UNIVERSITY OF SOUTHAMPTON

FACULTY OF LAW, ARTS & SOCIAL SCIENCES

SCHOOL OF HUMANITIES

Portfolio of compositions and commentary

by

Mohammad Hossein Karim Hadisi

Portfolio of compositions and commentary for the degree of Doctor of Philosophy

January 2012 Portfolio of Compositions and Commentary Hossein Hadisi

Preface The spiritual journey of many greatly influential figures throughout history has been subject to physical journeys. The enlightening visions and experiences that prophets, poets and thinkers have witnessed have given birth to new intellectual horizons that might not have been achieved, but for the challenges and adventures entwined with the nature of migration.

The musical journey of my life, too, has been affected by the physical and spiritual journey I have made by leaving Iran. The nature of Persian music, also, takes one on a mystical journey of self-analysis and awareness. Inevitably, my music is the product of the culture I was raised in and the ones I have had the privilege of living in. My interpretation of these cultures, hermeneutics of humanities and understanding of music, is also strongly influenced by my personality and psychological characteristics. As a composer, I have always refrained from commenting on my own music. I find the experience somewhat challenging, yet amusing, non-musical, yet poetic and unnecessary, yet fruitful. In writing this commentary, I have re-visited some of the most intimate compositional experiences I have had and I am grateful for the depth of insight provided by this experience.

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Portfolio of Compositions and Commentary Hossein Hadisi

Table of Contents

PREFACE ...... 2 TABLE OF CONTENTS ...... 3 LIST OF TABLES AND ILLUSTRATIONS ...... 5 LIST OF ACCOMPANYING MATERIAL ...... 10 ACKNOWLEDGEMENT ...... 12 NOTE ...... 13 1. INTRODUCTION ...... 15 2. WINE OF THE MYSTIC: ...... 19 I.I. BI KHABARAN ...... 19 I.II. HICH ...... 21 I.III. DAM ...... 22 I.IV. MEY-E NAAB ...... 23 I.V. SAMA ...... 33 I.VI. KOOZEH ...... 35 II.I. AFSOOS ...... 41 II.II. FATVAA ...... 46 II.III. SOVAR ...... 54 II.IV. PAYAN-E SOKHAN ...... 56 III.I. RANJ-E BIHOODEH ...... 59 III.II. HAST ...... 62 III.III. NIST ...... 63 III.IV. GHAFELEH ...... 65 III.V. ASRAAR-E AZAL ...... 70 IV.I. GHAM ...... 71 IV.II. EBRAT ...... 71 IV.III. MAST ...... 73 IV.IV. NI AMADAMI ...... 73 IV.V. NI SHODAMI ...... 75 IV.VI. NI BODAMI ...... 77 3. APPENDIX A – RUBAIYAT ...... 81 4. APPENDIX B – INSTRUMENTATION ...... 85 TAR ...... 85 TOMBAK ...... 85 DAF ...... 86 DAYEREH ...... 88 5. APPENDIX C – INDEX OF SYMBOLS AND TRANSLITERATIONS ...... 91 6. APPENDIX D – PERCUSSION NOTATION ...... 93 7. APPENDIX E – THE TAR FRETTING ...... 95 8. APPENDIX F – CONCERT PROGRAMME FOR THE PREMIÈRE ...... 97

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Portfolio of Compositions and Commentary Hossein Hadisi

9. APPENDIX G – CALLIGRAPHY AND GRAPHIC NOTATION ...... 101 10. APPENDIX H – ARTWORK ...... 117 ALBUM ARTWORK: ...... 117 SCORE ARTWORK: ...... 117 STAGE LAYOUT: ...... 118 11. APPENDIX I – OMAR KHAYYÁM ...... 121 12. APPENDIX J – OTHER PIECES ...... 125 12.1 NOTATED PIECES ...... 125 12.2 SONAR SCORES ...... 135 12.3 IMPROVISATORY PIECES ...... 137 13. APPENDIX K – AUDIO CDS ...... 141 CD I: WINE OF THE MYSTIC ...... 141 CD II: OTHER WORKS ...... 141 CD III: SAMPLES FROM PERSIAN MUSIC ...... 142 14. ENDNOTES ...... 143 14.1...... 143 14.2...... 143 14.3...... 145 14.4...... 150 14.5...... 150 14.6...... 150 14.7...... 151 14.8...... 152 14.9...... 153 14.10...... 155 14.11...... 157 14.12...... 159 14.13...... 160 14.14...... 161 14.15...... 163 14.16...... 166 14.17...... 167 14.18...... 167 15. GLOSSARY ...... 169 16. BIBLIOGRAPHY ...... 171 17. SCORES ...... 177 WINE OF THE MYSTIC: ...... 178 A CLOUD IN TROUSERS: ...... 236 THE WINDHOVER: ...... 242 LULLABY FOR A DEAF CHILD: ...... 244 PLACES I’D TAKE MICHAEL FINNISSY TO VISIT IF HE WAS EVER GOING TO COME TO IRAN: ...... 252

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Portfolio of Compositions and Commentary Hossein Hadisi

List of Tables and Illustrations TABLE 1 THE INSTRUMENTATION USED IN ‘WINE OF THE MYSTIC’ BASED ON THE SECTIONS. LENGTHS (MM:SS) OF THE SECTIONS ARE APPROXIMATE ESTIMATIONS BASED ON THE PERFORMANCE IN THE PREMIÈRE...... 33 TABLE 2 – THE RHYTHMIC CELLS IN [IV.IV.] DIVIDED BY BARS, BASED ON THE RHYTHMIC CELLS IN FIGURE 72...... 74 TABLE 3 THE FRETTING SYSTEM ON THE TAR USED IN ‘WINE OF THE MYSTIC’. THE FRETS MARKED WITH ASTERISK DON’T EXIST IN THE TRADITIONAL SYSTEM...... 96 TABLE 4 THE INTERVALS USED IN PERSIAN MUSIC...... 96 TABLE 5 THE TRACK LIST FOR [CD I.]...... 141 TABLE 6 THE TRACK LIST FOR [CD II.]...... 142 TABLE 7 THE TRACK LIST FOR [CD III.]...... 142 TABLE 8 ALL THE PITCHES USED IN [I.III.]. THE PITCHES IN BRACKETS ARE PRESENTED BY THEIR ENHARMONICS AND THE PITCHES WITH A QUESTION MARK ARE NOT FOUND ON THE TAR IN THE TRADITIONAL FRETTING SYSTEM...... 145

FIGURE 1 MODE OF CHAHARGAH IN C AND GUSHEH OF MOKHALEF CHAHARGAH IN A-KORON (THE FINALIS IS THE NOTE WITH THE STEM)...... 19 FIGURE 2 MODAL REFERENCES IN AN EXCERPT FROM THE SCORE: "PASSAGE TO ABU-ATA", "DASHTI", "GILAKI", AND "CHAHARGAH"...... 21 FIGURE 3 THE TAR SCORDATURA INDICATION...... 22 FIGURE 4 THE TAR DOUBLE STOPS...... 23 FIGURE 5 DEVELOPMENT OF THE TAR DOUBLE STOPS...... 23 FIGURE 6 THE TRADITIONAL RHYTHM OF RUBAIY ACCORDING TO PERSIAN PROSODY...... 23 FIGURE 7 VARIATIONS OF THE RUBAIY MOTIF FROM THE SCORE...... 24 FIGURE 8 THE TRIPLET SUBDIVISIONS IN 2/4 PREPARE THE UPCOMING 6/8...... 25 FIGURE 9 TOP: THE GENERAL RHYME SCHEME OF RUBAIY (AABA). BOTTOM: RHYME SCHEME OF THE FIRST RUBAIY OF [I.IV.]. ‘R’ REPRESENTS THE RHYMES AND ‘F’ SHOWS THE REFRAIN...... 26 FIGURE 10 THE CAESURA FOR THE WORDS “I CANNOT”...... 26 FIGURE 11 THE ALTERNATING PITCHES IN [I.IV.A.]...... 28 FIGURE 12 THE ALTERNATING PITCHES IN [I.IV.B.]...... 28 FIGURE 13 DOWNWARD SEQUENCE AT THE END OF VERSE TWO CREATES A FALSE SENSE OF CLOSURE FOR THE WHOLE RUBAIY...... 29 FIGURE 14 THE OPENING FOUR BARS OF [I.III.]...... 30 FIGURE 15 THE TOMBAK PLAYER IMPROVISES BASED ON THE GIVEN PATTERNS (A-H)...... 30 FIGURE 16 ONLY C, F AND G REMAIN THE SAME IF BOTH, SHUR AND BAYAT-E TURK, ARE WRITTEN IN C (I.E. SHUR TRANSPOSED A MINOR THIRD LOWER)...... 31 FIGURE 17 AD LIBITUM USE OF THE TAR DRONES NOTATED WITH TRIANGULAR NOTEHEADS...... 32 FIGURE 18 DOUBLE SLASH ‘CAESURA’ AND ‘CONTINUE PLAYING’ ARROW SYMBOLS FOR THE TOMBAK...... 32 FIGURE 19 THE TOMBAK SOLO IN [I.V.A.]...... 34 FIGURE 20 NEW PATTERNS IN THE TOMBAK PART IN [I.V.B.]...... 35 FIGURE 21 ZOORKHANEH RHYTHMS IN [I.VI.]...... 35 FIGURE 22 A MORSHED PLAYING THE ZARB-E ZOORKHANEH (MALLAH 1997, 472)...... 36 FIGURE 23 WORDS NOT BELONGING TO THE RUBAIYAT ARE WRITTEN IN UPPERCASE...... 37 FIGURE 24 MELISMATIC VOWELS IN [I.VI.B.]...... 38 FIGURE 25 SPOKEN WORDS IN THE VOCAL PART FIRST APPEAR IN [I.VI.B.]...... 38 FIGURE 26 THE IRONY IN THE TONE OF THE RUBAIY IS REINFORCED BY THE DOWNWARD BENT AD THE END OF THE VOCAL PHRASE. .. 39 FIGURE 27 THE RHYTHM OF THE SPOKEN WORDS OF THE RUBAIYAT IS THE PERCUSSION PART FOR [II.I.]...... 41 FIGURE 28 THE LAST HEMISTICH OF THE RUBAIY IN [II.I.A.] IS OMITTED...... 42 FIGURE 29 THE ORIGINAL STRUCTURE OF THE RUBAIY AND ITS REPRESENTATION IN [II.I.A.]...... 42 FIGURE 30 SARANG ACCORDING TO KARIMI, USED AS A FORUD TO SHUR (MASSOUDDIEH 1995, 23-24)...... 43 FIGURE 31 THE VERB OF THE RUBAIY IN [II.I.B.] IS OMITTED...... 44

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Portfolio of Compositions and Commentary Hossein Hadisi

FIGURE 32 PRESENCE OF SARANG IS A RESPONSE TO THE MODULATION TO BAYAT-E TURK IN [II.I.A.]...... 44 FIGURE 33 OVERLAPS IN THE REPETITION OF THE VERSES OF THE RUBAIY IN [II.I.C.]...... 45 FIGURE 34 INTRODUCTION OF NEW ACCIDENTALS IN CHAHARGAH (A.A. TO A.B.) AND HOMAYUN (B.A. TO B.B.) TO (C.). THE QUAVER NOTES REPRESENT THE FINALIS FOR THE MODES...... 45 FIGURE 35 CHAHARGAH IN C, THE PRINCIPAL MODE OF THE PIECE COMES BACK IN B-KORON AT THE END OF [II.I.C.]...... 45 FIGURE 36 THE TERNARY FORMAL PLAN FOR MODULATION FROM AND TO CHAHARGAH IN ‘WINE OF THE MYSTIC’...... 46 FIGURE 37 REFERENCES TO THE ‘CABARET’ MUSIC OF TEHRAN REINFORCES THE MOCKING TONE OF THE RUBAIY...... 47 FIGURE 38 THE FORTISSIMO DYNAMIC MARKINGS INDICATE AN AGITATED AND “VULGAR, CABARET-LIKE” PERFORMANCE IN [II.II.B.]...... 50 FIGURE 39 THE THIRD VERSE OF THE RUBAIY IN [II.II.B.] ADDRESSES THE PREACHER IN FFF...... 50 FIGURE 40 THE INCREASE IN DYNAMICS SUPPORTS THE RATHER INSOLENT TONE OF THE RUBAIY...... 50 FIGURE 41 BAYAT-E KORD IN [II.II.C.]...... 51 FIGURE 42 GORGANI RANKS BAYAT-E KORD AS A GUSHEH IN CHAHARGAH (GORGANI 1600S (?), 44)...... 53 FIGURE 43 THE SIMPLIFIED VERSION OF KERESHMEH IN SHUR SHOWS THE BASIC STRUCTURE AND RHYTHM OF THE GUSHEH (FARHAT 1990, 179)...... 55 FIGURE 44 THE UNFINISHED KERESHMEH MELODY IN [II.III.]...... 55 FIGURE 45 THE EMBELLISHMENTS IN THE TAR MELODY...... 56 FIGURE 46 A TEMPO RUBATO SECTIONS FOR THE TAR OVER THE DAF OSTINATI PATTERNS...... 56 FIGURE 47 BAYAT-E TURK MELODY IN [II.IV.] IN 6/8...... 56 FIGURE 48 THE NEW MODE (C.) IS MADE BY IMPOSING THE G-KORON FROM CHAHARGAH AFTER THE FIRST TETRACHORD OF BAYAT-E TURK...... 57 FIGURE 49 THE GRADUAL CHANGE OF TONE IN THE VOCAL PART IN THE THIRD VERSE OF THE RUBAIY IN [II.IV.]...... 57 FIGURE 50 “A PERSIAN POET OF THE LATE THIRTEENTH CENTURY PRESENTING A QUASIDA OR PANEGYRIC TO A MONGOL OR GOVERNOR” (BROWNE 1915, IV)...... 59 FIGURE 51 EXPRESSIVE CALLIGRAPHY USED AS GRAPHIC NOTATION FOR [III.I.]...... 62 FIGURE 52 NOTATION FOR THE IDEA OF ‘THE LOST WANDERER IN THE DESERT’ IN [III.II.]...... 63 FIGURE 53 THE INSERT AT THE BEGINNING OF EDWARD HERON-ALLEN'S BILINGUAL VERSION OF EDWARD FITZGERALD’S TRANSLATIONS TYPIFIES THE WESTERN PERCEPTION OF THE RUBAIYAT (HERON-ALLEN 1899, INSERT BEFORE PAGE I)...... 64 FIGURE 54 RETUNING THE TAR IN [III.III.]...... 65 FIGURE 55 SUFI RHYTHMS ARE EMPLOYED IN [III.IV.A.]...... 66 FIGURE 56 CADENCE FOR THE REFRAIN IN VERSE ONE...... 66 FIGURE 57 CADENCE FOR THE REFRAIN IN VERSE TWO...... 66 FIGURE 58 CADENCE FOR THE REFRAIN IN VERSE FOUR...... 66 FIGURE 59 REPETITION OF THE WORDS "NAM ZE MA" AS A MANTRA...... 67 FIGURE 60 THE SIMULTANEOUS USE OF THREE DIFFERENT TETRACHORDS BASED ON THE PERFECT FOURTH FROM C TO F...... 68 FIGURE 61 RHYTHMIC CADENCE TAKEN FROM [III.IV.A.]...... 68 FIGURE 62 A MODALLY AMBIGUOUS PHRASE IN BOTH HOMAYUN AND ESFAHAN...... 69 FIGURE 63 IN THE CALLIGRAPHIC NOTATION IN [III.V.], PERSIAN LETTERS OF ALPHABET REPRESENT NOISES MADE BY THE DAF RINGS.70 FIGURE 64 IN [IV.I.], THE CALLIGRAPHIC NOTATION OF THE PERSIAN LETTERS OF ALPHABET REPRESENTS THE NOISES CREATED BY THE TAR TUNING PEGS WHILE RETUNING...... 71 FIGURE 65 THE DIALOGUE BETWEEN THE TAR AND THE VOICE IN [IV.II.]...... 71 FIGURE 66 AVAZ AND JAWAB-E AVAZ IN THE DIALOGUE BETWEEN THE VOICE AND THE TAR IN [IV.II.]...... 72 FIGURE 67 THE MELODY OF BAYAT-E KORD IN [IV.II.]...... 72 FIGURE 68 F-SORI AND E-NATURAL POINT TOWARDS THE 'OLD BAYAT-E KORD'...... 72 FIGURE 69 THE SLOW CHANGE OF ACCIDENTALS IN BAYAT-E KORD, MOVING TOWARDS THE ‘OLD BAYAT-E KORD’...... 73 FIGURE 70 REPETITION OF THE WORDS ‘DORI DO SE’ AS A MANTRA TOWARDS THE END OF [IV.II.]...... 73 FIGURE 71 EXCERPTS FROM THE TOMBAK PART IN [IV.III.] WITH TWO RHYTHMIC CELLS CONVEYING 6/8...... 73 FIGURE 72 THE RHYTHMIC CELLS IN [IV.IV.] USE VARIATIONS BASED ON 7/8...... 74 FIGURE 73 AN EXAMPLE OF THE RHYTHMIC STRUCTURE EMPLOYED IN [IV.V.]...... 75

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Portfolio of Compositions and Commentary Hossein Hadisi

FIGURE 74 THE OPENING PHRASE OF [IV.V.]...... 75 FIGURE 75 THE SUBSEQUENT PHRASES IN [IV.V.] ARE VARIATIONS IN RESPONSE TO THE OPENING PHRASE...... 76 FIGURE 76 COMPLEX DIVISIONS OF 7/8 IN THE MOTIVIC CELL OF [IV.V.]...... 76 FIGURE 77 A TEMPO RUBATO IMPROVISATION OVER 7/8 OSTINATI...... 76 FIGURE 78 THE TOMBAK FAREWELL IN [IV.VI.]...... 78 FIGURE 79 THE MODAL SCHEME OF GUSHEH BIDAD IN DASTGAH-E HOMAYUN (FARHAT 1990, 69)...... 78 FIGURE 80 THE FORUD FIGURE IN GUSHEH BIDAD IN [IV.VI.] USES A-KORON IN THE LOW OCTAVE...... 78 FIGURE 81 DRINKING WINE REMINDS THE MODE OF SHUR IN ‘WINE OF THE MYSTIC’...... 79 FIGURE 82 “[…] WHERE I MADE ONE- TURN DOWN AN EMPTY GLASS” (HERON-ALLEN 1899, 146-147)...... 79 FIGURE 83 INDEX OF SYMBOLS AND TRANSLITERATIONS USED IN 'WINE OF THE MYSTIC'...... 91 FIGURE 84 (SABA 1958, 4-7), REPRODUCED IN (ZONIS 1973, 114)...... 92 FIGURE 85 (MILLER 1999, 277)...... 92 FIGURE 86 THE SYMBOLS USED FOR PERCUSSION NOTATION IN ‘WINE OF THE MYSTIC’...... 93 FIGURE 87 NOTATION OF A RENG IN BAYAT-E ESFAHAN (MASSOUDDIEH 2004, 99)...... 101 FIGURE 88 USE OF CALLIGRAPHY IN THE SCORE (MASSOUDDIEH 2004, 192)...... 102 FIGURE 89 NOTATION OF TAHRIR-HA AND OTHER ORNAMENTATION IN GUSHEH MATNAWI (MASSOUDDIEH 1995, 75) ...... 103 FIGURE 90 NOTATION OF TAHRIR-HA AND USE OF GRACE NOTES (KHALEGHI 1982-3, 128)...... 104 FIGURE 91 USE OF RHYTHMICALLY SIMPLIFIED NOTATION, GRUPPETTI AND TAHRIR-HA (MILLER 1999, 291) ...... 105 FIGURE 92 ABOLHASSAN SABA’S SIMPLIFIED STYLE OF NOTATION, USING TAHRIR-HA (SABA 1956, 5), REPRODUCED IN (ZONIS 1973, 114)...... 106 FIGURE 93 USE OF GRACE NOTES AND SIMPLIFIED RHYTHMS (FARHAT 1990, 173) ...... 107 FIGURE 94 USE OF REPEAT MARKS WITH PERFORMANCE INSTRUCTIONS ‘MORE’ (TOP SYSTEM) AND ‘LESS’ (BOTTOM SYSTEM) (MAARUFI 2004, 73) ...... 107 FIGURE 95 CALLIGRAPHIC WORD-DRAWING USED AS GRAPHIC NOTATION OF THE RECITATION IMPROVISATION IN [III.I.]...... 108 FIGURE 96 USE OF ALPHABET LETTERS (‘VISUAL TEXT’) IN THE SCORE OF ‘SEHTEXTE’ (KRIWET 1965), (KARKOSCHKA 1972, 115), © UNIVERSAL EDITION A.G., WIEN. REPRODUCED BY PERMISSION...... 109 FIGURE 97 POSITIONG OF WORDS ON THE PAPER IN THE STORYTELLING NARRATIVE OF ‘FA:M AHNIESGWOW’ (HELMS 1979), (KARKOSCHKA 1972, 116), © UNIVERSAL EDITION A.G., WIEN. REPRODUCED BY PERMISSION...... 109 FIGURE 98 SPACING OF WORDS AND STAVES IN ‘SICILANO’ (BUSSOTTI, SICILIANO 1962), (KARKOSCHKA 1972, 94), © UNIVERSAL EDITION A.G., WIEN. REPRODUCED BY PERMISSION...... 110 FIGURE 99 THE IMPROVISATORY PATTERNS FOR TOMBAK IN [I.III.] ...... 111 FIGURE 100 “ACCUMULATION OF SYMBOLS” IN ‘ENJAMBEMENTS’ (CERHA 1959), (KARKOSCHKA 1972, 86), © UNIVERSAL EDITION A.G., WIEN. REPRODUCED BY PERMISSION...... 111 FIGURE 101 FREE SPACING OF IMPROVISATORY MATERIAL IN [III.II.] ...... 112 FIGURE 102 FREE SPACING OF IMPROVISATORY MATERIAL IN [IV.III.] ...... 112 FIGURE 103 THE SPACING OF NOTES IN ‘FOLIO’ (BROWN 1954), (KARKOSCHKA 1972, 90), © UNIVERSAL EDITION A.G., WIEN. REPRODUCED BY PERMISSION...... 113 FIGURE 104 THE SPACING OF MATERIAL IN THE SCORE OF ‘SEGMENTI’ (SEROCKI 1961), (KARKOSCHKA 1972, 152) , © UNIVERSAL EDITION A.G., WIEN. REPRODUCED BY PERMISSION...... 113 FIGURE 105 USE OF FLOWING CALLIGRAPHIC SHAPES ON THE STAFF IN [II.V.] ...... 114 FIGURE 106 LINES REPRESENTING PITCHES ON THE STAVES IN THE SCORE OF ‘CYMBALON’ (HASHAGEN 1960), (KARKOSCHKA 1972, 101), © UNIVERSAL EDITION A.G., WIEN. REPRODUCED BY PERMISSION...... 114 FIGURE 107 NOTATION OF IMPROVISATORY FIGURES IN [I.II.] ...... 114 FIGURE 108 NOTATION OF IMPROVISATORY OSTINATI IN [III.IV.] ...... 115 FIGURE 109 NOTATION OF IMPROVISATORY TREMOLANDI IN [II.II.] ...... 115 FIGURE 110 NOTATION OF IMPROVISATORY TREMOLANDI IN [II.II.] ...... 115 FIGURE 111 NOTATION OF IMPROVISATORY OSTINATI AND TREMOLANDI IN [IV.II.] ...... 115 FIGURE 112 NOTATION OF TREMOLANDI FIGURES IN ‘MYTHOS’ (VLIJMEN 1963), (KARKOSCHKA 1972, 163), © UNIVERSAL EDITION A.G., WIEN. REPRODUCED BY PERMISSION...... 115

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Portfolio of Compositions and Commentary Hossein Hadisi

FIGURE 113 NOTATION OF REPETITIVE PATTERNS IN ‘IMAGO MUSICAE’ (SCHAFFER 1961), (KARKOSCHKA 1972, 144), © UNIVERSAL EDITION A.G., WIEN. REPRODUCED BY PERMISSION...... 116 FIGURE 114 “NO EXPLANATION FOR THE TRANSITION FROM EXACT PITCH NOTATION TO GRAPHIC NOTATION IS GIVEN APART FROM THE USE OF THE WORD “SIMILE””. AN EXCERPT FROM THE SCORE OF ‘DESIDERATIO DEI’ (KARKOSCHKA 1961), (KARKOSCHKA 1972, 110-111), © UNIVERSAL EDITION A.G., WIEN. REPRODUCED BY PERMISSION...... 116 FIGURE 115 ‘WINE OF THE MYSTIC’, PERSIAN CALLIGRAPHY-PAINTING, PEGAH SALIMI (2010)...... 117 FIGURE 116 ‘NAUGHT’, INK ON PAPER, HOSSEIN HADISI (2010)...... 118 FIGURE 117 STAGE DESIGN FOR THE PREMIÈRE OF 'WINE OF THE MYSTIC' IN TURNER SIMS CONCERT HALL, UNIVERSITY OF SOUTHAMPTON, 14/02/2010, PEGAH SALIMI...... 119 FIGURE 118 THE NORMALISED TETRACHORD OF CHAHARGAH USED IN 'A CLOUD IN TROUSERS'...... 125 FIGURE 119 MELISMATIC FIGURES IN 'THE WINDHOVER'...... 126 FIGURE 120 OSTINATO IN BARS 29-32 OF ‘THE WINDHOVER’, OVER WHICH NARRATION IS DONE...... 126 FIGURE 121 THE MELODY OF GUSHEH BAKHTIARI IS THE BASE FROM WHICH ‘LULLABY FOR A DEAF CHILD’ IS WRITTEN (MASSOUDDIEH 1995, 105)...... 127 FIGURE 122 THE CLOSEST REPRESENTATION OF THE ORIGINAL LULLABY MELODY, IN GUSHEH BAKHTIARI IN THE FLUTE PART (‘LULLABY FOR A DEAF CHILD’, PAGE 3, TOP TWO SYSTEMS)...... 128 FIGURE 123 METICULOUS SPECIFICATION OF RHYTHMS IN THE FIRST DRAFT OF 'LULLABY FOR A DEAF CHILD'...... 128 FIGURE 124 THE SPACES BETWEEN NOTEHEADS REPRESENT THE PITCH LENGTHS IN THE STYLE OF NOTATION EMPLOYED IN 'LULLABY FOR A DEAF CHILD'...... 128 FIGURE 125 'LE TABLEAU 1RE: MASOULEH' USES A SONAR SCORE...... 129 FIGURE 126 OCTAVE JUXTAPOSITIONS IN THE MELODY OF ‘LE TABLEAU 2E: DEYLAMAN’...... 130 FIGURE 127 THE PERCUSSIVE FIGURES USED IN ‘LE TABLEAU 3E: KHORASAN’ REPRESENTING THE 5+2 RHYTHMIC CELLS OF NAVAEI...... 131 FIGURE 128 THE DIALOGUE IN THE PARI BAKH MELODY, REPRODUCED IN 'LE TABLEAU 4E: AZARBAYEGAN'...... 131 FIGURE 129 THE USE OF CLUSTERS AND UNFAMILIAR HARMONIES ALIENATE THE FOLK MELODIES FROM THEIR MODAL BELONGINGS IN ‘LE TABLEAU 5E: LORESTAN’...... 132 FIGURE 130 THE COMPLETE SCORE OF 'LE TABLEAU 6E: BOUSHEHR', ...... 133 FIGURE 131 IN ‘LE TABLEAU 7E: KAROON’, THE OSTINATO LEFT HAND CHORDS REPRESENT THE STYLE OF PERCUSSION PLAYING IN KHUZESTAN...... 134 FIGURE 132 THE MYSTERIOUS WORLD OF LONAK IS PICUTRED USING SHARP TRANSPOSITIONS AND FLOATING MELODIES IN ‘LE TABLEAU 8E: LONAK’...... 135 FIGURE 133 THE MODAL SCHEME OF 'FEAR OF PERDITION'...... 138 FIGURE 134 HIGH G, REPRESENTATIVE OF THE TUNING OF THE TAR...... 143 FIGURE 135 MIDDLE G, REPRESENTATIVE OF THE TUNING OF THE TAR...... 143 FIGURE 136 MIDDLE C, REPRESENTATIVE OF THE TUNING OF THE TAR...... 143 FIGURE 137 THE VOCAL MELODY SUGGESTING THE ALTERNATIVE TUNING FOR THE TAR...... 143 FIGURE 138 HANNANEH'S THEORY OF LOST SCALES. THE DERIVATION ORDER IS FROM BOTTOM TO TOP (HANNANEH 1988, 171)...... 144 FIGURE 139 PITCH CLASS FOR [I.II.] DERIVED FROM CHAHARGAH IN C AND A SHUR TRANSPOSED TO C...... 144 FIGURE 140 FREQUENT USE OF E-KORON (205 OUT OF A TOTAL OF 260 PITCHES) IN THIS PIECE IN SEGAH CREATES TONAL GRAVITY AROUND IT (MILLER 1999, 286)...... 146 FIGURE 141 GUSHEH SAFA USES LONG NOTES VALUES FOR A-KORON TO EMPHASISE THE ROLE OF IT AS FINALIS OF SHUR (MAARUFI 2004, 73)...... 147 FIGURE 142 LENGTH OF PRESENCE INCREASES THE HARMONIC FORCE TOWARDS ONE PITCH (B-FLAT, THE IMPROVISATORY MINIM- LONGA SYMBOL)...... 147 FIGURE 143 THE PROXIMITY OF F-SHARP AND A-FLAT TO G AND THEIR USE IN THE CONTEXT CREATES A CLUSTER WITH A STRONG TONAL GRAVITY TOWARDS G, THE FIANLIS FOR CHAHARGAH (LEMAIRE 2003, 22)...... 148 FIGURE 144 THE LAST NOTE, G, GAINS TONAL WEIGHT BECAUSE OF ITS PLACE AT THE END OF THE PIECE, WHICH CREATES A SENSE OF AN INVISIBLE DOWNBEAT...... 149

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Portfolio of Compositions and Commentary Hossein Hadisi

FIGURE 145 THE PLACEMENT OF THE ACCIACCATURE AT BARS 9-11 KEEPS THE TONAL GRAVITY OF G INTACT (MESHKATIAN 1999)...... 149 FIGURE 146 ANALYSIS OF TWO VARIATIONS OF THE RUBAIY MOTIF BY HOSSEIN DEHLAVI (DEHLAVI 2006, 100-101)...... 150 FIGURE 147 DARAMAD (INTRO) IN DASTGAH-E SHUR. NOTE THE EMPHASIS ON NOTE D AS FINALIS (MASSOUDDIEH 1995, 13). . 151 FIGURE 148 DARAMAD (INTRO) IN BAYAT-E TURK. THE MODE OF SHUR IS EMPLOYED, BUT THE EMPHASIS ON NOTE F AS FINALIS CHANGES THE CHARACTERISTICS OF THE MODE (MASSOUDDIEH 1995, 49)...... 151 FIGURE 149 THE CADENTIAL FIGURE KNOWN AS BAL-E KABUTAR...... 152 FIGURE 150 THE ALTERNATING SHAHED NOTE G IN DASHTI...... 153 FIGURE 151 DARAMAD-E DASHTI, MAHMOUD KARIMI’S VERSION. NOTICE THE ALTERNATING ENDINGS ON A AND G (MASSOUDDIEH 1995, 63)...... 154 FIGURE 152 DARAMAD-E DASHTI ACCORDING TO MUSA MAARUFI. BOTH PHRASES END WITH THE SAME FORUD (MAARUFI 2004, 134-5)...... 155 FIGURE 153 KHOSRO SHIRIN ACCORDING TO KARIMI. NOTICE THE SHORT OPENING ON FINALIS (D) AND THE END OF THE LONG PHRASE ON THE IST NOTE (A) (MASSOUDDIEH 1995, 36)...... 156 FIGURE 154 THE OPENING OF KHOSRO SHIRIN IN [II.I.B.]...... 156 FIGURE 155 FORUD TO ABU ATA ACCORDING TO KARIMI’S VERSION (MASSOUDDIEH 1995, 32)...... 157 FIGURE 156 DARAMAD-E BAYAT-E TURK, ACCORDING TO KARIMI (MASSOUDDIEH 1995, 49)...... 158 FIGURE 157 THE OPENING MOTIF OF SARANG IN [II.I.B.] USES A PERFECT FOURTH...... 158 FIGURE 158 INTRODUCTION OF NEW ACCIDENTALS IN MODULATIONS BETWEEN CHAHARGAH, HOMAYUN AND ESFAHAN...... 159 FIGURE 159 A TRANSPOSED HOMAYUN IN G-SHARP BRINGS IN PITCHES NEW TO THE VOCABULARY OF ‘WINE OF THE MYSTIC’. .... 160 FIGURE 160 DARAMAD-E SEGAH ACCORDING TO KARIMI’S RADIF (MASSOUDDIEH 1995, 127)...... 160 FIGURE 161 DARAMAD OF SEGAH IN [II.II.B.]...... 160 FIGURE 162 PASSAGE TO MOKHALEF SEGAH IN [II.II.B.]...... 161 FIGURE 163 PREPARAQTION FOR ESFAHAN IN [I.IV.B.]...... 161 FIGURE 164 THE MICROTONAL INTERVAL BELOW THE FINALIS IS THE ONLY DIFFERENCE BETWEEN ESFAHAN AND MOKHALEF SEGAH...... 161 FIGURE 165 INDIRECT MODULATIONS FROM AFSHARI TO SHUR THROUGH MAHUR...... 161 FIGURE 166 THE BASIC MELODIC FORMULA FOR BAYAT-E KORD (BASED ON THE MODE OF SHUR IN D) BY FARHAT, BASED ON MAARUFI’S RADIF (FARHAT 1990, 33)...... 163 FIGURE 167 BAYAT-KORD (BASED ON THE MODE OF SHUR IN G) WITH A LOWERED SHAHED NOTE, D-KORON (SETAYESHGAR 1994, 167)...... 164 FIGURE 168 GORGANI RANKS BAYAT-E KORD AND HEJAZ-E MOKHALEF AS GUSHEH-HA UNDER DASTGAH-E CHAHARGAH (GORGANI 1600S (?), 44)...... 164 FIGURE 169 THE PROPOSED ‘OLD BAYAT-E KORD’ (C.) FITS BETWEEN SHUR AND CHAHARGAH. THE ARROWS SHOW PITCH ALTERATIONS AND THE ASTERISK REPRESENTS THE NEW MODE...... 165 FIGURE 170 THE LOST GUSHEH HEJAZ-E MOKHALEF, TOO, CAN BE FOUND BY LOOKING AT THE MODULATION SUGGESTED BY GORGANI’S CHART AND SHIRAZI’S POEM. THE ARROWS SHOW PITCH ALTERATIONS AND THE ASTERISK REPRESENTS THE NEW MODE...... 166 FIGURE 171 BIMODALITY IN [II.IV.] AS THE VOCAL MELODY STATES BAYAT-E TURK WHILE THE TAR IS STILL PLAYING THE OSTINATO FIGURE FROM CHAHARGAH...... 167 FIGURE 172 A SHORT REFERENCE TO THE TETRACHORD OF MAHUR IN [II.IV.]...... 167 FIGURE 173 A SHORT REFERENCE TO THE TETRACHORD OF MAHUR IN THE BEGINNING OF [I.IV.A.]...... 167 FIGURE 174 ABU-ATA IN CHAP KOOK...... 168

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Portfolio of Compositions and Commentary Hossein Hadisi

List of Accompanying Material

Scores • ‘Wine of the Mystic’ • ‘A Cloud in Trousers’ • ‘The Windhover’ • ‘Lullaby for a Deaf Child’ • ‘Places I’d Take Michael Finnissy to Visit if He Was Ever Going to Come to Iran’

Recordings1 • CD [I.]: ‘Wine of the Mystic’ • CD [II.]: Other Works • CD [III.]: Samples from Persian Music

1 Q.v. Appendix K – Audio CDs. 10

Portfolio of Compositions and Commentary Hossein Hadisi

DECLARATION OF AUTHORSHIP

I, Mohammad Hossein Karim Hadisi, declare that the thesis entitled Portfolio of Compositions with Commentary and the work presented in the thesis are both my own, and have been generated by me as the result of my own original research. I confirm that:

• The work was done wholly or mainly while in candidature for a research degree at this University; • Where any part of this thesis has previously been submitted for a degree or any other qualification at this University or any other institution, this has been clearly stated; • Where I have consulted the published work of others, this is always clearly attributed; • Where I have quoted from the work of others, the source is always given. With the exception of such quotations, this thesis is entirely my own work; • I have acknowledged all main sources of help; • Where the thesis is based on work done by myself jointly with others, I have made clear exactly what was done by others and what I have contributed myself; • None of this work has been published before submission.

Signed: …………………………………………………

Date: 20 Dec 2011

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Portfolio of Compositions and Commentary Hossein Hadisi

Acknowledgement I am greatly indebted to a number of people for their help and contribution during the process of composition and preparing the commentary. I would like to firstly thank Professor Michael Finnissy, the supervisor of my project, with whose help and insight the journey of my PhD became a fascinating and fruitful one.

I would also like to express for my gratitude for the musicians with whom I have worked during the course of this research. Without the help and amazing performance skills of Fardin Mortazavi, ‘Wine of the Mystic’ would have not been complete. The experience of working with Sam Cave, Ruth Corney and Sarah Sammons, also formed a very unique period in my musical life. I would like to thank ensembles Exaudi and Modelo62, who have performed two of the pieces discussed in this commentary.

With the overview of my main supervisor, editorial advice has been sought. No changes of intellectual content were made as a result of this advice. I would like to thank Will Lingard for his significant editorial input and thank Dr. Andrew Fisher for his help. Sara Aronowitz and Reza Hadisi helped me with the translation of some of the Rubaiyat, for which I am very grateful. And I must acknowledge the generosity of Universal Editions, which granted me permission to quote extensively from Erhard Karkoschka’s book (Karkoschka 1972) and thank Ben Newing for his help.

I would also like to thank Pegah Salimi for her exceptional support and companionship throughout this project, the artwork design and her help with editing and material preparation.

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Portfolio of Compositions and Commentary Hossein Hadisi

Note Because of the derivation of some of the material in this portfolio from Persian music, a specific style of notation has been adapted and invented to accommodate the compositional ideas (Appendix C – Index of Symbols and Transliterations).

All accidentals are valid only for the pitch they precede. New musical and graphical symbols have been used where there was no other substitute available in the repertoire. Due to the lack of a unified notation system in Persian music and confusions with Persian percussion notation (Appendix D – Percussion Notation), I have opted for using the most widely accepted notation systems or alternatively, provided more abstract and improvisatory performance instructions, such as calligraphic notation, etc.

The recordings provided for the improvisatory pieces, allude to the Persian tradition of improvisation. As a result, these recordings are the interpretation of the works according to the performers, rather than being a final and definitive representation of the score.

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Portfolio of Compositions and Commentary Hossein Hadisi

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Portfolio of Compositions and Commentary Hossein Hadisi

1. Introduction Before the introduction of notation to Persian music in the early 20th century by Ali Naqi Vaziri (1888-1980), a collection of maqams and melodies, later known as the Radif, were used to perform and teach Persian music. The pedagogical method used to teach the Radif was solely based on tribally or familialy exclusive Sineh-be-Sineh (translation: ‘chest-to- chest’) aural learning through imitation and improvisation. As a result, minor or major differences appear between different maestros’ renditions of the Radif.

Each version of the Radif consists of various types of melodies and modes that, based on their relative modal similarities2, are categorised in groups, called the Dastgah3-ha. More important than the actual melodies (known as Gusheh-ha), are the rules of classification in each Radif, which are the theoretical manifestation of a particular school or teacher.

The term 'Dastgah', means 'hand-position'. The name of some Dastgah-ha comes from the hand-position of the mode in use, for example Dogah (position two), Segah (position three) and so on. The principal rule of improvisatory modulation between the Persian modes is the alteration of one degree of the mode. Introduction of one or two new accidentals, mostly of microtonal nature, causes changes in finger positioning that results in modulation to another 'hand-position', or Dastgah.

“The practice of grouping pieces into collections and the application of the term Dastgah is of a relatively recent origin. There is no evidence for the practice having existed prior to the Qajar period (1787-1925). For all we know, before the nineteenth century, modes or maqams were performed individually, as they still are in the Turko- Arabian traditions. Presumably a series of improvisation and compositions were performed in the same mode to cover the desired length of time.”

(Farhat 1990, 19).

The current Persian doctrine of Dastgah was devised in the mid-twentieth century as an attempt to classify the most predominant modes in the maqam music of the past. The Dastgah system was originally meant to be a means of organisation that explains the modulatory relationships between the modes. Nonetheless, with the insistence of musicians to abide by its rules and copy its structure, the system, itself, became the predominant accepted method of Persian improvisation.

Because of the inevitable limitations caused by imitating the rules of the Radif, the methods of improvisatory composition soon began to feel entrapped within the Radif. The critiques

2 (Zonis 1973, 14-15). 3 “Dastgah: modal system; a collection of melodic segments that share a common basic scale with its variations” (Miller 1999, 349). 15

Portfolio of Compositions and Commentary Hossein Hadisi of Persian music deem the predictability of Radif monotonous, when compared with the Western music’s adventurous behaviour towards form4.

Despite the lack of support, difficulties and censorship imposed by the government in Iran, during the past two decades there have been numerous attempts to break out of the old structure of the Radif. Today, among the pioneers and contemporary musicians, playing the Radif as it is only reserved for teaching the style, and not representing expression. Many have sought refuge in the maqam-based music of the past, of which there is not much left, due to the absence of any system of notation. Some have focused on folk music, which is much greater than the current Radif in the quantity of surviving melodies and modes. The majority of Persian musicians, however, keep the Radif as a framework based on which improvisatory performance begins.

Because of the improvisatory nature of Persian music, the musicians are ‘real-time’ composers that create and reveal every step of the journey during the course of the performance. As a result of this, the role of ‘composer’, as a mastermind behind the music and its creator, never really existed in Persian history. It was in the twentieth century, when public concerts and song writing grew in demand, that traditional musicians began writing music.

Nevertheless, the majority of those who write music today, belong stylistically either to one of the Western traditions, or write music that suffers from the absence of the most definitive characteristic of Persian music, that is improvisation. With the intermediate level of education available in the discipline of composition, notating the highly sophisticated rhetoric of Persian music has suffered from a simplistic, generalising, quasi-tonal and imitative approach. The best examples of notation representing the actual essence of Persian music are to be found in the work of ethnomusicologists, not composers5.

During the course of my PhD, I have studied and attempted to write music that uses elements of Persian music, but does not necessarily abide by its rules. I investigated these elements, based on their modal characteristics, and explored new relationships between them, unknown to the tradition of the Radif. With regards to notation, too, I used and created symbols that best represent the improvisatory nature of Persian ornamentation.

4 There is a peculiar attitude separating Persian music(ians) and Western music(ians) in Iran. Most of the general audience today is almost completely disconnected from the Western tradition (particularly the contemporary one); because of the lack of a strong presence after the revolution of 1979. When it comes to studying music, too, the pathways are completely separated and music students go through different curriculum in the universities. When I was studying ‘classical’ violin with one of the greatest violin teachers in Iran, for instance, I was to hide the fact that I also play Persian music on the violin or he would have refused to teach me. 5 That is, notation that comes after the performance. This means that documenting Persian music has proven to be easier and more successful than the composers’ attempts to actually create music by writing it. 16

Portfolio of Compositions and Commentary Hossein Hadisi

The notation system employed is based on the Western tradition, but its vocabulary is freely expanded to include graphic notation, Persian calligraphy and alternative symbols6.

The study of compositional techniques derived from the Persian improvisational school of Avaz is the core of this research project. The compositions included in this portfolio, dwell upon the philosophy and artistic attitude of this tradition, rather than representing it in its original state.

My Persian and Western musical education has been a point of departure, from which an odyssey in search of an individual musical rhetoric has begun. I have explored different aspects of the topic in the format of written pieces, sonar scores and improvisatory projects. My research has benefitted from the experience of working with musicians during the process of composition and studying the methods of communication of compositional ideas. The on-going dialogue with fellow musicians and artists, particularly Professor Michael Finnissy, has also been hugely influential and inspirational in helping me refine my methods.

The result of this research came to fruition in ‘Wine of the Mystic’, the piece I wrote based on Rubaiyat of the Persian philosopher, Omar Khayyám. Poetry of Khayyám has been an integral part of my thinking ever since I delved into his world in my early youth. During the first year of this project, I researched the life and times of Khayyám, particularly his Rubaiyat, along with the extensive study of the compositional structures of Persian music. In the light of the results of this research, the composition of ‘Wine of the Mystic’ was done during the second year, based on modal ideas that explore and stretch the Persian Dastgah system.

‘Wine of the Mystic’ became the centrepiece of this research project, while other pieces (Appendix J – Other Pieces) stood in different proximities from its musical world. The main connecting device between these compositions, nevertheless, is the improvisatory nature of them, which is derived from the Persian art of Avaz.

6 Q.v. Appendix C – Index of Symbols and Transliterations. 17

Portfolio of Compositions and Commentary Hossein Hadisi

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Portfolio of Compositions and Commentary Hossein Hadisi

2. Wine of the Mystic:

I.i. Bi Khabaran "O foolish one! this moulded earth is naught, This particoloured vault of heaven is naught; Our sojourn in this seat of life and death Is but one breath, and what is that but naught?" (Whinfield 1980, 54, No. 78)

‘Wine of the Mystic’ starts with a solo vocal peroration that in many ways marks out the modal and formal structure of the whole work. The contour of the melody introduces the tuning of the tar7. These pitches emphasize the range as fermate.

A large part of ‘Wine of the Mystic’ is written in accordance with the Persian improvisation tradition of Avaz.8 Sections marked as Avaz are notated with rectangular noteheads9 to differentiate between traditional Western note values and the molto rubato, loosely relative values of notes in Avaz10.

[I.i.] states the opening phrase of the Gusheh-ye Mokhalef Chahargah11 in mezzo fortissimo12. Mokhlaef Chahargah is considered the contra-mode to the original mode of Dastgah-e Chahargah. The harmonic progression of [I.i.] is similar to starting a tonal piece in the submediant key and not showing a cadence until the very end.

Figure 1 Mode of Chahargah in C and Gusheh of Mokhalef Chahargah in A-koron (the Finalis is the note with the stem).

7 Q.v. Endnote 14.1. 8 “Persian music … is not measured throughout but contains long sections of unmeasured, free rubato playing […]. This great rhythmic freedom, conducive to improvisation, allows for the abundant ornamentation characteristic of Persian art. Although much of Persian music is unmeasured, a traditional performance contains both unmeasured and measured pieces with the unmeasured type, as a class called Avaz (song)” (Zonis 1973, 126). 9 All symbols used in ‘Wine of the Mystic’ are explained at the end of the score, as well as in Appendix C – Index of Symbols and Transliterations. 10 Notation in Avaz merely suggests the pitch contour and shape of the melody. It also gives an idea of the length of the notes rather than specific rhythmic instructions. In Avaz, the musician’s decision on rhythm is based on the overall feeling of the improvisation, phrase lengths and the speed of other musical events. 11 Mokhalef Chahargah is one of the predominant Gusheh-ha in the modal division known as Dastgah-e Chahargah. The role of this Gusheh is to prepare a modulation a fifth higher than the tonic of Chahargah, which in this case is modulating from the absent Chahargah of C to Mokhalef Chahargah of G (which in return advances to Mokhalef Chahargah a sixth higher than the tonic of Chahargah). 12 f < mff < ff. 19

Portfolio of Compositions and Commentary Hossein Hadisi

Conventionally, such modulations in the course of a Dastgah serve to open a door to more distant and adventurous harmonies. In the case of [I.i.] though, it is the reverse. The music starts in the more adventurous contra-mode, and settles down by going back to the mode of Chahargah, which has not yet been established. The particularity of this approach (almost a ‘trick’) lies in a very subtle property of most passing Gusheh-ha, which acts as a bridge between two modes, or two faces of the same mode. Traditionally when new harmonies are to be introduced to the course of an improvisation, a very delicate reference is made in the first steps of the modulation to the original mode, in order to make the transition more coherent. In this instance, the reference to the original mode of Chahargah has been used as a point of departure towards the home mode, unknown until now.

The Rubaiy used for this movement demonstrates a rather provocative tone, addressing its audience as “fools”. The term used by Khayyám13 literally means ‘unaware, ignorant or naïve’, but the meaning of the Rubaiy is nevertheless the same. The core message of this Rubaiy is that according to Khayyám, “all is naught” and everything we know is merely based on our perception of the world14.

The opening phrase starts in a high register to emphasize the crude act of addressing everyone, as if standing on a podium delivering important news. In order to exhibit the dissatisfaction in the sad truth the Rubaiy reveals, there is a downward motion with the diminuendo at the end. This brings in unfamiliar tones that interrupt, surprise and unsettle the mode of Chahargah. Furthermore, the mode of Chahargah is used in accordance with its reputation in the repertoire. Chahargah is suitable for music that is designed to evoke a response in the audience, and is often found in pieces that are traditionally thought to be used for awakening in the morning15.

This is why Chahargah has been employed as the principal mode for ‘Wine of the Mystic’. The characteristic personality of Chahargah represents the 'nihilistic' overtones present in many of the Rubaiyat. For the same reason the first Rubaiy—with its rather insolent spiritual awakening tone—is presented in Chahargah.

13 ‘Bi Khabaran’. 14 The ink on paper drawing by me on page ii of the score entitled ‘naught’ (Figure 116), points to this Rubaiy. It also acts as a symbol for the whole work, representing the dominance of nihilism in the perception of the universe according to the philosophy of Omar Khayyám. 15 Chahargah has been chosen as the principal mode for ‘Wine of the Mystic’ because of its various melodic and harmonic properties. Ruhollah Khaleghi explains the structure of the mode and even compares it with the major and minor scales. This is a rather odd comparison because of the principal difference in the nature of Persian modes and Western scales. This comparison, nevertheless, helps explain some of the melodic possibilities of Chahargah (Khaleghi 1982-3, 181-195). 20

Portfolio of Compositions and Commentary Hossein Hadisi

I.ii. Hich This solo tar piece plays a role similar to that of a Daramad16, through which the mode is conventionally introduced and established. Daramad is usually a short prelude that opens the door for a rhythmic prelude, known as Pish Daramad ([I.iii.]), by outlining the main tone(s) of the mode.

The first four fermate of the piece are rather unusual openings for a Daramad because of the very short length of its motif-like phrases. While the role of such pieces is supposed to be that of a harmonically stable one, the double stops and accidentals introduced throughout this piece suggest a twofold tendency to the two main modes of the piece, Chahargah and Shur. Such modal references are pointed out in the score of ‘Wine of the Mystic’ above the staves (Figure 2). Pointing out the name of the Gusheh or Dastgah in use, instantly communicates the employed fingering position to Persian musicians.

Figure 2 Modal references in an excerpt from the score: "passage to Abu-Ata", "Dashti", "Gilaki", and "Chahargah".

Shur is the biggest Dastgah in Persian music. According to a variety of sources, five or six other Dastgah are believed to be derived from Shur. While Chahargah is the principal mode of ‘Wine of the Mystic’, Shur represents the secondary mode. The theme of Chahargah represents the 'nihilistic' reading of Rubaiyat. Shur, on the other hand, reflects upon the Rubaiyat whose subject is life and enjoying the moment.

The fact that Abu Ata and Chahargah are very distant modes helps to highlight the contrast between the two very different feelings these modes seem to convey. According to Hannaneh’s theory 17 and common practice of Radif playing, in order to go from Shur to Chahargah, one needs to go through the mode of Dogah (translation: ‘position two’) to

16 “Daramad (opening, introduction): The piece or group of pieces in a common mode, which begin a Dastgah are called Daramad. They are the most representative portion of the Dastgah. The mode and the melodic patterns of the Daramad are those of the Dastgah itself. The Gushes and the tekkes which follow the Dastgah is primarily established by the Daramad section” (Farhat 1990, 22). The term Daramad, literally translated means 'Entrance [from the] door'. 17 Q.v. Endnote 14.2. 21

Portfolio of Compositions and Commentary Hossein Hadisi

Segah (‘position three’) to Chahargah (‘position four’). The absence of Segah, as the bridge mode between the two modes used in [I.ii.] is deliberate; it is omitted in order to create a more vague and alienated harmonic canvas as the Daramad for ‘Wine of the Mystic’.

The style of tar playing used in [I.ii.] is akin to that of contemporary players such as Hossein Alizadeh18. The use of double stops and microtonal changes of pitch, the combination of very short and long phrases, and the clarity of performance are typical of this style. The tuning note at the beginning of the piece suggests that the tar is to be tuned flatter than usual; somewhere between three-quartertones and a koron below standard pitch (Figure 3).

Figure 3 The tar scordatura indication. I.iii. Dam [I.iii.] plays the role of a Pish Daramad19, a rhythmical instrumental piece that typically features at the beginning of a traditional session of improvisation. A Pish Daramad usually states the main cadential motif—known as Forud20—of the present Dastgah. Through step- by-step procession and the presenting of new pitches, the Pish Daramad expands its range up to one of the higher degrees in the mode; typically a fourth, fifth or sixth higher, where the main contra-mode Gusheh lie. The presence of this Gusheh here—to be performed in detail later in the course of the improvisation—acts a preparatory introduction to it. Pish Daramad, with its instrumental forces, has a role very similar to that of the overture in Western operatic tradition: a micro-model of the melodic and modal structure of the piece is presented before the piece itself commences.

While [I.iii.] fulfils the role of a Pish Daramad for the whole of ‘Wine of the Mystic’ relatively successfully, it goes one step further in terms of rhythmical variety by repeatedly breaking out of the 2/4 metre set by the tombak. It also goes further until the tar plays sections of solo Avaz. The Avaz sections (denoted by square noteheads) are played with free rhythm, giving almost no regard to the bar lines except for at the end of the melismatic Avaz phrases. By coming in and out of the ongoing 2/4 variations of the tombak's ostinato, the tar prepares the upcoming sections of ‘Wine of the Mystic’ that explore such multi-rhythmical, iso-rhythmical and "tempo rubato" feels.

18 For an example of Alizadeh’s style please refer to Tracks 01 and 02 on [CD III.] and Appendix K – Audio CDs. 19 “Pish Daramad (pre-introduction, overture): A composed rhythmic instrumental piece which is sometimes performed at the beginning of a Dastgah is called a Pish Daramad. It is a twentieth-century innovation intended for ensemble playing. An increasing number of Pish Daramads have been composed during the last eighty years” (Farhat 1990, 22). Translation: ‘before the Intro (Daramad) [to the mode], prelude’. 20 Translation: ‘Cadence’. 22

Portfolio of Compositions and Commentary Hossein Hadisi

The modal ambiguity introduced by [I.i.] and expanded by [I.ii.], comes to fruition in [I.iii.]. This is achieved through variety, signalled by use of double stops from the beginning of the piece (Figure 4) until its reestablishment later on21 (Figure 5).

Figure 4 The tar double stops.

Figure 5 Development of the tar double stops. I.iv. Mey-e Naab Rubaiy is typically a Persian form22 (Browne 1915, 246). The original rhythm of a Rubaiy is, according to its prosodic pattern of rhythm, in 6/8, the most common metre in Persian music (Figure 6). This four bar phrase is generated from what I call the Rubaiy motif (♩|♩♪♪), which is quintessentially a Persian motif. Each four bar phrase pertains to one of the four verses, making Rubaiy a perfect sixteen bar musical sentence, made out of four four-bar phrases.

Figure 6 The traditional rhythm of Rubaiy according to Persian prosody.

Throughout ‘Wine of the Mystic’, there are numerous references to quaternary structures. [III.v.], for instance, is firmly based on the poetic form of Rubaiy. Another example is [I.i.], with four phrases of similar length, each representing one verse. The whole piece is also written in four movements. But the typical 16-bar sentence (four sections of the same length) is barely used in ‘Wine of the Mystic’. This is justifiable if one considers the artistic attitude of Omar Khayyám towards his own work. Khayyám’s Rubaiyat are brutally sharp, honest and very bold. He uses language, rhythm and the poetic form of Rubaiy merely as means to a philosophical end. The result of this is a very open-minded approach to Rubaiy, as well as the occasionally awkward but interesting use of grammar and words. Since my aim was to write ‘Wine of the Mystic’ in a fashion similar to Khayyám’s approach to poetry, I

21 Q.v. Endnote 14.3. 22 There is not unanimous agreement on the origin of the form or Rubaiy. Influences from Turkish and Arabic literature are also to be found in the genealogy of Rubaiy (Rypka 1968, 96 and 123). 23

Portfolio of Compositions and Commentary Hossein Hadisi have employed rhythmical juxtapositions, modal ambiguity, extended vocal techniques and irregular structures23.

My approach is to emphasize the key words in a Rubaiy instead of following the rhythm of verses. Inspired by the contemporary school of Espacementalisme in Persian poetry, I have taken an expressive attitude towards the meanings and the ‘spaces’ created by the order and setting of words in the text. By juxtaposition of key words in the Rubaiyat, an uncomfortable alienated mood is created in which the familiar anecdotes of Khayyám are transfigured and distorted24.

I have used and modified the Rubaiy motif in many different ways in [I.iv.] and throughout the whole piece. The tar ostinato in [I.iv.] (♩♪♪|♩♩) is an extended version of the Rubaiy motif with one extra crotchet. Figure 7 displays some of the other variations of the Rubaiy motif in [I.iv.]. These variations include transforming the motif from 6/8 to 2/4 or using it in molto rubato Avaz passages.

Figure 7 Variations of the Rubaiy motif from the score.

The tar shows hints of subdividing 2/4 to 6/8 by using occasional triplets (Figure 8). Since the aim is to upset the natural rhythm of the poetry, the 6/8 is never completely established,

23 Q.v. Endnote 14.4. 24 This is similar to the effect that misquoting “To be, or not to been…” has on the meaning, tense and logic of the text. 24

Portfolio of Compositions and Commentary Hossein Hadisi until later in [II.iv]. The actual presence of 6/8 is not crucial for the existence of the Rubaiy motif. Rhythmic variations of the motif cover the whole piece from the tar ostinati in [II.iii.] and [II.iv.] to the ones shown in Figure 7.

Figure 8 The triplet subdivisions in 2/4 prepare the upcoming 6/8.

[I.iv.] is a fantasy-like Tasnif25 that freely uses combinations of song and Avaz sections. Although there is a regular metric presence of the tombak with developing improvised 2/4 patterns, the vocal line freely shifts between rhythmic, non-rhythmic (Avaz) and spoken sections. The tar also switches between playing on the beat with the tombak and playing free Avaz passages.

The compositional idea behind [I.iv.] is to deconstruct the form of the Rubaiy by expanding, shortening, adding extra material and changing rhythm. Three Rubaiyat are sung in this Tasnif and each one of them is presented with a different formal plan. Placing the regular 6/8 metric structure of Rubaiy against an asynchronous fixed 2/4 time signature further highlights the distortion. The grid-like time structure of the persistent 2/4 metre provides the pulse, using strong bass ‘Tom’ beats on the tombak 26. This is supported by downward plucking on the tar, establishing the ostinato.

I.iv.a. "Endure this world without my wine I cannot! Drag on life's load without my cups I cannot! I'm slave of that sweet moment when they say, " Prithee, take one more goblet," and I cannot!" (Whinfield 1980, 242, No. 360)

The first Rubaiy uses rhythmic and non-rhythmic Avaz sections interchangeably. The first verse is sung in a straightforward 2/4 metre and the second verse uses a ternary ‘Avaz – Rhythmic - Avaz’ setting. This slow introduction of Avaz on top of the rhythmic background prepares the third verse, which is completely sung in Avaz. The last verse is sung entirely in 2/4 except for the last word of the Rubaiy, reserved for a reprise in Avaz after a very long

25 “Tasnif (Ballad): A composed song in a slow metre is called a Tasnif. As is true of other forms of musical composition, most Tasnifs are of relatively recent origin and by known composers” (Farhat 1990, 23). 26 The name of tombak comes from the two main techniques used to play the instrument, namely “Tom” (bass beat with closed hand in the centre) and “Bak” (finger beat at the edge). 25

Portfolio of Compositions and Commentary Hossein Hadisi rest. The long delay in pronouncing the last word “Natvanam"27 creates a musical suspension, as well as a punctuation pause in revealing the last word of the Rubaiy. It should be noted that all Rubaiyat share the “AABA” rhyme scheme28. The Rubaiy in question has a refrain as well as a rhyme (Figure 9). As a result, by the time the music gets to the last verse, the [Persian] audience will already know what the last word is, because the refrain has been stated in the first and second verse.

...... Rʹ ...... R″ ...... ^ ...... R‴ ...... RʹF ...... R″F ...... ^ ...... R‴F

Figure 9 Top: The general rhyme scheme of Rubaiy (AABA). Bottom: Rhyme scheme of the first Rubaiy of [I.iv.]. ‘R’ represents the rhymes and ‘F’ shows the refrain.

This delay in punctuation is an additional caesura that is common in the recitation of Persian poems. In a Ghazal or a Rubaiy, where verses have refrains, the repeated refrains are read with a delay so that the audience is able to recall it. While it is normal to delay the refrain when reciting poetry, it is not usually the case for a regular, metric Tasnif. For the Rubaiy used in [I.iv.a], the caesura is on the refrain words “I cannot” in the Avaz section (Figure 10). The first of the three repetitions features the refrain with molto vibrato. The second one takes the refrain into Shur through a Tahrir29 on the second syllable (‘va’). By the third and last repetition, the refrain is deconstructed, deformed and transformed into the vocal vowel ‘Ah!’, which means ‘Alas!’ in Persian. Any listener familiar with Persian would know the last word of the last verse (“I cannot!”), despite its omission.

Figure 10 The caesura for the words “I cannot”.

The tar solo after the end of the first Rubaiy plays an answer (Jawab-e Avaz) and takes the music from Abu Ata to Dashti. While Abu Ata and Dashti both belong to Dastgah-e Shur, it is very unusual to modulate between them in such quick succession as is evident in [I.iv.a].

27 Translation: ‘I cannot’. 28 “The quatrain (Rubaiy) has an epigrammatic character with the rhythm plan AABA, though less frequently the not so expressive AAAA is encountered” (Rypka 1968, 96). 29 “The main ornament in Persian music singing in called Tahrir which is a falsetto break or cracking of the voice in the form of a grace note above, and in between the notes of, the melody line.” (Miller 1999, 108-9). 26

Portfolio of Compositions and Commentary Hossein Hadisi

This is aligned with the formal idea of fantasy for this Tasnif and the whole of ‘Wine of the Mystic’.

Non-adherence to the rules of Morakkab Khaani30 in [I.iv.] is the main compositional idea behind ‘Wine of the Mystic’. It creates an unstable modal universe in which the harmonic ground is constantly shaken by unanticipated and sudden modulations. In order for the narrative of the music to remain coherent, other compositional devices have been employed simultaneously. The most important of these devices is skipping some of the steps in the chain of Dastgah improvisation. In addition to omitting parts of the process, other possible tools to achieve similar results include changing the order of actions or showing other references. Modifying the stages within the process of Morakkab Khaani results in an incomplete modulation. In the compositional language of ‘Wine of the Mystic’, this is analogous to the unsettling shifting of philosophical and conceptual ideas in Omar Khayyám’s poetry.

I.iv.b. "When I am dead, with wine my body lave, For obit chant a bacchanalian stave, And, if you need me at the day of doom, Beneath the tavern threshold seek my grave." (Whinfield 1980, 6, No. 6)

The second Rubaiy starts in Abu Ata, just like the first Rubaiy. Both these references to Abu Ata are partially showing properties of the cadences of the mode. But they also accommodate foreign notes such as F-sori and G-koron that are used as Moteqayyer31 (alternating pitches) in Abu Ata (Figure 11 and Figure 12).

30 Modulation in Persian music is effected through a technique known as Morakkab Khaani. Where melodic or harmonic possibilities are available, carefully selected passages are used to move between two (and, rarely, more) modes. Morakkab Khaani is based on pre-composed melodies within the Radif and is considered one of the most difficult and advanced stages of the art of Avaz. It is within the nature and concept of Dastgah to set a mode and its cadential figures as the harmonic base and then balance the forces by using contrasting ideas such as Mokhlaef (Contra-mode), Oj (peak, higher register), etc. There are predetermined passages prescribed in the Radif, used in order to move from one mode to another. This could be from one Gusheh to another in the same Dastgah or, from one Dastgah to another. These passages are clever, pre-composed figures that go through phases of preparation, settlement and departure, usually returning to the home key. 31 “Moteqayyer (changeable): In some of the Persian modes one of the tones appears consistently in two different forms, e.g. E natural and E slightly-flat. When there is such a regularly fluctuating tone, it is called a Motqayyer” (Farhat 1990, 24). 27

Portfolio of Compositions and Commentary Hossein Hadisi

Figure 11 The alternating pitches in [I.iv.a.].

Figure 12 The alternating pitches in [I.iv.b.].

The tar accompaniment for the second Rubaiy is based entirely on chords and double stops. This is a reference to the double stop texture that was introduced in the second part of [I.iii.] (Figure 5). The dissonance created by playing close finger positions is a development of the ostinato that was previously based on the drone (Figure 7, the fourth excerpt). Such a style of playing is extremely unusual for the tar; it is generally used as a melodic instrument32.

‘Wine of the Mystic’, however, is anything but traditional in its attitude towards Persian music. The superimposition of the second Rubaiy over the chordal figures creates an estranged feeling that reinforces the tone of the poem. The compositional plan of this

32 The most complicated chordal playing of the tar usually involves using open string drones with one or more added consonant intervals that create dyads or triads. Persian music is by nature a monophonic music and, as such, the use of complicated chords is not considered part of its vocabulary. Although the physical structure of some Persian instruments such as the tar and the kamancheh32 allows for harmonic explorations, the majority of pioneers and innovators have focused mostly on definitive aspects of Persian music such as melodic embellishment and ornamentations. This is no doubt due, at least in part, to the fact that most musicians who have trained in the traditional system are unfamiliar with the techniques required to play chords and more complicated harmonies. The absence of such chordal figures in the performance practice becomes more understandable in light of their unsuitability for the general context of traditional Persian improvisation. 28

Portfolio of Compositions and Commentary Hossein Hadisi second Rubaiy is an elaboration of the first Rubaiy in [I.i.]. Verse one is sung in a conventional Tasnif style in 2/4, but verses two and four are in Avaz. Verse 3, by contrast, is spoken in a low voice, emphasising the difference of the third verse in the rhyme scheme of Rubaiy (Figure 9).

This Rubaiy has a two-word refrain, “ma-ra”33, at the end of all four verses. The refrain in verse two is repeated three times, through a sequence that moves from E-flat down to D- koron and eventually down to C (Figure 13). This sequence acts as an answer to the previous abrupt modulations between Abu Ata and Shur, providing a sense of closure. In this instance, though, the cadence is based on a conventional Forud. This cadential sequence creates an early and false sense of closure for the Rubaiy at the end of the second verse. Since the first two verses of the Rubaiy do make a whole antecedent-consequent unit, this pair is treated like a single Rubaiy in order to make the effect of the spoken third verse more striking.

Figure 13 Downward sequence at the end of verse two creates a false sense of closure for the whole Rubaiy.

After the third verse is recited, a loud and even more unexpected fourth verse starts in Dashti to complete the triangular modulation set (of Abu Ata, Shur and Dashti) prevalent in [I.iv.]34.

The percussion part in ‘Wine of the Mystic’ is introduced at the beginning of [I.iii.]. Once the tar player finishes his solo Daramad in [I.ii.], he notifies the percussionist, who should have prepared the tombak at the end of [I.ii.], with a nod.

33 Translation: ‘To me’. 34 Q.v. Endnote 14.5. In the chordal section, the tar prepares further modal changes by making a short reference to Esfahan and going back to Shur before the third verse is started. 29

Portfolio of Compositions and Commentary Hossein Hadisi

Figure 14 The opening four bars of [I.iii.].

The opening four bars of [I.iii.] (Figure 14) is a statement of the key pitch of movement [I]. The central pitch, C, is the pivotal Finalis for both the home modes stated in [I.i.], [I.ii.] and [I.iii.] and the 'away' modes introduced in [I.iv.]. The four opening bars also set the tempo for the tombak player to follow (Figure 15).

Figure 15 The tombak player improvises based on the given patterns (A-H).

I.iv.c. "So many cups of wine will I consume, Its bouquet shall exhale from out my tomb, And every one that passes by shall halt, And reel and stagger with that mighty fume." (Whinfield 1980, 12, No. 17)

[I.iv.c.] introduces Bayat-e Turk35, another auxiliary Dastgah of the big Dastgah-e Shur. While all Dastgah-ha36 included in Shur share the same modal scheme, but the Finalis and other key degrees37 of the modes are different38.

35 “Bayat-e Turk (verses of the Turk, or verses of beauty) has another appellation, Bayat-e Zand, which refers to the family of an unusually well regarded eighteenth-century monarch, Karim Khan Zand.” (Zonis 1973, 77). 36 Auxiliary Dastgah-ha are referred to as Avaz or Bayat. In this text, the term Dastgah is used to refer to all Persian modes. This is done in agreement with Farhat’s discussion on the terminology of Persian modes (cf. Farhat 1990, 20-21). 37 Degrees of the mode in Persian Dastgah-ha are not based on their order. That is to say, what serves the role of a dominant is not always the fifth or any other particular interval from the Finalis. Furthermore, even the Finalis itself is not necessarily the first note of the mode. The degrees that define a Dastgah or Gusheh are: Finalis, Aqaz, Ist, Shahed and Moteqayyer. For a detailed explanation of these terms see Farhat (1990, 24-25). Q.v. Glossary. 38 Q.v. Endnote 14.6. 30

Portfolio of Compositions and Commentary Hossein Hadisi

[I.vi.c.], on the other hand, has a very sharp transposition behind the modulation from Shur to Bayat-e Turk that leaves movement [I.] modally open39. As a result of using C as a pivotal note and the Finalis for both modes, only C, F and G will remain intact and all other pitches will have new accidentals attributed to them (Figure 16).

Figure 16 Only C, F and G remain the same if both, Shur and Bayat-e Turk, are written in C (i.e. Shur transposed a minor third lower).

This dramatic change of pitch class at the end of movement [I.] has two consequences: First, it strips the movement off all extra pitches but C, F and G. This will reinforce the key pitches of the piece from the very beginning, where [I.i.] opened with the first verse on F, then developed the second and third verses on G and eventually introduced C as the Finalis40 (Q.v. Endnote 14.1).

Secondly, the last and most important reason for maintaining the tonal centrality of C, F and G is the tuning system for the tar41. ‘Wine of the Mystic’ uses both these tunings—[C-C/G- G/C-C] and [C-C/F-F/C-C]—in order to achieve better sonic variety on the tar. In fact, [III.iii.] and [IV.i.] instruct the player to retune the middle pair of strings from G to F and back. The open strings of the tar are freely used in many different ways as drones, notated in this piece with triangular noteheads (Figure 17). The transposing modulation42 at the end of [I.iv.c.] further highlights the three pitches that represent the open strings of the tar throughout the piece.

39 Instead of staying in the prevailing Shur of C, which has been repeatedly reconfirmed since [I.i.], an abrupt downward transposition of a minor third takes place. But since now the mode of Shur is taken down from C to A, the resulting Bayat-e Turk will be a Bayat-e Turk in C (Figure 16 Only C, F and G remain the same if both, Shur and Bayat-e Turk, are written in C (i.e. Shur transposed a minor third lower). Although going to the Bayat- e Turk in E-flat would have had a different harmonic effect—similar to finishing on a chord other than the tonic in a tonal piece—the chief pitch class would have still remained the same. 40 C has been the Finalis for Shur, Abu Ata and Dashti all along, F is the Shahed and Aqaz for Abu Ata and G is the Shahed and Moteqayyer of Dashti and Moteqayyer of Shur. All this, shows that the key pitches of the first movement are all kept intact and everything else has changed. In a way, the transposing modulation works only in favour of these three pitches. The ground that Shur in C was standing on has suddenly fallen away, but these three pitches still resonate. 41 The tar has two chief tuning settings; Rast Kook (right tuning) and Chap Kook (left tuning) (Figure 138). This means that every Dastgah is generally played in one or other of the tunings, resulting in two versions of the same Dastgah a fourth apart e.g. Bayat-e Turk in C or in F. This is done primarily in order to allow all the Gusheh-ha of all the Dastgah-ha to be matched to the range of any singer. 42 Modulation, in Persian music, involves going from one mode to another while maintaining one of the preset finger positions. A transposing modulation, on the other hand, is a compositional tool I have employed in ‘Wine of the Mystic’ where a mode is transposed to a degree not traditionally relevant to it, because of its awkward finger positions. 31

Portfolio of Compositions and Commentary Hossein Hadisi

Figure 17 Ad libitum use of the tar drones notated with triangular noteheads.

The expansion of the pitch class now fills in the missing E-natural and A-natural (mentioned in the pitch class for [I.iii.] in Table 8)43, creating harmonic surprise by using these notes for the very first time. The task of resolving these new pitches is left to movement [II.].

Apart from the harmonic adventure that [I.iv.c.] has to offer, synchronised immediate stops present in this section allow the improvisers to convene at certain points (Error! Reference source not found.). There are four sudden stops designated to happen at particular moments marked in the score for [I.iv.c.]. These tombak pauses are indicated in the score by caesurae marks and slashes (cancel caesura, continue playing) that point forward, specifying that the tombak player needs to stop with an accent and start again after the mark. Since an accentuated tar note precedes the caesurae in the tombak, it sounds as if the tar is dictating the tombak to stop.

Figure 18 Double slash ‘Caesura’ and ‘Continue playing’ arrow symbols for the tombak.

This short interaction between the two improvisers ends with the tar retreating into the musical background. The tar stops playing at the end of the third verse and leaves the ending of [I.v.c.] to the voice and the tombak. This is the beginning of a long tacet for the tar that continues to the end of movement [I.] and into the second movement, ending with the tar's return at [II.ii.]. The absence of the tar for the very first time changes the sonic atmosphere. The tar has been playing for approximately 9-10 minutes since the beginning and its absence also extends to approximately 9-10 minutes (Table 1).

One/two players Percussionist Length Voice Tar Tombak Daf Dayereh Narration I.i. Bi Khabaran 1:42 X I.ii. Hich 2:24 X I.iii. Dam 2:04 X X I.iv. Mey-e Naab 4:50 X X X

43 Q.v. Endnote 14.3. 32

Portfolio of Compositions and Commentary Hossein Hadisi

I.v. Samaa 1:22 X I.vi. Koozeh 3:43 X X II.i. Afsoos 4:09 X X II.ii. Fatva 6:33 X X II.iii. Sovar 2:21 X X II.iv. Payaan-e 2:55 X X X Sokhan III.i. Ranj-e 1:56 X X Bihoodeh III.ii. Hast 1:03 X III.iii. Nist 1:01 X X III.iv. Ghafeleh 3:50 X X X III. v. Asraar-e 1:38 X X Azal IV.i. Gham 1:21 X IV.ii. Ebrat 2:17 X X X IV.iii. Mast 1:01 X IV.iv. Ni Amadami 0:51 X X IV.v. Ni Shodami 1:19 X X X IV.vi. Ni Bodami 2:15 X X Table 1 The instrumentation used in ‘Wine of the Mystic’ based on the sections. Lengths (mm:ss) of the sections44 are approximate estimations based on the performance in the première.

The developmental transition in [I.iv.] prepares the tombak player for his solo at [I.v.]. Further rhythmic development creates more tension in the music as the end of the first movement approaches. The part for the tombak in movement [I.] plays one continuous metre from [I.iii.] to [I.vi.]. A very simple 2/4 is introduced in [I.iii.] when the Pish Daramad opens the piece. The same rhythm develops here, based on the improvisatory figures provided in the score (Figure 15). The role of the tombak is to follow a linear progression towards further subdivision of the persistent 2/4 and to bring in more elements of surprise and virtuosity. Further development is achieved by adding ornamentations, tremolandi and subdividing the rhythm based on the material provided in the score.

The tombak player is humming along with the tar in a low pianissimo tone throughout this movement. The humming section prepares the dialogue between two speakers (the tar player and the tombak player) who are reciting Rubaiyat in spoken words in [III.i.].

I.v. Sama

I.v.a. The first part of the tombak solo, [I.v.a.], is about one minute long and is a two-voice percussion line. The first line provides a steady 2/4 pulse using quaver subdivisions and

44 Q.v. Endnote 14.7. 33

Portfolio of Compositions and Commentary Hossein Hadisi tremolandi. The second voice is much less active and is irregularly interrupting using long accentuated notes (Figure 19).

Figure 19 The tombak solo in [I.v.a.].

The rhythm of the second voice is based on Sa’di's45 famous opening to his book of Gulistan46:

“Praise be to God! (May he be honoured and glorified!) whose worship is the means of drawing closer to Him, and in giving thanks to whom is involved an increase of benefits. Every breath which is inhaled prolongs life, and when respired exhilarates the frame. In every breath therefore two blessings are contained, and for every blessing a separate thanksgiving is due” (Eastwick 1979, B).

By analysing the syllables of this phrase, its prosodic structure becomes clear. In fact, this seemingly non-rhythmic text is very famous in Persian literature thanks to its striking use of irregular yet pattern-based rhythm (Figure 19).

The reason for using rhythmical inspirations from this paragraph by Sa’di is that it is an icon for a particular type of rhythm, one based on the Persian prosodic patterns of additive progression. Before the introduction of notation in the twentieth century, rhythms in Persian music were conveyed from one generation to another by oral repetition. Rhythmic spoken phrases are traditionally used to represent rhythmic patterns and facilitate memorising them. This particular phrase by Sa’di is also chosen for the rhythmic structure it represents when put against the 2/4 pulse.

45 Abu-Muhammad Muslih al-Din bin Abdallah Shirazi (Sa’di) [1184 CE, 1281/1291 CE] is one the most important figures in Persian literature. He is known as the ‘Master of the Language’ because of his extensive work on different poetic forms, literary techniques, his insight into the rhythm of language and composition of words. 46 Gulistan (The Rose Garden) of Sa’di is perhaps the most important and influential work of prose in Persian literature. Gulistan consists of short poems and stories that contain moral wisdom. Kaikhsoru Shapurji Sorabji has written a ‘Nocturne for Piano’, called ‘Gulistan’, which is based on Sa’di’s book. 34

Portfolio of Compositions and Commentary Hossein Hadisi

I.v.b. [I.v.b.] brings in a greater number of surprising elements. Rather than irregularly interrupting the consistent pulse, new bars are introduced that do not show any signs of the persistent pulse, nor of the interruptions (Figure 20). These are short 'fill-in' gestures that exhibit quality solo tombak, allowing improvisatory moments of virtuosity. Once the solo is over, the tombak player should give the tar player and the singer a cue to start [I.vi.].

Figure 20 New patterns in the tombak part in [I.v.b.]. I.vi. Koozeh [I.vi.] is the continuation of the Tasnif narrative of [I.iv.] after it was disrupted by the tombak solo. The only difference between the two sections is that in [I.vi.] the tar is absent and the tombak finds more room for improvisation. Because the tombak player has been playing continuously since [I.iii.]—and the rhythms have been getting more and more complicated, ornamented and virtuosic—[I.vi.] is naturally the most flourished tombak section of the first movement. [I.vi.] is itself based on the tombak solo in the previous section and employs rhythmic figures and gestures previously introduced. The part for the tombak has reached a level of complexity that allows it to carry the narrative of the piece on its own, without the assistance of a melodic instrument such as the tar; it is accompanied solely by a capella voice.

Figure 21 Zoorkhaneh rhythms in [I.vi.].

The 2/4 rhythm in [I.vi.] is reminiscent of, and a tribute to, Persian Zoorkhaneh47 music (Figure 21). I have used the Zoorkhaneh rhythms in the tombak part in [I.vi.] for several

47 Translation: ‘House of Power’. A Zoorkhaneh is a place of sportsmanship, social gathering and recreation in Iran. There is a special culture surrounding attendance at the Zoorkhaneh as a Pahlevan (translation: ‘Athlete’) or even if only attending to spectate. In a Zoorkhaneh, the Morshed (translation: ‘Mentor, Master’) is sat in a 35

Portfolio of Compositions and Commentary Hossein Hadisi reasons. Aside from a wish to pay tribute to the ancient culture of this ritual, I also use the meaning of the Rubaiyat to complement the rhetoric of the music. The singer is acting like a Morshed in a Zoorkhaneh (Figure 22); guiding, explaining, and giving advice and instructions. The principal tone of Omar Khayyám’s poetry is that of an ancestor advising, teaching and preaching. The use of the voice-tombak duo is also to convey the tone of Zoorkhaneh music.

Figure 22 A Morshed playing the Zarb-e Zoorkhaneh48 (Mallah 1997, 472).

I.vi.a. “Lest we fold our arms in idleness until tomorrow, Lest we smother our sorrow with joviality, Let us arise and drink before Dawn's break, For she will breathe on long after we cease”. (No English translation available, translation courtesy of: Sara Aronowitz)

The four verses of this Rubaiy are each divided into smaller sections, resulting in nine phrases49. Although the text of this Rubaiy does not necessarily dictate such narrative, the

pulpit. He plays a Zarb-e Zoorkhaneh (a big tombak) and there is also a bell just above his head. Good sportsmanship, athletic prowess, or even an event like the arrival of an older and well-respected Pahlevan will be rewarded by one stroke of the bell by the Morshed. He plays regular rhythms on the zarb while singing. The context of the poems is mostly either heroic or moral. While the Morshed is playing, Pahlevan-ha will be practising their art and sport of Varzesh-e Baastani (or Varzesh-e Zoorkhanei, translation: ‘The Ancient Sport’), which consists of individual and group moves and uses various accessories. The art of Varzesh-e Baastani is a ritual that brings the community together, teaches them to respect one another, the elderly, and so on. As most Zoorkhaneh-ha are today replaced by gyms, the culture is on the verge of extinction. 48 A big tombak used specifically in Zoorkhaneh music. 49 The music for the first, second and third verses is composed in an antecedent-consequent fashion. The first verse has a long fermata pause in the middle, resulting in a longer phrase. The second verse uses one larger 36

Portfolio of Compositions and Commentary Hossein Hadisi musical structure is reinforced by pauses and fermate rests. [I.vi.a.] is an instance of musical structure imposing punctuation on the text in ‘Wine of the Mystic’50.

In [I.vi.a.] the use of 'wrong words' is initiated in ‘Wine of the Mystic’ by using words from other Rubaiyat or elsewhere. Throughout the piece this technique is used for two purposes. First, to deliberately falsify the representation of Khayyám’s poetry. Second, to surprise the Farsi speaking audience by adding the wrong word or omitting it altogether. Many proverbs and expressions in Farsi are lines from famous poems. Some of Khayyám’s Rubaiyat enjoy tremendous popularity and fame in the language and many derivations (and occasionally wrong versions) of them are in use.

Figure 23 Words not belonging to the Rubaiyat are written in uppercase.

The use of wrong words is accompanied by unexpected musical changes. These wrong words are all written in uppercase in the score (Figure 23). The first wrong word is introduced at the end of movement [I.], in order to pose more 'questions' that will be answered in the next movements.

I.vi.b. "Once, in the potter's shop, a company Of cups in converse did I chance to see, And Lo! one lifted up his voice, and cried, "Who made, who sells, who buys this crockery?" (Whinfield 1980, 190, No. 283)

In the second Rubaiy, the tombak changes the rhythm to mark a transition. Since the tombak has been keeping the same pulse since [I.iii.] and developing it further, the most complicated and virtuosic rhythms are kept for the end of the first movement. The positioning and choice of words in the first verse of the Rubaiy, emphasises the vowels, particularly the vowel “u”. In order to show the effect of the repetition of the vowels, melismatic melodic figures are employed to highlight them (Figure 24).

period that includes two phrases separated by a pause. The third verse is a compromise between the first and the second verse in the sense that it has two separate phrases, but the rest between the two is much shorter. 50 The most important part of [I.vi.a.] is the last verse, where three musical phrases are used. The first phrase is a false antecedent that heightens the sense of anticipation (Figure 23). The opening of the last verse modulates from Esfahan to Chahargah. 37

Portfolio of Compositions and Commentary Hossein Hadisi

Figure 24 Melismatic vowels in [I.vi.b.].

While the rhythm adopts a faster pace, changing and intensifying the tension as we approach the end of movement [I.], the voice starts the second Rubaiy back in Homayun, where the first Rubaiy left unfinished the task of establishing the mode. As the first two verses begin to settle the Homayun, spoken recitation—another key element from the next movements—is introduced (Figure 25). The Rubaiy in [I.vi.b.] is the first Rubaiy of the piece that uses spoken words instead of singing. In using more recitation, the music prepares the listener for the second movement, particularly [II.ii.], where recitation becomes part of the narrative of ‘Wine of the Mystic’.

Figure 25 Spoken words in the vocal part first appear in [I.vi.b.].

I.vi.c. "Khayyám! Rejoice that wine you still can pour, And still the charms of tulip cheeks adore; You'll soon not be, rejoice then that you are, Think how 't would be in case you were no more!" (Whinfield 1980, 190, No. 282)

In this Rubaiy Khayyám addresses himself and, by moving to Shushtari in the higher range, the word “Khayyám” (sung in forte) is emphasized. At the peak of rhythmical intensity and within a seemingly chaotic Homayun, a reference to Shushtari in higher register signals the end of the first movement51.

Showing a hint of Shur at the beginning of the second Rubaiy, though, immediately interrupts this transition. These modes interchange in quick succession right until the very last note of the piece. The desired effect is an unsettling of the final cadence, creating a lack of resolution that compels the listener (and the music) forward.

51 Shushtari is closely related to Esfahan; both of them are important parts of the bigger Dastgah-e Homayun. Shushtari is used for its higher register, which matches the tone of the Rubaiy. 38

Portfolio of Compositions and Commentary Hossein Hadisi

Approaching the last word, the singer and the tombak player prepare a synchronized sudden stop on the words “Khosh bash!”52. The musical 'height' achieved by going to Shushtari and the sense of closure created by Bal-e Kabutar53 is disrupted by going all the way down to low E and bending it further down (Figure 26). This is a deliberate echo of the irony in the tone of the Rubaiy.

Figure 26 The irony in the tone of the Rubaiy is reinforced by the downward bent ad the end of the vocal phrase.

52 Translation: ‘Rejoice!’. 53 Q.v. Endnote 14.8. 39

Portfolio of Compositions and Commentary Hossein Hadisi

40

Portfolio of Compositions and Commentary Hossein Hadisi

II.i. Afsoos In contrast to the first movement (which showed a turbulent start followed by a quite agitated development) movement [II.] starts quietly with low dynamics. The first movement opened modal possibilities by posing unanswered questions dealt with in movement [II.]. Chahargah creates more tension and is generally regarded as an energetic mode thanks to its use of the plus-second interval54. As mentioned in [I.i.], Chahargah is used to address, provoke and warn. In the second movement, the bimodal environment of the piece shifts from Chahargah to Shur and its auxiliary Dastgah-ha, mostly Dashti and Abu Ata.

After humming along with the solo in [I.iv.], the percussionist quietly narrates notated verses of the Rubaiyat in [II.i.]. This is the second instance of employing the human voice as percussion, without using percussive vocal techniques. The performance instruction suggests a vague 6/8 pattern to be made with narration, using the rhythm of the Rubaiy (Figure 6 and Figure 146). This effectively means that if the percussionist narrates the Rubaiyat correctly, the 6/8 rhythm in the poetry will play the percussion part (Figure 27 and Figure 28).

Figure 27 The rhythm of the spoken words of the Rubaiyat is the percussion part for [II.i.].

II.i.a. “Oh but we have been worn through in vain, harvested by the scythe of that firmament. What sharp regret, now as we have just taken a sip, we have been just as soon destroyed”. (No English translation available, translation courtesy of: Sara Aronowitz)

Dashti is a sad, calm, nostalgic and indulgent Dastgah, closely related to the folk music of Iran55. It is also regarded as “the most important auxiliary Dastgah belonging to Shur" (Zonis 1973, 79). The choice of Dashti for [II.i.] is in accordance with the gloomy tone of all three Rubaiyat in this section. Khayyám remembers remorsefully the bygone days of our lives in these Rubaiyat hence the title “Afsoos”56 for [II.i.].

54 Q.v. Appendix E – The Tar Fretting. 55 Q.v. Endnote 14.9. 56 Translation: ‘Alas!’ 41

Portfolio of Compositions and Commentary Hossein Hadisi

Figure 28 The last hemistich of the Rubaiy in [II.i.a.] is omitted.

The third verse of the Rubaiy returns to Dashti. While the percussionist recites the first and second verse twice, the vocalist sings the third verse and leaves the fourth and last verse of the Rubaiy out. The last verse of a Rubaiy is often the most important verse in the sense that it draws a conclusion to the subject of the Rubaiy. By omitting the last verse, a sense of delay arises; one which is never satisfied. The music, too, creates a similar effect by using the opening of Gusheh Gilaki in Dashti, taken from the folk music of Northern Iran. The performance of Gilaki is left unfinished on the alternating Shahed (Figure 28) rather than coming back to the Finalis to emphasise the absence of the fourth verse. Figure 29 provides a comparison between the original structure of the Rubaiy and its representation in [II.i.a.].

Original Rubaiy: verse 1------~ verse 2------~ verse 3------§ verse 4------~ [II.i.a.]: verse 1------~ verse 2------~ verse 3------§ verse 1 - narration ...... ~ [No verse 4] verse 2 - narration ...... ~ verse 1 - narration ...... ~

verse 2 - narration ...... ~

Figure 29 The original structure of the Rubaiy and its representation in [II.i.a.].

As a result of the unfinished Rubaiy in the second movement, the representation of the Rubaiyat starts to become distorted. ‘Wine of the Mystic’ moves toward more irregularity, disorder and confusion. This familiar feeling in Khayyám’s poetry challenges the phenomenological beliefs of its audience.

II.i.b. "Ah! would there were a place of rest from pain, Which we, poor pilgrims, might at last attain, And after many thousand wintry years, Renew our life, like flowers, and bloom again!" (Whinfield 1980, 296, No. 442)

42

Portfolio of Compositions and Commentary Hossein Hadisi

After the unfinished melody in Dashti, [II.i.b.] starts in Abu Ata, a neighbour auxiliary Dastgah in Shur. Gusheh Khosro Shirin is introduced for the first time in ‘Wine of the Mystic’ with the first verse of the Rubaiy57. This Gusheh is rarely performed and is not even included in Borumand's or Maarufi’s Radif. The absence of Khosro Shirin in two of the four main sources of Radif is striking (Miller 1999, 254).

After the use of Khosro Shirin for the first two verses of the Rubaiy in [II.i.b.], an even rarer Gusheh is used for the third verse. Gusheh Sarang is a vocal Gusheh that is absent from all the four major versions of Radif (Miller 1999, 254). In fact, most Persian musicians consider Sarang a Forud gesture rather than a Gusheh itself58. It prepares a Forud to Shur from any Gusheh in Shur or Abu Ata through an opening motif. The motif consists of two notes a perfect fourth apart. Sarang is mostly used as a cadential Tahrir, such as the example from Karimi's Radif where Sarang is used as a Forud to Shur (Figure 30).

Figure 30 Sarang according to Karimi, used as a Forud to Shur (Massouddieh 1995, 23-24).

The uniqueness of Sarang is that although it is not regarded as a Gusheh by most, harmonically it does what even some complicated Gusheh-ha do not do. Sarang implies one direction and eventually takes another. This will be perhaps even more appreciated in the light of the fact that Sarang is a Forud passage, a pre-composed passage for a cadence. The

57 Q.v. Endnote 14.10. 58 Q.v. Endnote 14.11. 43

Portfolio of Compositions and Commentary Hossein Hadisi last thing a typical Forud would do is to modulate to another mode right before the end of the cadence. Sarang, though, does precisely that and by doing so it becomes the ideal candidate for the end of the third verse for the Rubaiy in [II.i.b.]. The last word of the Rubaiy, the verb ‘Budan’59 is deliberately omitted, leaving the music 'high and dry' (Figure 31). As a result of that, the very end of Sarang, too, has been cut off so that no final Forud is achieved. The delay in establishing the mode through a strong cadential Forud is used to strengthen the sense of anticipation and to demand continuation of the piece.

Figure 31 The verb of the Rubaiy in [II.i.b.] is omitted.

The reference to Bayat-e Turk through Sarang is important because Bayat-e Turk is one of the recurring themes of 'Wine of the Mystic'. The role of Bayat-e Turk is to transform the nostalgic and relatively gloomy mood of Shur and Abu Ata into a more promising, energetic, Dervish-inspired music. Bayat-e Turk was used briefly in [II.i.a.] (Figure 32) and the presence of Sarang in [II.i.b.] is a response to that. Both of these momentary references to Bayat-e Turk come to fruition in [II.iv.], where Sufi music rhythms play a more developed and lively Bayat-e Turk.

Figure 32 Presence of Sarang is a response to the modulation to Bayat-e Turk in [II.i.a.].

II.i.c. "We come and go, but for the gain, where is it? And spin life's woof, but for the warp, where is it? And many a righteous man has burned to dust In heaven's blue rondure, but their smoke, where is it?" (Whinfield 1980, 264, No. 393)

59 Translation: ‘Being’. 44

Portfolio of Compositions and Commentary Hossein Hadisi

[II.i.c.] sees the return of the recitation from [II.i.] after its absence in the previous section. The percussionist repeats the same Rubaiy three times, each time in a softer tone (moving from pp to ppp to pppp). The twelve verses unfold across the same timespan as the four verses of the vocal part. This necessarily results in overlaps thanks to the different paces of the two parts (Figure 33).

Figure 33 Overlaps in the repetition of the verses of the Rubaiy in [II.i.c.].

The vocal line is written in Homayun, a neighbour to Dastgah-e Chahargah. To prepare the Morakkab Khani to Homayun in [II.i.c.], a brief reference to Chahargah is made in [II.i.b.]. It is also worth mentioning that Homayun is a bridge between Chahargah and Esfahan. By modulating to Homayun, the missing link between the distant modulations from Chahargah to Esfahan is found (Figure 34)60.

Figure 34 Introduction of new accidentals in Chahargah (A.a. to A.b.) and Homayun (B.a. to B.b.) to (C.). The quaver notes represent the Finalis for the modes.

The last verse of [II.i.c.] sees the return to Chahargah, but this time with another transposition from Chahargah in C to Chahargah in B-koron (Figure 35). This marks the completion of a circular modulation process from Chahargah to Homayun, to Esfahan and back to Chahargah.

Figure 35 Chahargah in C, the principal mode of the piece comes back in B-koron at the end of [II.i.c.].

60 Q.v. Endnote 14.12. 45

Portfolio of Compositions and Commentary Hossein Hadisi

In a traditional context, this looks like a simple ternary formal plan. But because the first Chahargah started in C and the last one is in B-koron, the return of the home key of Chahargah in the “wrong key” in movement [II.] is used to upset the sense of modal stability of the whole piece (Figure 36).

Figure 36 The ternary formal plan for modulation from and to Chahargah in ‘Wine of the Mystic’. II.ii. Fatvaa The word Fatvaa literary means ‘verdict, judgment, sentence’, but in a more specific sense, it refers to the religious laws set by a Faqih, an expert in Islamic jurisprudence. Persian poetry is full of examples of poets being very critical of the teachers of Islamic law because of their unrighteous hypocrite ways. In Divan-e Hafiz, arguably one of the most important work of poetry in Persian literature, criticising and occasionally humiliating religious teachers comes second to the lyricism and romance of the poems61.

Khayyám, too, has written Rubaiyat that question the integrity of the logic behind religious beliefs62. As explained in the commentary for [III.i.], Khayyám’s Rubaiyat were banned for this very reason. Even today in Iran, most of these controversial Rubaiyat are censored and denied publication. Sections [II.ii.b.] and [II.ii.c.] use two Rubaiyat that ask questions about, respectively, a religious leader and God. [II.ii.] uses ‘cabaret-like’ music to create a mocking and ironic tone, through which the message of the Rubaiyat in question is conveyed. The extensive use of glissandi, bends and molto vibrato is a reference to the cabaret music of the 1960s in Tehran63 (Figure 37). Many traditional Persian musicians consider this music inappropriate, cheap and vulgar.

61 “Hafiz attacks the shaykhs, the Sufis of the Orders, hypocrites, zealots, preachers, professors at the Madrasas, the priesthood and the conniving police, for he observes and experiences in their conduct and deeds nothing but lies, hypocrisy, formalism, intrigues and stupidity. Hafiz drinks wine and frees himself from the strict letter of the canon, but openly acknowledges his actions. As if the God of the Church were only there to mercifully forgive the sins He himself had preordained. This sounds like an echo of the thoughts of Omar Khayyám, only with this difference, that Hafiz does not stray into nihilism […]” (Rypka 1968, 268). 62 “Two quatrains primarily inspired by Omar [Khayyám] were influenced by the Odes of Hafiz” (Allen 1899, xi- xii). 63 This is music from the period before the Islamic Revolution of 1979, when bars and cabarets were open in Iran. The commercial aspect of this music was well explored by the pre-revolution commercial cinema in Iran. I have never had direct contact with this music as its venues were closed according to the Islamic law before I was born. 46

Portfolio of Compositions and Commentary Hossein Hadisi

Figure 37 References to the ‘cabaret’ music of Tehran reinforces the mocking tone of the Rubaiy.

II.ii.a. "O comrades dear, when hither ye repair In times to come, communion sweet to share, While the cupbearer pours you old Magh wine, Call poor Khayyám to mind, and breathe a prayer”. (Whinfield 1980, 138, No. 205)

I envisage 'Wine of the Mystic' as a spiritual journey, a philosophical odyssey: "a journey through the wadi of ancient Persian modes"64. Looking at the course of the improvisation of 'Wine of the Mystic' as a journey is, to a certain extent, sympathetic to the original philosophy of Persian music.

In this journey, Khayyám is the leader of the caravan that is the concert hall audience. Our journey with Khayyám, though, is far from simple. We are first taken into the cold, dark night of the desert, where Khayyám questions the integrity of our knowledge, challenges our logic and reasons with us (movement [I.] in Chahargah). We come across one modal mirage after another and it seems like there is going to be no rest after all. Eventually, however, we reach a caravanserai and see the face of peace and quiet after a difficult start to the journey. The tone of Khayyám’s poetry becomes straight, clear and simple (movement [II.] in Shur-related modes).

The language of the music also becomes more direct and simpler. [II.ii.] is perhaps the easiest section of ‘Wine of the Mystic’ to which a general audience can immediately relate. The course of the improvisation is straightforward, the Rubaiyat are all sung in full with no changes and the music is familiar. [II.ii.i.] stays in Segah rather than quickly using another Gusheh as a passage to a foreign Dastgah (which would have modulated to another Dastgah again). [II.ii.] sees honest representation of traditional Persian music for the first time in ‘Wine of the Mystic’.

The modal plan of ‘Wine of the Mystic’ seeks to explore every Dastgah of Persian music and in doing so to investigate their similarities and differences. To reach that goal, the next step in modal progression is taken in movement [II.]. Segah, which has been reserved for the cabaret-like music, is introduced for the first time in [II.ii.]. As Hannaneh demonstrates (Figure 138), Segah is the mode between Dogah (Shur) and Chahargah. The names of these Dastgah-ha respond to the fingering positions in use65. As mentioned earlier, movement [I.] uses many modal references, but is primarily based on Dogah (Shur) and Chahargah (positions two and four).

64 Appendix F – Concert Programme for the Première. 65 Dogah, Segah and Chahargah, respectively mean ‘Position Two’, ‘Position Three’ and ‘Position Four’. 47

Portfolio of Compositions and Commentary Hossein Hadisi

In movement [II.], Segah (position three) comes to fill the gap between the two modes. Chahargah and Shur are far from one another and are used as two opposite poles. The prevalent compositional strategy in ‘Wine of the Mystic’ is that the first and last elements of a modal chain are established first in movement [I.]. Movement [II.] completes the chain by presenting the missing link, Segah. Another example of a belated appearance of the absent mode is the transition between Chahargah, Homayun and Esfahan in [II.i.]66.

By looking at the modal structure of 'Wine of the Mystic', one can clearly see the contrast between the modes based on Shur and those related to Chahargah. This contrast has existed from the outset of the piece and Dastgah-e Segah functions as a bridge between the two modes. Segah is originally in the mode of Shur and Mokhalef Segah, (as demonstrated in Figure 164), is identical with Esfahan, except for one microtonal interval.

This effectively results in omission of modes that incorporate the interval of an augmented second, such as Chahargah, Homayun and Esfahan; modes that have dominated since [I.vi.]. This modal unification is also in keeping with the strategy of showing signs of change in favour of a safer and more stable harmonic environment.

The last verse of the Rubaiy is performed as spoken words. This is also another reference to [II.i.] and more importantly, a preparation for [III.i.], which is based on recitation. The sad message of the poem suits the quiet, low tone of the spoken words as Khayyám talks about when he is dead.

II.ii.b. "O City Mufti, you go more astray Than I, although to drinking I give way; I drink the blood of grapes, you that of men: Which of us is the more bloodthirsty, pray? " (Whinfield 1980, 206, No. 307)

After gathering friends around him and reminding them of his friendship in [II.ii.a.], Khayyám addresses the priest. As mentioned in [II.ii.], there is rivalry between poets and teachers of religion throughout Persian literature. The core philosophical beliefs of many artists and intellectuals are in direct contradiction with the religious orthodox. Furthermore, the involvement of some religious figures in political power and their association with acts that justified the deed of the kings have raised many questions for thinkers such as Hafiz, Hallaj and Khayyám, to name a few.

Khayyám uses simple logic to ask the Imam whether or not drinking the blood of grapes, an act forbidden by Islam—and a sin that Khayyám eventually commits—is worse than being bloodthirsty for the blood of man.

66 Q.v. Endnote 14.13. 48

Portfolio of Compositions and Commentary Hossein Hadisi

A short musical silence comes at the end of the last verse of the previous Rubaiy in [II.ii.a.], during which only softly spoken words are present. [II.ii.b.] features a sudden change of intonation. The music suddenly moves to Afshari, a mode previously unvisited in ‘Wine of the Mystic’. Afshari is another auxiliary Dastgah exploited from Shur67.

[II.ii.a.] started in Segah and moved to Mokhalef Segah. A return to Segah is traditionally expected after such progression. But since the Mokhalef Segah shows a tendency towards Esfahan, the sense of expectation for Segah is already jeopardized. As a result of this, Afshari has been freely used to replace Segah. Afshari and Segah (like Abu Ata, Bayat-e Turk and Nava) are all 'satellites' of Dastgah-e Shur. By staying in Shur, the desired modal coherence is kept intact. This ensures [II.ii.] is clear enough for all members of the audience to engage with easily.

In ‘Wine of the Mystic’, auxiliary Dastgah-ha have been used interchangeably to replace one another. This substitutional attitude is not typical of the Persian musical language. I derived this modal strategy based on the techniques used in the art of Morakkab Khaani68 that allow subtle modulations between Dastgah-ha.

To show Khayyám’s anger and anxiety in this Rubaiy, melodic activity shifts to an octave higher and is rendered fortissimo (Figure 38). The vocalist is even advised in the score to “wave his hands in the air while addressing the preacher”. It even suggests an “agitated, mad and angry” performance in the third verse, during which the vocal part is in fortississimo; the peak of dynamics throughout the whole of ‘Wine of the Mystic’.

67 “In the scale of Shur, Afshari stresses the fourth degree, as does Abu Ata, but the two naghmeh (modes) are quite different in character. […] Afshari is the naghmeh most independent of the parent Dastgah, for a performance of Afshari rarely ends in Shur” (Zonis 1973, 75). 68 Refer to [I.iv.a.] for the definition of Morakkab Khani. 49

Portfolio of Compositions and Commentary Hossein Hadisi

Figure 38 The fortissimo dynamic markings indicate an agitated and “vulgar, cabaret-like” performance in [II.ii.b.].

The phrase “Ensaf Bedeh!69” is repeated twice at the beginning of the fourth verse—once forte, the second time fortissimo (Figure 40). This places emphasis on what follows in verse three, i.e. the question “Which of us is the more bloodthirsty, pray?”. The tar part, too, features whole-tone bends, lots of glissandi and loud dynamics to accompany the singer.

Figure 39 The third verse of the Rubaiy in [II.ii.b.] addresses the preacher in fff.

Figure 40 The increase in dynamics supports the rather insolent tone of the Rubaiy.

The note A-natural was previously unused and reserved70 in movement [I.]. The introduction of it in the first two verses (Figure 38) and shifting the melodic activity towards

69 Translation: ‘Be honest!’. 70 Q.v. Endnote 14.3. 50

Portfolio of Compositions and Commentary Hossein Hadisi

(and higher than) it in the third verse (Figure 39) uses the novelty of this pitch to suggest modal changes in movement [II.].

II.ii.c. "Since 'twas the Master did these creatures frame, Why doth he cast them to disgrace and shame? If they be formed aright, why doth he crush them? And if awry, to whom belongs the blame?" (Whinfield 1980, 86, No. 126)

To return from Afshari to its parent Dastgah-e Shur, it is sufficient to change the emphasis of the melody by reinforcing the Finalis of Shur rather than Afshari. This is because the two Dastgah used the same mode apart from the Moteqayyer (changeable) note A71.

After establishing Golriz for Shur in G, the vocal melody continues the traditional course of improvisation in Shur. In the first verse Khayyám talks about how “the Master” has created the world. But, as in the second verse, he starts questioning its shortcomings, the music follows by the move upwards to Bayat-e Kord72 (Figure 41). Because Bayat-e Kord is one of the most beautiful settings of Shur as an auxiliary Dastgah, it has been included in the modal journey of ‘Wine of the Mystic’. “While some masters categorize [Bayat-e] Kord as a separate mode, this theory is not widely accepted” (Miller 1999, 65) 73.

Figure 41 Bayat-e Kord in [II.ii.c.].

Kurdish music and culture in Iran is on an unusual footing. There have been political pressures on Kurds after the revolution of 1979, and Kurdish music, too, has been

71 Q.v. Endnote 14.14. 72 “The most distinctive and independent of Gushes performed as part of Dastgah-e Shur is Bayat-e Kord. Some musicians have even considered it as a separate Dastgah or sub-Dastgah inasmuch as Dashti and Abu[a]ta are given that distinction. However, since the contemporary tradition recognises only twelve Dastgahs, and Bayat- e Kord is not one of them, and since it is usually performed as a part of Shur or Dashti (itself a sub-Dastgah of Shur), it should be considered here [, as a part of Shur,] and not in a separate chapter” (Farhat 1990, 33). 73 Bayat-e Kord has been ignored almost completely, simply because it did not fit into the twelve Dastgah system. The repertoire of pieces written and performances given in Bayat-e Kord is surprisingly limited. Bayat- e Kord only appears in two out of the main four sources of Radif as part of Dastgah-e Shur, not even as a separate auxiliary Dastgah (Miller 1999, pp 252-3). During thinks “Bayat-e Kord could be separated from Shur, just as Shushtari might be from Homayun” (During, Mirabdolbaghi and Safvat 1991, 72). Zonis classifies Bayat- e Kord as a Gusheh in Dashti (Zonis 1973, 79). 51

Portfolio of Compositions and Commentary Hossein Hadisi conspicuously absent from the media. There have been some fruitful attempts to reintroduce Kurdish music by contemporary artists, but the traditional folk Kurdish music (like most other folk music in Iran) has been kept quiet. This is part of the reason why Bayat- e Kord was included in ‘Wine of the Mystic’ as a separate auxiliary Dastgah of Shur. Kurdish and Sufi rhythms and the daf parts are also inspired by Kurdish music.

“In the maqam-based music of the past, Bayat-e Kord was related to Chahargah (auxiliary Dastgah in Chahargah)” (Setayeshgar 1994, 167). Given that Chahargah is the principal mode of ‘Wine of the Mystic’ and Shur is the second mode, the knowledge that Bayat-e Kord was related to Chahargah in the past is important. It is crucial to know if there is, after all, a short passage from the two foreign modes of Chahargah and Shur related to one another. The existence of Bayat-e Kord as a possible bridge between Shur and Chahargah can dramatically affect the order of modulations in ‘Wine of the Mystic’.

I believe there is strong evidence to say that Maarufi’s interpretation of Bayat-e Kord74 is not the same as the old Bayat-e Kord in the times of the maqam-based system. In the light of the fact that “only traditional musicians know how to play this Avaz [i.e. Bayat-e Kord]” (Miller 1999, 65), we can accept that some renditions of Bayat-e Kord might not be completely right75. Even Maarufi’s Radif offers four different interpretations of Bayat-e Kord. Davami, on the other hand, devises Bayat-e Kord as an individual auxiliary Dastgah in his Radif. According to Davami, Bayat-e Kord itself consists of many Gusheh-ha derived from it.

Traditionally, the normal progression for modes would be from Shur to Segah to Chahargah (Figure 138). By following the traces of Bayat-e Kord in history, it becomes apparent that Bayat-e Kord used to be associated with Chahargah (Figure 42). In Persian music, it is normal for a foreign Gusheh or Dastgah to adapt to the modal configuration of another host Dastgah. I realized if Bayat-e Kord were to have the lowered Shahed as its original modal configuration, then in the context of Shur it could become more accommodating of Shur's modality.

74 Q.v. Endnote 14.15. 75 Majid Kiani’s interpretation of Bayat-e Kord, for instance, does not use any of the customary microtonal alterations of the Shahed note, simply due to the fact that Santur is an instrument with fixed pitches (Track No. 10 on CD [III.], Appendix K – Audio CDs). 52

Portfolio of Compositions and Commentary Hossein Hadisi

Figure 42 Gorgani ranks Bayat-e Kord as a Gusheh in Chahargah (Gorgani 1600s (?), 44).

53

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It is not unreasonable to suggest that the two additional accidentals might have lost their prominence in the recent centuries. It is generally accepted for a foreign Gusheh or Dastgah to eventually become localised by the intervals of the host Dastgah. Bayat-e Kord has been ignored by Persian musicians to the extent that it is seldom played as part of Shur. Knowing this, it is easier to understand how its primary accidentals could be forgotten by singers and players. Bayat-e Kord is a strange, alluring mode that is not very easy to play. A combination of its relative difficulty and the unusual harmonic world it creates has probably been responsible for it slowly fading away within the contemporary Persian music tradition.

Based on this observation—and the fact that Bayat-e Kord, indeed, was originally said to have come from Chahargah—I propose the modal scheme for the newly found ‘Old Bayat-e Kord’ in Figure 169. ‘Old Bayat-e Kord’ is identical to Chahargah, except for one tone (B-flat in the example). The criteria, in all systems of classification of Persian modes, is the step by step progression by changing one accidental at a time. This makes ‘Old Bayat-e Kord’ a strong candidate for an alternative missing link from Dogah to Chahargah.

‘Old Bayat-e Kord’, as I have proposed, could have been an alternative way to move from Shur to Chahargah or vice versa, without having to use Segah or Mokhalef Segah. The preference for Segah might be due to the peculiar modal dissonance caused by modulating through ‘Old Bayat-e Kord’.

As Figure 41 shows, Bayat-e Kord in ‘Wine of the Mystic’ is based on the new ‘Old Bayat-e Kord’; it uses D-koron at the end. The second version of Daramad-e Bayat-e Kord (according to Davami’s version) comes next, together with the third and fourth verse. The words of the two verses are mixed up, and this raises the tension as Khayyám questions God’s creation. The words that are deliberately used in “wrong” places change the meaning of the question, but maintain the overall feeling of confusion. The “wrong words” are written in uppercase in the score in order to differentiate them from the correct text of the Rubaiyat. After a moment of melodic, textual and rhythmic perplexity, the clear rhythm of Kereshmeh repeats Khayyám’s question. The introduction of rhythm of Kereshmeh is a preparation for the melody that shortly comes in [II.iii.].

II.iii. Sovar Gusheh Kereshmeh is one of the few thoroughly composed Gusheh-ha in the repertoire or Radif. Kereshmeh76 is traditionally sung in Shur, although the same rhythmic structure is used in other Dastgah-ha as well. The melody of Kereshmeh in Shur will be well known to any listener familiar with Persian music because of its simplicity, beauty, sequential structure and, ultimately, its popularity. Many different versions of Kereshmeh exist, but all of them use the same rhythmic and melodic structures. Figure 43 demonstrates Farhat's

76 Translation: ‘Amorous gesture’. 54

Portfolio of Compositions and Commentary Hossein Hadisi rendition of the original Kereshmeh structure in Shur, highlighting its four-bar rhythmic structure77.

Figure 43 The Simplified version of Kereshmeh in Shur shows the basic structure and rhythm of the Gusheh (Farhat 1990, 179).

In 'Wine of the Mystic', though, Kereshmeh is used in [II.iii.] to invite those members of the audience who are familiar with Kereshmeh to guess the musical sequence. But the four bar signature tune of Kereshmeh only lasts three and half bars and is suddenly cut short in order to surprise the listeners (Figure 44).

Figure 44 The unfinished Kereshmeh melody in [II.iii.].

At Figure 43, we see a demisemiquaver ornamental gesture in bars seven and fifteen of the traditional rendition of Kereshmeh. In 'Wine of the Mystic', such ornamental figures are represented by an alternative gruppetti sign (

77 After three vocal sections from [I.vi.] to [II.ii.], comes an instrumental interlude. [II.iii.] introduces the daf in the percussion part by using basic rhythmic figures. [II.iii.] recalls parts of the journey so far by visiting a collection of Shur related modes previously explored in 'Wine of the Mystic'. These modes in order of appearance in [II.ii.] are: Delkash (in Mahur, pointing towards Shur), Hejaz (in Abu Ata), Shekasteh (in Mahur pointing towards Afshari), Afshari, Kereshmeh (in Shur), Shur, Delkash (Mahur pointing towards Shur), Shur and eventually to Bayat-e Turk in [II.iv.]. Such transitions are made by the subtle replacement of the Finalis and Ist notes and adding occasional accidentals, all based on Shur in C. The pulse of [II.iii.] remains the same, although the metre changes from 3/4 to 6/8 as the music goes to Kereshmeh. By going to Kereshmeh, the daf part also reflects the changes in metre and music by breaking 3/4 down via subdivision and shifting to 6/8. 55

Portfolio of Compositions and Commentary Hossein Hadisi

Appendix C – Index of Symbols and Transliterations). This ornamentation of Kereshmeh has been a source for writing the more developed embellishments in the tar melody (Figure 45).

Figure 45 The Embellishments in the tar melody.

There are also Avaz sections coming afterwards in the melody where the tar starts improvising free rhythm a tempo rubato over a regular daf ostinato part (Figure 46).

Figure 46 A tempo rubato sections for the tar over the daf ostinati patterns. II.iv. Payan-e Sokhan “I studied with the masters long ago, And then myself taught pupils what I know; Hear now the sum and upshot of it all,— "We come from earth and to the winds we go."” (Whinfield 1980, 236, No. 353)

[II.iv.] is the second Tasnif in 'Wine of the Mystic', and constitutes a response to the Tasnif in the first movement in [I.iv.]. [II.iv.], though, is a much shorter piece that shows a variation-like account of the modal progression in 'Wine of the Mystic'. While [I.iv.] consists of three Rubaiyat, [II.iv.] comprises only one. [II.iv.] also incorporates Sufi rhythms in Bayat- e Turk, first introduced in [I.iv.c.]. Bayat-e Turk in [I.iv.c.] is in C and consists of simpler 2/4 rhythmic figures (Figure 17) while [II.iv.] states Bayat-e Turk in F in 6/8 (Figure 47). This rhythmic division was prepared in [I.iv.] by introducing triplets in 2/4 (Figure 8). The rhythm of 6/8 employed in [II.iii.] and [II.iv.] is in accordance with the original Rubaiy motif and the rhythm of the Rubaiyat (Figure 6).

Figure 47 Bayat-e Turk melody in [II.iv.] in 6/8.

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A short visit is paid to Chahargah—the principal mode of 'Wine of the Mystic'—immediately after four bars of Bayat-e Turk. The modes of Chahargah and Bayat-e Turk are so different that they act as two contrasting modal poles78. Not only do abrupt melodic modulations happen between the two modes, but also in addition the two are played simultaneously in two different parts. Music freely flows between the two modes as the tar uses D-natural instead of D-koron in Chahargah melodies. D-natural points back to Bayat-e Turk while all other intervals suggest Chahargah. This results in another new mode previously 'unknown' to Persian music. This temporary mode consists of the first tetrachord of Bayat-e Turk at the bottom and the second tetrachord of Chahargah above. It shares the Finalis note F as a pivot note. The modal scheme of the new mode is demonstrated in Figure 4879.

Figure 48 The New Mode (C.) is made by imposing the G-koron from Chahargah after the first tetrachord of Bayat-e Turk.

After the two modes have collided (and after adding even more new accidentals) the modal stability of the Tasnif eventually breaks down. The third verse starts with quick downward glissandi on all notes—as if the words all falling down onto the ground—as Khayyám draws closer to concluding "the sum and upshot of it all". The vocal narrative becomes more recitativo and speech-like at such an increasing rate that the last words are spoken entirely in a "very low tone" (Figure 49).

Figure 49 The gradual change of tone in the vocal part in the third verse of the Rubaiy in [II.iv.].

It is during the falling glissandi of the third verse that D-natural, the representative of Bayat- e Turk in the bottom tetrachord of the new mode eventually changes to D-koron. By the

78 Q.v. Endnote 14.16. 79 Q.v. Endnote 14.17. 57

Portfolio of Compositions and Commentary Hossein Hadisi time that the last verse of the Rubaiy starts, this change of pitch has prepared Chahargah. The final verse of the quatrain contains a familiar message. Just like the opening of 'Wine of the Mystic' or [II.i.b.], the familiar 'nihilistic' motif, also in Chahargah, comes back to reveal that "We come from earth and to the winds we go".

The daf solo at the end of movement [II.] also symbolically reinforces Kurdish music. The daf is considered one of the most important musical instruments in the Kurd culture, where it is widely used in many different social occasions. Apart from being an instrument, the daf, is also a cultural symbol. This symbolic reference is used at the end of movement [II.], in connection with the previously mentioned Kurdish music.

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III.i. Ranj-e Bihoodeh The inclusion of spoken words in different parts of 'Wine of the Mystic' is important because of the place that recitation has occupied in Persian poetry. Persian literature has bloomed in the palaces of kings. Good poetry was rewarded with money, particularly if it was in praise of the king or simply a subservient attempt to curry favour. As a result of this, reciting poetry and being able to perform in the palace of the Kings or in public became an important talent, reflecting the speaker's knowledge of the language, rhythm and vocabulary, as well as his or her personality, charisma and confidence. To this day, being a good speaker and reciting one's own poetry is considered an essential talent for Persian poets.

Figure 50 “A Persian poet of the late thirteenth century presenting a Quasida or panegyric to a Mongol or Governor80” (Browne 1915, iv).

Although Omar Khayyám was closely related to Malikshah, the Seljuq sultan81, he never published the Rubaiyat in his lifetime, mainly due to the controversial subjects with which they dealt. Many of his Rubaiyat question fundamental Islamic beliefs such as the concept

80 “This miniature is from a Persian manuscript containing selected poems from the Diwans of Six Persian poets. […] As the artist himself lived in the Mongol period, the details of costume may be regarded as authoritative; while the difference of physiognomy between the Persian and the six Mongols is clearly apparent” (Browne 1915, iv). The handwritten poems below and above the miniature are highly flattering in tone, in the hope of a greater reward from the governor. Khayyám, like Nasir-i-Khusraw, revolted against this tradition (Browne 1915, 374). 81 “Malikshah established the observatory in which the celebrated Omar Khayyám […] was employed with other eminent men of science to compute the new Jalali Era…” (Browne 1915, 181). Khayyám, nevertheless, was still critical of the “onerous pressure on learning and poetry” (Rypka 1968, 1833). 59

Portfolio of Compositions and Commentary Hossein Hadisi of a deity, life after death, the goal of life, destiny and fate. In my opinion, the “pessimist”, “sceptic”, and “agnostic poet” (Browne 1915, 292), successfully demonstrates many paradoxes in the predominant ideological thinking of the eleventh century and perhaps even in Islamic thought prevalent today. It is easy to understand how Khayyám's Rubaiyat would have caused controversy had they been published at the time (Ghanbari 2005, 40). In fact, Khayyám is despised and rejected by a wide range of Muslim philosophers and thinkers because of his nihilistic, deterministic, atheist and apostate thinking (Ghanbari 2005, 177- 194). Understandably, Rubaiyat were only disseminated privately within a close circle of Khayyám's friends.

[III.i.] uses spoken words from Rubaiyat randomly-selected by the performers. The performers are instructed to pick a book from the works of Omar Khayyám (scattered on the stage, Figure 117), open it at a random page and start skimming through the pages, reading random words from random Rubaiyat in a soft, secretive low tone. The performers are advised to emphasise or repeat key words as they wish, preferably emphasising the darker Rubaiyat that deal with matters such as life and death, destiny and fate.

While reflecting on the Persian tradition of poetry recitation, I envisaged a secretive intellectual gathering where the Rubaiyat might have been quoted. This murmuring sound is substantially different from the typically loud and clear recitation sessions that would have taken place in the palaces. The use of random words, hastily quoted, in [III.i.] highlights the intellectual and social position of Khayyám's poetry in his time. It also gives the audience an experience of being an outsider in the dark night, eavesdropping on bright ideas being whispered by the intellectual elite of society, whilst everybody else is unaware and asleep. This is as much a commentary on modern-day Iran—and perhaps other societies, to varying degrees—as it is a story of Khayyám's society in the eleventh century.

To Khayyám, the Rubaiyat are a true and honest reflection of his philosophical questions and thoughts82. As a polymath, scientist, philosopher, astronomer and mathematician, Khayyám does not seek the approval of the King, the public or sycophantic poets and “the venal panegyrists” (Browne 1915, 374). In fact, his Rubaiyat are so striking and peculiar that scholars have gone as far as suggesting that Omar Khayyám the poet might be a different person from Omar, the famous astronomer (Hedayat 1956, 9-10).

Be it the same person or not, what remains important to me is a body of poetry that was banned not only for the duration of its author's life, but also after his death, until today. In

82 The Rubaiyat hold a unique place in the whole of Persian literature. This position is not attained due to their poetic merit, but the philosophical messages. While “Khayyám, […] is not ranked by the Persians as a poet of even the third class” (Browne 1915, 84), he is still considered an important thinker. It is to be noted that unlike most other cultures, poetry in Iran was representative of more than just a literary form of art. Because of the special value of the language and poetry in Persian culture, poetry became a platform for Sufis, philosophers and thinkers to interact with the masses. Khayyám, too, is one of such poets to whom poetry is merely a container and medium for his ideas. 60

Portfolio of Compositions and Commentary Hossein Hadisi fact, a lot of poetically 'weaker' Rubaiyat83 found in Omar Khayyám's writings have been inserted by other (and arguably lesser) poets and editors, who did not dare publish those Rubaiyat under their own name84.

The opening to movement [III.] enunciates a new dimension to 'Wine of the Mystic'. It explores the historical and geographical context in which Khayyám lived and wrote the Rubaiyat. It also shows a different musical direction by moving the course of improvisation from the Persian modes towards more indeterminacy.

References and influences from the work of contemporary Western composers helped me to construct the fundamentals of the new improvisatory direction present in movements [III.] and [IV.]. During the course of the research for this project, I studied and immersed myself in improvisational ideas of various composers ranging from Cage and Feldman to Stockhausen and Xenakis.

My decision to opt for a graphical score for [III.i.] is also influenced by the aforementioned composers (Appendix G – Calligraphy and Graphic Notation). The most important scores— which became chief examples for the preparation of the score for [III.i.]—are Bussotti’s ‘Sette Fogli’, ‘Five Pieces for David Tudor’ (and other pieces), Logothetis’ ‘Agglomeration’, Earle Brown’s ‘Corroboree’ and Cage’s ‘Concert for Piano and Orchestra- 1958’, ‘Cartridge Music’ (and other pieces). A wide range of works from the Perso-Arab calligraphy school have also influenced me, the most significant of which, is the artwork designed for the piece by Pegah Salimi (Figure 115).

The use of calligraphy and graphic notation along with expressive handwriting in the score resembles Bussotti’s use of “freely invented markings whose musical meaning is as yet unknown, that is, real and genuine drawings85” (Figure 51).

83 “It is, of course, well known to all Persian scholars that a great number of the quatrains ascribed to Omar Khayyám, and included in most editions of his Rubaiyat, are, on other and equally good or better authority, ascribed to other poets. These “wandering quatrains” have been especially studied by Zhukovski …” (Browne 1915, 108). 84 Unfortunately, this is a common malady in Persian literature; different editions show such drastic differences that the result is an editorial metamorphosis of the whole meaning of the poem. Editors have used the credibility of the late poets to get their voices heard or to make their edition a bigger and presumably better one. In the case of poets like Khayyám and Hafiz, the problem is exacerbated by the lack of any original or definitive published version—the dangers it would have cast onto the life of the poet, his disciples and followers were too great to justify publication. In case of Khayyám, for instance, one Rubaiy does not even comply with the correct rhythm of the Rubaiy (E. H. Whinfield 1980, No. 34, 24-25). Some other Rubaiyat, are simply too cheap, meaningless and poetically disastrous to be attributed to him (Notably E. H. Whinfield 1980, No. 53, 36-37; No. 58, 40-41; No. 61, 42-43; No. 68, 46-47; No. 69, 48-49, No. 90, 62-63; No. 101, 68-69; No. 102, 70-71; No. 121, 82-83; No. 141, 96-97; No. 143, 96-97; No. 180, 122-123; No. 188, 126-127; No. 204, 138- 139; No. 213, 144-145, among others). There is also justifiable evidence to debate the use of vocabulary and grammar, not used in Khayyám’s lifetime, in some of the Rubaiyat. It is also to be noted that there is a cultural elements at play here, too. Browne emphasises “the remarkable tendency of all peoples, but especially the Persians, to ascribe well-known anecdotes, verses, sayings, and adventures to well-known persons; so that, as already pointed out, the quatrains of a score of less notable poets have been attributed to Omar Khayyám […]” (Browne 1915, 189). 61

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Figure 51 Expressive calligraphy used as graphic notation for [III.i.]. III.ii. Hast After [III.i.] ends, the percussionist keeps narrating random words while he picks up the dayereh. This marks the beginning of [III.ii.], a short passage that introduces the dayereh to the audience.

[III.ii.] is based on irregular long notes (Figure 52) and portrays a lost wanderer in the desert. This is the most primitive pure moment: that is, the night of desert. [III.ii.] was written with a lost caravan in mind, where the travellers in this caravan are members of the audience, 'led' by Omar Khayyám. The sound of the dayereh represents a camel’s footsteps, slowly and aimlessly walking while lost in the desert86.

85 Introduction to the score of ‘Sette Fogli’ by the composer (Bussotti, Sette Fogli 1963). 86 For the première of the work, it was decided to use a 5/8 Arabic rhythm so that it symbolically supports the idea of ‘the lost caravan’ (Track 12 on [CD I.] and Appendix K – Audio CDs). 62

Portfolio of Compositions and Commentary Hossein Hadisi

Figure 52 Notation for the idea of ‘the lost wanderer in the desert’ in [III.ii.].

The introduction of the dayereh creates a sense of movement and change as the rhythm of camel’s footsteps gets faster and more complicated towards the end of the short solo dayereh intro.

III.iii. Nist One aim of Khayyám's philosophy is to show that human endeavour is of no consequence – everything amounts to nothing. But instead of giving up and letting destiny play itself out, Khayyám decides to enthusiastically invite everyone to enjoy life, cherish the moment and "drink till one can drink no more".87 This is what Western audiences seem to enjoy; the "easy going" philosophy of Khayyám (Figure 53). The result of all his cynicism and his questioning attitude to life, death, destiny, the concept of the world and the existence of a deity is a positive and forgiving approach to life.

87 “I’m slave of that sweet moment when they say, “Prithee, take one more goblet” and I cannot!” (E. H. Whinfield 1980, 242, No. 360). 63

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Figure 53 The insert at the beginning of Edward Heron-Allen's bilingual version of Edward Fitzgerald’s translations typifies the Western perception of the Rubaiyat (Heron-Allen 1899, insert before page i).

In Khayyám's philosophy, after questioning all and rejecting all, there is no reason not to enjoy life. The Rubaiyat of Khayyám's that were famously chosen and translated into English by Edward Fitzgerald, mostly represent this facet of Khayyám's persona. “It must be admitted that Fitzgerald took great liberties with the original in his version of Omar Khayyám” (Fitzgerald 1897, 112). It seems that Fitzgerald handpicked flowers from Khayyám's Rubaiyat that smelt only sweet and mellow88.

To reflect a change in the characteristic of the music, the melodic and harmonic language of 'Wine of the Mystic' undergo a substantial transformation. In [III.iii.], the dayereh establishes a simple 2/4 metre as building blocks for the Sufi Tasnif in [III.iv.]. While the dayereh ostinato pattern builds, the tar player uses melodic gestures suggested in the score (Figure 54) to retune the tar from Rast Kook (right tuning) to Left Kook (left tuning)89.

88 “Khayyám, […], thanks to the genius of Fitzgerald, enjoys a celebrity in Europe, especially in England and America, far greater than that which he has attained in his own country, where his fame rests rather on his mathematical and astronomical than on his poetical achievements” (Browne 1915. 246). I believe that Khayyám is a typical example of a Persian philosopher-poet who uses poetry as a medium to convey his message. This is why, like Rumi, Avecinna, and other philosopher-poets, poetic beauty comes second to the meaning. As a result of that, Khayyám receives less such artistic “celebrity” in Iran, because he is thought to be a thinker, not just a poet. 89 The {C-C-G-G-C-C} tuning changes to {C-C-F-F-C-C} during [III.iii.] as the tar players retunes both G-strings a whole tone lower. Chap Kook allows a higher transposed version of modes to be played. It is usually for accompanying female (and occasionally tenor) voices that Chap Kook is used.

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Figure 54 Retuning the tar in [III.iii.]. III.iv. Ghafeleh With the addition of the dayereh to the instrumentation of the piece, [III.iv.] features Sufi rhythms in Bayat-e Turk. Bayat-e Turk has been present throughout ‘Wine of the Mystic’ as an auxiliary Dastgah derived from Dastgah-e Shur. Araq, Shushtari, Esfahan, Chahargah, Shur and Abu Ata also take their turn in [III.iv.] to complete the re-visit to the collection of modes of ‘Wine of the Mystic’. The important difference between modes previously used and those used in [III.iv.] is that the latter are based on F rather than C. This is because of the change of tuning from Rast Kook to Chap Kook in the previous section.

[III.iv.] is a Tasnif that utilises rhythmically sung and Avaz melodies, as well as spoken words. By doing so, an account of all three forces used by the singer is given in one piece. The concept of the Rubaiyat used in [III.iv.] dwells upon the basic questions that Khayyám asks about life.

III.iv.a. “For countless are the days where the world will prevail with neither we, nor our name, nor its repute. Nothing was missing before we began, and no lack will linger on here after our passing”. (No English translation available, translation courtesy of: Sara Aronowitz)

Movement [III.] started with quiet whispers in the dark ([III.i.]), followed by the unveiling of the hidden dayereh90 ([III.ii.]) and tuning the tar to a different key ([III.iii.]). [III.iv.] is the actual beginning of movement three; the beginning of the Sama dance. [III.iv.a.] is inspired by Sufi rhythms in Bayat-e Turk91 (Figure 55). The vocal melody uses a similar cadence for

90 The radical school of Fiqh (Islamic law) takes strong opposition against music. Music is considered Haram, the sound of Satan. According to these Fuqaha, playing, teaching or learning music is considered a sin. The law goes further by stating that musical instruments are instruments of Satan and should be destroyed on sight. This is why the act of unveiling the ‘hidden dayereh’ finds significance in the historical context of movement [III.]. 91 For an example of Sufi rhythms in Bayat-e Turk refer to (Track 03 on [CD III.] Appendix K – Audio CDs). 65

Portfolio of Compositions and Commentary Hossein Hadisi the refrain that comes at the end of verse one, two and four (compare the variations of the cadence in Figure 56, Figure 57 and Figure 5892).

Figure 55 Sufi rhythms are employed in [III.iv.a.].

Figure 56 Cadence for the refrain in verse one.

Figure 57 Cadence for the refrain in verse two.

Figure 58 Cadence for the refrain in verse four.

The structure of the Tasnif in [III.iv.a.] is similar to a typical Bayat-e Turk Tasnif in the sense that similar phrases represent the identical rhythm of Rubaiyat. But a closer look reveals that through melodic expansions, the length of the phrases becomes irregular. The first verse, for instance, is seven bars long. The second verse comes as a consequent for the antecedent in verse one. But because of the repetition of the words "Nam ze ma"93 (Figure 59), the phrase is extended to twelve bars. The repetition of words as a mantra, along with the rhythms and dancing in [III.iv.a.] is representative of Sufi music. The performance direction in Figure 59, too, indicates "Sama94 dance" as a rhythmical and expressive performance instruction. Sama is a Sufi ritual.

92 This cadential figure is actually derived from an old Persian Tasnif named ‘Hamcho Farhad’ (Track 08 on [CD III.], Appendix K – Audio CDsAppendix K – Audio CDs). 93 Translation: ‘Our name’. 94 Translation: ‘Hearing’; also synonym to singing, song, music. By dancing around while turning in circles the Sufi, helped by a repetitive music, reaches a state of ecstasy. The rhythms and ostinati used in Sama are usually binary, masculine and very strong. The Sufi holds one hand up, towards the heavens; and the other down, facing the earth, to balance the powers of the universe. He dances in circles so that he becomes ‘naught’, until he is no more. This is in accordance with the philosophy of Sufism that states that life is but going through a circle, from naught to naught. 66

Portfolio of Compositions and Commentary Hossein Hadisi

Figure 59 Repetition of the words "Nam ze ma" as a mantra.

Muslim authorities have expressed mixed views regarding Sufism and the practice of Sama dance, resulting in Sufi music being banned for the majority of the time it has existed. The form of Rubaiy in general, and the poetry of Omar Khayyám in particular, have been favoured by Sufis both for the wealth of philosophical meanings and the identical rhythm of the Rubaiyat.95

The third verse is sung in Avaz on top of the tar and the dayereh ostinati. The last verse starts in Avaz, too, in line with the saddening message of the Rubaiy. It finishes with a quick return to the home mode of Bayat-e Turk, using the same cadential rhythm of verse one and two96 (Figure 56, Figure 57 and Figure 58).

III.iv.b. "Life's caravan is hastening on its way; Brood not on troubles of the coming day, But fill the wine-cup, ere sweet night be gone, And snatch a pleasant moment while you may." (Whinfield 1980, 92, No. 136)

[III.iv.b.] includes an instrumental introduction that starts in Bayat-e Turk and swiftly goes to Abu Ata to establish an ostinato for the Avaz to start in Mokhalef Segah. These very quick modulations are achieved by using a pivot tone, in this case F. This is an easy and interesting way to use different tetrachords that share the first and last note (perfect fourth) but have different notes in between (Figure 60). This method is not part of the tradition and albeit useful and effective, it is not used for modulating from one mode to another.

95 There is a traditional style of singing known as Khayyámi or Khayyám Khani. Khayyámi is performed in the south of Iran, particularly city of Bushehr, and uses the rhythm of Rubaiyat, too (Figure 6 and Figure 146). 96 The quick reference to Gusheh Shushtari in the last verse brings Dastgah-e Homayun back to the surface, this time in Chap Kook. This is done to prepare the Chap Kook Esfahan in [III.iv.c.], because Esfahan is also derived from Homayun. Farhat convincingly argues that it is not true to say that Bayat-e Esfahan is derived from Dastgah-e Homayun (Farhat 1990, 76). In composition of ‘Wine of the Mystic’ modes are treated as equals regardless of their position in the uncertain system of Radifs. The mere similarities between the modes are used as pivotal modulatory tools, not the actual order of derivation according to the tradition. The emphasis is on modal similarities, notwithstanding the Radif. 67

Portfolio of Compositions and Commentary Hossein Hadisi

Figure 60 The simultaneous use of three different tetrachords based on the perfect fourth from C to F.

The Rubaiy in [III.iv.b.] is thoroughly sung in Avaz. It is only at the ending of verse one that a rhythmic ending is used in accordance with the ending in [III.iv.a.] (compare Figure 61 with Figure 56, Figure 57 and Figure 58). The second verse is in Gusheh Shushtari from Dastgah-e Homayun. Through a modulation similar to the modulation discussed in [II.i.c.], Shushtari prepares Chahargah, the primary mode of ‘Wine of the Mystic’. While the original Chahargah in movements [I.] and [II.] is in C, the Finalis of the new Chahargah is F; thus making the transposition of a fourth higher from Rast Kook to Chap Kook complete.

Figure 61 Rhythmic cadence taken from [III.iv.a.].

III.iv.c. "Being and Notbeing alike I know, Essence of things above and things below, But, —shame upon my knowledge!—to be drunk Is after all the highest lore I know." (Whinfield 1980, 226, No. 336)

For Khayyám, it is now time to put all that ‘knowledge’ into something. But he realises nothing comes even close to where the 'good old chalice' takes him. This is where we see

68

Portfolio of Compositions and Commentary Hossein Hadisi the poetic side of Khayyám again. In the first movement, too, Khayyám praised wine for its fine qualities97.

In the first two verses of the Rubaiy, Khayyám makes certain claims. To achieve the planned deception, the vocalist recites the first verse half spoken and sprechgesang, but also similar to the way a Dervish quotes poetry. The last word “Da-nam”98 is broken into two syllables (“I – know.”) and is spoken in a low tone. The second verse is declamatory and is performed parlando. The verse at the end of the second verse is deliberately omitted. Instead, the singer nods his head, meaning “I know”. The same refrain was emphasised at the end of the first verse. As discussed under [I.iv.a.], the Persian audience (familiar with the form of Rubaiy) would know the last words of the second verse after the first verse is recited.

The third verse launches Dastgah-e Shur again, hence bringing the contra-mode of ‘Wine of the Mystic’ to front. The verse ends in Shur, but the last word of this verse, too, is repeated like a mantra in conjunction with the Sufi mood of the piece and the mantra in [III.iv.a.]. The mantra, though, takes the melody on a rather sharp modulation to Homayun.

The last verse of the Rubaiy starts in Esfahan and juxtaposes the similarities of Esfahan and Homayun. But the one difference is highlighted in order to achieve and emphasise bimodality. This instance of bimodality superimposes two very similar modes, creating a vague tonal cloud around the one dissimilar note. This is different from the bimodality in [II.iv.] where two opposing poles were put against one another. Before the end of the Forud, E-koron changes to E-natural (Figure 62). This phrase hovers between Homayun and Esfahan.

Figure 62 A modally ambiguous phrase in both Homayun and Esfahan.

97 Khayyám asks “to be washed with wine before being buried”. He wants us to remember him when we were drinking and he is no more. And when turns comes to him, we pour a few drops on the sand, for his dust to get drunk from wine: “… And in your joyous errand reach the spot; Where I made One – turn down an empty Glass!” (Heron-Allen 1899, 146-147) (This particular Rubaiy has become the root for a noble drinking tradition amongst Persian speaking cultures. When drinking in a respectful manner in Iran, one person takes the role of Saqi and serves wine to everyone. The Saqi is usually the most senior person in the group or the host who defines the speed and amount of drinking. References in Hafiz’s poetry and other poets’ works suggest that the Saqi could have been a beautiful girl or young boy. The Saqi occasionally has also been the centre of romantic affections. On a deeper level, the concepts Saqi is seen as the savior in Persian literature. The one who makes us forget, love and suffer. At the beginning of the drinking session, the Saqi would pour the first drop of the bottle he has just opened on the floor, as Khayyám has asked him to. In my personal experience, for instance, I have witnessed a middle class gentleman reciting the Rubaiyat fluently and passionately while drinking.) [Translations of some of these Rubaiyat, were not found in any of the English versions and the quoted sections from the Rubaiyat in this footnote are free translations by me.] 98 Translation: ‘[I] know’. 69

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III.v. Asraar-e Azal "When dawn doth silver the dark firmament, Why shrills the bird of drawing his lament? It is to show in dawn's bright looking-glass How of thy careless life a night is spent." (Whinfield 1980, 310, No. 463)

[III.v.] represents the form of Rubaiy as a quatrain. The four verses of the Rubaiy are composed in four phrases in close rhythmical balance. The melody is in Dashti, as this Rubaiy has a gloomy message. The vocal melody is to be sung with a scordatura, making the pitches sound flat and slightly out of key and creating an uncomfortable a capella sonic world99.

The percussionist plays an improvisatory part, marking the farewell of the daf. The daf is generally associated with high levels of dynamics and lively rhythms. This is because performance techniques of the daf have remained very limited, partially due to its relatively large size. The daf is also meant to be a simple instrument, as it is used to accompany a capella Sufi singing, which is itself highly dependent on the simple ostinato rhythm of the daf. In the rhetoric of Persian music, extensive techniques of daf playing are not explored. Since the structure of the daf is simple, the possibilities are also limited to the skin and the rings100. The many rings on the daf are occasionally used in ornamentations or tremolandi.

In [III.v.], I have used alphabet shapes inspired by and taken from Persian calligraphy to represent the many rings on the daf (Figure 63). The player is asked to improvise random gestures with the rings, while holding the daf upside down. Expressive calligraphy is applied to represent dynamics and expressions according to the size and shape of symbols used. At the end of movement [III.], the unusual use of extensive techniques on the daf and the “vocal scordatura” work together to unsettle the musical ground. The ambiguities intensify the need for resolution of all the microtonal intervals used in ‘Wine of the Mystic’.

Figure 63 In the calligraphic notation in [III.v.], Persian letters of alphabet represent noises made by the daf rings101.

99 Q.v. Endnote 14.18. 100 For more details on the physique of the daf, refer to Appendix B – Instrumentation. 101 Also refer to Appendix G – Calligraphy and Graphic Notation. 70

Portfolio of Compositions and Commentary Hossein Hadisi

IV.i. Gham While the voice and the tar are present throughout most of the sections, the percussionist plays the tombak only in the first and the fourth movement. In movements [II.] and [III.], the daf, the dayereh and narration is used. Movement [IV.], sees the return of the instrumentation of movement [I.], as the original trio of voice-tar-tombak comes back to conclude the piece (Table 1).

The beginning of the movement [IV] sees the return to Rast Kook, [IV.i.] reverting from the tuning of [III.iii.] by changing the middle pair of strings from F to G. The previous retuning was merely a retuning and had no significant melodic movement. In contrast,. [IV.i.] uses motivic gestures of Abu Ata in C while retuning the strings. This effectively results in preparation and anticipation of the drone notes. Because Abu Ata in F was stated right at the end of the third movement, the immediate change to Abu Ata in C at the beginning of the fourth movement becomes more significant.

Figure 64 In [IV.i.], the calligraphic notation of the Persian letters of alphabet represents the noises created by the tar tuning pegs while retuning.

The noise made by the tuning pegs of the tar is to be exaggerated by the performer. Calligraphic notation represents noises made by the peg in the score (Figure 64). The tuning pegs at the beginning of movement [IV.] respond to the soft noises made by daf at the end of movement [III.], hence the use of a similar style of calligraphic notation (Figure 63).

IV.ii. Ebrat [IV.ii.] is a trio with two voices present at one time. The tombak is playing an ostinato 6/4 rhythm throughout this section. There is only either the tar and the tombak or voice and the tombak present at every single moment (Figure 65). The absence of the tar ostinato from this section diverts the focus to the tombak. The tombak develops the ostinato to prepare the solo in [IV.iii.].

Figure 65 The dialogue between the tar and the voice in [IV.ii.].

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The tar and voice have a dialogue in which they take turns. This is representative of the tradition of Avaz and Jawab-e Avaz102 where the instrumentalist copies or responds to what the leading vocalist sings (Figure 66). In the traditional practice, such dialogue is usually performed without strict rhythm. In [IV.ii.], however, the presence of a background tombak rhythm changes the texture by adding an active layer.

Figure 66 Avaz and Jawab-e Avaz in the dialogue between the voice and the tar in [IV.ii.].

The words sung in the vocal part are a combination of verses taken from different Rubaiyat. The four verses form a Rubaiy, but the verses do not match. The vocal part is sung entirely in Bayat-e Kord. The melody of Bayat-e Kord in [IV.ii.] is similar to the original Bayat-e Kord, as is known in the Radif (compare Figure 67 with Figure 166).

Figure 67 The melody of Bayat-e Kord in [IV.ii.].

The special case for Bayat-e Kord and its historical context was discussed under [II.ii.c.] and Endnote 14.15. In support of the suggested theory of the ‘Old Bayat-e Kord’ (Figure 169), the vocal line shows tendencies towards F-sori and E-natural (Figure 68).

Figure 68 F-sori and E-natural point towards the 'Old Bayat-e Kord'.

By using the current version of Bayat-e Kord and slowly changing the accidentals in favour of the ‘Old Bayat-e Kord’ (Figure 69), [IV.ii.] makes a statement, which introduces a new mode to the vocabulary of Persian music. One that, according to my theory, has possibly existed long before it was adopted by other Dastgah-ha as an auxiliary mode. This is the Bayat-e Kord that has been mentioned by Gorgani in the 1600s as a Gusheh in Chahargah (Figure 42). With the introduction of the new mode, new Gusheh-ha can be added to the

102 Translation: ‘Singing’ and ‘Answer to singing’. 72

Portfolio of Compositions and Commentary Hossein Hadisi vocabulary of Persian music. Adding such new Dastgah-ha and Gusheh-ha—along with introducing ways to break free from the systematic modal approach of the Radif—is the primary goal of ‘Wine of the Mystic’.

Figure 69 The slow change of accidentals in Bayat-e Kord, moving towards the ‘Old Bayat-e Kord’.

Towards the end of [IV.ii.], there is another use of a mantra, repeating the words “Dori Do Se”103 (Figure 70). Because all the three words of the mantra are short and two of them start with similar letters they are easily combined together. The use of a mantra at the end of the section dedicated to Bayat-e Kord is in agreement with Sufi music which has been present since [III.iv.], and the similarities it has with Kurdish music.

Figure 70 Repetition of the words ‘Dori Do Se’ as a mantra towards the end of [IV.ii.]. IV.iii. Mast [IV.iii.] is a short improvised tombak solo in response to the solo in [I.v.]. It converts the 6/4 rhythm to 6/8, doubling the speed. The course of improvisation goes on for approximately one minute, and by the middle of it a traditional dance-like 6/8 is established (Figure 71). This section is an ad lib solo for the tombak player to show his virtuosity and exhibit some distinctive variety of techniques. At the end of the solo the metre expands smoothly and seamlessly to 7/8, which is the rhythm for the duo in [IV.iv.].

Figure 71 Excerpts from the tombak part in [IV.iii.] with two rhythmic cells conveying 6/8. IV.iv. Ni Amadami This section is an instrumental intro for the final Tasnif in Movement [IV.]. The piece is based on a setting of rhythmic cells devised from different divisions of 7/8. Figure 72 shows the rhythmic cells and their variations.

103 Translation: ‘Two, [or] three turns’, as in rounds of drinks. 73

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Figure 72 The rhythmic cells in [IV.iv.] use variations based on 7/8.

The rhythmic cells shown in Figure 72 are put together in an irregular manner. A mathematical improvisation of numbers has been the main guide for the placement of the elements. The muse of mathematics is in the beauty of the rhythmic varieties it offers. After all, improvisation is using, playing, extemporizing and randomising based on numbers.

The tombak plays two bars of {a’} as an intro. The piece begins with the entrance of {a}, which is repeated five more times, followed by three bars of {b}, two bars of {a}, three bars of {b} and three bars of {a}.

The other varieties of {a}, {b} and even two other divisions of the time signature, {c} and {d}, are used in the tar part. The overall structure of the piece (based on the rhythmic cells in Figure 72) is shown in Table 2.

Tar - - - a1 a2 a2 a1 a3 b1 c a4 a4 c b2 b2 b2 d a5 a3 Tombak a’ a’ a’ a a a a a b b b a a b b b a a a Table 2 – The rhythmic cells in [IV.iv.] divided by bars, based on the rhythmic cells in Figure 72.

The idea for a piece in 7/8 is taken from Tasnif-e “Sheydaei” by Parviz Meshkatian (1955- 2009), a late contemporary Persian composer104. The instrumental intro for the ending of

104 Track 04 on [CD III.]. Q.v. Appendix K – Audio CDs. 74

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‘Wine of the Mystic’ is dedicated to Parviz Meshkatian in the score. At the time of the dedication, Parviz Meshkatian was alive. But by the time of the première, Persian music had lost one of its most important figures.

IV.v. Ni Shodami "I never would have come, had I been asked! When would I choose to go, if I were asked? I would forswear this world, and would dispense With coming, being, going, were I asked!" (Whinfield 1980, 328, No. 490)

[IV.v.] is the final Tasnif of ‘Wine of the Mystic’. The melodic and rhythmic preparations in [IV.iv.] have already paved the way for Mokhalef Segah. A rather complex rhythmic structure (Figure 73) is floating freely over the barlines. But the structure of first period makes the first and second verse work as an antecedent – consequent. The rhythm and pitches of both phrases are identical, except for the highest note in the second phrase, B- koron, which is a sharper than the B-flat in the first phrase (compare Figure 74 and Figure 75).

Figure 73 An example of the rhythmic structure employed in [IV.v.].

Figure 74 The opening phrase of [IV.v.].

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Figure 75 The subsequent phrases in [IV.v.] are variations in response to the opening phrase.

The first two verses of the Rubaiy consist of three bars of 7/8, while complex rhythmic divisions show hints of a floating Avaz-like rhetoric (Figure 76). Even when the third verse is sung with free rhythm in Avaz, it is still kept a tempo rubato over the course of 7/8 ostinati (Figure 77).

Figure 76 Complex divisions of 7/8 in the motivic cell of [IV.v.].

Figure 77 A tempo rubato improvisation over 7/8 ostinati.

The last verse of the Rubaiy consists of three negative verbs. To appreciate the significance of these last words and the reason why this Rubaiy has been chose to close the opus, a reference to its translation (above) seems necessary.

The three words that make up the final verse are “Not [would have] come, Not [would have] gone, Not [would have] been”. The title of the last three sections105 of ‘Wine of the Mystic’ is taken from these three verbs, too. These three phrases are used as the final mantra in mixed combination as follows:

Not come, Not been, Not gone;

105 [IV.iv.] Ni Amadami, [IV.v.] Ni Shodami and [IV.vi.] Ni Bodami. 76

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Not come, Not gone, Not been; Not gone, Not been, Not come; Not come, Not gone, Not been.

This means that the last verse of the Rubaiy has been repeated four times, making a new Rubaiy out of the one verse. The second and fourth verses of the mantra Rubaiy are the correct version of the verse. The final word of the final verse opts out of the barline in favour of an Avaz section, one that is the postlude to ‘Wine of the Mystic’.

This Tasnif, because of its melodic appeal and repetition, is the one section in ‘Wine of the Mystic’ that was composed as a souvenir for the travellers of the journey. From the garden of amazing, beautiful and highly complex flowers of traditional Persian music, one single flower to be remembered by. [IV.v.] is a Tasnif that is easy to sing and remember Khayyám with. It is as simple as Khayyám’s frank and sharp rhetoric and as complicated as the questions he asks.

IV.vi. Ni Bodami "O comrades dear, when hither ye repair In times to come, communion sweet to share, While the cupbearer pours you old Magh wine, Call poor Khayyám to mind, and breathe a prayer”. (Whinfield 1980, 138, No. 205)

The end of the piece uses the same forces that closed the first movement in vain. The tombak and voice perform Omar Khayyám’s will one more time. This Rubaiy is the only Rubaiy ever repeated106 in ‘Wine of the Mystic’, as it is the poet’s farewell107.

The tombak part bids the listener farewell through an improvisatory ritardando (Figure 78). The tombak plays a {crotchet, crotchet rest} cycle throughout the first verse. For the second verse it plays {minim, minim rest} and goes on to {semibreve, semibreve rest} and {breve, breve rest}.

106 In [II.ii.a.], the opening words of movement [II.]. 107 This Rubaiy closes many of the different English and Persian versions of the Rubaiyat. 77

Dastgdh-e Homdyun 69

Abolcap Abolcap is in the mode of Cakavak, with the same general characteristics but with its own distinct melodic idea. The basic formula for Abolcap can be seen in example 153. Example 154 (p. 150) is the transcription of an improvisation on this formula.

Example 153

Tarz Portfolio of Compositions and Commentary Hossein Hadisi This guse is also in the mode of Cakavak and does not present any individual modal characteristics. Its basic formula can be seen in example 155, and an improvisation on it in example 156 (p. 151). Example 155

Leyli-o Majnun This is also in the mode of Cakavak, and appears to be a variant of the same basic melodic idea on which all of these guses (Cakavak, Abolcap and Tarz) are founded. The basic melodic formula for Leyli-o Majnun is given in example 157. Example 158 (p. 151) is an improvisation on this melodic idea. Example 157

Figure 78 The tombak farewell in [IV.vi.].

The music now moves to the powerful Gusheh Bidad in Dastgah-e Homayun. Bidad is one of Biddd the most important derivatives of Homayun, which is performed largely in Homayun in a 108 Guse-yefashion Biddd extend similar s the to moda e o contra f Cakavak mode to a stil.l higheThe r modal register, sc upheme to the for 9th abovBidade th e(Figure 79) gains its finalis. Alsosignificance in , the 5th abovHomayune assumes greate thanks to the Ar prominence -thaflat at the higher octave. n before to the extent of becominBidadg expands Homayun a the sdhed.ninth above its Biddd's modal schemFinalise iand changes the s given in example 159Shahed. The characteristic note of Homayuns of this modfrom Ae are-koron to A-flat. the following: Example 159

M M

Figure 79 The modal scheme of Gusheh Bidad in Dastgah-e Homayun (Farhat 1990, 69).

The first two verses are friendly and welcoming, as Bidad is. This characteristic mood of nostalgia in Bidad is mainly present due to the use of chromatic intervals. The only present microtonal interval is A-koron in the low octave, which is barely visited in Bidad, unless used to prepare a Forud back to Homayun (Figure 80).

Figure 80 The Forud figure in Gusheh Bidad in [IV.vi.] uses A-koron in the low octave.

In the middle of verse three, when it comes to wine, the theme representing similar Rubaiyat comes back in Shur (Figure 81). The improvisation in Shur fades in vain as it becomes late Khayyám’s turn to drink. A cold, low-tone phrase ending in a whisper (Figure 82) reads Khayyám’s will. He wants us to remember him by pouring a few drops of wine on the ground so his soil will get drunk (Q.v. Footnote 97).

108 Like Mokhalef Segah is to Segah or Delkash is to Mahur. 78

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Figure 81 Drinking wine reminds the mode of Shur in ‘Wine of the Mystic’.

Figure 82 “[…] Where I made One- turn down an empty glass” (Heron-Allen 1899, 146-147).

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3. Appendix A – Rubaiyat I.i. Bi Khabaran

"O foolish one! this moulded earth is naught, This particoloured vault of heaven is naught; Our sojourn in this seat of life and death Is but one breath, and what is that but naught?" (Whinfield 1980, 54, No. 78)

I. iv. Mey-e Naab

"Endure this world without my wine I cannot! Drag on life's load without my cups I cannot! I'm slave of that sweet moment when they say, " Prithee, take one more goblet," and I cannot!" (Whinfield 1980, 242, No. 360)

"When I am dead, with wine my body lave, For obit chant a bacchanalian stave, And, if you need me at the day of doom, Beneath the tavern threshold seek my grave." (Whinfield 1980, 6, No. 6)

"So many cups of wine will I consume, Its bouquet shall exhale from out my tomb, And every one that passes by shall halt, And reel and stagger with that mighty fume." (Whinfield 1980, 12, No. 17)

I.vi. Koozeh

“Lest we fold our arms in idleness until tomorrow, Lest we smother our sorrow with joviality, Let us arise and drink before Dawn's break, For she will breathe on long after we cease”. (No English translation available, translation courtesy of: Sara Aronowitz)

"Once, in the potter's shop, a company

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Of cups in converse did I chance to see, And Lo! one lifted up his voice, and cried, "Who made, who sells, who buys this crockery?" (Whinfield 1980, 190, No. 283)

"Khayyám! Rejoice that wine you still can pour, And still the charms of tulip cheeks adore; You'll soon not be, rejoice then that you are, Think how 't would be in case you were no more!" (Whinfield 1980, 190, No. 282)

II.i. Afsoos

“Oh but we have been worn through in vain, harvested by the scythe of that firmament. What sharp regret, now as we have just taken a sip, we have been just as soon destroyed”. (No English translation available, translation courtesy of: Sara Aronowitz)

"Ah! would there were a place of rest from pain, Which we, poor pilgrims, might at last attain, And after many thousand wintry years, Renew our life, like flowers, and bloom again!" (Whinfield 1980, 296, No. 442)

"We come and go, but for the gain, where is it? And spin life's woof, but for the warp, where is it? And many a righteous man has burned to dust In heaven's blue rondure, but their smoke, where is it?" (Whinfield 1980, 264, No. 393)

II.ii. Fatvaa

"O comrades dear, when hither ye repair In times to come, communion sweet to share, While the cupbearer pours you old Magh wine, Call poor Khayyám to mind, and breathe a prayer”. (Whinfield 1980, 138, No. 205)

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"O City Mufti, you go more astray Than I, although to drinking I give way; I drink the blood of grapes, you that of men: Which of us is the more bloodthirsty, pray? " (Whinfield 1980, 206, No. 307)

"Since 'twas the Master did these creatures frame, Why doth he cast them to disgrace and shame? If they be formed aright, why doth he crush them? And if awry, to whom belongs the blame?" (Whinfield 1980, 86, No. 126)

II. iv. Payan-e Sokhan

“I studied with the masters long ago, And then myself taught pupils what I know; Hear now the sum and (Rodwell 1931)upshot of it all,— "We come from earth and to the winds we go".” (Whinfield 1980, 236, No. 353)

III.iv. Ghafeleh

“For countless are the days where the world will prevail with neither we, nor our name, nor its repute. Nothing was missing before we began, and no lack will linger on here after our passing”. (No English translation available, translation courtesy of: Sara Aronowitz)

"Life's caravan is hastening on its way; Brood not on troubles of the coming day, But fill the wine-cup, ere sweet night be gone, And snatch a pleasant moment while you may." (Whinfield 1980, 92, No. 136)

"Being and Notbeing alike I know, Essence of things above and things below,

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But, —shame upon my knowledge!—to be drunk Is after all the highest lore I know." (Whinfield 1980, 226, No. 336)

III.v. Asraar-e Azal

"When dawn doth silver the dark firmament, Why shrills the bird of drawing his lament? It is to show in dawn's bright looking-glass How of thy careless life a night is spent." (Whinfield 1980, 310, No. 463)

IV.v. Ni Shodami

"I never would have come, had I been asked! When would I choose to go, if I were asked? I would forswear this world, and would dispense With coming, being, going, were I asked!" (Whinfield 1980, 328, No. 490)

IV.vi. Ni Bodami

"O comrades dear, when hither ye repair In times to come, communion sweet to share, While the cupbearer pours you old Magh wine, Call poor Khayyám to mind, and breathe a prayer”. (Whinfield 1980, 138, No. 205)

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4. Appendix B – Instrumentation

Tar “Double-chested plucked lute of the Rabab family, with a membrane as a soundtable, found in Iran and the Caucasus. It is used in popular urban entertainments (motrebi) but is associated more with art music, owing its popularity in classical Iranian music to such 19th- century performers as Ali Akbar and Hoseyn Qoli. It exists now in two forms, the Iranian and the Azerbaijani or Caucasian.

The Iranian tār, which is the older of the two, 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 long neck has a fingerboard covered with bone. On the lower skin a horn bridge supports six metal strings in three courses, tuned c/cʹ (or d/dʹ) – g/g– cʹ/cʹ (in 19th-century examples the bottom string is not doubled at the octave). Twenty-five movable gut frets divide the octave into 15 microtonal intervals. The timbre of the Iranian tār is clear and resonant because of the delicate skin of lamb’s foetus used for the soundtable. The strings are plucked with a brass plectrum coated in wax, making possible both subtlety and virtuosity in the playing technique. Attempts to construct a bass version of the instrument have not succeeded.

The Caucasian tār (tār-e qafqāzi) is differentiated from the Iranian by its shallower, less curved body; in Azerbaijan, the two bulging sections are glued together in large instruments. As well as the three main double courses, tuned variously according to the mode to be played (e.g. f – g – cʹ,d – g – cʹ or c – g – cʹ), it has five or six sympathetic strings (zang), sometimes played as open strings without a plectrum. These are tuned an octave and a 5th higher. Modern instruments may have five or six melody strings, tuned gʹ – c″ – c – g – cʹ. The Caucasian instrument has a wider neck and bridge than the Iranian, and usually has 22 gut frets. These can be adjusted to produce microtonal intervals for traditional mugam performance or to the 12-note tempered scale. The membrane, usually made of the pericardium of a bullock, is thicker than the Iranian type. The strings are plucked with a plectrum usually made of bakelite or similar hard, synthetic material, or in rare cases of bone. The timbre is harder and drier, and its playing style is closer to that of the Central Asian kashgar rubāb: it is held almost horizontally against the upper chest, and the performer shakes the tār slightly to produce a vibrating sound. The Caucasian tār is highly esteemed in Azerbaijan and Armenia. It is sometimes found among the Turks of Khorāsān and in Uzbek and Tajikistan, where it is played in ensemble and, in the Shirvani style of epic performance, by bakhshis, and has also been introduced in Turkey” (Jean During n.d.).

Tombak “Goblet drum of Iran, known since the early 19th century. It is commonly known as zarb (‘beat’). It is used in entertainment music, in some folk traditions (e.g. those of Lorestan) and in art music. The drum is made from a single block of walnut or mulberry

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Portfolio of Compositions and Commentary Hossein Hadisi wood, turned and hollowed out. It is 40 to 45 cm in height and 20 to 28 cm in diameter. It was used originally as an accompanying instrument, but its technique was considerably developed by the virtuoso Hossein Tehrani (1911–76), who extended the range of beating methods and sonorities and exploited its potential as a solo instrument. Iranian gymnasiums (zūrkhāne: ‘house of force’) use an earthenware tombak, about 70 cm in diameter, to provide a rhythmic background for exercises. Its powerful tone and beating technique distinguish it from its classical counterpart. The tombak can be likened to the Afghan zirbaghali used in folk music; this is made of pottery or wood and is rounder in shape. Playing techniques differ somewhat” (During, "Tombak." in Grove Music Online n.d.).

Daf “Round single-headed frame drum connected with Muslim cultures. In varying forms it is found in West Asia, the Caucasus, the Iranian plateau, Central Asia and south-eastern Europe. The drum is used in a wide variety of settings: folk music, art music, entertainment and dance music and Sufi religious rituals.

This type of frame drum is historically related to the pre-Islamic Arabian duff and Hebrew tof. Their various onomatopoeic names derive from the sound of the beaten drum. Terms related to duffspread to parts of Africa, South Asia and Latin America. Variant examples appear in Armenia (dap); in Azerbaijan (diaff, deff); among the Uighurs of Central Asia (dap); in Kurdish areas, Turkey, Albania, Serbia, Bosnia-Hercegovina and Macedonia (def); in Greece, particularly the north (defi); and in East Africa (duff), where it is used by the Swahili and Swahili/Nguja people of Dar es Salaam and Tabora, Tanzania. The instrument probably travelled to South Asia in the 12th century (daph), and to Iberia and Latin America (adufe).

The daff is closely linked with frame drums known by other terms. In Iran, Turkey and Kurdish areas the terms daff/def and daire/dayre are both used without clear distinctions, although daire is generally associated with women and folk music (see DĀIRA). In Macedonia and Thrace the defi is commonly called daires or daire. In Azerbaijan and Armenia, the terms dahira and ghaval are also used. In Turkey and Syria the term MAZHAR distinguishes religious use of a large drum similar to the daff. The RIQQ, used in art music, is a virtuoso instrument related to the daff.

Typically, the daff’s frame is wooden. The large daff played by Qādirī Sufis in Kurdistan is particularly heavy (of nut, plane or chestnut wood). Sometimes the frame is richly ornamented with inlay, as in Azerbaijan and Armenia. The membrane glued to the frame is usually of goatskin; in the Caucasus catfish skin or plastic is used and the Uighur dap uses ass hide. Metallic jingles are often attached inside the frame, e.g. pellet bells, rings, chains of rings, coins, or pairs of small cymbals or discs inserted into slits in the frame. Some drums have a hole, notch or groove for the thumb to act as a support.

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Sizes vary between 20 and 60 cm in diameter and 5–7 cm in depth. In Iraq the daff is usually 40–50 cm; a variant used in entertainment music, daff zinjārī (‘Gypsy daff’), is generally smaller (about 25 cm). In Iraq and Iran, daffs used in Kurdish Sufi ceremonies may be up to 60 cm in diameter and metallic rings or chains are intrinsic to the performative effect. In Syria the daff is relatively small (25–30 cm); some are copies of the small frame drum called riqq. The dap of Chinese Turkestan is about 25 cm, but in Badakhshān (a region overlapping Afghanistan and Tajikistan) the daf is usually large. The def of south-eastern Europe and Turkey is about 25 cm in diameter and 5 cm deep; four or five pairs of slightly convex or flat brass discs are inserted into the frame. A Turkish term, zilli def, is applied to the def with metal rings. (For an illustration of defs used in connection with köçek dancers during the early 18th-century Ottoman period see [not available online], fig.)

Playing techniques vary. Usually the player holds the drum in one hand and beats the skin with the fingers, thumb and palm of the other hand. Occasionally the drum is held with both hands and played with the free fingers. Metallic percussive effects are obtained by tilting or shaking the drum, or hitting the frame. The player may kneel, sit, stand or move about while playing the drum. In art traditions onomatopoeic words are sometimes used to describe the sounds: dum/düm for the heavy, low sound and tak/taka/tek for the light, high sound.

The historical Arabian duff is among the instruments most frequently cited in the sayings of the Prophet Muhammad (ḥadīth). During the Prophet’s lifetime (7th century) it was used in connection with entertainments, celebrations, religious festivities, battles and poetry. For instance, it accompanied poetry sung to welcome travellers home, and a ḥadith attests that a slave said to the Prophet Muhammad: ‘I have vowed if Allah makes you safe and sound to beat the duff above your head’ (as a form of blessing). Female slave musicians known as QAYNA used it both in ensemble music and to scan poetic metres, so the drum was considered as pedagogic and mnemonic in that capacity.

After the Prophet Muhammad’s death, the duff was frequently cited in the controversy about the legitimacy of musical instruments. It evaded the official condemnation applied to other musical instruments, since some scriptural traditions upheld the Prophet’s approval of its use. However, according to one ḥadith the Prophet warned that the end of the world would come when a devastating wind destroys the ungodly who drink wine, play duffs and frequent taverns with qaynaentertainers. The drum’s links with dancing and illicit sex are an aspect of its history.

The historical Arabian duff was probably square, rectangular or octagonal. This angular shape, mentioned in several 10th-century writings (notably the anonymous Egyptian treatise Kashf al-ghumūm) survives in Morocco, Algeria (Ghardaia) and in Saudi Arabia under the name ‘ulba (‘the box’). However, frame drums from the rich excavations of Phoenicia, Palestine, Syria and Mesopotamia attest to a small circular instrument (25–30 cm). A text by MAJD AL-DĪN AḤMAD AL-GHAZĀLĪ (d 1126) suggests that the early duff (duff al ‘arab) carried no accessory jingles. Small cymbals, pellet-bells and rings appeared around

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This type of frame drum has been consistently used in traditional art music in most parts of the Muslim Middle East and beyond. The daff (or modern riqq) is used in the takht ensemble of Arab art music. Until the 19th century it was used in Persian classical music, when it was replaced by the tombak (goblet drum), but since the early 1980s the daff has gradually been revived.

The drum had been widely used in folk and entertainment music. In Turkey, Syria, Iraq, Iran and elsewhere it has historical and contemporary associations with Sufi rituals (see ISLAMIC RELIGIOUS MUSIC, §II). In the Arab world the daff is notable as an instrument played by all classes of people: male and female, professional and amateur, adult and child, secular and religious. The drum has historical connections with Gypsies: in Turkey Gypsy men play it, especially to accompany performances by dancing bears, and Greek Gypsies use it with the street organ (laterna). In south-western Turkey, semi-professional Gypsy women (delbekçi kadınlar) play the delbek (a variant term) at rural weddings. In Turkey during the 1920s it was used by the female dancers and singers of the café-aman (a kind of ‘oriental’ café- chantant), but is now mostly played by women in private settings. In the small Muslim towns of south-eastern Europe it has been regarded as a domestic instrument” (R. Conway Morris n.d.).

Dayereh “Round single-headed frame drum (see DRUM, §I, 2(VI)) found in Iran, Afghanistan, Turkey, the Central Asian republics, the Caucasus, south-eastern Europe and parts of India. The term, derived from Arabic (da'ira: ‘circle’), has many variant spellings and transliterations. In many areas there is some overlap with the term DAFF.

The dāira consists of a hoop of wood, 5 to 8 cm deep, with a diameter of 20 to 50 cm, over which is stretched and glued a thin membrane of skin (commonly goatskin). Metal jingles are usually attached: pellet bells, rings or coins fitted inside the frame, or small pairs of cymbals inserted into it. The drum is tuned by heating the skin to make it taut, or wetting it to lower the tone.

Many playing styles exist, varying according to regions and social groups. The drum is usually held in one hand, leaving the other free to strike different parts of the skin with the fingers and thumb, and (sometimes) also the palm and heel of the hand. Additional sharp finger-flicks are produced by the hand holding the frame. The player's elbow, shoulder or knee may be used against the drum, which may also be thrown upwards or sideways in a regular beat, for jingling effects. A delicate tremolo is obtained by shaking the instrument; rubbing the skin creates another sound effect.

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In some styles the drum is supported in both hands, the fingers beating the outer edge of the skin. Sometimes a string is attached to the drum for support. The drum may also be placed on or between the legs, leaving both hands free to beat with equal force.

The drum is variously played solo or in groups of two or more, sometimes with polyrhythmic effects (in the Ferghana Valley of Uzbekistan popular groups contain up to 14 drums). It is used to accompany singing, dancing, instrumental ensembles and ritual wedding processions. In Iran (dāire), Afghanistan (dāire/dāira), Turkey (dayre or def) and Azerbaijan (daire or daf/def) it is associated with folk music, often the province of amateur women performing in a domestic setting. In Afghanistan and Uzbekistan professional female musicians specializing in entertainment music at weddings used the drum and were formerly known as dāira-dast (‘drum-in-hand’).

The dayra/doira is particularly important in Central Asia, a compulsory instrument in classical and folk musics. A considerable repertory of named solo drum pieces exists, and in Uzbekistan and Tajikistan drumming is taught in art music academies. Musicians memorize drum patterns with syllables denoting low or high pitches, e.g. ‘bum-ba-ka’ (low-high-high), playing in a very forceful style. In Central Asia it is also used in male virtuosic displays involving juggling. In northern Tajikistan baxshy shamans (female and male) use it in therapeutic rituals, where it may be alternatively termed childerma.

In Caucasian areas (dahira, daira) it comes in various sizes, sometimes made with fish-skin; the frame may be inlaid with mother-of-pearl. There it is used for solo performance accompanying song or dance. Common in south-west Bulgaria, it accompanies solo or group singing and instrumental playing (especially the tambura) but rarely dance. In Serbia, south- west Montenegro and Macedonia it is generally used by Gypsy women to accompany dance, and in calgijeensembles. In Romania (dairea, dara) it was formerly used by Gypsy showmen to accompany bear-dances; now it has a place in masked New Year processions, representing the bear's costume. It is used in urban instrumental ensembles in Albania (daire) and, in eastern Albania, in conjunction with the gajde (bagpipe)” (Vergilij Atanassov n.d.).

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5. Appendix C – Index of Symbols and Transliterations

Figure 83 Index of symbols and transliterations used in 'Wine of the Mystic'.

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Figure 84 and Figure 85 demonstrate two scholars’ notation of improvisatory figures of Persian music109.

Figure 84 (Saba 1958, 4-7), reproduced in (Zonis 1973, 114).

Figure 85 (Miller 1999, 277).

109 Q.v.Appendix C – Index of Symbols and Transliterations. 92

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6. Appendix D – Percussion Notation There is a confusion regarding percussion notation in Persian music. As it is customary to teach music using the aural method, the need to notate music was never seriously felt by Persian musicians. Rhythms are traditionally referred to using descriptive names that refer to a certain style or contain a prosodic pattern.

It was only after introduction of Western musicology in the twentieth century that notating Persian music became an issue. Just like the many different styles of notation adapted and crafted by different scholars and musicians, no unified notation system is widely accepted for Persian percussions, too.

Because ‘Wine of the Mystic’ is an improvisatory piece, the percussionist is also given freedom toward interpreting rhythms suggested by the score (Figure 19 and Figure 21). The relative vertical position of the percussion notes on the staff represents bass or treble sounds. The bass notes are to be played by hitting the middle of the drum, and the treble notes are played on the edge of the skin. Crossed noteheads represent muted sound and other noteheads suggest variations of sounds, which is to be improvised by the player (Figure 86).

Figure 86 The symbols used for percussion notation in ‘Wine of the Mystic’.

There is a more abstract style used with graphic notation in section that use irregular rhythms and purely percussive sounds. I have used letters of Persian alphabet as the building blocks of the graphic part for the percussion. This is in line with the expressive calligraphy of the text of the Rubaiyat in the score (Figure 52 and Figure 63).

I have learned from working with many different Persian percussionists that allowing a certain degree of improvisation brings out more creativity, virtuosity and collaboration. Specifying the outline of the rhythmic plan of the piece and important milestones in terms of synchronised tempo and metre changes will suffice a Persian percussionist to find his way through the piece.

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For the première of ‘Wine of the Mystic’, for instance, I initially showed the score to the percussionist and discussed the structure of the piece and important moments such as solos and changes of metre. After performing the whole piece once, the percussionist was easily able to accompany me and study the piece the Persian way. That is, learning the music through playing, repeating and changing it; rather than reading it from a score and playing one definitive version of the piece.

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7. Appendix E – The Tar Fretting A traditionally fretted tar will have twenty-seven frets, eight of which are microtonal intervals (Mallah 1997, 151). Persian modes are played on certain positions based on the tuning. This means that free transposition of modes to any desired key is not easily doable, particularly to a microtonal interval. When it comes to playing all the intervals used in ‘Wine of the Mystic’, the traditional fretting system for the tar falls short. As a result of this, the alternative fretting is offered in the table below, which offers eleven microtonal intervals instead of eight. The première was given with a tar fretted according to this system. This fretting system offers notes that are not used in Persian music.

Fret No. C-C G-G110 F-F111 01 D-flat A-flat G-flat 02 D-koron A-koron G-koron 03 D A G 04 E-flat B-flat A-flat 05 E-koron B-koron A-koron 06 E B A 07* E-sori B-sori A-sori 08 F C B 09 F-sori C-sori B-sori 10* G-flat D-flat C 11 G-koron D-koron C-koron 12 G D C 13 A-flat E-flat D-flat 14 A-koron E-koron D-koron 15 A E D 16 B-flat F E-flat 17 B-koron F-sori E-sori 18 B F-sharp E 19* B-sori G-koron E-sori 20 C G F 21 D-flat A-flat G-flat 22 D-koron A-koron G-koron 23 D A G 24 E-flat B-flat A-flat 25 E-koron B-koron A-koron 26 E B A 27* E-sori B-sori A-sori 28 F C B-flat 29* F-sori C-sori B-sori 30 F-sharp C-sharp B

110 Rast Kook (Right Tuning). 111 Chap Kook (Left Tuning). 95

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31 G D C 32 A-flat E-flat D-flat Table 3 The fretting system on the tar used in ‘Wine of the Mystic’. The frets marked with asterisk don’t exist in the traditional system.

An alternative would be using a fret-less tar. I wrote many parts of the piece using a fret-less The tar and some of the techniques would sound better with a fret-less tar. Nevertheless, a tar with the fretting system in Table 3 was used for the première.

The intervals used in Persian music are listed in Table 4, to help explain the approximate position of the frets on the fingerboard of the tar.

Name of the Interval Interval Width (cents) Definition Minor Second 100 Semitone Neutral Second 125-170 (usually 135-160) m < n < M Major Second 200 Whole tone Augmented Second 270± n + N = Major 3rd (405 ¢) Neutral Third 325-370 (usually 335-360) m 3rd < P < M 3rd Table 4 The intervals used in Persian music.

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8. Appendix F – Concert Programme for the Première Wine of the Mystic

Rubaiyat of Omar Khayyám

Hossein Hadisi –tar, vocals

Fardin Mortazavi –tombak, daf, dayereh

University of Southampton’s Music Department

Professional Series Lunch Time Concerts

Monday, 15 February 2010, 1-2 pm, Turner Sims Concert Hall

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Wine of the Mystic (Hossein Hadisi, 2010)

1. Mey-e Naab a. Bi Khabaran (vocal solo) b. Hich (tar solo) c. Dam (Pish Daramad) d. Mey-e Naab e. Samaa (tombak solo) f. Koozeh 2. Nedamat a. Afsoos b. Fatva c. Sovar (Chahar Mezrab-e Gilaki, tar & daf) d. Payaan-e Sokhan 3. Paay-e Ajal a. Ranj-e Bihoodeh b. Hast (Sama-e Arab, dayereh solo) c. Nist (Panj Mezrab, tar & dayereh) d. Ghafeleh e. Asrar-e Azal 4. Deyr-e Kharab a. Gham (Kord-i Bayat, tar solo) b. Ebrat c. Mast (Raghs, tombak solo) d. Ni Amadami (Lang, tar & tombak) e. Ni Shodami f. Ni Bodami

Wine of the Mystic: Rubaiyat of Omar Khayyám (1048-1123)

Compositions of Hossein Hadisi take us to a musical journey through the improvisatory traditions of Avaz and Morakkab. Wandering through the wadi of ancient Persian modes, the enigmatic music and poetry follows Khayyám's footsteps in his odyssey in search of an answer to his endless self-analysis philosophical quest.

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Hossein Hadisi (tar, Vocals) Hossein Hadisi started learning piano in the age of six. He later picked up violin as his main instrument. At the age of 17, Hossein started performing music professionally as violin soloist in Kerman Television Symphonic Orchestra (with Savic Ghazarian), and also as piano and guitar player and vocalist in Hamoon and Mahtab music groups. Having already studied Persian vocal and instrumental music alongside his classical music training, at the age of 18 he started studying composition with Kambiz Roshanravan in Hawaii School of Music branch in Morakkab, Iran. Hossein later pursued his musical career in Malaysia with Sisyphus, Hungry and Hozzen projects, while still composing, recording and producing music professionally for film scores, music albums and multimedia projects.

Since year 2007, Hossein has been studying composition in the University of Southampton. He studied his MMus Composition with Michael Finnissy, Michael Zev Gordon and Andrew Fisher and is now a PhD (Composition) candidate studying with Michael Finnissy.

Hossein is premièring his Wine of the Mystic as an important part of his PhD studies & his Lullaby for a Deaf Child will be premièred tomorrow (Feb, 16th) by Ruth Corney & Sam Cave in St. Michael’s church. www.hosseinhadisi.com

Fardin Mortazavi (tombak, daf, dayereh) Born in Iran in 1964, at age thirteen he began studying Iranian classic music with Kavous Samandar (Iran). He arrived in France in 1984. In Paris, he learned daf and tombak (Zarb) which became his principal instrument beside Madjid Khaladj, master of Iranian percussions.

He also benefit of teaching of Sirous Randjbar (Paris) and Jamshid Chemirani. He completed his artistic education in theatre with Jean Luc Pérignac (2006-07) and investigates in movement and contemporary dance with Régine Chopinot (2004-08).

He focuses his researches on dialogue between rhythm and poetry and asymmetrical rhythm to enrich his work in music, theatre, dance and teaching.

He is searching in the field of reinvention in his relation with the materials, even if encountered themes one thousand and one times. It is being in the present “Hâll” that defines his bounds with the phenomenon: where it occurs, in its place. http://www.maisonpersane.fr/

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9. Appendix G – Calligraphy and Graphic Notation The handwritten score and words of ‘Wine of the Mystic’ is an artistic statement. Instead of abiding by the rules of the art of Persian (and Middle Eastern) calligraphy, with which I am relatively familiar, I opted for expressive calligraphy. There is no unified style of calligraphy used as it was not intended to be the case. The handwritten Rubaiyat, for instance, are by no means a calligraphic representation of them. I personally view them as drawings that accompany the music in the score. The shapes and lines of Persian alphabets, successfully serve this purpose for the unfamiliar Western eye.

A few examples of these word-drawings and comparisons drawn between other composers’ notation of improvisatory gestures and the score of ‘Wine of the Mystic’ are presented below:

Notation of Persian Music by Other Scholars:

Figure 87 Notation of a Reng112 in Bayat-e Esfahan (Massouddieh 2004, 99).

112 “Reng (dance): A Reng is an instrumental piece in duple or triple metre in a moderately fast tempo. It is intended as a dance piece but does not necessitate dancing” (Farhat 1990, 22). 101

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Figure 88 Use of calligraphy in the score (Massouddieh 2004, 192).

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Figure 89 Notation of Tahrir113-ha and other ornamentation in Gusheh Matnawi (Massouddieh 1995, 75)

113 Q.v. Glossary. 103

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Figure 90 Notation of Tahrir-ha and use of grace notes (Khaleghi 1982-3, 128).

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Figure 91 Use of rhythmically simplified notation, gruppetti and Tahrir-ha (Miller 1999, 291)

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Figure 92 Abolhassan Saba’s simplified style of notation, using Tahrir-ha (Saba 1956, 5), reproduced in (Zonis 1973, 114).

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Figure 93 Use of grace notes and simplified rhythms (Farhat 1990, 173)

Figure 94 Use of repeat marks with performance instructions ‘more’ (top system) and ‘less’ (bottom system) (Maarufi 2004, 73)

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Comparisons:

Figure 95 Calligraphic word-drawing used as graphic notation of the recitation improvisation in [III.i.].

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Figure 96 Use of alphabet letters (‘visual text’) in the score of ‘Sehtexte’ (Kriwet 1965), (Karkoschka 1972, 115), © Universal Edition A.G., Wien. Reproduced by permission.

Figure 97 Positiong of words on the paper in the storytelling narrative of ‘Fa:m Ahniesgwow’ (Helms 1979), (Karkoschka 1972, 116), © Universal Edition A.G., Wien. Reproduced by permission.

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Figure 98 Spacing of words and staves in ‘Sicilano’ (Bussotti, Siciliano 1962), (Karkoschka 1972, 94), © Universal Edition A.G., Wien. Reproduced by permission.

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Figure 99 The improvisatory patterns for tombak in [I.iii.]

Figure 100 “Accumulation of symbols” in ‘Enjambements’ (Cerha 1959), (Karkoschka 1972, 86), © Universal Edition A.G., Wien. Reproduced by permission.

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Figure 101 Free spacing of improvisatory material in [III.ii.]

Figure 102 Free spacing of improvisatory material in [IV.iii.]

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Figure 103 The spacing of notes in ‘Folio’ (Brown 1954), (Karkoschka 1972, 90), © Universal Edition A.G., Wien. Reproduced by permission.

Figure 104 The spacing of material in the score of ‘Segmenti’ (Serocki 1961), (Karkoschka 1972, 152) , © Universal Edition A.G., Wien. Reproduced by permission.

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Figure 105 Use of flowing calligraphic shapes on the staff in [II.v.]

Figure 106 Lines representing pitches on the staves in the score of ‘Cymbalon’ (Hashagen 1960), (Karkoschka 1972, 101), © Universal Edition A.G., Wien. Reproduced by permission.

Figure 107 Notation of improvisatory figures in [I.ii.]

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Figure 108 Notation of improvisatory ostinati in [III.iv.]

Figure 109 Notation of improvisatory tremolandi in [II.ii.]

Figure 110 Notation of improvisatory tremolandi in [II.ii.]

Figure 111 Notation of improvisatory ostinati and tremolandi in [IV.ii.]

Figure 112 Notation of Tremolandi figures in ‘Mythos’ (Vlijmen 1963), (Karkoschka 1972, 163), © Universal Edition A.G., Wien. Reproduced by permission.

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Figure 113 Notation of repetitive patterns in ‘Imago musicae’ (Schaffer 1961), (Karkoschka 1972, 144), © Universal Edition A.G., Wien. Reproduced by permission.

Figure 114 “No explanation for the transition from exact pitch notation to graphic notation is given apart from the use of the word “simile””. An excerpt from the score of ‘Desideratio Dei’ (Karkoschka 1961), (Karkoschka 1972, 110-111), © Universal Edition A.G., Wien. Reproduced by permission.

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10. Appendix H – Artwork

Album Artwork: “The artwork design for ‘Wine of the Mystic’ uses the calligraphic shape of Persian letters. The colour theme and the chaotic manner of the work resemble the world of Omar Khayyám’s poetry. I used the style of calligraphy and notation in the score as an inspiration.” (Pegah Salimi)

Figure 115 ‘Wine of the Mystic’, Persian calligraphy-painting, Pegah Salimi (2010). Score Artwork: The artwork for the score, titled ‘Naught’ (Figure 116), is a symbolic representation of the whole work. It directly refers to the Rubaiy used in [I.i.] that claims that life is but naught. This artwork replaces the traditional opening page in Persian literature, which often is

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“Bism-Illah-er Rahman-er Rahim”114, a prayer or a religious verse, occasionally followed by a dedication.

Figure 116 ‘Naught’, ink on paper, Hossein Hadisi (2010). Stage Layout: “The music of ‘Wine of the Mystic’ is an intimate journey. I envisaged a corner of the tavern where Omar Khayyám has been drinking, writing poems, and contemplating about the existence of human beings, the purpose of life and the universe. The stage invites the audience to witness a private session, where the two musicians are sat on Persian rugs, surrounded by books (different versions of the Rubaiyat), Persian jugs and chalices, musical scores and the musical instruments.

In the background, a daf is installed on the organ, with an old Persian jug on a small rug. The daf represents a circle, the shape of the number zero, nil, naught. It also symbolically represents the sun, the symbol of life and existence in the Zoroastrian and Porto-Indo-Iranian religions. The old jug, refers to the important metaphor for human beings, prevalent through the Rubaiyat 115. In the background, we see Omar Khayyám (the jug) on the small old rug (the flying rug, death), declaring that ‘All is Naught’ (the daf).”

114 Translation (from Arabic): ‘In the name of God, the compassionate, the merciful’. 115 Khayyám refers to the human body as the chalice, the jug; and the creator, as the potter: “This is a chalice made with art profound, And with its Maker’s approbation crowned; Yet the world’s Potter takes his 118

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Figure 117 Stage design for the première of 'Wine of the Mystic' in Turner Sims Concert Hall, University of Southampton, 14/02/2010, Pegah Salimi.

masterpiece, And dashes it to pieces on the ground!” (Whinfield, 1980, 194, No. 290). There are numerous other examples in the Rubaiyat that use the same metaphor, resulting in the classification of such Rubaiyat as “Koozeh Nameh” (Translation: ‘The Text [or: Poems] of the Jug’ by Roshanak Bahreyni (Fitzgerald 2008, 77). 119

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11. Appendix I – Omar Khayyám “It is not so very long ago that in his native country Ghiyāthu'd-dīn Abu'l-fath 'Umar b.Ibrāhīm a-Khayāmī, known briefly as 'Omar Khayām, was nor ranked among the most famous poets, thus sharing the fate of several others in the 16th–18th centuries, the appreciation of whom at home was far less than were their fame and influence abroad. As this competition applies only to the effect his work produced it must be supplemented by a recognition of the difference in circumstances, for whereas the admiration accorded already during their lifetime to 'Urfī, Sā'ib and Shaukat was limited to India and Turkey, the quatrains of Khayyám, thanks to the masterly paraphrase of Edward Fitzgerald (1859) aroused, although not immediately, an almost idolatrous, even snobbish enthusiasm in the West, especially in the Anglo-Saxon countries – an attitude that for a long time remained incomprehensible to the Persian. In Europe and America he is in fact the most famous of oriental poets, with a reputation that, rightly or wrongly, throws into the shade the fame of other masters, such as a Hāfiz, whose praise was sung by Goethe, a Fridausī, who gained recognition at home as well as abroad through their jubilee celebrations, and a Sa'dī who was already long known in the West – not to mention other, lesser poets. A. G. Potter’s Khayām bibliography bears ample testimony to this. It was through the Khayyám cult in the West that he acquired or regained a reputation as poet in Iran as well. During his lifetime 'Omar Khayyám was nevertheless unreservedly recognised in Iran as one of the most brilliant figures in Persian culture, albeit exclusively in the field of learning.

We possess but few details of his life, yet more in known about him than about other classical poets. This is thanks to his wide reputation as a scholar. Only the most important dates can be quoted here: he was born at the earliest in 412/1021–22(?) at Nishapur and died at the same place most probably in the late winter or early spring of the year 515/1122. If the former date be correctly estimated, there may after all be some truth in the legend regarding the friendship between the Seljuq vizier, Nizamu'l-mulk, the dreaded 'Master who lives on the Mountain' Hasan-i Sabbah and 'Omar Khayyám, who are said to have sworn during their student days to stand by each other all their lives ; admittedly there is no proof of the truth of his and it seems more likely that Sma' ili tendencies account for the legend. A through education at Nishapur introduced Khayyám to 'all branches of learning', the humanities as well as the exact science. We even know the names of the teachers in geometry and astronomy. Outwardly a Sunnite – or he could not to have been named 'Omar! – of the Shafi'ite rite , as philosopher he followed the same path as Avicenna, which bore a strong resemblance to the Isma' ili doctrine and Sufism. This may explain a great deal'. From the widely-known theologian and grammarian Zamakhshahri – to whome we owe the earliest data as the result of a personal meeting between the two men – we learn that Khayyám was familiar with he work of the Arab sceptic Abu'l-Ala'al-Ma'arri. An important turning-point in Khayyám's life was the year 467/1074, when he was appointed by Sultan Malik Shah and his vizier Nizamu'l-mulk to be head of council of scholars commissioned to reform the calendar. The success of this work (1079) made his name famouse through-out all

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He has a brilliant mathematician, physicist, astronomer, physician and philosopher, and through we are here not concerned with these aspects of his personality it should be noted that it is just on account of his scientific achievements that his name was held in such high esteem in the East. Nearly all his scholarly works, whether scientific or philosophical, were written in Arabic; only the shorter essays were written on Persian, including translations from Avicenna. (The Nauruz-nama, ' on the New Year Feast', written in Persian, is undoubtedly apocryphal! ). He was by no means a prolific writer; in the records he is even accused of 'niggardliness' regarding the imparting

Of his boundless knowledge. In the West his name was immortalised by his quatrains which in Iran were apparently being relegated to obscurity. This too requires further explanation. All things considered, Khayyám is one of the most complicated figures, both intrinsically and from the point of view of literary history. Through the earliest accounts represent him as a pious professor of Sufism who "was praised and honoured until after the middle of the 12th century as one of the greatest Iuminaries in the whole of the learned circles of Islam, this picture is completely reversed about the middle of the 13th century, without however the image of his Sufi inclinations being modified. As a Persian poet he is not mentioned at all in the earliest sources. His contemporaries probably considered his poetry as the least of his accomplishments. This fact, together with the strange contradictions in the quatrains, led many orientalists to form a hypercritical option – even to the extent of a complete negation — of Khayyám's authorship of the quatrains circulating under his name. Such an attitude certainly went too far, for it overlooked the circumstance that in mediaeval Iran science and poetry went as it were hand in hand and that Iranian scholars in no way scorned the writing of verse – one needs only to think of Avicenna, Mulla Muhsin-i Fayd-i Kashani, Mir Abu'l- Qasim Findariski, Hajji Mulla Hadi Sabzavari, and others. The elucidation of the problem was not particularly easy. That Khayyám did write poetry is reached for by a report dating from 572/1176 with a few specimen verses in Arabic and with further examples from the still earlier Bayhaqi. Regarding the most important factor of all, the Persian quatrains, it

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Now that A. J. Arberry has succeeded in identifying complete collections of Khayyám quatrains, obviously selections from earlier, larger collections, in manuscripts dating from 604/1207-8, 613/1216-17 and 658/1259-60 (and this, as far as I can see, is the most recent decisive step forward), he has brought the hitherto existing basic stock of three pieces up to at least two-hundred and fifty, thereby finally putting an end to all doubts concerning 'Omar Khayyám as a poet.

From the earliest testimonies it is evident that conflicting trends of thought, however strange they may be, from no criterion for non-authenticity. " The simultaneous juxtaposition of doubt, agnosticism, criticism of God, insolence towards God and deep piety", is also to be found in the work of 'Attar, of whose fundamentally mystic attitude there can be no doubt. And indeed he put these sceptical and insolent utterances into the mouths of the poorest of the poor, the ‘fools’ (divanagan). This attitude stems from the circles of the simple folk, thus strengthening my opinion that these thoughts were the common property of the people and that it was not 'Omar who first introduced them, though it may have been he who gave them their classical form." similarly this same scholar dismisses the objections concerning the incompatibility of Khayyám's positive philosophical attitude with on the one hand scepticism and on the other mysticism. In one of his philosophical treaties "Omar just after having explained the ten intellectual stages according to the views of his master Ibn-i Sina, declares that the true way to the knowledge of God is the way of the Sufis! To his mind the way adopted by the dogmatists, philosophers and Isma'ilies is not the true one. Thus mysticism and peripatetic philosophy can go hand in hand just as mysticism is compatible with rebelliousness or insolence towards God." Perhaps Khayyám found support in the poetry of the people, whose opposition to the world-order, to fate, injustice, the impotence of religion arises from a feeling of oppression. It may even be that Khayyám himself was instrumental in forming this protest of the people. The striking similarity between Khayyám and Avicenna in their choice of the quatrain form may likewise be explained by their common point of departure, namely the poetry of the people. Yet it cannot be denied that

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And yet, though a rebel, he was unable to revolutionise the social conscience through his writing. "The social conditions in Iran at that time were too firmly consolidated for the class whose ideology 'Omar Khayyám in fact represented to venture to play a revolutionary part. The merchant class and the world of commerce and finance to which he looked for support were unable to put up a stand against the feudal system. Added to this were political oppression and incessant intrigues. The negativism of his philosophy can be attributed to this, the despairing that merges into a pessimism without hope." This is certainly a more acceptable explanation of Khayyám's personality and its complicating elements than "the hypothesis of a historical connection between Zervanism and the ideology of 'Omar Khayyám's quatrains" (M. Mole, and earlier A. Christensen). And the cause of the unexpected spontaneous response to 'Omar Khayyám's quatrains in the western world? In them the European perceived his own despondency as though reflected in a mirror. And this is the reason why the eastern world of today is also beginning to rediscover 'Omar Khayyám. But his influence on the development of thought in Iran is exemplified by no less a poet than Hafiz and a legion of others who raised their voices against the omnipotent but hollow and hypocritical obscurantism”.

(Rypka 1968, 189-193).

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12. Appendix J – Other Pieces

12.1 Notated Pieces

A Cloud in Trousers116 “Maria! Maria! Let me in, Maria! I can’t stay out on the street! You don’t want to? You’ll wait till cheeks sag and crumble in, tasted by everyone, insipid and monotonous, till I come toothlessly mumbling that today I’m so “extraordinarily honest”.” (Marshall 1965, 115-116)

This piece was written for the vocal ensemble Exaudi. The opening lines of Vladimir Mayakovsky’s poem, ‘Cloud in Trousers, Part IV’ has been set to music using the original Russian poem. The piece is written for four singers (SATB).

The melodic material is based on a normalised version of the tetrachord of Chahargah117 (Figure 118). There is a contrapuntal interaction between the parts that define the formal direction of the piece.

Figure 118 The normalised tetrachord of Chahargah used in 'A Cloud in Trousers'.

The Windhover118 “I caught this morning morning's minion, king - dom of daylight's dauphin, dapple-dawn-drawn Falcon, in his riding Of the rolling level underneath him steady air, and striding High there, how he rung upon the rein of a wimpling wing In his ecstasy! then off, off forth on swing,

116 Track 01 on [CD II.], Appendix K – Audio CDsAppendix K – Audio CDs. 117 The mode of Chahargah is extensively explained in [I.i.] 118 Track 02 on [CD II.], Appendix K – Audio CDs. 125

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As a skate's heel sweeps smooth on a bow-bend: the hurl and gliding Rebuffed the big wind. My heart in hiding Stirred for a bird, - the achieve of, the mastery of the thing! Brute beauty and valour and act, oh, air, pride, plume, here Buckle! AND the fire that breaks from thee then, a billion Times told lovelier, more dangerous, O my chevalier! No wonder of it: shéer plód makes plough down sillion Shine, and blue-bleak embers, ah my dear, Fall, gall themselves, and gash gold-vermilion.” (Hopkins 1952, 73)

‘The Windhover’ was written for Sarah Sammons (soprano) and consists of a notated vocal part that (in the recording) goes on top of pre-recorded oboe reeds noises performed ad lib, in response to the soprano melodies. Improvisatory figures inspired by melodies from Chahargah, Homayun and Esfahan are used in melismatic figures (Figure 119). The noise and the voice play contrasting roles, while there is a resting point in the middle, where narration119 is used over the long vocal ostinato in bars 29-32.

Figure 119 Melismatic figures in 'The Windhover'.

Figure 120 Ostinato in bars 29-32 of ‘The Windhover’, over which narration is done.

Lullaby for a Deaf Child120 This flute-guitar duo was written for Duo Nuevo (Ruth Corney and Sam Cave). ‘Lullaby for a Deaf Child’ is based on the melody of an old traditional Persian lullaby that I have vague memories of sleeping to. The melancholic expressionistic lullaby gestures remind the drowsy dreamy world of sleep and its similarity to childhood life.

119 Narration in the recording courtesy of Tom O’Bedlam. 120 Track 03 on [CD II.], Appendix K – Audio CDs. 126

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Figure 121 The melody of Gusheh Bakhtiari is the base from which ‘Lullaby for a Deaf Child’ is written (Massouddieh 1995, 105)121.

All the material in the piece is based on the original Persian lullaby melody, known as Gusheh Bakhtiari (Figure 121) in Dastgah-e Homayun. Bakhtiari has an important role in closing Dastgah-e Homayun and its basic tetrachord resembles the tetrachord of Chahargah. The melodic material is primarily based on the normalised version of this tetrachord (Figure 118).

121 Refer to Track No. 09 on CD [III.] and Appendix K – Audio CDs. 127

Portfolio of Compositions and Commentary Hossein Hadisi

Figure 122 The closest representation of the original lullaby melody, in Gusheh Bakhtiari in the flute part (‘Lullaby for a Deaf Child’, page 3, top two systems). The notation used for the première was very specific with rhythms and synchronisation of events between parts (Figure 123). After reviewing the piece and talking to the performers, I decided to opt for a more flexible and open style of notation (Figure 124). This decision was taken in the light of the fact that the improvisatory nature of the piece and the Persian melody in use allowed for such flexibility.

Figure 123 Meticulous specification of rhythms in the first draft of 'Lullaby for a Deaf Child'.

The final score uses the graphical positioning of noteheads to represent length. The distance between the notes suggests approximate and relative duration. Regular [bar] lines between the staves assist with synchronization. Since the piece is open to interpretation by the performers, the score is merely used as a point of departure and a reference from which material is derived, rather than directly performed (Figure 124 ).

Figure 124 The spaces between noteheads represent the pitch lengths in the style of notation employed in 'Lullaby for a Deaf Child'.

Places I’d Take Michael Finnissy to Visit if He Was Ever Going to Come to Iran122 This piece was written based on my long dialogue with Michael Finnissy about folk music and was premièred in the Southampton New Works Festival, 2011 by Michael Finnissy,

122 Track 04 on [CD II.], Appendix K – Audio CDs. 128

Portfolio of Compositions and Commentary Hossein Hadisi himself. This solo piano work consists of eight ‘tableaux’, handpicked from a bigger collection of drafts. Each tableau is a photograph from the location, with music that goes along with it. The photographs are to be projected onto a screen as a slideshow that goes with the music. Each section’s name comes from one of the locations I was going to show Michael, if he did come to Iran. The main criterion for choosing these particular pieces was musical variety, geographical variety and the practicality of me taking my guest to these places in actual reality. As a result of this, three of the eight sections are focused on Gilaki music from Northern Iran, where I was born.

Le Tableau 1re: Masouleh

The first tableau, Masouleh, uses music that is not necessarily associated with the location. The melodic material shows hints of Gusheh Bakhtiari (Figure 121) in the beginning, but then Places moves away I'd from Take it. It paints Michael a picture of Finnissy the fascinating and To mystic Visitvillage of Masouleh, renown for its unique ancient architecture. I have used a sonar score for this tableau, asIf king the performer to listen to a preHe Was Ever Going-recorded track using one headphone, w To Come To Iran ith the other ear free to help with the improvisatory response to the music. The performer is invited to listen, imitate, paly along and against the sonar score. Just like a printed score, the sonar score is only available to the performer, and not the audience. It is the duty of the Le Tableau 1re: Masouleh performer to interpret the score and provide the audience with his version of the piece. Hossein Hadisi At your own pace

Listen to the pre-recorded track with one headphone in your left ear. Try to imitate, answer, comment on or play against what you hear. The goal is to hear your attempt, rather than the actual track you are listening to. The audience needs not know what you were listening to as it is solely for you to enjoy, learn from or criticize, just like a printed score.

Figure 125 'Le Tableau 1re: Masouleh' uses a sonar score.

The performer is familiarised with the context and rhetoric of Persian music in the first tableau by learning the ‘score’ by ear, as it is traditionally meant to be taught. The seemingly ‘wrong’ notes played by the performer (if any), are a preparation for the foreign notes that are added to the harmony of the upcoming tableaux.

With the pre-recorded track, I decided to play a duet with Michael Finnissy, where the audience was given the privilege to witness Michael’s improvisatory responses. I wish the sonar score track to remain unheard as it ruins the atmosphere of the piece for the audience.

Le Tableau 2e: Deylaman

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Copyleft © 2010 Portfolio of Compositions and Commentary Hossein Hadisi

My hometown, Deylaman, is the name of the eastern part of the province of Gilan, in the North of Iran. I grew up singing and learning the rich and pure folk Gilaki music, which is mainly based on the mode of Dashti123.

Figure 126 Octave juxtapositions in the melody of ‘Le Tableau 2e: Deylaman ’.

This section consists of five cantabile phrases that are fairly regular in shape and length. Octave juxtapositions scatter the focus of the melody away (Figure 126), while the medium

range narrative remains central.

Since the microtonal intervals of the original melody had to be normalised to the chromatic scale available on the piano, I have used chromatic clusters, trills and gruppetti-like gestures instead, to blur the pitches. Le Tableau 3e: Kh orasan One of the most characteristic melodies of the eastern province of Khorasan, is the Navaei melody. This melody is traditionally played on the Tanboor family of Persian lutes and uses a (quasi -)diatonic mode, similar to Phrygian. I have taken elements of the Navaei melody and broken it down to its basic cells in ‘Le Tableau 3e: Khorasan ’. Some of these elements manifest the rhythm as percussive noises made by knocking on the body of the piano or using fingernails on the keys ( Figure 127). 123 Q.v. Endnote 14.9. 130

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Figure 127 The percussive figures used in ‘Le Tableau 3e: Khorasan’ representing the 5+2 rhythmic cells of Navaei.

Hints of the original melody are shown towards the end of the section, as the melody brakes down into dissonance parallel counterpoint and a widely spaced, molto ritardando ending.

Le Tableau 4e: Azarbayegan

This section, too, uses a reference to a symbolic melody of the place it represents. The famous Turkish song of Pari Bakh is represented in a more distorted fashion than the previous melodies. I remember hearing many different performances of this song in my childhood, where the solo ‘old singer’ performs a varying verse, followed by the audience’s recurring ritornello124. I have used the idea of the same dialogue, creating two contrasting melodic poles in the low and high range (Figure 128).

Figure 128 The dialogue in the Pari Bakh melody, reproduced in 'Le Tableau 4e: Azarbayegan '. Unlike the previous tableaux, the melody starts in its original form and moves towards more complexity. Towards the end of this section, the pitches of the melody are taken out of their horizontal position and are placed on top of one another to create a vertical Schoenberg -like harmony, derived from the pitches of the melody. Le Tableau 5e: Lorestan This section i s a collage of various folk melodies in different tempi. Extensive use of clusters and unfamiliar chords (derived from transpositions of the melody), alienate the piece from its original modal belongings (Figure 129).

124 ‘Ay Pari bakh, Pari bakh!’. 131 Portfolio of Compositions and Commentary Hossein Hadisi

Figure 129 The use of clusters and unfamiliar harmonies alienate the folk melodies from their modal belongings in ‘Le Tableau 5e: Lorestan’.

Le Tableau 6e: Boushehr

The music of Southern Iran is closely related to the Perso-Arabic music of Mesopotamia and the Persian Gulf. Traditional woodwind instruments play an important role in this folk music by representing most of its melodic activities.

Inspired by the solo performances of this tradition, I used the pedal notes available to some of the local multiple-reed pipe instruments. The melody, too, is a restless ornamental gesture on a very limited number of close pitches. The melodic activity, centred around C- sharp in the first and second phrase, shifts up a minor third on the third phrase, creating a simple, yet effective change (Figure 130). This piece is a compositional statement highlighting the importance and power of variety. The performer is advised to ‘improvise freely’ while repeating the whole section three times.

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Figure 130 The complete score of 'Le Tableau 6e: Boushehr',

Le Tableau 7e: Karoon

No journey to Southern Iran is complete without paying a visit to the province of Khouzestan. I have used an old, yet very famous, dance melody by Ne’matollah Aghasi, the most popular cabaret singer of 1960s-70s. Aghasi’s music is considered rather cheap and poor by many musicians; but because of the simplicity, beauty and honesty, that are the rare qualities of folk music, I have opted for using it as an energetic dance that is the penultimate tableau of the piece125.

The percussions used in the music of Khuzestan are an integral part of this music. The role of the percussions is so vital in this music that solo percussion pieces are performed in various rituals, ranging from wedding ceremonies to music-therapy sessions for a (seemingly) possessed or distressed individual. I have used a Stravinsky-like ostinato chord in the left hand to represent this strong and lively style of percussion playing (Figure 131).

125 Also refer to the use of cabaret music in ‘Wine of the Mystic’, under [II.ii.]. 133

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Figure 131 In ‘Le Tableau 7e: Karoon’, the ostinato left hand chords represent the style of percussion playing in Khuzestan. Although a shadow of the aforementioned melody shapes the overall structure of this section, nevertheless, the extensive use of clusters and chords overshadow it and highlight the percus sive side of the pianoforte. Le Tableaue 8e: Lonak

Lonak, is a small unknown village on top of the Deylaman126 mountains. The breath -taking views of the clouds underneath from the top of the green mountains, with the rivers running in the valleys, the shepherds calling for and singing to the herd in the foggy dreamland of Lonak , all picture the sweetest memories of my childhood. If I was ever actually going to take Michael Finnissy to see different places in Iran, Lonak, my secret scape-to wonderland, would be the final stop of our journey .

126 Q.v. ‘Le Tableau 2e: Deylaman’. 134

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Figure 132 The mysterious world of Lonak is pictured using sharp transpositions and floating melodies in ‘Le Tableau 8e: Lonak’.

The harmonies, counter melodies, static chords and awkward transpositions are combined together to create a mysterious, floating ending to the piece (Figure 132). This tableau is a collage of various similar melodies in Dashti , which is the vernacular music of the area. 12.2 Sonar Scores Mooyeh127 This piece was written for the vocal trio, Juice and was shortlisted for the Royal Music Associations’ conference in York, 2010. Mooyeh is based on Avaz, the vernacular Persian tradition of aural music pedagogy and performance. In the course of a lesson, the teacher sings or plays an improvisatory tune (Gusheh) to the student and the student is supposed to remember certain features of the mode and the tune and be able to answer to and perform the same tune. In this way, the student intuitively learns to pick-up important modal milestones and articulation figures. Through canonical imitations, repetitions and improvisations based on the given material, the student prepares answers (Jawab) and copies of the same material. In the course of a performance, too, the leader (usually the vocalist) improvises on a collection of modes and tunes and the players are supposed to chase her by imitating her melodies and also preparing material that answers to the vocalist’s line in a pretty much similar fashion.

127 Track 05 on [CD II.], Appendix K – Audio CDs. 135

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When learning Persian music as a child, I was constantly asked by my teacher to imitate and improvise melodies that were given (i.e. performed) to me without any prior preparation and the same experience was repeatedly used to teach me the art of improvisation, instead of teaching one particular piece or technique. I was also repeatedly faced with the same challenge later on in my carrier, on the stage, when I was playing either the role of the leader or the follower.

Mooyeh pursues a similar idea, but is representing the same tradition on a different level. First of all, the players are given a “sonar score” (i.e. a music track instead of a written score) that is carefully improvised by the composer. A rather odd collection of modes and melodies that traditionally wouldn’t be played together are superimposed and juxtaposed amongst some non-Persian material. The material in each track is a collage of tunes from the modes of Segah, Chahargah, Dashti and a few other modes. These tunes are presented either in a non-traditional manner or rarely in a shadow of their original forms. There are also some motifs and melodies thoroughly composed for the sake of this piece.

The use of microtonal intervals (namely the characteristic Persian Sori and Koron128) is very clearly defining the music’s identity. The improvisatory nature of the material and the absence of a clear pulse or rhythm also add to the complexity of each line individually. The three singers, however, are supposed to communicate through their lines, as the outline of the three tracks follows a bigger formal structure.

In the course of the performance of the piece, every singer listens to her own track (i.e. score) being played on a music player, such as an iPod, using a headphone (a mono track only on the left ear, so the singer’s right ear is free to listen to the other singers as well as her own voice). The singers are free to change the tempo and the octave ad lib, as long as they remain faithful to the material. This means following the articulation, dynamics, modal behaviour (i.e. showing the same tonal gravities through pauses and cadences on important pitches) and most importantly, expressive representations.

The absence of the original material provides us only with the follower’s version of the material in a duo with the absent leader. Because this happens in real-time during the performance, the singers are encouraged to take some time to listen to the material on their own tracks as well as to the other singers rather than singing all the time.

It should also be noted that there is no intention to memorise all the material and represent the whole of the sound score. In fact, a good performance would be a rendition that is a diminution of the original. It should freely add embellishments to the material, but not necessarily try to copy everything that the leader provides, note for note. A more interesting result will be achieved if instead of imitating the sonar score throughout the

128 Q.v. Table 4. 136

Portfolio of Compositions and Commentary Hossein Hadisi piece, the singers occasionally prepare and improvise answers to that material ad libitum, while listening to the other part of the duo.

The word Mooyeh in Persian means ‘lamentation, weeping, sad or mournful verses’. It is also the name of a Gusheh in Dastgah Segah. The word Segah, itself, means ‘position three, the mode of three’, three characters or three dimensions (“trios femmes”).

RomanThick129 RomanThick is an octet, written for ensemble Modelo62, for the Southampton University’s New Works Festival, 2010. The idea of using a sonar score has been pushed further by asking the players to walk around in the gallery, inviting the audience to explore the space. Each member of the audience forms his own individual experience of the piece, by choosing one location or another. All the eight parts used in RomanThick are different improvised versions of Mokhalef Chahargah (Figure 1).

12.3 Improvisatory Pieces

The Fear of Perdition130 “If design for my destruction, thousands of enemies […] make, If thou […] be my friend […], -- of enemies, I have no fear. Me, hope of union with Thee keepeth alive: If not, from separation from Thee a hundred ways, fear of destruction131 is mine. Breath (by) breath, if from the breeze, Thy perfume, I perceive not, Time (after) time, rent like the rose my collar I make. On account of Thy image, go to sleep my two eyes -- never! In separation from Thee, patient was my heart, -- God forbid! If a wound, Thou strike, (‘tis) better than the plaister of another: If poison Thou give, better than the antidote of another. My slaughter, by the blow of Thy sword is everlasting life: For, verily happy is my soul in this that it is a sacrifice for Thee. The rein, turn not. For if me, Thou strike with the sword,-- My head, the shield I make; from the saddle strap (to bind me as game), Thy hand I keep not back. Thee, as Thou art, how may every vision see? To the extent of his vision, every one understandeth”. (Clarke 1891, 611)

The Fear of Perdition is a representation of a few Persian music themes by applying compositional and recording techniques alien to the literature. These chosen themes share

129 Track 06 and 07 on [CD II.], Appendix K – Audio CDs. 130 Track 08 on [CD II.], Appendix K – Audio CDs. 131 Translated as ‘Fear of Perdition’ by me for the title of the piece. 137

Portfolio of Compositions and Commentary Hossein Hadisi certain modal characteristics in the intervals they are made of (such as intervening augmented seconds and minor seconds) and these common factors are used to create a harmonic language, originally unknown to Persian music.

The work is an adaptation of a love poem by Hafiz (Persian poet, born c. 1310/1337 CE) and attempts to retain the lunatic, melancholic, dramatic state of the lover as it is expressed in the text. Although the ambience of the poem is reflected in the music, but the vocal melodies are deliberately not complying with the text and are not completely loyal to the words’ meanings, their traditional methods of expression and even declamation.

The vocal method used in this work gets its roots from the Persian tradition of Avaz in which the vocalist is the leader who improvises on a given theme, which is usually known to the other players and the audience (although it is not always the case). It has been attempted to keep this tradition into account while composing the vocal lines while giving improvisatory freedom to the vocalist. The employed techniques mainly consist of different types of Tahrir-ha, each of which is used to ornament vowels in different methods (ha-ha, aha-aha, mhm-mhm, etc.). Other ornamentations include glissandi, trills, grace notes, irregular free rhythms and a few other traditionally defined methods of vocal embellishment. These methods are occasionally used in a non-conventional sense, on the unexpected vowels or words and have been combined with Western methods of singing in order to colour them in a different way from the traditional one.

The main melodic materials consist of three themes (Gusheh-ha) and their variations. Each of these themes is in a different mode and uses a different scale. Chahargah is used as the main mode. It is transposed onto other degrees on its own mode, such as in Mokhalef Chahargah (Figure 1), or is based on the same tonic using transposition-rotation techniques.

Esfahan and Mokhalef Segah are also used simultaneously because of their similar intervals in the first tetrachord and their differences in tonal centres and cadential forms. These two modes resemble a harmonic minor scale (Mohammedan scale), although the similarities are only in the intervals they use; but the treatments to degrees of the mode are nothing alike. The primary shapes of these scales are demonstrated in Figure 133.

Figure 133 The modal scheme of 'Fear of Perdition'.

The vocal lines consist of some carefully selected, very old collections of themes and melodies (Gusheh-ha), in each of these modes (Dastgah-ha). Since the original melodies overwhelmingly use stepwise diatonic motion, the idea was to only use some of the openings and cadential figures, where they are more likely to have leaps, in the “wrong”

138

Portfolio of Compositions and Commentary Hossein Hadisi places. This process of cut-and-paste, however, was not done on the recorded material; but was initially composed with careful consideration of their relative shapes and relationship to the text. The whole vocal track, then, was performed in one take and was later processed through digital effects in order to emphasize the desired changes of timbre. In the middle section of the piece, the vocal track is also doubled with the use of detuner, equalizer, pitch shifter and noise reduction effects in order to create another version of the voice, which is presented in the bass voice with a delay.

The tar plays the main accompaniment for the vocal line. Here again, the traditional method of tar playing in answering the vocal melodies with repetition and canonic or imitative methods have been abandoned in favour of a less monophonic, more juxtaposed progressive line. The violin track is made of a ‘clean acoustic recording, processed through compressor, equalizer, detuner, pitch shifter and noise reduction effects plus added reverb and chorus.

Composed for the sake of harmony, a set of MIDI messages was written with the help of computer software and the rest were played in real-time on a MIDI controller and were later processed through a synthesizer bank into a separate track to create chord-figures. The MIDI data, after being converted into sound events, is also processed through filters and equalizers and further noise reduction, reverb, delay and chorus effects to produce the final result.

The electric/electronic guitar track uses fingered, as well as slider techniques on the fingerboard of an electric guitar, while the right hand uses a variety of techniques including plucked and finger playing and using the Ibanez RG tremolo (‘vibrato’) unit. The sound is then captured through two different channels and redirected to their corresponding effects processing machines. There are five DiMarzio electric guitar pickups that send the electric line-out signal to a multi effects processor system, which uses a series of wah, delay, reverb, distortion, amp simulator, speaker simulator and noise reduction effects in order to produce the guitar sound. There are also six individual electronic divided pickups used to convert the guitar sound into MIDI data, which is passed in real-time to a synthesizer that uses a voice pad to add a very different electronic synthesized layer to the electric guitar sound. Since the nature of the two sounds are very different, their combinations in different proportions make very different sounds otherwise impossible to create.

All the processed tracks were at the end bounced back into a pair of mono tracks through an internal recording process, which again used compressors and equalizers to control the overall shape of the sound and normalise the levels of the overall sound. The mono tracks were then mastered into the final stereo track which was in turn, converted into a ‘.WAVE; file using the 16 bit, 44.1 kHz (Compact Disc Digital Audio quality) settings.

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13. Appendix K – Audio CDs

CD I: Wine of the Mystic The score of ‘Wine of the Mystic’ is an improvisatory score that serves as a guideline for an improvisational journey. Many pitches and rhythms are suggestive of the stylistic choices that allow for a high level of flexibility. Inevitably, each performance of the piece would be different.

[CD I.] is the recording from the première of the piece, for the purpose of which, the whole piece was memorised and was played without the score. The differences in the score and the recording are due to the improvisatory nature of Persian music. [CD I.] is an interpretation of the piece, rather than a representative of the score.

01 I.i. Bi Khabaran 1:42 02 I.ii. Hich 2:24 03 I.iii. Dam 2:04 04 I.iv. Mey-e Naab 4:50 05 I.v. Samaa 1:22 06 I.vi. Koozeh 3:43 07 II.i. Afsoos 4:09 08 II.ii. Fatva 6:33 09 II.iii. Sovar 2:21 10 II.iv. Payaan-e Sokhan 2:55 11 II.v. Ranj-e Bihoodeh 1:56 12 III.i. Hast 1:03 13 III.ii. Nist 1:01 14 III.iii. Ghafeleh 3:50 15 III.iv. Asraar-e Azal 1:38 16 III.v. Gham 1:21 17 IV.i. Ebrat 2:17 18 IV.ii. Mast 1:01 19 IV.iii. Ni Amadami 0:51 20 IV.iv. Ni Shodami 1:19 21 IV.v. Ni Bodami 2:15 Table 5 The track list for [CD I.]. CD II: Other Works 01 A Cloud in Trousers Exaudi Ensemble 03:26 02 The Windhover Sarah Sammons 04:30 03 Lullaby for a Deaf Child Duo Nuevo 22:33 04 Places I’d Take Michael Finnissy To Visit If He Was Michael Finnissy 12:42 Ever Going To Come To Iran 05 Mooyeh Hossein Hadisi 10:00 (Sonar Score) 06 RomanThick Ensemble Modelo62 06:41 07 RomanThick Hossein Hadisi 05:34 141

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(Sonar Score) 08 The Fear Of Perdition Hossein Hadisi 06:40 Table 6 The track list for [CD II.]. CD III: Samples from Persian Music 01 Moghaddameh Zemestan Ast, Track 01, Del Hossein Alizadeh 03:59 Awaz Cultural Co., 2001, California 02 Mokhalef Segah Hamnavaei, Track 08, Mahoor Hossein Alizadeh and 00:58 Institute of Culture and Art, Arshad Tahmasbi 1993, Tehran 03 Pish Daramad va Gol-e Sad Barg, Track 02, Jalal Zolfonoon and 10:00 Tasnif-e Dars-e Khosh Nava, 1981, Tehran Shahram Nazeri Sahar 04 Sheydaei Astan-e Janan, Track 11, Del Parviz Meshkatian, 05:00 Awaz Cultural Co., 1985, Mohammad Reza Tehran Shajarian and Naser Farhangfar 05 Kordi Bayat Vocal Radif and Old Tasnifs, Adollah Davami 00:42 Disc I. Track 37, Mahoor Institute of Culture and Art, 2002, Tehran 06 Kord-e Bayat Eshgh Danad, Track 05, Del Mohammad Reza 07:16 Awaz Cultural Co., 1980, Shajarian and Tehran Mohammad Reza Lotfi 07 Sarang [Radif-e Abu Ata, private Mohammad Reza 03:07 recording, 1960s?] Shajarian and Ms. Mehr Ali 08 Hamcho Farhad Hamcho Farhad, Track 01, Parissa and 05:24 unknown publisher, n.d., Mohammad Mousavi Tehran 09 Bakhtiari va Radif-e Avazi-e Moosighi-e Mahmoud Karimi 02:02 Moalef Sonnati-e Iran, Disc 2, Track 30, Iranian Music Association, 1995,Tehran 10 Bayat-e Kord A Century of Santur, Track 09, Majid Kiani 01:41 Mahoor Institute of Culture and Art, 2001, Tehran Table 7 The track list for [CD III.].

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14. Endnotes

14.1. Since the original tuning of the tar is C-G-C (in pairs), the contour of the melody for [I.i.] also introduces high G (Figure 134), middle G (Figure 135) and middle C (Figure 136) to reinforce the original tuning and shows high F as the representative of Chap Kook132 as an alternative tuning (Figure 137) for movement [III.].

Figure 134 High G, representative of the tuning of the tar.

Figure 135 Middle G, representative of the tuning of the tar.

Figure 136 Middle C, representative of the tuning of the tar.

Figure 137 The vocal melody suggesting the alternative tuning for the tar. 14.2. Morteza Hannaneh finds historic and etymological evidence by looking at the names of the Dastgah-ha, Gushes and carefully studying the physique of the tar, the chief presenter of Persian music. This suggests a strong hypothesis explaining the variety of Persian modes. According to Hannaneh’s theory, the names of Dastgah-ha are derived from the finger positions as they are played on the tar. The order of derivation of modes according to Hannaneh’s theory of Lost Scales (Hannaneh 1988) also confirms the distance between

132 Q.v. Footnote 41. 143

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Chahargah and Shur, the two principal modes used in ‘Wine of the Mystic’ (indicated by the asterisks in Figure 138).

Figure 138 Hannaneh's theory of Lost Scales. The derivation order is from bottom to top133 (Hannaneh 1988, 171).

Instead of using the two scales specified in Hannaneh’s list in their original state, [I.ii.] uses a transposed version of Dogah (Shur or Abu Ata) so that both Chahargah and Abu Ata start from C:

Figure 139 Pitch Class for [I.ii.] derived from Chahargah in C and a Shur transposed to C.

133 The accidental used by Hannaneh for E-Koron is not widely used among Persian musicians because of the implications of uses of the same symbol by contemporary Western composers to represent microtonal intervals other than Koron. English translations are added to the original example from the book. 144

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14.3. Through a dialogue between a rather consonant modal narrative and the harsh dissonant harmonies, new pitches enter the sonic world of the piece. The pitch class of ‘Wine of the Mystic’ is completely presented in [I.iii.] with the exception of E-natural and A-natural (Table 8). These two notes are reserved for future use at the end of [I.iv.]. This is in order to keep the resulting harmonic possibilities fresh until they are needed. The note A finds more dominance in [II.ii.b.] when Afshari is introduced for the first time.

Pitch Flat Koron Natural Sori Sharp C (✓) ✓ D ✓ ✓ (✓) E ✓ ✓ ✓? (✓) F (✓) ✓ ✓ ✓ G (✓) ✓ ✓ (✓) A ✓ ✓ ✓? ✓ B (✓) ✓ ✓ ✓? (✓) Table 8 All the pitches used in [I.iii.]. The pitches in brackets are presented by their enharmonics and the pitches with a question mark are not found on the tar in the traditional fretting system134.

It is important to note that, because of the monophonic nature of Persian music, the harmonic atmosphere entirely relies on the present pitches, the cadences suggested by them and their tonal gravities135. One (or more) of the present pitches becomes the predominant tone and gains harmonic weight based on development of improvisatory material. I exploit four main devices for defining tonal gravities: frequency of occurrence, length of presence, size of the surrounding intervals and rhythmic configuration. Although these qualities put together create a stronger tonal gravitation, it is not necessary for all of them to coexist all the time.

Frequency of occurrence: In the absence of homophonic means, Persian modes change tone emphasis by nominating a degree in the mode and reinforcing it through repetition. This note usually tends to be the Finalis136 of the mode. A note other than the Finalis chosen to become the temporary point of emphasis is called the Ist137 note. In a mode primarily focused on one pitch with its monophonic single layered tone, it takes a certain degree of musicianship for an improviser to shift the modality towards another pitch.

134 For pitches such as E-sori that don’t exist on the tar in the traditional fretting system, glissandi or bent notes can be used. Ideally, the instrument used for performing ‘Wine of the Mystic’ is equipped with extra frets so that all modes can be played in any desired key (refer to Appendix E – The Tar Fretting). 135 The relationship here between the 'gravity' and 'mass' of tones should be understood in a fashion similar to that of physics-based understanding of the gravity and mass of substance. The heavier the tonal weight gets, the stronger the tonal gravity towards it will become. 136 The term Finalis is taken from Farhat because of the distinction it makes with the concept of tonic in the tonal context. “Finalis: I have used the word Finalis in preference to tonic which has direct association with the harmonic system of Western music. The Finalis indicates the note of repose and conclusion” (Farhat 1990, 24). 137 “Ist (stop): In some modes a tone other than the Finalis serves as the ending note for phrases and in situations other than the final cadences. This tone is called the Ist” (Farhat 1990, 24). 145

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For instance, an analysis by Lloyd Miller of the number of occurrences of the Finalis in a piece in Segah reveals that out of the 260 notes in this piece, 205 of them are E-koron (Figure 140)138. This shows the extent to which repetition is vital in defining the tonal mass of a pitch. This is example is rather extreme—because of the obsessive frequency of repetition for rhythmical reasons—but it nonetheless makes a case for applying the frequency technique in order to create tonal gravity around a pitch.

Figure 140 Frequent use of E-koron (205 out of a total of 260 pitches) in this piece in Segah creates tonal gravity around it (Miller 1999, 286).

Pitch repetition traditionally focuses its attention on the one pitch that is going to be the permanent or temporary centre of melodic activity. The use of this technique in [I.iii.],

138 “The actual analyses of the pieces have been conducted by Mohammad Taqi Masoudieh”. (Miller, 2004, 252). 146

Portfolio of Compositions and Commentary Hossein Hadisi though, is somewhat different. The repetition in ‘Wine of the Mystic’ is used to emphasize pitches regardless of their position in the mode. Temporary pitches gain precedence over the Finalis and Ist notes due to the frequency of their presence. The co-existence of the two modes of Chahargah and Shur is the main reason behind new, unfamiliar and temporary Ist notes. Figure 157, for instance, shows how pitch repetition in the tar temporarily shifts the melodic focus to E-koron.

Length of presence: Although the effect is subordinate to the repetition described above, the longer a note is present in a melody, the greater the harmonic force towards it will be. Figure 141 demonstrates how Gusheh Safa in Musa Maarufi’s Radif establishes A-koron as the Finalis of Shur by assigning longer notes to it (The trill on the crotchet G can also be included).

Figure 141 Gusheh Safa uses long notes values for A-koron to emphasise the role of it as Finalis of Shur (Maarufi 2004, 73).

Figure 142 shows an example from ‘Wine of the Mystic’ where a non-primary tone gains temporary tonal weight thanks to its longer presence in [I.iv.]. In this example the present mode is Abu Ata in C and the emphasis would naturally be on C, F or G. But in the second verse of the Rubaiy, the harmony takes a more adventurous route by temporarily putting more weight on the less important note, B-flat. This creates a contrast that prepares the later Forud to C.

Figure 142 Length of presence increases the harmonic force towards one pitch (B-flat, the improvisatory minim-longa symbol).

Size of the surrounding intervals: As pitches get closer to one another, tendencies of possible resolutions become heightened. It is well understood that smaller intervals make the harshest dissonances and this contrast creates stronger cadences. It is also known that in the Western tradition, for instance, for the same harmonic reasons, the seventh degree of the minor scale is raised. Pitches in Persian music tend to be a great deal more proximate

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(thanks to the extensive use of microtonal intervals) and the result is a greater sense of tension.

Alfred Lemaire’s139 attempts at writing Persian music for well-tempered piano resulted in him normalising Persian accidentals (koron to flat and sori to sharp). His normalized Daramad of Chahargah (Figure 143) exhibits a good understanding of the way the intervals in the original Chahargah work. Having normalized A-koron and E-koron to A-flat and E-flat, he still keeps to the idea of close intervals. As a result, his normalized rendition of Chahargah—despite its rather idle, simplistic and naive left hand harmonies—sounds surprisingly Persian in attitude140.

Figure 143 The proximity of F-sharp and A-flat to G and their use in the context creates a cluster with a strong tonal gravity towards G, the Finalis for Chahargah (Lemaire 2003, 22).

Rhythmic Configuration: Even though the presence of strong and weak beats is not as apparent and convincing in Avaz as it might be in a regular metric rhythm, there are still a lot of rhythmical tools available to the composer. The tonal weight of a pitch will increase by using weak notes against strong notes. In ‘Wine of the Mystic’ there are numerous such examples of rhythmic manipulation of the tonal gravity during Avaz sections where there seems to be no clear rhythm.

139 “Alfred Jaen-Baptiste Lemaire was the General Director of Music in the Persian Army from 1868 to 1907. He was the founder of Western music notation and theory in Iran. In 1900 Lemaire published the first Persian music score that used Western notation” (Translation from the entry in: (Setayeshgar 1996, 472.)). 140 However, to a well-tuned Persian ear, it isn’t really Chahargah at all. The next generation of Persian pianists (such as Moretza Mahjoobi) and scholars such as Lloyd Miller, introduced to Persian music the idea of playing ‘tuned’ piano. Persian musicians are more wiling to accept a piano as a part of their ensemble if the correct intervals are playable. There is a contentious debate within Persian musical discourse about playing [traditional] Persian music with non-Persian musical instruments; even those in favour of the idea agree that it is not feasible to do so if the instrument in question is unable to play the required microtonal intervals. 148

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For example, the ending note of a phrase, if placed correctly within the free time frame, could play the role of a downbeat. Figure 144 The last note, G, gains tonal weight because of its place at the end of the piece, which creates a sense of an invisible downbeat. demonstrates the use of the last note, G, in a context where it has no other occurrences. The last note, G, gains tonal weight because of its place at the end of the phrase, which creates a sense of an invisible downbeat G is played only once, but its role as a strong downbeat at the end of a quick melismatic anacrusis figure—one that does not suggest much rhythmical regularity—creates a sense of punctuation that in itself is enough to enforce tonal gravity towards G. This sense is intensified further not only by lengthening the note's occurrence, but also adding an optional pianissimo open string drone. This creates a weak beat against the strong beat of G.

Figure 144 The last note, G, gains tonal weight because of its place at the end of the piece, which creates a sense of an invisible downbeat.

Another example is Sama-e Ava by Parviz Meshkatian, which is a Pish Daramad in Dastgah-e Shur (Figure 145). The first and third system use a lot of repetition of the note G, but the second system has a very interesting and subtle way of departing from G, while keeping its tonal gravity intact. The mere placement of the two acciaccature on the first beat of bar 9 and the subsequent use of G on the first beat of the next bar is enough for the Finalis of Shur to maintain its dominance while the melodic focus has temporarily shifted away.

Figure 145 The placement of the acciaccature at bars 9-11 keeps the tonal gravity of G intact (Meshkatian 1999).

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14.4. Traditionally, the rhythm of the Rubaiy tolerates simple changes according to the rhythm of the words used. Such changes usually occur along the lines of subdividing a long beat in two halves or joining beats using a tie in order to accommodate the various syllables of the language. Hossein Dehlavi’s analysis exhibits a few possibilities for simple variations of the Rubaiy motif based on its syllables (Figure 146).

Figure 146 Analysis of two variations of the Rubaiy motif by Hossein Dehlavi (Dehlavi 2006, 100-101). 14.5. Before the third verse is recited, though, the tar plays a melodic answer to the first two verses of the Rubaiy. The change of the tar’s texture from chords to melody also reinforces the desired sense of closure. The melody of the tar is a reference to the triplets just before the third verse of the previous Rubaiy (Compare Figure 163 with Figure 8). The main difference between the two variations is that this time the tar melody is using semiquaver triplets instead of quavers. This change of pace suggests a temporary feeling of a 6/16 time signature instead of 6/8 and is designed to create a sense of acceleration towards the false cadence. This is in accordance with the norm; to increase harmonic rhythm and melodic activity when approaching a cadence.

14.6. In movement [I.] there are many interchanges between Abu Ata, Shur and Dashti in a variety of orders. Going to Bayat-e Turk from Shur is not an unusual modulation. The traditional course of such modulation stays in the same mode but only changes the Finalis. This means that Shur in C modulates to Bayat-e Turk in E-flat. In other words, Bayat-e Turk is a Dastgah written in the mode of Shur, but its most characteristic property is a Finalis that is a minor third higher than the Finalis of Shur in the same mode (Figure 147 and Figure 148).

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Figure 147 Daramad (intro) in Dastgah-e Shur. Note the emphasis on note D as Finalis (Massouddieh 1995, 13).

Figure 148 Daramad (intro) in Bayat-e Turk. The mode of Shur is employed, but the emphasis on note F as Finalis changes the characteristics of the mode (Massouddieh 1995, 49). 14.7. The relative length of the sections (Table 5) in ‘Wine of the Mystic’ is based on a mathematical structure. There are nine sections that are around seventy seconds in length,

151

Portfolio of Compositions and Commentary Hossein Hadisi six sections around one hundred and forty seconds, three sections around two hundred and twenty seconds and two longer sections (two hundred and ninety and three hundred and ninety seconds). The relative length of the phrases are made of units of 2, 3, 6 and 9:

• 2 • 3 • 2 × 3 = 6 • 3 × 3 = 9

The chart below shows how the different lengths of time are distrusted among the twenty one sections of the four movements:

Length of sections (mm:ss) 07:12

06:00

04:48

03:36 Length (mm:ss) 02:24

01:12

00:00 I.i. I.v. I.ii. II.i. I.iv. I.vi. I.iii. II.v. II.ii. III.i. IV.i. II.iv. II.iii. III.v. III.ii. IV.v. IV.ii. III.iv. III.iii. IV.iv. IV.iii.

14.8. To prepare the cadence the vocal part applies the Bal-e Kabutar Forud (Figure 149), an important cadential gesture consisting of an interval of a perfect fourth. Bal-e Kabutar is freely used in most Dastgah-ha for cadential purposes to mark the outline of the present tetrachord. The two notes in this Bal-e Kabutar figure are G and C, the two main notes stated at the beginning of the movement and the two drones of the tar.

Figure 149 The cadential figure known as Bal-e Kabutar.

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14.9. “Dashti is unusual between other Dastgah-ha in the sense that it has an alternating Shahed note” (translation from (During 2004, 156)). The flexibility of the Shahed note, G, has been emphasized and overdone in [II.i.] to open more room for further modulations, by showing both G-natural and G-koron (Figure 150).

Figure 150 The alternating Shahed note G in Dashti.

The second verse of the Rubaiy copies the first verse in a fashion similar to a conventional consequent phrase. Traditionally, the “Daramad section of Dashti maybe lengthy and very flexible” (Farhat 1990, 39). Yet the structure is so clear that Zonis finds the “unusual consensus in the sources” somewhat surprising (Zonis 1973, 79). A typical two-phrase opening for Dashti ends the antecedent on Shahed, which is higher than the Finalis. The consequent drops down using the Forud cadential formula, as demonstrated in Figure 151. An alternative Daramad sticks to the main Forud for Dashti in both phrases by coming back to the Finalis (Figure 152).

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Figure 151 Daramad-e Dashti, Mahmoud Karimi’s version. Notice the alternating endings on A and G (Massouddieh 1995, 63).

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Figure 152 Daramad-e Dashti according to Musa Maarufi. Both phrases end with the same Forud141 (Maarufi 2004, 134- 5).

In the case of [II.i.a.], the opening melody in Dashti ends with a Forud on the Shahed degree, like Karimi’s example. But the second phrase uses an ambiguous Forud gesture. The second Forud is moving downwards using the Shahed note G as the point of departure, from which it descends even further, suggesting a reference to Bayat-e Turk (Figure 32). This is a preparation for [II.iv.] and is in line with the Morakkab Khani modulation set from the beginning of the piece.

14.10. Khosro Shirin is in many ways a perfect Gusheh for singing four-verse literary forms such as Rubaiy, Do Beyti or other quatrain forms. Khosro Shirin is a pre-composed Gusheh with a clear melodic outline. Karimi’s version of Khosro Shirin is a perfect example for comparison with the version used in [II.i.b.] (Figure 153 and Figure 154). It is characteristic of Khosro Shirin to start with a short introductory opening phrase followed by a rest. This introduction establishes Abu Ata by stating its Finalis. Subsequently the melody raises a fifth higher on an ornamental figure.

141 (Maarufi 2004, pp 134-5). 155

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Figure 153 Khosro Shirin according to Karimi. Notice the short opening on Finalis (D) and the end of the long phrase on the Ist note (A) (Massouddieh 1995, 36).

Figure 154 The opening of Khosro Shirin in [II.i.b.].

As Karimi’s example clearly shows, the second verse in Khosro Shirin copies the melodic contour of the first verse, from Finalis note D, to A, an Ist note a fifth higher. In [II.i.b.], 156

Portfolio of Compositions and Commentary Hossein Hadisi however, instead of going to the end of the second verse, the voice pays an unexpected visit to Chahargah. Such abrupt disruptions in modal progress are engineered in order to create a flashback effect by pointing towards previous modal milestones. The appearance of Chahargah at the end of the second verse is in response to the more subtle reference to Bayat-e Turk in [II.i.a.]. By showing Chahargah, the main theme of ‘Wine of the Mystic’ is reminded. The reason for this reference lies in the meaning of the Rubaiy in use. Just like the first Rubaiy of ‘Wine of the Mystic’ in [I.i.], the second verse of the Rubaiy in [II.i.b.] includes Khayyám's rejection of the belief that there is a goal to this life and “a place of rest from pain” after death. As a result, the 'nihilist theme' from [I.i.] comes back again for a short time.

14.11. While studying Avaz, I encountered an interruption of Sarang performed as an independent Gusheh on an extremely rare private recording of Maestro Shajarian teaching (Track 07 on [CD III.]). In this recording, Shajarian performs a low octave and a high octave version of Sarang as a Forud in Abu Ata. In both cases the structure of Sarang remain intact, although some ornamentation and extemporization is offered as an alternative Forud.

What is particularly important about Sarang, is how uniquely different it is from the other Forud-ha in Abu Ata. A typical Forud in Abu Ata is melodically active on the tetrachord above the Finalis (Figure 155).

Figure 155 Forud to Abu Ata according to Karimi’s version (Massouddieh 1995, 32).

Sarang, on the other hand, brings the melodic activity a whole tone below the Finalis of Abu Ata, using a sequence-like tetrachord (Figure 30). This results in the tonal gravity of the opening of Sarang suggesting Bayat-e Turk rather than Abu Ata or Shur (compare Figure 30 with Figure 155). Sarang could possibly go to Bayat-e Turk, with its Finalis a minor third above the present Abu Ata. This means, in case of Karimi’s example (Figure 30), that, although Sarang is supposed to have a cadence of Shur in D, it initially suggests a Bayat-e

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Turk in F. A simple comparison between the Daramad-e Bayat-e Turk and Sarang (compare Figure 156 with Figure 30) shows striking similarities in ornamentations, melodic contour and Ist on F. Sarang is only different in the sense that it eventually comes back down to D, while Bayat-e Turk uses the Ist note F as the Finalis.

Figure 156 Daramad-e Bayat-e Turk, according to Karimi (Massouddieh 1995, 49).

The opening motif of Sarang in Karimi’s Radif (Figure 30) and the melody used in [II.i.b.] (Figure 157) use a leap of a perfect forth, the interval used universally in Persian modes to represent the tetrachord. But the mere presence of two major seconds above the tetrachord is enough to rule out most of the Persian modes and leave Mahur and Bayat-e Turk as the only candidates. Once the neutral second interval below the Finalis is heard, only Bayat-e Turk will be a possibility for Sarang. As a matter of fact, Sarang does actually go to Bayat-e Turk and stay there until the very end, where a downward motion takes the melody a fourth lower towards the Finalis for Abu Ata or Shur.

Figure 157 The opening motif of Sarang in [II.i.b.] uses a perfect fourth.

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14.12. Figure 34 demonstrates how the first tetrachord of Esfahan is created in the transition from Chahargah to Hesar (A.a. to A.b.). A.b., in fact, represents both Gusheh Hesar in Dastgah-e Chahargah and the Gusheh Chahargah in Dastgah-e Homayun. This is due to the fact that Homayun shares a Gusheh with Chahargah (B.a. to B.c.). Such modal flexibility demonstrates that, when adding new accidentals, the definitive attitude of a Gusheh towards one Dastgah or another is mainly dependent on the Forud. ‘Wine of the Mystic’ employs this cadential approach by putting phrases in modal conflict with their cadence to imply a departure from any sense of modal stability.

On the other hand, because Chahargah is transposed a fifth higher (A.a. to A.b.), I decided to transpose Dastgah-e Homayun a fifth higher, too (B.a. to B.b.). The result of this is a Homayun that has the Esfahan tetrachord prepared by Hesar (A.b.). Since Esfahan is a part of Homayun, staying in Homayun in G (B.a.) would have meant the F-sharp introduced by Hesar would have been treated like a temporary accidental, which is the case in the traditional Radif. But by transposing Homayun a fifth higher and changing the Finalis from D to G, we end up with Esfahan that is prepared by both Chahargah and Homayun (B.b. to C.). Figure 158 shows how Esfahan gets its accidentals from Hesar and Homayun.

Figure 158 Introduction of new accidentals in modulations between Chahargah, Homayun and Esfahan.

Homayun in G (B.a.) is different in having E-koron instead of D-koron from Chahargah in C. A transposed version of Esfahan (C.) could become a passage to Chahargah through Hesar (A.b.) in a similar fashion. This modulatory passage proposed by ‘Wine of the Mystic’ is not currently part of the tradition; Chahargah is rarely performed and such a sharp modulation to Esfahan is certainly not within the current scope of the remaining body of Morakkab Khani.

With Homayun in D, the modulatory circle between the three Dastgah-ha in ‘Wine of the Mystic’ would become complete. But in order to create a more intense ending for movement [I.], harsher dissonance is introduced. To expand the pitch class of the movement, Homayun is a semitone higher (Figure 159).142 Transposing the final Homayun from D to D-sharp puts a much more perturbing mood in place [I.vi.]. The feeling of anxiety is amplified by absence of the tar, hence the absence of any melodic reference to the

142 I initially considered a simple vocal scordatura for the part by indicating that [I.vi.] is to be sung in C-sharp. However, I eventually opted for transposing the mode and writing the actual pitches to visually underline the appearance of the new pitches such as E-sori and F-sharp sori (a koron flatter than F-double sharp). These pitches are not present on a traditionally fretted tar or any other Persian instrument (Q.v. Appendix E – The Tar Fretting). This is due to the fact that modes are only played in certain keys and because of their microtonal intervals, are not easily transposed to every desired key. 159

Portfolio of Compositions and Commentary Hossein Hadisi previous modes. The solo vocal melody accompanied by the tombak in [I.vi.] sounds even more remote because of this modulation, and invites the listener to anticipate more far- fetched modal ambiguities in movement [II.].

Figure 159 A transposed Homayun in G-sharp brings in pitches new to the vocabulary of ‘Wine of the Mystic’. 14.13. A non-conventional open-ended phrase starts the Daramad of Segah. Comparing the opening of [II.ii.a.] to the Daramad Segah in Karimi’s Radif shows the similarities between phrasing and the melody contour (compare Figure 160 with Figure 161). The only difference is the last note of the phrase. The final note in Karimi’s Radif comes down to E-koron, the Finalis for Segah. The Daramad written in [II.ii.a.], on the other hand, goes up to G. Nevertheless, this is a stylistic choice. Ending the Daramad-e Segah a third higher than the Finalis with an upward glissando is a signature for “cabaret-like” music.

Figure 160 Daramad-e Segah according to Karimi’s Radif (Massouddieh 1995, 127).

Figure 161 Daramad of Segah in [II.ii.b.].

Verse two also starts in Segah, but at the end comes down to end on C, which is the Finalis for Mokhalef Segah143 (Figure 162). The progression from Segah to its contra-mode would be expected of any conventional performance of the Dastgah. This is in accordance with the compositional strategy of representing an honest and simpler version of the tradition in movement [II.]. Mokhalef Segah comes back one more time in ‘Wine of the Mystic’. Near the end of the piece in [IV.v.], is another Tasnif composed more or less within the rules of the tradition. The unity that arises from using Segah as a modally and structurally clear Dastgah is maintained in order to allow the audience to associate certain modal configurations with the respective poetic themes they represent in the piece.

143 Translation: ‘Contra’ Segah. 160

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Figure 162 Passage to Mokhalef Segah in [II.ii.b.].

By going to Mokhalef Segah in verse 3, a close relationship between Mokhalef Segah and Esfahan immediately becomes clear (Figure 164). “Mokhalef […] is in a new mode which is surprisingly remote from the original mode of Segah. This new mode is very close to the mode of Bayat-e Esfahan” (Farhat 1990, 54). Although the Esfahan previously used in [I.vi.] was transposed to D-sharp for harmonic reasons, we can see the similarities regardless of the transposition. The Esfahan in C would be the ideal Esfahan to compare with the current Mokhalef Segah. The preparation for Esfahan in C was shortly done in [I.iv.b.] (Figure 163).

Figure 163 Preparation for Esfahan in [I.iv.b.].

Figure 164 The microtonal interval below the Finalis is the only difference between Esfahan and Mokhalef Segah. 14.14.

Figure 165 Indirect modulations from Afshari to Shur through Mahur.

The method used in [II.ii.c.] to modulate from Afshari to Shur, though, is far more complicated. Because hints of transfigured Mahur were already present in the previous

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Rubaiy, Mahur is used as a bridge mode, although it is never entirely stated144. [II.ii.c.] returns to Shur by using Gusheh Delkash in Mahur as a passage.

The basic scale of Mahur is similar to the major scale, but the modal tendencies of Mahur are entirely different. Many Persian composers use simple tonal harmony to orchestrate melodies in Mahur, even though Mahur has no tendency towards triadic chordal progression. Although it could be argued that the inclusion of chords lends a richness to the sound of Mahur, the fact that Mahur doesn’t follow the harmonic progressions suggested by conventional Western tonal harmony is usually overlooked.

Ali Naqi Vaziri, for one, states that “the scale of Mahur is, without any difference, that of the major scale” (translation from (Vaziri 1934, 68), cited in (Farhat 1990, 194)). Farhat, on the other hand, acknowledges the similarity but also emphasises the distinction:

The intervallic structure of the mode Mahur parallels that of the major mode in Western music. Yet, because of the order of elements which go into the making of Persian modes, probably no melody in the major mode can be said to be in the mode of Mahur. Persian musicians fail to appreciate this fact and are very eager to point out that the major mode is the same as the mode of Mahur.

(Farhat 1990, 89).

In order to realize what Farhat means by “the order of elements that go into the making of Persian modes”, a short analysis of the modulatory roles of Shekasteh and Delkash in Mahur is conducted. Figure 165 shows how through pitch alterations, Mahur suggests passages that can be used to modulate to both Afshari and Shur. In case of [II.ii.c.], instead of directly modulating from Afshari (A.) back to Shur (B.), Gusheh Shekasteh (B.a.) and Gusheh Delkash (B.b.) play the role of a bridge between the two. A shadow of an invisible Bayat-e Turk or Mahur145 is behind this modulation, although the actual mode of Mahur (B.) is never used. This results in a modulation from Afshari in C to Shur in G (A. to D.), while the traditional method would simply go from Afshari in C to Shur in D (A. to C.)

[II.ii.c.] goes from Afshari (A.) to Shekasteh (B.a.); a modulation that already exists in the repertoire of Dastgah-e Mahur. Gusheh Shekasteh is closer to the foreign Dastgah-e Afshari than it is to the home Dastgah-e Mahur. In turn, Shekasteh (B.a.) modulates to Delkash (B.b.). Delkash occupies a unique, strange, and precious position in Dastgah-e Mahur. “One of the most important and striking Gushes (Gusheh-ha) in Dastgah-e Mahur is Delkash. It

144 Short but important reference to Mahur appear in [II.iv.] and [I.iv.a.] that are directly related to the shadow of Mahur used in [II.ii.c.]. Q.v. Endnote 14.17. 145 Both Bayat-e Turk and Mahur have Gusheh Shekasteh and Gusheh Delkash in tem. But Shekasteh primarily belongs to Dastgah e Mahur and Delkash is also mostly regarded for its role in temporarily modulating from Mahur to Shur. 162

Dastgdh-e Sur 33

Example 28

Hoseyni is also performed in dastgdh-e Navd. Its melodic character and style remain the same and it retains the mode of Swr.

Baydt-e Kord The most distinctive and independent of guses performed as a part of dastgdh-e Sur is Baydt-e Kord. Some musicians have even considered it as a separate dastgdh or snb-dastgdh inasmuch as Dasti and Abustd are given that distinction. However, since the contemporary tradition recognises only twelve dastgdhs, and Baydt-e Kord is not one of them, and since it is usually performed as a part of Sur or Dasti (itself a sub-dastgdh of Sur), it should be considered here and not in a separate chapter. In its mode, Baydt-e Kord shows peculiarities not shared by Sur. The modal scheme for Baydt-e Kord is given in example 30. The characteristics of this mode are: Portfolio of Compositions and Commentary Hossein Hadisi Example 30

represents an abrupt change of mode from that of I j ,JHJ,J M >r r r 'r i Mahur to the mode of Delkash, which is an interesting blend of Shur and Mahur” (Farhat 1990, 93). 1. The 5th above the finalis of Sur is never lowered in Baydt-e Kord and becomes the point of melodic concentration. As such, it is to be regarded as the sdhed. 2. The significance of this modulation is that it facilitates modulation to a The 4th above the finalis of Sur is the dqdz. Shur in a different 3. key. The 3r In d abov the e i course s the ist. of This playing degree is Shur saved, foGusheh r phrase ending Golrizs anis d doe an s important not figure milestone. Golriz prominently in the course of melodic improvisation. 4. transposes In the scale showShurn in to a fourth above the original key. In fact, example 30, a is the sdhed; bb, c and g, in that order areShur the nex in G could t most play the role of frequently heard tones. Gusheh Golrizk for Shur in D. This means that in the transition from [II.ii.a.] to [II.ii.b.], 5. The d and e are occasionally used when the melodic line moves up beyond the octave. The use Afshariof ek instea jumps a few steps ahead by modulating directly to d of ep is another peculiarity of this sound register. In the high registerGusheh, ther Golrize is a in Shur, thanks to a tendency to shrink a descending neutral 2nd to a minor 2nd, when it is a non-essential interval shadow of in the mode; Mahurthis chang. e tends to create an added element of tension. This practice is not limited to Baydt-e Kord, it is also used in most of the other modes. 6. 14.15.In Baydt-e Kord, th e finalis of Sur can be left out entirely. Yet, neither the ist nor the sdhed function as a satisfying finalis. Although several pieces can be improvised in the mode of The Baydt-e basic Kord, melodic a forud in formula Sur, at the for endBaya of thet -lase t Kord piece, , according seems essentia to l fo Farhat r achievin (gFigure a 166) shows the standard version of genuine feeling of conclusionBayat. Thi-e Kords is, perhaps, that has survived in Maarufi’s , the only real justification for considerinRadif (Maarufi 20g 04, 91-93). Baydt-e Kord as a part of Sur. Maarufi gives account of four different versions of Bayat-e Kord. The first two versions end The basiwith a new semitone interval at the cadencec melodic formula for Baydt-e Kord is given in (examplFigure e166 31,) an. d an extended improvisation is shown in example 32 (p. 126). Example 31

Figure 166 The basic melodic formula for Bayat-e Kord (based on the mode of Shur in D) by Farhat, based on Maarufi’s Radif (Farhat 1990, 33).

In this Bayat-e Kord, E-natural appears in place of E-koron. Farhat thinks that the change from E-koron to E-natural is on a “non-essential” note of the mode and, in accordance with common practice in most of the other modes, that pitch alteration creates a sense of closure on the Forud (Farhat 1990, 33). But in fact, the alternative interval in case of Bayat-e Kord, and even other similar instances, also suggest passages between the Dastgah-ha. By getting sharper, E-natural becomes a leading note for F. It also shows signs of localisation of a Gusheh in a foreign Dastgah, where new accidentals are introduced to the Gusheh to adapt the modality of the host Dastgah146.

While studying Persian music in my childhood, I realized that Davami (Track 05 of [CD III.]147) and his students, such as Shajarian (Track 06 of [CD III.]148), sing a slightly different version of Bayat-e Kord. The subtle difference in their recitation of Bayat-e Kord lies in an additional ornamental accidental on the Shahed (D-koron in Figure 167).

146 Farhat groups these Gusheh-ha as “Vagrant Gus[h]ehs” (Farhat 1990, 109). 147 Q.v. Appendix K – Audio CDs. 148 Q.v. Appendix K – Audio CDs. 163

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Figure 167 Bayat-Kord (based on the mode of Shur in G) with a lowered Shahed note, D-koron (Setayeshgar 1994, 167).

Davami uses this new accidental, but only for a very short period of time and the Shahed is quickly raised back to natural. If the Shahed of Bayat-e Kord was to stay lowered (koron), Shur would get one step closer to Chahargah through Bayat-e Kord (Figure 169).

Figure 168 Gorgani ranks Bayat-e Kord and Hejaz-e Mokhalef as Gusheh-ha under Dastgah-e Chahargah (Gorgani 1600s (?), 44).

Gorgani’s chart (Figure 42 and Figure 168) classifies Bayat-e Kord as an auxiliary of Dastgah Chahargah. But Bayat-e Kord, in its current state, shows too much difference to be considered part of Chahargah. Since adding one new accidental at a time is the traditional means of modulation in Persian music, one could argue that there must have been (only) one different accidental between the parent Chahargah and the offspring, Bayat-e Kord. In Figure 169, by going from A. to B. (changing D to D-koron), the current Bayat-e Kord (according to Davami) is achieved. A comparison between this Bayat-e Kord and Chahargah (B. and D.) shows that either B-flat or E-flat need to be raised a semitone in order to get one step closer to Chahargah. B-flat is altered instead of E-flat and the reason lies in the relationship between Hejaz-e Mokhalef, another lost Gusheh, and Araq (mentioned below).

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Figure 169 The proposed ‘Old Bayat-e Kord’ (C.) fits between Shur and Chahargah. The arrows show pitch alterations and the asterisk represents the new mode.

The hypothetical mode of C. fits perfectly in Chahargah (as a Gusheh with only one different accidental) and can be adapted to Shur (with addition of another accidental). The result is a completely new and unknown mode, which I name Gusheh ‘Old Bayat-e Kord’. This mode of Bayat-e Kord fills in the empty gap between Shur and Chahargah; a mode that seem to have been lost somewhere in Persian history.

By studying Gorgani’s chart, one is but tempted to find out about the rest of the lost Gusheh-ha based on the same method. Hejaz-e Mokhalef, for instance, is another offspring of Chahargah (Figure 168) that does not exist in the surviving repertoire (translation from the entry in: (Setayeshgar 1994, 370)). In the light of the basic rule of one different accidental per modulation and the fact that both Hezaj (in Abu-Ata) and Mokhalef (in Chahargah) are important existing parts of the repertoire, I also propose the correct form of the missing Gusheh Hejaz-e Mokhalef.

Hejaz, too, in its current state (in Abu-Ata) is a very distant Gusheh compared to Dastgah-e Chahargah. A closer look at Gorgani’s chart (Figure 168) reveals another important fact. Araq, a subset of Neishabourak, is a neighbour to the lost Hejaz-e Mokhalef. More importantly, there is the famous poem by Ashofteh Shirazi that lists the milestones of a modulation using the names of the Gusheh-ha in a two-fold context, musical and geographical (underlined words are the name of Gusheh-ha):

“The truthful (‘Rast’) men of ‘Hejaz’ sing with music (‘Nava’) That [Imam] Hossein was killed from the opposite (‘Mokhalef’) road to Iraq (‘Araq’) Who came to Iraq (‘Araq’), by joining the opposition from Hejaz (‘Hejaz-e Mokhalef’) 165

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And from ‘Arab’ to Persian (‘Ajam’), was in his passion (‘Shur’) and music (‘Nava’)”. (Divanbeigy 1985, 48)

The third verse, clearly shows that going from Araq to Hejaz-e Mokhalef was a common modulation. If so, since Araq has also survived till today, we can find the missing link using the same method as above (Figure 170).

Figure 170 The lost Gusheh Hejaz-e Mokhalef, too, can be found by looking at the modulation suggested by Gorgani’s chart and Shirazi’s poem. The arrows show pitch alterations and the asterisk represents the new mode.

Figure 170 shows that the proposed Hejaz-e Mokhalef, can be discovered by looking at Hejaz (A.), finding its relationship with Araq (B.) and comparing it with Mokhlaef Chahargah (C.). This shows that B-natural (mentioned above) is the missing new pitch from both proposed Gusheh-ha (Bayat-e Kord and Hejaz-e Mokhalef).

14.16. In fact, since Bayat-e Turk is an auxiliary Dastgah derived from Shur, it is replacing Shur in the bimodal contrasting structure of 'Wine of the Mystic'. According to tradition, modulation from either Shur or Bayat-e Turk to Chahargah is almost impossible. This is a result of the numerous differences in the incorporated intervals.

In [II.iv.], however, while the tar ostinato has changed from Bayat-e Turk to Chahargah, the degree above the Finalis has also changed from G-natural to G-koron. The tar also emphasises Chahargah in the ostinato while the vocal melody starts the first verse of the Rubaiy in Bayat-e Turk (Figure 171). As a result, [I.iv.] becomes completely bimodal.

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Figure 171 Bimodality in [II.iv.] as the vocal melody states Bayat-e Turk while the tar is still playing the ostinato figure from Chahargah. 14.17. As the music in the new mode progresses, Chahargah begins to overwhelm the modal ambience of the Tasnif. The vocal part, too, joins in with a melody in Chahargah on the second verse. Right at the end of the second verse, the vocal part also uses E-natural, a pointer to Mahur, which has also been used in the very beginning of [I.iv.], too (Figure 172 and Figure 173).

Figure 172 A short reference to the tetrachord of Mahur in [II.iv.].

Figure 173 A short reference to the tetrachord of Mahur in the beginning of [I.iv.a.]. 14.18. The first three verses are sung in Dashti, but in the middle of the fourth verse, a Chap Kook version of Abu Ata is sung (Figure 174). In movements [I.] and [II.] Abu Ata was in C, but it is transposed a fourth higher in movement [III.]. Abu Ata represents the counter-mode, Shur.

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The representation of Abu Ata in Chap Kook is a response to the principal mode, Chahargah in Chap Kook, introduced in [III.iv.b.].

Figure 174 Abu-Ata in Chap Kook.

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15. Glossary Avaz “Persian music … is not measured throughout but contains long sections of unmeasured, free rubato playing […]. This great rhythmic freedom, conducive to improvisation, allows for the abundant ornamentation characteristic of Persian art. Although much of Persian music is unmeasured, a traditional performance contains both unmeasured and measured pieces with the unmeasured type, as a class called Avaz (song)” (Zonis 1973, 126). Dastgah “Dastgah: modal system; a collection of melodic segments that share a common basic scale with its variations” (Miller 1999, 349). Daramad “Daramad (opening, introduction): The piece or group of pieces in a common mode, which begin a Dastgah are called Daramad. They are the most representative portion of the Dastgah. The mode and the melodic patterns of the Daramad are those of the Dastgah itself. The Gushes and the tekkes which follow the Dastgah is primarily established by the Daramad section” (Farhat 1990, 22). The term Daramad, literally translated means 'Entrance [from the] door'. Finalis I have used the word Finalis in preference to tonic which has direct association with the harmonic system of Western music. The Finalis indicates the note of repose and conclusion” (Farhat 1990, 24). Ist In some modes a tone other than the Finalis serves as the ending note for phrases and in situations other than the final cadences. This tone is called the Ist” (Farhat 1990, 24). Moteqayyer “Moteqayyer (changeable): In some of the Persian modes one of the tones appears consistently in two different forms, e.g. E natural and E slightly- flat. When there is such a regularly fluctuating tone, it is called a Motqayyer” (Farhat 1990, 24). Pish Daramad “Pish Daramad (pre-introduction, overture): A composed rhythmic instrumental piece which is sometimes performed at the beginning of a Dastgah is called a Pish Daramad. It is a twentieth-century innovation intended for ensemble playing. An increasing number of Pish Daramads have been composed during the last eighty years” (Farhat 1990, 22). ‘before the Intro (Daramad) [to the mode], prelude’. Tahrir “The main ornament in Persian music singing in called Tahrir which is a falsetto break or cracking of the voice in the form of a grace note above, and in between the notes of, the melody line.” (Miller 1999, 108-9.) Tahrir is an Arabic term, meaning ‘liberation’. Tasnif “Tasnif (Ballad): A composed song in a slow metre is called a Tasnif. As is true of other forms of musical composition, most Tasnifs are of relatively recent origin and by known composers” (Farhat 1990, 23).

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16. Bibliography Books:

Abd al-Qdir al-Maraghi b. Ghaybi. Jame-ol Alhan. Edited by Babak Khazraei. Tehran: Farhangestan-e Honar, 2009.

—. Sharh-e Advar. Edited by Taghi Binesh. Tehran: Markaz-e Nashre Daneshgahi, 1991.

Abu Nasr Mohammad al-Farabi. Al-Moosighi Al-Kabir. Edited by Bafandeh Eslamdoost. Tehran: art, 1996.

Arberry, Arthur J. Omar Khayyám. London: John Murray, 1952.

Binesh, Mohammad Taghi. Shenakht-e Moosighi-e Iran. Tehran: Daneshgah-e Honar, 2002.

Browne, Edward G. A Literary History of Persia. London: T. Fisher Unwin, Ltd., 1915.

Clarke, H. Wilberforce. The Divan-i-Hafiz. Calcutta: Government of India Central Printinfg Office, 1891.

Darvishi, Mohammad Reza. Moosighi-e Hemaasi-e Iran. Tehran: Soore Mehr, 2004.

—. Negah be Gharb. Tehran: Mahoor Institute of Culture and Art, 1994.

Dehlavi, Hossein. Peyvand-e She'r va Moosighi-e Avazi. Tehran: Mahour Institute of Culture and Art, 2006.

Divanbeigy, Seyyed Ahmad. Hadighatol Sho'ara. Edited by Abdolhossein Navaei. Vol. 1. 2 vols. Tehran: Nashr-e Zarrin, 1985.

During, Jean. Sonnat va Tahavvol dar Moosighi-e Irani. Translated by Sudabeh Fazaeli. Tehran: Toos Publication Centre, 2004.

During, Jean, Zia Mirabdolbaghi, and Dariush Safvat. The Art of Persian Music. Washington, DC: Mage Publishers, 1991.

Eastwick, Edward B. The Rose-Garden of Sheikh Muslihu'd-din Sadi of Shiraz. London: The Octagon Press, 1979.

Farhat, Hormoz. Dastgah dar Moosighie Irani. Translated by Mehdi PurMohammad. Tehran: Part, 2001.

—. The Dastgah Concept in Persian Music. Cambridge: Cambirdge University Press, 1990.

Fereidooni, Nima. Radfi-e Avazi-e Ostad Abdollah Davami. Tehran: Part, 2004.

Fitzgerald, Edward. Rubaiyat of Omar Khayyám . London: Macmillan and Co., Limited, 1897.

—. Rubaiyat-e Khayyám. Edited by Roshanak Bahreyni. Tehran: Hermes, 2008. 171

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Fonton, Charles. Resaleh Dar Bayan-e Moosighi-e Sahrghi va Moghayeseye aan baa Moosighi-e Europaii. Translated by Sasan Fatemi. Tehran: Farhangestan-e Honar, 2006.

Ghanbari, MohammadReza. Khayyám Nameh. Terhan: Zavar Publications, 2005.

Gorgani, Abdolmo'men bin Safie-din-e. Behjatol Ruh. Handwritten version in National Library of Iran. 1600s (?).

Hannaneh, Morteza. Gamhay-e Gomshode. 2009. Tehran: Soroush University Press, 1988.

Hedayat, Sadeq. Tarane-haye Khayyám. Tehran: Javidan, 1956.

Heron-Allen, Edward. Edward Fitzgerald's Rubaiyat of Omar Khayyám. London, 1899.

Homaei, Jalaleddin. Khayyámi Nameh. Tehran: Anjmoan-e Asar-e Melli, 1967.

Hopkins, Gerard Manley. Poems of Gerard Manley Hopkins. Oxford: Geoffrey Cumberlege, Oxford University Press, 1952.

Hossein Alizadeh et al. Mabani-e Nazari-e Moosighi-e Iran. Tehran: Mahoor Institute of Culture and Art, 2009.

Karkoschka, Erhard. Notation In New Music. Translated by Ruth Koenig. London: Universal Editions Ltd., 1972.

Khaleghi, Ruhollah. Nazari be Moosighi. 2010. Tehran: Safialishah, 1982-3.

—. Sargozasht-e Moosighi-e Iran. 3 vols. Tehran: Safi Ali Shah, 1997.

Kiwi, Edith Gerson. Mabaani-e Irani-e Composision, Dastgah. Translated by Mehdi PurMohammad. Tehran: Farhang o Honar, 2005.

—. The Persian Doctrine of Dastga - Composition. Tel Aviv: Israel Muic Institute, 1963.

Ma'aref, Seyyed Abbas. Sharh-e Advar-e Safieddin-e Armavi. Edited by Seyyed Abdolreza Mousavi. Tehran: Soore Mehr, 2004.

Mallah, Hossein-Ali. Farhang-e Saaz-ha. Tehran: Ketab Sara, 1997.

Massouddieh, Mohammad Taqi. Mabaani-e Ethnomusicology. Tehran: Soroush Press, 2004.

Mayakovsky, Valdimir. Mayakovsky. Edited by Herbert Marshall. Translated by Herbert Marshall. London: Dennis Dobson, 1965.

Mehdi Forough et al. Moosighi-e Irani. Tehran: Sazman-e Chap o Entesharat, 2004.

Miller, Lloyd. Moosighi va Avaz dar Iran. Tehran: Nashre Sales, 2004.

—. Music and Song in Persia: The Art of Avaz. Utah: University of Utah, 1999.

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Rodwell, E. H. Omar Khayyám. London: Kegan Paul, Trench, Trubner & Co., LTD., 1931.

Rypka, Jan. History of Iranian Literature. Edited by Karl Jahn. Dordrecht: D. Reidel Publishing Company, 1968.

Saba, Abol Hassan. Durey-e Avval-e Santur. 2nd. Tehran: unknown, 1958.

—. Durey-e Dovom-e Santur. 2nd. Tehran: unknown, 1956.

Setayeshgar, Mehdi. Naam Name-ye Moosighi-e Iran Zamin. Tehran: Ettela'at Publishing Centre, 1996.

—. Vazheh Name-ye Moosighi-e Iran Zamin. Vol. 1. 2 vols. Tehran: Ettela'at Publishing Centre, 1994.

Vaziri, Ali Naqi. Musiqqi-ye Nazari. Tehran: Tolu' Press, 1934.

Whinfield, E. H. The Quatrains of Omar Khayyám. Second Edition. London: Kegan Paul, Trenchm Trubner, & Co. Ltd., 1893.

—. The Quatrains of Omar Khayyám. London: The Octagon Press, 1980.

Zeinod-din, Masoud. Resaleh Dar Moosighi. Tehran: Aref, 2009.

Zolfonoon, Jalal. Tajzie-o Tahlil-e Moosighi-e Iran. Tehran: Havay-e Tazeh, 2003.

Zonis, Ella. Classical Persian Music: An Introduction. Cambrdige, Massachusetts: Harvard University Press, 1973.

Scores: Brown, Earle. “Folio.” New York: Associated Music Publishers Inc., 1954.

Bussotti, Sylvano. “Siciliano.” Florence: Aldo Bruzzichelli, 1962.

—. “Sette Fogli.” Universal Edition, 1963.

Cerha, Friedrich. “Enjambements.” Vienna: Universal Edition A.G., 1959.

Davami, Abdollah. “Kordi Bayat.” Vocal Radif and Old Tasnifs. Disc I. Track 37. 2002. Compact Disc.

Hashagen, Klaus. “Cymbalon.” 1960.

Helms, Hans. “Fa:m' Ahniesgwow.” Cologne: DuMont Schauberg, 1979.

Karkoschka, Erhard. “Desideratio Dei.” Stuttgart, 1961.

Kriwet, Ferdinand. Sehtexte, No. XIV. Cologne.

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Lemaire, Alfred Jaen-Baptiste. Persian Avazes and Tasnifs. Edited by Manuchehr Sahbai. Tehran: Mahour Institure of Culture and Art, 2003.

Maarufi, Moosa. Radif-e Haft Dastgah-e Moosighi-e Irani. Edited by Ostad Jahangir Kamian. Tehran: Roham Publications, 2004.

Massouddieh, Mohammad Taqi. Radif-e Avazi-e Moosighi-e Sonnati-e Iran be Ravayat-e Mahmoud Karimi. Tehran: Iranian Music Association, 1995.

Meshkatian, Parviz. Gol Aeen: 18 Pieces for Santoor. Edited by Alireza Javaheri. Tehran: Alireza Javaheri Pub, 1999.

Schaffer, Boguslaw. “Imago musicae.” Berlin/Wiesbaden: Ahn and Simrock, 1961.

Serocki, Kazimierz. “Segmenti.” Celle: Hermann Moeck, 1961.

Vlijmen, Jan van. “Mythos.” Amsterdam: Donemus Foundation, 1963.

Recordings: Alizadeh, Hossein. “Moghaddameh.” Zemestan Ast. Track 01. 2001. Compact Disc.

An Introduction to Iranian Music. 2009. Compact Disc.

Hossein Alizadeh and Arshad Tahmasbi. “Mokhalef Segah.” Hamnavaei. Track 08. 1993. Compact Disc.

Jalal Zolfonoon and Shahram Nazeri. “Pish Daramad va Tasnif-e Dars-e Sahar.” Gol-e Sad Barg. Track 02. 1981. Compact Disc.

Karimi, Mahmoud. “Bakhtiari and Moalef.” Radif-e Avazi-e Moosighi-e Sonnati-e Iran. Disc 2, Track 30. 1995. Compact Disc.

Kiani, Majid. “Bayat-e Kord.” A Century of Santur. Track 09. 2001. Compact Disc.

Mohammad Reza Shajarian and Mohammad Reza Lotfi. “Kord-e Bayat.” Eshgh Danad. Track 05. 1980. Compact Disc.

Mohammad Reza Shajarian and Ms. Mehr Ali. “Sarang.” [Radif-e Abu Ata, private recording]. 1970s? Cassette.

Parissa and Mohammad Musavi. “Hamcho Farhad.” Hamcho Farhad. Track 01. 1970s? Cassette.

Parviz Meshkatian, Mohammad Reza Shajarian and Naser Farhangfar. “Sheydaei.” Astan-e Janan. Track 11. 1985. Compact Disc.

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Online Resources: During, Jean. "Tombak." in Grove Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/52322 (accessed December 2, 2011).

Jean During, et al. "Tār." in Grove Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/27502 (accessed December 2, 2011).

R. Conway Morris, et. al. "Daff." in Grove Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/07050 (accessed December 2, 2011).

Vergilij Atanassov, Veronica Doubleday. "Dāira." in Grove Music Online. http://www.oxfordmusiconline.com/subscriber/article/grove/music/51610 (accessed December 2, 2011).

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17. Scores List of scores:

• ‘Wine of the Mystic’ • ‘A Cloud in Trousers’ • ‘The Windhover’ • ‘Lullaby for a Deaf Child’ • ‘Places I’d Take Michael Finnissy to Visit if He Was Ever Going to Come to Iran’

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Wine of the Mystic:

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A Cloud in Trousers:

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The Windhover:

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Lullaby For A Deaf Child:

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