Hossein ALIZADEH / Madjid KHALADJ
IRAN: MASTERS OF IMPROVISATION
Persian music: improvisations in the Esfahan mode
The modes in Persian music follow complex and diverse rules. Thus, during an improvisation, the musician can hardly anticip [+]Hossein ALIZADEH / Madjid KHALADJ
IRAN: MASTERS OF IMPROVISATION
Persian music: improvisations in the Esfahan mode
The modes in Persian music follow complex and diverse rules. Thus, during an improvisation, the musician can hardly anticipate the nature of the expression sought for. It is only on the spot in the presence of an audience that this expression can come about. Without an audience such a phenomenon certainly requires much more strength and concentration from the interpreter.
The very conception of the different modes in Persian music is the fruit of various states of inner feelings. From dawn to dusk, we experience a multitude of emotions that can be expressed through a peculiar mode. The number of modes twelve like the twelve months of the year as well as the different melodic sequences arising from them, contribute to this phenomenon.
With their more or less symmetrical intervals, the tempered modes (such as Segah, Shur and Nava) bring about a state of calm and concentration, while others (such as Tchahargah) do not follow these criteria of equilibrium but engender a feeling of movement and agitation. There are also modes expressing something that goes beyond these time and space criteria. The feeling they generate is universal. Such is the case with Avaz-e Esfahan, evoking love and separation.
© Hossein Alizadeh
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Reviewer: F. Barhami (San Diego, California)
A superb duo recording by two of Iran's greatest living instrumentalists. We'll also hear them in a trio with one of Iran's finest female voices. The music is impassioned, very refined, virtuosic, beautiful..& improvisatory.
Lutenist HOSSEIN ALIZADEH has worked both outside & inside Iran. He currently lives in Tehran. Hand percussionist MADJID KHALADJ, who's lived in Paris since 1984, is a masterful player of the goblet-shaped tombak. Their CD, "PERSIAN MUSIC: IMPROVISATIONS IN THE ESFAHAN MODE" was recorded in Paris in December 2000.
The album very eloquently expresses the emotions traditionally associated with the Esfahan mode: love and separation. Hossein Alizadeh plays the tar, throughout: a lute with six wire strings & 25 frets. Its mulberry wood body has a soundboard covered with a th
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