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The “Simorq” Project Is an Ambitious Initiative Designed to Acquaint the Public with Iran’S Historical Culture, and to Transcend Boundaries

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The “Simorq” Project Is an Ambitious Initiative Designed to Acquaint the Public with Iran’S Historical Culture, and to Transcend Boundaries The “Simorq” project is an ambitious initiative designed to acquaint the public with Iran’s historical culture, and to transcend boundaries. A legendary supernatural bird in Persian literature Ferdowsi’s poetic opus, the Shahnameh, is not only one of the most extraordinary works in Persian literature – it ranks among the masterpieces of the world’s literary treasures. In sheer magnitude, with over fifty thousand verses, our national epic comprises more than twice the number of verses of Homer’s Odyssey and Iliad and twenty times more than the German epic, Nibelungensage. The Shahnameh is indeed unequalled as a literary work. And if we look at other Persian poets who have explored the themes of love, despair, envy and zeal, we find that while Fer- dowsi deals with the same themes, he also unveils the science of Iranian epic history and legends and leads the reader deep into the spirit of his characters, probing a vast array of human feeling. He carries the reader with him to the battlefields and the feasts. He paints these scenes masterfully, giving the stories vibrant, tangible expression for his readers. The difficulty of using musical narration to portray Ferdowsi’s epic stories lies herein. Simorq, the story of the birth and growing up of Zaal and his love for Roodabeh, the daughter of King Mehrab of Kabal, is one of the most beautiful and, in structural terms, complete facets of the Shahnameh. In this story, Ferdowsi has interwoven human preoccupations with luck, fate and destiny, greed, fear and disgrace with the need and desire for fame and love, under the canopy of the epic story. The story of Simorq, apart from its literary beauty, is also informed by an inner music. Eine musikalische Interpretation des iranischen Nationalepos „Schahname“ Ferdowsis Schahname ist nicht nur eines der berühmtesten Meisterwerke der persischen Lyrik, sondern auch eines der größten der Weltliteratur. So ist der über fünfzigtausend Verse umfassende Nationalepos Irans doppelt so groß wie Homers Epen und zwanzigmal umfangreicher als das Nibelungenlied. Dies ist jedoch nicht alles, was Schahname so einzigartig macht. Während sich die Werke anderer persischsprachiger Dichter hauptsächlich mit abstrakten Inhalten des menschlichen Wesens wie Liebe, Anmut und Sehnsucht befassen, geht Ferdowsi einen Schritt weiter; er nimmt den Leser nicht nur mit in die tiefsten Punkte und verborgernsten Ecken der Seele seiner Helden, sondern führt sie auch mitten hinein in mystische Schlachten und Festivitäten, welche dem Leser wie lebendige und lebhafte Szenerien erscheinen. „Simorq“ handelt von Sam, einer Urgestalt des iranischen Heldentums, von seinem aufgrund seines Aussehens verstoßenen Sohnes Zaal, von Simorq, der den neugeborenen Prinzen in seine Obhut nimmt und schließlich von der leidenschaftlichen und feurigen Liebe des tot geglaubten jedoch zurückgekehrten Prinzen zu Roodabe, Tochter eines Königs, dessen Vorfahren zu den Größten Feinden Irans zählten. Somit ist diese Sage einer der schönsten und zugleich strukturell Kompliziertesten Teile Schahnames, in dem Ferdowsi Liebe, Hass, Glück, Schicksal, Ruf, Verruf und insbesondere die ewige Sehnsucht des Menschen nach dem Unerreichbaren gleichermaßen in Szene setzt. 2 www.simorq.org www.simorq.org Oiseau fabuleux de la légende iranienne „Schahname“ Le Livre des rois (Shâhnâmeh) de Ferdowsi- poète épique persan de la fin du Xème siècle- n’est pas seulement le plus important monument de la littérature persane, mais aussi un des chefs d’œuvre de la littérature mondiale. Cette épopée composée de cinquante mille distiques brossant une fresque mythologique où protohistoire et histoire se succèdent dans un même souffle épique, contient deux fois plus de distiques que l’épopée d’Homère, l’Iliade et l’ Odyssée, et vingt fois plus que l’épopée allemande Nibelungen. Parallèlement aux richesses du nombre de distiques et de notions comme l’amour, la nostalgie, l’enthousiasme, le Shâh- nâmeh illustre des scènes des contes mythiques de l’Iran antique et ramène le lecteur au coeur de l’histoire de ses héros, de leurs champs de batailles et de leurs scènes de plaisirs, d’où la difficulté d’une version musicale de ces contes. La musique est l’art de transmettre des concepts comme l’amour, la haine, la nostalgie, mais quand il s’agit de raconter une scène vivante, alors la version musicale rencontre des difficultés. L’orchestration dans la musique iranienne ne date pas de très longtemps et les oeuvres d’orchestration sont très rares. Pour créer une oeuvre d’après un texte tel que le Shâhnâmeh, le musicien a besoin d’un ensemble de différents thèmes et mélodies et d’une polyphonie de plusieurs airs. Ce sont justement ces complications qui ont empêché les musiciens iraniens de présenter une version musicale de cette immense oeuvre. Simorq, dont l’histoire raconte la naissance et la croissance de Zâl, l’enfant albinos dont l’oiseau devient la nourrice, est l’une des plus belles et des plus complexes des histoires du Shâhnâmeh. Dans cette histoire, Ferdowsi aborde, dans un souffle épique, des thèmes comme la destinée, la peur, la malédiction et surtout l’amour. www.simorq.org www.simorq.org 3 سیم شاهنامه رغفردسی نه تنها یکی از برجسته ترین آثار ادب پارسی، که یکی از شاهکارهای ادبیات جهان است. حجم حماسه ملی ما با بیش از پنجاه هزار بیت بیشتر از دو برابر حماسه های »Odyssey« و»Iliad« هومر و بیست برابر حماسه آملانی »Nibelungensage« است. شاهنامه تنها از این نظر نیست که اثری استثنائی و بی نظیر به شمار می رود، اگر ما در آثار دیگر شاعران پارسی گوی با مفاهیمی انتزاعی مانند عشق، حرمان، حسرت و اشتیاق روبروییم، فردوسی در کنار پرداخنت به این مفاهیم، دست به تصویرگری صحنه های داستانهای اسطوره ای ایرانزمین می زند و خواننده را نه تنها به درون روح و روان قهرمانان خود و احساسات گوناگون بشری رهنمون می شود، که او را با خود به میانه میدان رزم و مجلس بزم می برد و با اعجاز سخنش این صحنه ها را زنده و جاندار برای خواننده ترسیم می کند. سیمرغ، که داستان زادن و بالیدن زال و همچنین دلباختگی او بر رودابه دختر مهراب شاه کابلی است، یکی از زیباترین و از نظر ساختاری پیچیده ترین بخشهای شاهنامه است. فردوسی در این داستان دغدغه های انسانی همچون بخت و سرنوشت و آز و ترس و بدنامی، و همچنین نیاز های انسان چون نامآوری و دلداگی و عشق را در زیر سقف یک داستان حماسی گردهم آورده است. داستان سیمرغ گذشته از برجستگیهای زیبایی شناختی ادبی خود از یک موسیقی درونی نیز برخوردار است، عاملی که شاید حمید متبسم را به خلق این اثر ترغیب کرده باشد. متبسم، که کارهایش تا کنون نیز بدلیل توانائیهای ویژه او در خلق آثار چند صدایی برای سازها و دستگاههای موسیقی ایرانی ویژه و متمایز بوده اند، اینبار با برگزیدن داستان سیمرغ و نوشنت یک اثر چندآوایی برای ارکستر سازهای ملی دست بکاری بزرگ زده است، کاری که دشواریهای خلق اثر موسیقایی بر مبنای شاهنامه، و دشواری کمبود امکانات موسیقی سنتی ما در زمینه موسیقی چند صدایی را یکجا در خود دارد. آهنگساز بايد در اين اثر هم دلدادگى رودابه بر زال را از زبان ساز بازگو کند، هم تاخت سواران بسوي البرزکوه را، هم آشيانه سيمرغ را و هم دلشکستگى سام نرميان را. او بايد همچون شاهنامه خوانى کارکشته تک تک صحنه ها و يک يک احساسات قهرمانان اين داستان را زنده و جاندار از دل سيم و چوب و پوست سازهايى بيرون بکشد، که هنرشان بيشتر بيان مفاهيم انتزاعى شعر ايرانى است. حميد متبسم در اين اثر همچون يک پرده خوان، صحنه هاى شاهنامه را بر ديوار پندار شنونده اش ترسيم و نگارگرى مى کند. »سيمرغ« داستان زال را چنان بازآفرينى مى کند، که ديدن آن از راه شنيدن ميسر باشد. 44 www.simorq.orgwww.simorq.org www.simorq.orgwww.simorq.org © Copyright 2010 Simorq Inc. All rights reserved Literature adviser www.simorq.org Dr. Mohsen Banaie [email protected] Manager of orchestra Behrang Tonekaboni Technician [email protected] Sasan Azodi [email protected] Orchestra Coordination and communications Saeedeh Ghazi English Translator [email protected] Aida Shahghasemi [email protected] Coordinator in Iran M. Rafiei Simorq foundation [email protected] Correspondence Mrs. Farzaneh Aryan Financial adviser [email protected] Saeed Pakrah [email protected] Coordinator Soheila Fallahi [email protected] Responsible for sponsoring Dr. Sajjad Rahnama’i [email protected] Responsible for sponsoring in north America Media: Navid Zarkari Photography Tahmineh Monzavi [email protected] Film Saied Ghazi Sound engineer Orod Anzabipoor Accountancy Fahimeh Alavi [email protected] Idea, Conception, Design and realization www.simorq.org www.simorq.org 5 6 www.simorq.org www.simorq.org www.simorq.org www.simorq.org 7 Hamid Motebassem Composer and Tar & Setar Player Hamid Motebassem was born in 1958 in Mashad, Iran. He was raised in a musical family, where his brother was a violinist and his first teacher was his father, Ali Motebassem who played the Tar. His subsequent teachers included the masters Habiballah Salehi, Zeydallah Toloie, Houshang Zarif, Hossein Alizadeh and Mohammad Reza Lotfi. Motebassem studied in the Tehran School of Art and the Conservatory of Persian Music. He was a member of the Chavosh Cultural Center where he taught music. One of the original members of Aref Ensemble, he founded Dastan Ensemble as well as Ensemble Chakavak, Mezrab & Pardis upon immigration to Germany in 1986. Hamid Motebassem is the founder of the Society of Tar and Setar and has since 1994 organized annual semi- nars dedicated to the two instruments. He has performed on numerous albums of contemporary Iranian compos- ers as well as on all the released works of Dastan Ensemble since 1992. Discography: • Bamdad • Gol-e Behesht • The Scent of Norooz • Maah Aroos • The Song of the Sea • LoolianQeijak-e Koli • Saz-e No, Avaz-e No • Be Nam-e Gol-e Sorkh • Dastan Trio • Shurideh (Winner of the title “Musical Shock“ in the music • Dastan Duet journal, Le Monde and the recipient of the 2003 Best Music • Hanaie of the Year Award from the French Ministry of Culture.) 8 www.simorq.org www.simorq.org Homayoun Shajarian Singer (Soloist) is a Persian classical music vocalist, as well as a Tombak and Kamancheh player.
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