Iran | Persian Classical Music | Dariush Talai, Pejman Tadayon, Hamid Mohsenipour | Tasnif скачать в хорошем качестве

Iran | Persian Classical Music | Dariush Talai, Pejman Tadayon, Hamid Mohsenipour | Tasnif

Tasnif ‘Chehreh be chehreh’ Published on 12 November 2023 Dariush Talai is one of the most important masters of Iranian classical music. Master of long necked lutes tār e setār, he is one of the few musicians always faithful to the traditional repertory of radīf. Writes Pejman Tadayon in the notes for the concert program that the word radīf in Persian means order, ordering, a system of melodies (gusheh) and musical formulas, which are rooted in the millennia-long history of different peoples (Persians, Afghans, Kurds, Azeris, Armenians, Turks, Baluchis) who all lived in the territory of ancient Persia, part of which corresponds to present-day Iran. Traces of this complex and intertwined history can be found in the titles given to the gusheh that refer to the music and poetry of these many cultures. The radīf system is organized into seven main modes called dastgāh, a term that is used in Persian music both to refer to a single, specific, musical mode (e.g., dastgāh shur or dastgāh navā) and to designate the modal system as a whole. The repertoire of a radīf may vary from master to master and, in some cases, from city to city; it is still transmitted orally today (sine be sine). The radīf was formed mainly through oral tradition and was first formalized in the 18th century by great musicians. One of the most important instrumental radīf is that handed down by master Mirza Abdollah (1843-1918) a tār and setār player of the Qajar period (1794 - 1925), who profoundly influenced Persian music because he was one of the first to order and organize radīf together with his brother Mirza Hoseyn Qoli (d. 1915). Today Dariush Talai represents the third generation of Mirza Abdollah's students, and he has made seminal recordings of this radīf, as well as transcribed it in an innovative method that several students in Iran and around the world use to learn the repertoire. The concert consisted of two parts: in the first, Master Talai played the setar solo, deciding according to the state of inspiration (hāl) of the moment which dastgāh to explore. In the second part, accompanied by 'ud and tombak he performed a program devoted to the dastgāh Nava (which for Persians is often a symbol of mysticism) according to the radīf of Mirza Abdollah. In radīf usually the pieces consist of an initial part in slow tempo called pish daramad followed by one or more sections called saz va avaz in free tempo that alternate with faster parts (chahār mezrab). The performance usually concludes with a section in which a measured genre, tasnīf, akin to our "song form," is offered, composed to verses by the great Persian-language poets, which can be performed in a vocal or instrumental version. This excerpt presents the final part of the second part of the concert, called tasnif (composition on a sung poem, often with a slow rhythm in 6/8). This tasnif is named ‘Chehreh be chehreh’ (face to face, the title of the sung poem), and is developed in navā dastgāh with Dariush Talai on setār, Pejman Tadayon on oud and Hamid Mohsenipour on tombak. The poem sung by Talai and Tadayon is attributed to the poet Tahereh Ghorattollein (1814-1852), and the composer of the music is anonymous. This is the text being sung: When I happened to meet your gaze / face to face, visage to visage / I realized how much pain I feel because of you / point by point, hair by hair. In seeing your face, I dissolved into a light wind / house by house, door by door, for every alley or corner/ because of the separation from you the blood of the heart I shed from my eyes / like the Tigris River, like a sea, spring or stream. The tasnif unfolds in the dastgāh of navā and incorporates the characteristic patterns of the gusheh of darāmad, rohāb and nahoft. The concert also aimed at celebrating its 70th anniversary of Master Talai and was preceded by a conversation between him and Giovanni De Zorzi, professor of ethnomusicology at Ca' Foscari, which touched upon aesthetic, philosophical and musicological issues related to Persian radīf. The video of the meeting is posted on the Giorgio Cini Foundation's YouTube channel:    • Iran | Conversation with Dariush Talai   The performance was organized by the Intercultural Institute for Comparative Music Studies of the Fondazione Giorgio Cini in collaboration with University of Venice Department of Filosofia e Beni Culturali and Casa della Cultura Iraniana di Venezia Fondazione Giorgio Cini, Venice, March 31, 2022 More info on this event: https://www.cini.it/en/events/concert... Video: Marco Lutzu, Costantino Vecchi http://www.cini.it https://www.cini.it/istituti-e-centri...