Global Week for Syria

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With the support of With the support of 28th of June Beirut Ofﬁce 8:00 PM @ AUB - ASSEMBLY HALL United Nations Funded by the Educational, Scientiﬁc and European Union Osnabrücker Jugendchor (DE) conductor Clemens Cultural Organizatiotn Breitschaft, Chorale de l’Université Antonine (LB) conductor Toufic Maatouk o.a.m, Kinan Azmeh (SY) and Dima Orsho (US/SY) 29th of June 8:30 PM @ AL MADINA THEATRE Morgenland All Star Band (DE) Dima Orsho (SY/US) Ibrahim Kevo (SY) Moslem Rahal (SY) Salman Gambarov (AZ) Ziya Gückan (TR) Kinan Azmeh (SY) Frederik Köster (DE) Andreas Müller (DE) Rony Barrak (LB) Michel Godard (FR) Bodek Janke (DE) 11:00 PM @ MEZYAN DJ Ipek (DE) 3rd Edition 30th of June 7:00 PM @ SAFADI CENTER, TRIPOLI Osnabrücker Jugendchor (DE) conductor Clemens Breitschaft, Sonbola Choir (LB) conductor Barkev Taslakian, Kinan Azmeh (SY) 1st of July 7:00 PM @ YALLA! POUR LES ENFANTS, ALEY Star of the Orient (SE/SY): Abir Nasraoui, Mousa Elias (SY), Fordat Fadhel Hussain, Yalla! Pour Les Enfants Children Choir 8:00 PM @ SAINT JOSEPH CHURCH Andreas Schaerer (CH) & Michel Godard (FR) Håkon Kornstad (NO) 11:00 PM @ MEZYAN Late night concert with Tony Overwater (NL), Maarten Ornstein (NL), Mark Schilders (NL), Michel Godard (FR), Ibrahim Kevo (SY), Andreas Schaerer (CH), Nareg Abajian (SY), Dani Shukri (SY), Khaled Omran (SY), Pim van Harten (NL) 2nd of July 7:00 PM @ MISHWAR FOUNDATION, MENYARA Star of the Orient: Abir Nasraoui (TU), Mousa Elias (SY/SE) & Forat Fadhel (IQ) The Homsies (SY) 8:30 PM @ METRO AL MADINA Andreas Schaerer (CH) Kalle Kalima (FI) Tony Overwater (NL) & Maarten Ornstein (NL) Nareg Abajian (SY), Khaled Omran (SY), Dani Shukri (SY) 3rd of July 8:00 PM @ METRO AL MADINA Moussa Elias (SY) and Robert Ikiz (TR) Mark Schilders’ Fabrik: Mark Schilders (NL) & Bert Cools (BE) 10:00 PM @ T MARBOUTA Salon Joussour: Tony Overwater (NL), Maarten Ornstein (NL), Lebanon Mohannad Nasser (SY), Ghassan Sahhab (LB), Rami Al Jundi (SY), Mark Schilders (NL) 4th of July 28 June – 5 July 2017 8:00 PM @ AUB - ASSEMBLY HALL 4000 Years of music from Mashreq: Université Antonine Classical Arabic Music Ensemble (LB), direction: Nidaa Abou Mrad (LB), Hayyaf Yassine (LB), Mohammad Ayach (LB), Ghassan In co-operation with Sahhab (LB), Sleiman Abou Hanoud (SY), Rafka Rizk (LB) 5th of July 8:00 PM @ METRO AL MADINA Morgenland Festival Osnabrück Sonic Groove Society: Liliane Chlela (LB), Fouad Afra (LB), Fredrik Gille (SE), Samuel Rohrer (CH) and Khaled Yassine (LB) CONFERENCE & WORKSHOPS: Check globalweekforsyria.com For ticket pre-sales check For more details check: antoineticketing.com or globalweekforsyria.com take a chance at the door facebook.com/syrianmusiclives facebook.com/globalweekforsyria.

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Alan Gilbert and the New York Philharmonic
FOR IMMEDIATE RELEASE UPDATED January 13, 2015 January 7, 2015 Contact: Katherine E. Johnson (212) 875-5718; [email protected] ALAN GILBERT AND THE NEW YORK PHILHARMONIC Alan Gilbert To Conduct SILK ROAD ENSEMBLE with YO-YO MA Alongside the New York Philharmonic in Concerts Celebrating the Silk Road Ensemble’s 15TH ANNIVERSARY Program To Include The Silk Road Suite and Works by DMITRI YANOV-YANOVSKY, R. STRAUSS, AND OSVALDO GOLIJOV February 19–21, 2015 FREE INSIGHTS AT THE ATRIUM EVENT “Traversing Time and Trade: Fifteen Years of the Silkroad” February 18, 2015 The Silk Road Ensemble with Yo-Yo Ma will perform alongside the New York Philharmonic, led by Alan Gilbert, for a celebration of the innovative world-music ensemble’s 15th anniversary, Thursday, February 19, 2015, at 7:30 p.m.; Friday, February 20 at 8:00 p.m.; and Saturday, February 21 at 8:00 p.m. Titled Sacred and Transcendent, the program will feature the Philharmonic and the Silk Road Ensemble performing both separately and together. The concert will feature Fanfare for Gaita, Suona, and Brass; The Silk Road Suite, a compilation of works commissioned and premiered by the Ensemble; Dmitri Yanov-Yanovsky’s Sacred Signs Suite; R. Strauss’s Death and Transfiguration; and Osvaldo Golijov’s Rose of the Winds. The program marks the Silk Road Ensemble’s Philharmonic debut. “The Silk Road Ensemble demonstrates different approaches of exploring world traditions in a way that — through collaboration, flexible thinking, and disciplined imagination — allows each to flourish and evolve within its own frame,” Yo-Yo Ma said.
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Kinan Azmeh Cityband THU / FEB 7 / 7:30 PM
Kinan Azmeh CityBand THU / FEB 7 / 7:30 PM Kinan Azmeh CLARINET Kyle Sanna GUITAR Josh Myers BASS John Hadfield PERCUSSION Tonight’s program will be announced from the stage. There will be no intermission. PERFORMANCES MAGAZINE 6 Tsang Connie by Photo ABOUT THE ARTIST KINAN AZMEH (CLARINET) Hailed as a “virtuoso” and “intensely soulful” by The New York Times and “spellbinding” by The New Yorker, Kinan’s utterly distinctive sound, crossing different musical genres, has gained him international recognition as a clarinetist and composer. Kinan was recently composer-in-residence with Classical Movements for the 2017/18 season. Kinan has toured the world as a soloist, composer and improviser. Notable appearances include Opera Bastille, Paris; Tchaikovsky Grand Hall, Moscow; Carnegie Hall and the UN's general assembly, New York; the Royal Albert Hall, London; Teatro Colón, Buenos Aires; der Philharmonie, Berlin; the Library of Congress and The Kennedy Center, Washington, D.C.; the Mozarteum, Salzburg, Austria; Elbphilharmonie, Hamburg; and the Damascus Opera His discography includes three albums Kinan is a graduate of New York's House for its opening concert in his with his ensemble, Hewar, several Juilliard School as a student of native Syria. soundtracks for film and dance, a duo Charles Neidich, both of the album with pianist Dinuk Wijeratne and Damascus High Institutes of Music He has appeared as soloist with the an album with his New York Arabic/Jazz where he studied with Shukry Sahwki, New York Philharmonic, the Seattle quartet, the Kinan Azmeh CityBand. Nicolay Viovanof and Anatoly Moratof, Symphony, the Bavarian Radio He serves as artistic director of the and of Damascus University’s School Orchestra, the West-Eastern Divan Damascus Festival Chamber Players, of Electrical Engineering in his native Orchestra, the Qatar Philharmonic and a pan-Arab ensemble dedicated to Syria.
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The Rose Art Museum Presents Syrian-Armenian Artist Kevork
FOR IMMEDIATE RELEASE Contact: Nina J. Berger, [email protected] 617.543.1595 THE ROSE ART MUSEUM PRESENTS SYRIAN-ARMENIAN ARTIST KEVORK MOURAD’S IMMORTAL CITY “Culture Cannot Wait” program brings experts in preserving cultural heritage to Brandeis campus (Waltham, Mass.) – The Rose Art Museum at Brandeis University presents Immortal City, an exhibition of new paintings by acclaimed Syrian-Armenian artist Kevork Mourad created in response to the war in Syria and the destruction of the artist’s beloved city of Aleppo, September 8, 2017 – January 21, 2018. A public opening reception to celebrate the museum’s fall exhibition season will be held 6–9 pm on Saturday, October 14. Kevork Mourad (b. Syria 1970) is known for paintings made spontaneously in collaboration with composers, dancers, and musicians. Of Armenian descent, Mourad performs in his art both a vital act of remembering and a poetic gesture of creativity in the face of tragedy, as he mediates the experience of trauma through finely wrought, abstracted imagery that celebrates his rich cultural heritage even as he mourns its loss. Mourad’s paintings ask viewers to stop and bear witness, to see the fragments of a culture destroyed – textiles, ancient walls, Arabic calligraphy, and bodies crushed by war. Using a unique method that incorporates monoprinting and his own technique of applying paint with one finger in a sweeping gesture, Mourad produces paintings that are fantastical, theatrical, and lyrical, the line reflecting the music that is such an integral part of his practice. An 18th-century etching from the Rose’s permanent collection by Italian artist Giovanni Battista Piranisi will accompany Mourad’s work and locate Mourad's practice within a centuries-old artistic interest and fascination with the city in ruins.
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Old and New Works on Orchestra Program | Town Topics
1/7/2020 Old and New Works On Orchestra Program | Town Topics December 18, 2019 Old and New Works On Orchestra Program WORLD PREMIERE: Clarinetist Kinan Azmeh is soloist in a new work by Saad Haddad, on the Princeton Symphony Orchestra’s programs January 18 and 19. (Photo by Martina Novak) On Saturday, January 18 at 8 p.m. and Sunday, January 19 at 4 p.m. in Richardson Auditorium, the Princeton Symphony Orchestra (PSO) performs Nikolai Rimsky-Korsakov’s popular work Scheherazade, Op. 35 on a program with the world premiere of composer Saad Haddad’s Clarinet Concerto. A commission of the PSO and the Barlow Endowment for Music Composition at Brigham Young University, the concerto features Syrian clarinetist Kinan Azmeh. Jacques Ibert’s Escales (Ports of Call) completes the program to be conducted by Edward T. Cone Music Director Rossen Milanov. Rimsky-Korsakov was influenced by explorer Richard Francis Burton’s 1885 translation of One Thousand and One Nights (the Arabian Nights) enough to craft a symphonic suite centered on its heroine. Ibert’s Escales recounts the sights and sounds of a Mediterranean coastal excursion, and composer Saad Haddad draws upon his Middle Eastern ancestry to create a work conveying a universal spirit of cooperation among fellow human beings. His new concerto is dedicated to the memory of his grandfather, who led Haddad’s mother and her extended family away from war-torn Lebanon to the United States. This is the second world premiere of a work by Haddad, co- commissioned by the PSO, and the third work overall of his performed by the orchestra since January 2017.
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Café Damas Kinen Azmeh
New York Philharmonic Presents their many complexities and hidden hyper- Café Damas, which receives its World activity, primarily through timbre. The second Premiere in this performance, draws on movement is centered around the role of Azmeh’s relationship to the New York Phil- spatial and temporal organization of musical harmonic, “the Biggest Band in New York” ideas as well as the physical and contextual (with which he has worked twice before, questioning of music repetition. The third once as a performer and once as a com- movement both summarizes the two pre- poser), as well as his relationship to his vious movements and adds to them other hometown of Damascus. He said: elements dear to me: virtual polyphony (the il- lusion of a bigger instrumental force), internal I wanted to bring the musicians of the and external counterpoint, stylistic plurality at Philharmonic closer to my home, both the service of the music material, and close conceptually and culturally. This work is structuring of transitions and proportions. inspired by the idea of an imaginary tra- ditional house band in a 1960s café in Composer, clarinet soloist, and improviser Damascus, a band that has not changed Kinan Azmeh was born in Damascus, Syria, personnel nor location for decades and and lives in New York City. He is the rare mu- continued to play in spite of all. Musically sician who elegantly shifts roles from creator speaking, this piece enjoys a rather tra- to interpreter, writing for and performing with ditional form that opens with a Taqasi¯m some of the most iconic musicians alive to- (melodic improvisation), which introduc- day, including frequent collaborator Yo-Yo Ma.
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21C Cinq À Sept: Dinuk Wijeratne with Kinan Azmeh Saturday, May 26, 2018 at 5Pm Temerty Theatre
21C Cinq à Sept: Dinuk Wijeratne with Kinan Azmeh Saturday, May 26, 2018 at 5pm Temerty Theatre Dinuk Wijeratne, piano Kinan Azmeh, clarinet PROGRAM asked them on the 29th for the program order by Monday morning. Béla Bartók: After Béla (arr. Azmeh/Wijeratne) (Toronto premiere) Dinuk Wijeratne: Whose Windows are Songs and Silences Kinan Azmeh: November 22nd Dinuk Wijeratne: Dama-scene (world premiere) Kinan Azmeh: Syrian Dances (world premiere) INTERMISSION Kinan Azmeh: Ibn Arabi's Postlude Dinuk Wijeratne: Something There (Toronto premiere) Kinan Azmeh: Airports Dinuk Wijeratne: This Way Up↓ (Toronto premiere) Syrian Dances by Kinan Azmeh and Dama-scene by Dinuk Wijeratne commissioned by The Royal Conservatory/Koerner Hall Kinan Azmeh Clarinet & composer Hailed as a “virtuoso” and “intensely soulful” by The New York Times, “spellbinding” by The New Yorker, and “incredibly rich sound” by the CBC, Azmeh’s utterly distinctive sound across different musical genres has gained him international recognition as clarinetist and composer. He is currently serving as Composer-in-Residence with Classical Movements for the 2017-18 season. Azmeh has been touring the world as soloist, composer, and improviser. Notable appearances include Opera Bastille, Paris; Tchaikovsky Grand Hall, Moscow; Carnegie Hall and the UN’s general assembly, New York; the Royal Albert hall, London; Teatro Colón, Buenos Aires; der Philharmonie, Berlin; the Library of Congress, the Kennedy Center, Washington DC; the Mozarteum, Salzburg; Elbphilharmonie, Hamburg; and the Damascus opera house for its opening concert in his native Syria. He has appeared as soloist with the New York Philharmonic, the Seattle Symphony, the Bavarian Radio Orchestra, the West-Eastern Divan Orchestra, the Qatar Philharmonic, and the Syrian Symphony Orchestra among others.
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2018/2019 Links 2018/2019
LINKS 2018/2019 LINKS 2018/2019 INTRODUCTION Hancher Links is a guide for University of Iowa faculty and staff, highlighting connections between Hancher performances and college courses. You’ll see themes listed with each show that may be relevant to a variety of classes across disciplines. There are a number of ways to integrate Hancher into your class: • Assign performances as enrichment activities for students • Encourage your students to attend one of Hancher’s free artist-featured public education events on and around campus • Set up a class visit or workshops with artists or Hancher staff • Develop a student service learning course or unit around a Hancher project A number of faculty members have students purchase Hancher tickets as part of their course materials similar to a required textbook. If you are interested in holding a block of tickets for purchase by the students in your class, contact the Hancher Box Office at (319) 335-1160 or 800-HANCHER. Ask for Leslie or Elizabeth to reserve tickets. Prices and other ticketing information can be found on our website at hancher.uiowa.edu or by contacting the box office. Please feel free to contact me to explore the possibility of bringing an artist to your class or if you have ideas about how you or your department can partner with Hancher. Thanks! Micah Ariel James Education Manager Hancher | The University of Iowa [email protected] (319) 335-0009 hancher.uiowa.edu 2 LINKS 2018/2019 HANCHER ARTIST RESIDENCIES Hancher is committed to connecting artists with audiences beyond the stage and across our campus and community.
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Kinan Azmeh on the Concert 'Seven Syrian Composers'
Kinan Azmeh on the concert ‘Seven Syrian Composers’ When I was asked to curate the program of this concert celebrating my home city of Damascus I was incredibly excited and nervous. Excited because I had the opportunity to share my love for many musical works by Syrian composers, and nervous because I knew that if I included all of my favorite works this concert will not be enough! Syria enjoys a very rich musical tradition that goes back for millennia. In fact, humanity’s earliest evidence of musical notation was found in the ruins of the city of Ugarit in Syria. “Hurrian Hymn No. 6,” dates back to 1400 BC and contains the notation of a hymn and instructions on how to play it on the Lyre. A city of trade and a crossroads for many civilizations, Arab, Armenian, Kurdish, Assyrian and Syriac musical vocabularies flourished in Damascus, a city that prides itself for being the oldest continuously inhabited capital city in the world. And these traditions continue to form the core of the music that is practiced in the country today. Evidence of European classical music practice in Syria dates back to the turn of the nineteenth to the twentieth centuries, and the earliest histories credit a Russian nobleman named Erhast Belling (dates unknown), who had been conductor of the Imperial Court of Russia in St. Petersburg until fleeing the Russian revolution in 1916. Belling took up residence in Damascus in the early 1930s and while there taught piano and violin privately. He also encouraged the formation of different chamber ensembles, many of which regularly performed at the Glass Hall of the Orient Palace Hotel in Damascus, as well as in private concerts.
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The Silk Road Ensemble with Yo-Yo Ma
Thursday, August 18, 2016, 8pm Hearst Greek Theatre The Silk Road Ensemble with Yo-Yo Ma Kinan Azmeh, clarinet Kayhan Kalhor, kamancheh Jeffrey Beecher, bass Yo-Yo Ma, cello Mike Block, cello Cristina Pato, Galician bagpipes, piano Nicholas Cords, viola Shane Shanahan, percussion Sandeep Das, tabla Mark Suter, percussion Haruka Fujii, percussion Kojiro Umezaki, shakuhachi Johnny Gandelsman, violin Wu Man, pipa Joseph Gramley, percussion Wu Tong, sheng, suona Colin Jacobsen, violin Cristina Pato, Wu Tong Fanfare for Gaita and Suona Traditional Malian, arr. Shane Shanahan Ichichila Traditional Irish, arr. Colin Jacobsen O’Neill’s Cavalry March Wu Man, arr. Ljova Green (Vincent’s Tune) Kinan Azmeh, Jeffrey Beecher Syrian Improvisation Michio Mamiya Miero vuotti uutta kuuta, from Five Finnish Folksongs Wu Man, Wu Tong Duo Colin Jacobsen Atashgah* Sandeep Das, Kojiro Umezaki If you shall return... † Antonín Dvořák, arr. Jeremy Kittel Going Home Billy Strayhorn, arr. Shane Shanahan Take the “A” Train** INTERMISSION David Bruce Cut the Rug *** Drag the goat – Bury the hatchet – Move the earth – Wake the dead Paco de Lucía, arr. Colin Jacobsen Zyryab Kinan Azmeh Wedding * Commissioned by the Laguna Beach Music Festival for Kayhan Kalhor and Brooklyn Rider and premiered in 2011. ** Arrangement commissioned by Reservoir Media for The Silk Road Ensemble in 2015. *** Commissioned by Silkroad in 2012. † Commissioned by Silkroad and dedicated to Anna and Peter Davol, with deep affection and thanks. This performance is made possible, in part, by Patron Sponsors Nadine Tang and Bruce Smith. 15 PROGRAM NOTES here are many different kinds of home— In 2007, Yo-Yo suggested that we use the art and physical, childhood, those that we build tradition of indigo dyeing to connect disciplines Tin our memories, and many others.
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BORODIN Selections from Polovtsian Dances, from Prince Igor KINAN AZMEH Clarinet DRUM SAPO PERAPASKERO ( Arr
Orchestra Warm-Up Check-List SATURDAY, FEBRUARY 21, 2015 t 1:30PM, the Orchestra musicians will come onto STRINGS = red or pink A the stage, one by one, to warm-up and get ready for WOODWINDS = green their concert. You can identify which “family,” or group BRASS = blue of instruments, they are in by the color of their shirt. PERCUSSION = orange HARP AND KEYBOARDS = light blue Check the box when you see… The New York Philharmonic is dressed by UNIQLO. A woodwind player setting their reeds (oboes, clarinets, bassoons). The reed is a strip of cane that vibrates and makes a reed instrument sound. Musicians soak their reeds in water, or with the saliva in their mouths, before putting them on their instruments. Welcome to the Young People’s Concerts ®! A percussionist laying out their mallets and equipment. There can be many percussion instruments in a concert — sometimes a single percussionist plays several instruments in a single piece! Mallets and hand percussion must be arranged and organized carefully. Ever since different kinds of instruments began playing together, the orchestra has been A librarian putting folders of music on players’ music stands. The librarian is responsible for marking all the music, keeping it absorbing influences from all over the world. Composers have adapted exotic music from safe, and making sure everyone has the parts and scores they need to prepare for and play concerts. At the Philharmonic, the librarian also gives faraway lands to spice up classic forms, and those fresh ideas have become part of the the Music Director his baton backstage just before the concert begins.
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Yo-Yo Ma & Friends
YO-YO MA & RIENDS F ERÖFFNUNGSFESTIVAL 26. JANUAR 2017 ELBPHILHARMONIE GROSSER SAAL Donnerstag, 26. Januar 2017 | 20 Uhr | Elbphilharmonie Großer Saal 19 Uhr | Einführung mit Ralf Döring im Großen Saal DIRIGENT.DER NEUE BMW 7er MIT GESTIKSTEUERUNG. YO-YO MA & FRIENDS DER ANSPRUCH VON MORGEN. YO-YO MA VIOLONCELLO KINAN AZMEH KLARINETTE SALEEM ASHKAR KLAVIER SOWIE ALS GÄSTE: MAIAS ALYAMANI VIOLINE SOUSAN ESKANDAR VIOLINE THAER EID VIOLA BASILIUS ALAWAD VIOLONCELLO ROBERT LANDFERMANN KONTRABASS BODEK JANKE SCHLAGWERK Johann Sebastian Bach (1685–1750) Suite Nr. 5 c-Moll BWV 1011 für Violoncello solo (ca. 1720) Prélude Allemande Courante Sarabande Gavotte I – Gavotte II – Gavotte I Gigue Kinan Azmeh (*1976) The Fence, The Rooftop And The Distant Sea (2016/Uraufführung) Kompositionsauftrag der Elbphilharmonie Hamburg Prologue Ammonite Monologue Principal Sponsor der Elbphilharmonie Dance Epilogue BMW BMW Hamburg Niederlassung www.bmw-hamburg.de Hamburg Pause www.bmw- hamburg.de Freude am Fahren Abbildung zeigt Sonderausstattungen. 5978 BMW 7er Kultur Engagements DIRIGENT 2016 148x210 NL Hamburg Abendprogramm 20160812.indd 1 01.08.16 16:20 Johannes Brahms (1833–1897) Klarinettentrio a-Moll op. 114 (1891) Allegro FESTIVAL Adagio Andantino grazioso Allegro Issam Rafea (*1971) SALĀM For you Kinan Azmeh (*1976) aus: Suite for Improvisor and Orchestra (2007) November 22nd SYRIA Wedding BEGEGNUNGEN MIT EINER REICHEN MUSIKKULTUR Gefördert durch die Förderer des Eröffnungsfestivals 16. 18.03.2017 TICKETS 040 357 666 66 WWW.ELBPHILHARMONIE.DE DIE MUSIK ALTBEKANNTE FREMDE LIEDER Zum Programm des heutigen Abends Wenn Kinan Azmeh an einem New Yorker Flughafen landet, muss er stets ein bisschen mehr Zeit zur Passkontrolle mitbringen als etwa seine amerikanischen Mitreisenden.
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Projecting MUSIC Across the Silk Road
Projecting Movement, Union, Synergy, Interplay & Cultural-collaboration across the Silk Road (& beyond) Chuah Aaron global citizen Aim Interplay between culture and globalisation, and in particular the musical connection between the two has been forwarded as an illustrative, hopeful, and harmonious example of how humanity as a global race may enhance mutual understanding and cross-cultural appreciation of its many diverse groups. In particular, this study aims to investigate the global community-building behind the relatively recent Silkroad initiative, and to what degree has its aims been achieved, and how. Introduction The dawn of globalisation (though the term was only coined probably in the 1930s, 1 and popularised in the mid-1980s2), probably began at the confluence of the traditional “East” and “West” thousands of years ago, along what is now popularly known as the “Silk Road” or “Silk Route”, a slight misnomer for it was not a single lengthy road but an ancient network of caravan and maritime routes stretching from Japan and the Korean peninsula in far east Asia to the Mediterranean Sea in the near west, through which it also linked the European and African continents. So named because of its distinct trade of silk amongst other items, particularly horses and spices, the Silk Road has been a channel of exchange between great civilizations from antiquity including the Persians, Syrians, Arabs, Turks, Arabs, Indians and Chinese. The first documented Silk Road crossing3 was led by emissary Zhang Qian (Chang Ch’ien / K’ien) in 139 BCE under the remit of Han Chinese emperor Wu-Di who wished to explore the possibility of alliance with their Central-Asian enemies, which led to deep interest in establishing and defending this trade route.
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