs to Iranian and select he Iranian one and a special method for this what is the supreme part of barbat playing? Is it different with lute?

Playing lute is not so old in iran, it was so common in low level around 30 – 40 years ago , so we cant select a criterion and decide it is the supreme part of lute or barbat playing. When a player reaches to a special performance stage exatly , he concludes that I pass the primary playing part and should pass the high level and the most salient difference between lute and borbot playing is that barbat has high performance quality and it is beause of its long handle.

Do your foreign students get our music? Can they make a relationship with our rhythm?

I had a lot of foreign student, I have a Canadian guitarist who comes for learning lute and rhythm . his is so close to us that if you har his recorded playing, you will sense it is an Iranian one. One of my student is 20 years old boy, his mother omes from iran and his father is a Canadian, he speaks farsi hardly but plays all parts and know all rhythm .

How do you assess iran music conditions?

Iran music changed recently and turned to a scientific one and moves forward . iran musicians view improved because of their travels for concert to abroad. Music development pace increased as people lives. Musicians ues various rhythm and generally it has a clear future.