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?
No
Thank you for your time