|
|
Ustad AbolHussein Saba |
He was born in Tehran to Abul Qasim Khan Kamal ol-Saltaneh, son of Mohammad Jafar Khan Sadr ol-Hekma, son of Mahmud Khan Kashi Malak ol-Shoara Sadr ol-Shoara Saba ol-Shoara, son of Mohammad Hossain Khan Malak ol-Shoara. He studied several of Iranian and non Iranian musical instruments and became a Ostad in Radif, but selected violin and setar as his specific instruments. He was a student of Mirza Abdollah as well as Darvish Khan.Saba is considered one of Iran's most influential figures in traditional and instrumental Persian music.Saba perfected his tonbak skills with Haji-Khan Zarbi and received training on the Santur from Ali Akbarshahy. In addition, before violin he learned to play the Kamancheh under the guidance of Hossein Khan Esmail-Zadeh. His first violin teacher was Hossein Hang-Afarin. Later, when Ali-Naqi Vaziri established his School of Music, Saba enrolled to learn the theory of music and the art of playing the violin. He was also familiar with Ney, Western flute, and tar.Seeing his passion, talent, and skills, Vaziri suggested that Saba start teaching music. In 1927 Saba founded a music school in Rasht, after which he went to live in several northern villages for about three years. The music he heard in those villages was the starting point for his significant future research in Persian folk music. Saba composed some of his best works in this period of time, including Zard-e Malijeh, Deylaman, and Bezendan. He wrote four volumes of training manuals for the santur, three volumes for the violin, and a volume for the setar and tar.
The graveside of Saba is prohibited from visitor access. His father's tomb in the same cemetery, seen here, is open to the public. The cemetery is located in Darband, Shemiran, Tehran.Fortunately, some of Saba’s first recordings have survived. These include some private performances on the violin and the setar, accompanied by Master Hossein Tehrani’s tonbak, performances in Golha (a weekly radio program performed by the elite musicians of Persia), and recordings made with the orchestra of Vaziri's School of Music. He worked very closely with Rouhollah Khaleghi and was one of the first master musicians to be invited to teach at the School of National Music.In contrast to heavy strokes and drones on all four strings, which was the style of previous music masters, Saba played the setar on a single string. He was also involved in the design and production of the setar. He believed that, to be an accomplished musician, one must know more than just how to play an instrument. He felt that one had to know the theory and the history of music, in addition to one’s area of specialization. Furthermore, he believed that familiarity with Persian literature was crucial for a Persian musician to achieve higher levels in appreciation and depth of understanding of music.Amongst his many students who went on to become great masters of Persian traditional music were Faramarz Payvar,Manoocherh Sadegi, Habibollah Badiei, Rahmatollah Badiei, Ali Tajvidi, Mahmoud Tajbakhsh, Sassan Sepanta, Parviz Yahaghi, Gholam-Hossein Banan and Hossein Tehrani.He died in 1957 and was buried in Tehran's Zahir o-dowleh Cemetery of artists and musicians. |
| |
Ustad Ali Tajvidi |
November 7, 1919 - March 15, 2006) was a Persian musician, composer, violinist, songwriter, and music professor at the School of National Music and Tehran University. He composed more than 150 songs and discovered and produced for many Persian performers such as Delkash and Hayedeh.He was born in Tehran, where his father was active as a painter in the style of Kamal-ol-Molk. In his youth he took violin lessons for two years under Hossein Yahaghi (uncle of Parviz Yahaghi) and for many years was under the tutelage of Abol-Hassan Saba for the violin as well.[1] After 1941, having developed his violin technique considerably, Tajvidi performed regularly as a violin soloist in Radio Iran programs. In later years, he conducted two orchestras, for which he wrote numerous compositions. Asheqi Sheyda, Be Yad-e Saba, Atash-e Karevan, Didi ke Rosva Shod Delam, and Sang-e Khara are among his best known works. He wrote a three-volume book, entitled "Persian Music", which has been released by the Soroush Publishing Company. In 1998 the Iranian government acknowledged his musical accomplishments by awarding him the highest artistic medal that they dispense.[1]During his career Tajvidi cooperated with outstanding contemporary artists including Gholamhossein Banan, Hossein Qavami, Mahmoud Mahmoudi-Khansari, Akbar Golpaygani, Hossein Khajeh Amiri (a.k.a. Iraj), Jalil Shahnaz, Farhang Sharif, Habibollah Badiei, Parviz Yahaghi, Javad Maroufi, Faramarz Payvar, Mehdi Khaledi, Banoo Delkash, and Homayoun Khoram. Homeira, a noted singer, first became famous by the song (sabram ata kon) which was composed by Ali Tajvidi. Tajvidi also composed some songs that he played solo on the violin. He is regarded as one of the best violinists in Iran, on a par with Parviz Yahaghi. He also played the sitar. He made Radif which concerns the traditional music of Iran: maghami or dhastgahi for the violin. |
Ustad Ali Asghar Bahari |
(1905 – June 10, 1995) was an Iranian musician and kamancheh player. He was born in Tehran and started his music lessons under his grand father Mohammad Taghi Khan, who was a kamancheh player as well. After three years, his father sent him to his uncles to learn more advanced techniques. Asghar had three uncles (all mother's brothers): Akbar, Reza and hassan. They were all famous kamancheh players. His first major success was with Ebrahim Khan Mansouri's Orchestra at the age of 18. He started his own music school in Mashhad, then he moved back to Tehran and became an kamancheh instructor in Honarestan under Ruhollah Khaleghi. He played with most famous Iranian musician such as Hossein Tehrani, Ahmad Ebadi, and Abolhasan Saba. He also was a professor of music in Tehran University for a few years. He toured France, Belgium, Germany' Italy' England and United States[America]. He died in Tehran.he was the best kamanche player in the world.
|
|
Ustad Jalil Shahnaz |
The legendary solo tar player Jalil Shahnaz was born in the glorious and artsy city of Isfahan, Iran. His father had an eager interest in Persian traditional music and his house was a warm faculty to all traditional music lovers at that time. His other son, Hossein also played the tar charmingly professional. Jalil’s father was his main supporter in playing this original Persian musical instrument early on; therefore Jalil began practicing having his brother as tutor. It was almost at this time that Jalil, Hossein and the Tar became like intimate companions. Every time Hossein hugged the tar to play, Jalil was always near, watching his brother’s cunning hand like a manic lover yearning for his childhood fantasies and quenching his thirst upon it. The childhood period was done and there came the juvenile years. Every day as Jalil returned home from school, he went straight to his brother humbly asking him to play the tar and he was always welcomed by Hossein’s modest response as he taught him professionally.
After a while Jalil came to Tehran and found his way to the radio, gradually leading him to participate in various orchestras as well as the prominent radio program “Golha” (meaning Flowers, a popular musical radio show in the pre-Islamic-Revolution era of Iran) and became one of its major solo players at that time.
Aside from playing the tar as his professional instrument, Jalil Shanhnaz is also familiar with the violin, dulcimer and tonbak (Persian goblet drum) and plays them charmingly. His solo works and especially “Golha” are among the biggest musical works in Persian music to date.
Source: Wikipedia and Lastfm.com
|
|
| |
|
|
|
|
