Hossein Alizadeh & Pejman Hadadi

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ساز و راز

Sublime Melodies


(No Video and/or Photography during this show please)

Saturday April 12, 2014
Doors Open 7:30, Concert begins 8:00 pm
Alumni Theatre, Ottawa University
85 University Private
Tickets:
$35 - General Seating
Arya Food Market (508 Gladstone Ave.)
or at the door
Ticket information: 613-889-4700

 
The essence of Persian classical music can perhaps best be traced in the mystical poetry of Iran. Throughout the long history of Iran, Iranians have expressed their philosophical and artistic understanding of the world through poetry and music. The Dastgâh system of Persian classical music, Radif, is developed based on the meter of Persian poetry in an abstract way to accompany and help shed light on the mystical world of poetry. The seven Dastgâhs which can be a reminiscent of seven days of the week can suggest its organic proximity with the daily world of people, and their names (Shur, Mâhoor, Homâyoun, Navâ, Segâh, Châhârgâh and Râst- Panjgâh) suggest history and continuity. In effect this system becomes another vocabulary and grammar of an artistic language with which old and new stories are told, stories that in many cases are the fundamental bases of Persian aesthetics.

The use of the voice or Ghazal is the crown jewel of Persian poetry forms, music based on the Radif is the best form to bring out the mystery of the Ghazal. Phrases in the Persian Classical Music were developed to best convey the message of the poet who uses metaphors and mysticism to describe his or her world. Uneven length of phrases and rhythmic cycles are designed especially for this purpose. One can claim that a performance of Persian Classical Music starts in the void and as it develops it gets closer to the light and illumination; a world of mystery unfolds as we listen to the music and the poetry.


 
Hossein Alizadeh (Tehran-1950) He is considered as one of the most important figures in contemporary Persian music, exemplifying excellence in traditional Persian music today. He studied the classical Persian composition system, the Radif, under various masters, including Houshang Zarif, Ali Akbar Shahnazi, NurAli Borumand, Mahmood Karimi, Abdollah Davami, Yousef Foroutan, and Saied Hormozi. He later recorded the entire body of the Radif based on the interpretations of Mirza Abdullah for Tar and Setar. Alizadeh received a BA in Music Composition and Performance from the University of Tehran, and then studied Composition and Musicology at Berlin University.

He has taught at University of Tehran and Tehran Music Conservatory. He has performed, as a solo artist, in Iran, North America, Europe and Asia. He was the conductor and soloist in The Iranian National Orchestra of Radio and Television. He established the acclaimed Aref Ensemble and has often worked with the Shayda Ensemble. His first professional experience in Europe was performing with the famous Bejart Ballet Company’s orchestra for Maurice Bejart's ballet, Gulistan. Some of Alizadeh's most noted works are The Nava Improvisations (1976), Riders of the Plains of Hope (1977), Hesar (1977), Revolt (1983), Ney Nava (1983), Dream (1986), Torkaman (1986), Raz-O-Niaz (1986), Delshodegan (1987), Song of Compassion (1991), New Secret (1996), A Time for Drunken Horses (2000), Turtles can Fly (2004), Endless Vision (2004), Nive Mang (2006), Under the Razor (2007), Ode to Flowers (2007), Monad (2008), Song of Sparrows (2008), Moon & Fog (2009). Endless Vision has been nominated for the Best World Music Album of the Year 2006 in the 49th Edition of the Grammy Awards. Alizadeh established the Hamavayan Ensemble in 1989 as a venue for advancing traditional Iranian choral singing. Composed of some of the best known performers of Iranian instruments and vocalists, this ensemble has produced many of Alizadeh's compositions including New Secret, Gabbeh, Songs of Compassion, Endless Vision, Ode to Flowers and ... .


Pejman Hadadi (Tehran-1969) is world-renowned as one of the most innovative Iranian percussionists. A two-time recipient of the prestigious Durfee Foundation Master Musician Award, he is the founder of Neyreez World Music Institute in Southern California. Pejman is a member of the highly acclaimed percussion ensemble ZARBANG. He has also been a member of the celebrated DASTAN Ensemble, one of the “most-forward looking Persian music ensembles” (LA Weekly), for the past fifteen years.

Pejman tours extensively in North America, Europe, Iran and Japan, performing in major international festivals and concert halls. In March 2007 he toured the US and Canada with the highly acclaimed composer and innovator of Persian Music, Hossein Alizadeh, performing at venues such as UCLA Royce Hall, Toronto Centre for the Arts, and Carnegie Hall. He was commissioned by the Los Angeles Master Choral and performed at Disney Hall with the Choral in June 2007.

He began playing Tombak at the age of ten with master musicians Asadollah Hejazi and Bahman Rajabi. In 1989, he immigrated to the United States and began his professional career, performing and recording with ensembles of Persian classical music as well as Indian, Turkish and American musicians. Pejman is known for his modern approach to the traditional Tombak, which lies in his ability to produce melodic patterns within rhythmic structures as well as creating complex variations on the basic sounds of the instrument.
Hadadi has created a new version of custom-made Tunable Frame Drums, (Davaayer-e Kooki), which he used in Persian music ensemble playing for the first time. The purpose was to create harmonic intervals and to add a sense of a melodic pattern at the same time remaining percussive. Combining these Tunable Frame Drums with the sound and texture of the Tombak drum created a unique sound, which added a new color and tone into ensembles. This innovation has influenced many other Iranian Percussionists and encouraged them to use this new setup and drum orchestration in their performances.


About the Instruments

Tar: The Tar is a plucked stringed instrument (a long-necked lute) that is played in Iran (Persia), Caucasian countries (like Azerbaijan, Armenia and so on) and central Asia (like Tajikistan). It exists in two forms now, the Persian (that is named Tar-e-Shiraaz or Irani) and Caucasian (that is named Tar-e-Ghafghaaz). The Persian tar is carved from a block of mulberry wood and has a deep, curved body with two bulges shaped like a figure 8. The upper surface is shaped like two hearts of different sizes, joined at the points. The sound box consists of two parts. The small part is called Naghaareh and the large part is called Kaasseh (that means bowl (sound box)). The sound box is covered with lambskin. On the lower skin, a horn bridge supports six metal strings in three courses. The long fingerboard has twenty-two to twenty-eight movable gut frets. The strings are plucked with a brass plectrum coated on one side in wax. Its range is about two and a half octaves. The tunings of the strings are changed according to the dastgah that is being played, and the twenty six frets are movable. Finally, the strings are plucked with a plectrum.

Setâr: The ancestry of the setâr can be traced to the ancient tanbour of pre-Islamic Persia. It is made of thin mulberry wood and its fingerboard has twenty-five or twenty-six adjustable gut frets. Setâr, in Persian, means "three strings", but a fourth one was added by Moshtâq Ali Shâh, a famous setâr player of the 18th century. This "sympathetic" string is not played but its echo highlights the predominant note of the Avâz, a derived part of the modal system of the Persian Traditional Music, or the Dastgâh. Although setâr is a very intimate instrument and has been
said to be the preferred instrument of sufi mystics, with the efforts of master musicians in the past fifty years it has found its rightful place in Persian music ensembles.

Shourangiz: The shourangiz, a new instrument that was created about fifty years ago, is a six- stringed lute that combines the techniques and physical characteristics of the târ setâr and tanbur. The shourangiz used by Hossein Alizadeh was also designed by him.NeyAlthough a very common instrument in all the regions around İran, Persian ney differs from its relatives with its unique blowing technique, which gives its characteristic sound. The upper edge of the ney, which is just the top of a hollow cylinder, is placed between the two upper front teeth, inside the mouth. A small stream of air is directed with the tongue, and the upper lip surrounds the upper part of the ney. Moving the lip and tongue changes the pitch (up to a whole tone) and tone quality. This technique is very difficult to learn but once mastered gives great control over the timbre.

Tombak (Zarb): Shaped like a goblet, the tombak is made from walnut, or mulberry wood. It is usually covered with goat or camel skin, and played with the most impeccable finger technique. When played, the tombak is placed under the arm and rested on the thigh. The bass note known as the "tom" is produced in the middle of the drum, while the high note "bak" is created on the narrow edge of the instrument. The tombak is the most commonly heard drum in classical Iranian music, and these days, no longer only an accompanying instrument, it holds its own. Although the tombak is simple in its construction, it offers the player diverse possibilities to perform the most complicated rhythms with the greatest variety of sounds.

Daf: The daf is a frame drum made out of wood. One side is covered with lamb or goatskin, and on the inside of the frame little metal rings are attached, which create sound at the smallest movement. When played it is held with both hands, and played with the fingers. Considered a sacred instrument, the daf is present in sufi rituals for its power to create trance states. This drum has now established a permanent position in the Iranian classical orchestra.



Click HERE , enter your email address and you have a chance to win two tickets to the concert on April 12, 2014
Note: for each free ticket you need to bring a guest who should buy a ticket.


Thanks to all who participated in our draw. Here is the result of the draw:
•    Sara Kashi
•    Pooneh Kianfar
Each of winners have a pair of tickets, but please note that you need to bring one guest per each winning ticket and pay for that!


Tickets $30, General Seating, available at:

Arya Food Market
508 Gladstone Ave.

Mr. Bahram Zargar
613-315-0531

Mr. Afshin Sahabi

VIP tickets ($40 - first 3 rows)
available through 613-889-4700
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