Edition 2 | 2018-2019
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Alan Gilbert and the New York Philharmonic
FOR IMMEDIATE RELEASE UPDATED January 13, 2015 January 7, 2015 Contact: Katherine E. Johnson (212) 875-5718; [email protected] ALAN GILBERT AND THE NEW YORK PHILHARMONIC Alan Gilbert To Conduct SILK ROAD ENSEMBLE with YO-YO MA Alongside the New York Philharmonic in Concerts Celebrating the Silk Road Ensemble’s 15TH ANNIVERSARY Program To Include The Silk Road Suite and Works by DMITRI YANOV-YANOVSKY, R. STRAUSS, AND OSVALDO GOLIJOV February 19–21, 2015 FREE INSIGHTS AT THE ATRIUM EVENT “Traversing Time and Trade: Fifteen Years of the Silkroad” February 18, 2015 The Silk Road Ensemble with Yo-Yo Ma will perform alongside the New York Philharmonic, led by Alan Gilbert, for a celebration of the innovative world-music ensemble’s 15th anniversary, Thursday, February 19, 2015, at 7:30 p.m.; Friday, February 20 at 8:00 p.m.; and Saturday, February 21 at 8:00 p.m. Titled Sacred and Transcendent, the program will feature the Philharmonic and the Silk Road Ensemble performing both separately and together. The concert will feature Fanfare for Gaita, Suona, and Brass; The Silk Road Suite, a compilation of works commissioned and premiered by the Ensemble; Dmitri Yanov-Yanovsky’s Sacred Signs Suite; R. Strauss’s Death and Transfiguration; and Osvaldo Golijov’s Rose of the Winds. The program marks the Silk Road Ensemble’s Philharmonic debut. “The Silk Road Ensemble demonstrates different approaches of exploring world traditions in a way that — through collaboration, flexible thinking, and disciplined imagination — allows each to flourish and evolve within its own frame,” Yo-Yo Ma said. -
The Poetics of Persian Music
The Poetics of Persian Music: The Intimate Correlation between Prosody and Persian Classical Music by Farzad Amoozegar-Fassie B.A., The University of Toronto, 2008 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2010 © Farzad Amoozegar-Fassie, 2010 Abstract Throughout most historical narratives and descriptions of Persian arts, poetry has had a profound influence on the development and preservation of Persian classical music, in particularly after the emergence of Islam in Iran. A Persian poetic structure consists of two parts: the form (its fundamental rhythmic structure, or prosody) and the content (the message that a poem conveys to its audience, or theme). As the practice of using rhythmic cycles—once prominent in Iran— deteriorated, prosody took its place as the source of rhythmic organization and inspiration. The recognition and reliance on poetry was especially evident amongst Iranian musicians, who by the time of Islamic rule had been banished from the public sphere due to the sinful socio-religious outlook placed on music. As the musicians’ dependency on prosody steadily grew stronger, poetry became the preserver, and, to a great extent, the foundation of Persian music’s oral tradition. While poetry has always been a significant part of any performance of Iranian classical music, little attention has been paid to the vitality of Persian/Arabic prosody as its main rhythmic basis. Poetic prosody is the rhythmic foundation of the Persian repertoire the radif, and as such it makes possible the development, memorization, expansion, and creation of the complex rhythmic and melodic compositions during the art of improvisation. -
Musiques Mon 03-Ingl
The 8th World Music Festival of "la Caixa" Foundation offers a programme consisting of 11 concerts plus a variety of parallel activities such as lectures, master classes and four family concerts. It will take place from 3 to 26 October CaixaForum hosts the 8th World Music Festival, a broad panorama fostering intercultural dialogue through music On Friday 3 October, the Iranian vocal and instrumental group Masters of Persian Music will launch this year’s World Musics Festival, an event organised annually by "la Caixa" Foundation. On this occasion, the Festival will highlight Persian culture, with three concerts that will give us different perspectives on the music and traditions of modern-day Iran, complemented by a lecture programme that will draw us to the past and present of the art and poetry of this age-old tradition. With a spirit unequivocally open to dialogue and to enriching cultural exchange, the Festival will also feature music from such countries as Palestine, Kurdistan and Tibet, with the participation of some of their most charismatic representatives, those who have contributed most to the revival, survival and diffusion of their respective traditions. Neighbouring cultures, such as the Portuguese, or distant ones, such as the Korean, also form part of the Festival, which moreover includes an interesting panorama of present-day African music from three different viewpoints: those of Tunisia, Mali and Angola. In addition to the aforementioned lecture programme, the Festival will be complemented by, among other parallel activities, a special concert by musicians from around the world who reside in Catalonia, three master classes in traditional Arabic singing, and four family concerts. -
Marin Alsop Leads Baltimore Symphony Orchestra in Stravinsky's
PRESS CONTACTS: Teresa Eaton, 410.783.8024 [email protected] Alyssa Porambo, 410.783.8044 [email protected] Joseph Meyerhoff Symphony Hall Bryan Joseph Lee, 301.581.5211 [email protected] The Music Center at Strathmore Marin Alsop Leads Baltimore Symphony Orchestra in Stravinsky’s The Rite of Spring, Jan. 8 & 11 Maestra Alsop to host Rite of Spring Off the Cuff concert Jan. 9 & 10 Baltimore, Md. (December 11, 2014) – Music Director Marin Alsop will lead the Baltimore Symphony Orchestra (BSO) in Stravinsky’s The Rite of Spring on Thursday, January 8, 2015 at 8 p.m. at the Joseph Meyerhoff Symphony Hall and Sunday, January 11, 2015 at 3 p.m. at The Music Center at Strathmore. Also on the Classical Concert Series program are Barber’s Medea’s Meditation and Dance of Vengeance and Osvaldo Golijov’s Rose of the Winds (BSO premiere). The Rite of Spring is the subject of Maestra Alsop’s third Off the Cuff program of the 2014-2015 season, held Friday, January 9 at 8:15 p.m. at Strathmore and Saturday, January 10 at 7 p.m. at the Meyerhoff. Capitalizing on Marin Alsop’s charismatic way of illuminating classical music, the Off the Cuff programs focus on one masterwork, allowing the Maestra to discuss the back story of the piece and the composer’s life. Please see below for complete program details. There is no more viscerally thrilling piece of music than Stravinsky’s The Rite of Spring, which, though now 100 years old, seems as up-to-date as anything written this year. -
Masters of Persian Classical Music Sunday, February 27, 2005, 7 Pm Zellerbach Hall
CAL PERFORMANCES PRESENTS Masters of Persian Classical Music Sunday, February 27, 2005, 7 pm Zellerbach Hall Mohammad Reza Shajarian, vocals Hossein Alizadeh, tar Kayhan Kalhor, kamancheh Homayoun Shajarian, tombak This tour is organized by World Music Institute, New York Masters of Persian Music’s New Double CD Faryad is available on the World Village label This performance has been made possible in part by the Friends of Cal Performances. Cal Performances thanks the William and Flora Hewlett Foundation, The Wallace Foundation, and the Zellerbach Family Foundation for their generous support. 27 CAL PERFORMANCES PROGRAM Saz va Avaz (instrument and vocal improvisation) Mohammad Reza Shajarian and Kayhan Kalhor Instrumental piece Raqs-e Zar Tasnif-e Niyayesh Poetry by Sohrab Sepeheri Tasnif-e Bezan Zakhmeh Poetry by Shafe’ie Kadkani Compositions by Hossein Alizadeh INTERMISSION Dastgah Avaz-e Bayat-e Zand Moghadammeh Najva* (Whisper) Poetry by Sa’adi Saz va Avaz Ghazal by Sa’adi Nowrooz* (instrumental) Saz va Avaz Tasnif-e Selseleh Mou** Chaharmezrab Saz va Avaz (in Dashti) Tasnif-e Mara raha kon*** Poetry by Mowlana, Masnavi Tasnif-e Dayreh Fani Poetry by Mowlana * composed by Hossein Alizadeh **anonymous composer ***based on a Kurdish melody by S. Ali Asghar Kurdestani, the distinguished singer of the Qajar period 28 CAL PERFORMANCES ABOUT THE ARTISTS Mohammad Reza Shajarian is the undisputed Tehran in 1975, where he received his degree in master of Persian traditional (classical) singing and composition and performance. During the same is regarded as a national treasure by both musicians period he studied with various ostads of traditional and music lovers. -
Music of a Thousand Years a New History of Persian Musical Traditions
Music of a Thousand A NEW HISTORY OF PERSIAN Years MUSICAL TRADITIONS ANN E. LUCAS Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher and the University of California Press Foundation gratefully acknowledge the generous support of the Joan Palevsky Imprint in Classical Literature. Music of a Thousand Years Music of a Thousand Years A New History of Persian Musical Traditions Ann E. Lucas UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2019 by Ann E. Lucas This work is licensed under a Creative Commons CC BY-NC license. To view a copy of the license, visit http://creativecommons.org/licenses. Suggested citation: Lucas, A. E. Music of a Thousand Years A New History of Persian Musical Traditions. Oakland: University of California Press, 2019. DOI: https://doi.org/10.1525/luminos.78 Library of Congress Cataloging-in-Publication Data Names: Lucas, Ann E., 1978- author. -
The “Simorq” Project Is an Ambitious Initiative Designed to Acquaint the Public with Iran’S Historical Culture, and to Transcend Boundaries
The “Simorq” project is an ambitious initiative designed to acquaint the public with Iran’s historical culture, and to transcend boundaries. A legendary supernatural bird in Persian literature Ferdowsi’s poetic opus, the Shahnameh, is not only one of the most extraordinary works in Persian literature – it ranks among the masterpieces of the world’s literary treasures. In sheer magnitude, with over fifty thousand verses, our national epic comprises more than twice the number of verses of Homer’s Odyssey and Iliad and twenty times more than the German epic, Nibelungensage. The Shahnameh is indeed unequalled as a literary work. And if we look at other Persian poets who have explored the themes of love, despair, envy and zeal, we find that while Fer- dowsi deals with the same themes, he also unveils the science of Iranian epic history and legends and leads the reader deep into the spirit of his characters, probing a vast array of human feeling. He carries the reader with him to the battlefields and the feasts. He paints these scenes masterfully, giving the stories vibrant, tangible expression for his readers. The difficulty of using musical narration to portray Ferdowsi’s epic stories lies herein. Simorq, the story of the birth and growing up of Zaal and his love for Roodabeh, the daughter of King Mehrab of Kabal, is one of the most beautiful and, in structural terms, complete facets of the Shahnameh. In this story, Ferdowsi has interwoven human preoccupations with luck, fate and destiny, greed, fear and disgrace with the need and desire for fame and love, under the canopy of the epic story. -
Advance Program Notes Silkroad Ensemble Falling out of Time Sunday, November 17, 2019, 7 PM
Advance Program Notes Silkroad Ensemble Falling Out of Time Sunday, November 17, 2019, 7 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. Silkroad Ensemble Osvaldo Golijov Falling Out of Time based on a book by David Grossman I Interlude II III performed without intermission The Silkroad Ensemble Shawn Conley, bass Nicholas Cords, viola Nora Fischer, vocals Jeremy Flower, electronics and guitar Johnny Gandelsman, violin Kayhan Kalhor, kemancheh Karen Ouzounian, cello Shane Shanahan, percussion Mazz Swift, violin Wu Man, pipa Wu Tong, vocals, sheng with guests Dan Brantigan, trumpet Biella Da Costa, vocals This performance was supported in part by a gift from Don and Libby Drapeau. Silkroad is grateful to the members of the College of the Holy Cross in Worchester, Massachusetts, for their partnership in the development of Falling Out of Time. A Letter from the Artistic Directors Falling Out of Time comes face to face with a raw and vulnerable state of grief through Osvaldo Golijov’s exquisite and nuanced interpretation of David Grossman’s book by the same name. Somewhere between a song cycle and chamber opera, the music is characteristic of Osvaldo’s omnivorous style. For Falling Out of Time, Osvaldo drew inspiration from the early Delta blues and epic ballads of Central Asia—two traditions that have relentlessly explored grief through a musical lens. This cosmopolitan approach to the creative process has led to an extraordinary bond between Osvaldo and the Silkroad Ensemble. -
09/10 Season
09/10 SEASON :: 1 WElcOmE tO mONtAlvO’S 09-10 SEASON What is Montalvo? We are often asked this question. Simply put, Montalvo is an arts legacy in Silicon Valley. It is a beautiful historic Villa with multiple performance venues and miles of hiking trails, on 175 stunning acres of open space in the midst of an urban landscape. Left to the people of California by the state’s first elected senator, James Phelan, for the advancement of art, architecture and music, Montalvo today is a nonprofit, member-supported arts center. Our mission is to foster community engagement through the creation and presentation of multidisciplinary art, uniting the broadest possible audiences with a global community of artists. We do this through our diverse arts programs, including: :: Annual theme-based arts initiative :: music & Performance :: Education & Public Programs :: New media & visual Arts :: Sally & Don lucas Artists Residency Program :: Historic villa & Grounds This summer Montalvo launches an exciting concert series presented by livE NAtiON in its renowned Garden Theatre. We also have a variety of programs happening year-round: we present jazz, folk, rock and classical concerts, public programs, and theatre/dance performances in the Carriage House Theatre and Villa. Montalvo reaches out to approximately 20,000 students through our school programs. We invite more than 60 artists to be in residence at the Lucas Artists Residency Program and commission new work in the literary, performance and visual arts. And we preserve and maintain the historic Villa and its grounds. We are passionate about what we do and we hope to expand the role of arts and culture as an essential community resource. -
The Life of Maestro Nasrollah Nasehpour and His Contributions to Persian and Azerbaijani Music
THE LIFE OF MAESTRO NASROLLAH NASEHPOUR AND HIS CONTRIBUTIONS TO PERSIAN AND AZERBAIJANI MUSIC PEYMAN NASEHPOUR Undoubtedly, Maestro Nasrollah Nasehpour is the great and loyal heritage holder of the great master of Persian vocal music, Maestro Abdollah Davami. - Nasser Mojarrad, author, journalist, vocalist, and a student of Ostad Gholam-Hossein Banan Nasrollah Nasehpour was born in “Un¸ciMeydan" of Ardabil, Iran, on Thursday, October 24, 1940. His father \Aqa S¸@kur" (1902{1970), a shopkeeper, was an amateur garmon player and his mother \Huriy@ Xanım” (1920{1974), a housewife, was an amateur qaval player. Some relatives of Nasrollah's father had fine singing voices. In particular, his cousin, \Ma¸sadi Gudrat"˘ had an especially fine voice and was an amateur singer of some reputation. In those years in Ardabil, people were used to organizing private gatherings to play music. Also, in festive occasions and wedding ceremonies (in Azerbaijani, \bayramlar v@ toylar"), people were used to inviting musicians to play for them. In this way and because of Nasrollah's family music backgrounds, he was acquainted with Azerbaijani music either mu˘gamsor a¸siqlarmusic. Nasrollah Nasehpour received his secondary school diploma majoring in mathematics from Safavi High School in Ardabil, 1959. It is interesting to mention that Nasehpour was the last group of students that learned French as a foreign language in the school and after that most schools started teaching English as a foreign language. After graduating from the Safavi High School, he moved from Ardabil to Tehran, to get a job and/or continue his studies. Though he participated in the entrance examination of the Officers' Academy (in Persian D¯aneshkadeh-ye Afsari) and he was accepted as a student to study there, because of the strong disagreement and opposition of his mother, he left the Officers’ Academy and started seeking jobs and very soon he found a good one. -
Persian Musicians Directory
Version 9.0 Dec. 2015 PERSIAN MUSICIANS DIRECTORY A B C D E F G H I J K L M N O P Q R S T U V W X Y Z AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA Abbas Nia [Muhammad] traditional Dosazeh ( twin reed pipe) player of the khorasani repertoire (Kashmar) in the 1990’s. Abaei [Reza] Gheychak player. Cooperated with Payvar ensemble, Davod Varzideh (ney) and Mohammad Delnavazi (barbat),. Abdollahi “Sangdehi” [Parviz] Sorna, qarneh player from Mazandaran. Revivalist of Qarneh pipe with Lotfollah Seyfi. “ Date of Birth: 01 Persian date Farvardin 1354/1975. In 1364/1985, his father started the construction Laleva make additional Nmvd.dvrh with ust. Tibi spent on master tapes and music theory with Professor Ismaili came to a Lotfollah Seifi. Beloved, now led by the instrumental group and the group headed by Professor MohsenPour Shavash's activities. Shahrivar 79 (1999) First Prize as the top player of century-festival performers His numerous groups in the province and outside the province and work, including: Group Najma, Sama, Varesh, eager faith, Taraneh, Mah Teti, Roja, traditional Varshan, Shavash group that is a member for 8 years and has continued his association with other groups. For 8 years of playing in groups of Teti, Khojier, Shvash, Ouya, Najma, Varesh, Teti Jar, Mahal Roja, Taraneh, , Kordu Shahu traditional Varshan and research group Samaei Alborz activity and continued some of the works of three Czech, …” (Mehrava.com) Abidini [Hosein] traditional singer of the khorasani repertoire (Kashmar, Torbat e heidriyeh). Cooperated with dotar player Hosein Hadidian (dotar). Abshuri [Ali] traditional Sorna shawm player, kurdish –Kurmanji repertoire of the kurdish from North Khorasan in the 1990’s . -
2 5 Th APRIL
Page 1 ATTAR FOUNDATION House of Wings and Rationales The Integrity of Urge Hypophysis 25th APRIL - 5th MAY, 2016 | IRAN Page 3 ATTAR FOUNDATION House of Wings and Rationales Mission Statement Research to investigate the function of the central hormones within the human brain aiming to better understand the intricacies of neuropsychology and improve upon the management of neuroendocrine disorders. The establishment of international research, student of neuroendocrinology. Biennial symposiums will be held to supportexchange this and notion. advanced educational programmes in the field Fortifying medicine with the essence of humanities, in particular, Eastern philosophy, literature, music and art for a wholesome approach to human health. Founders Mehrnoush Fatholahi Reza Ghaffari Kamyar Ghassemi Laily Mahoozi The Integrity of Urge Hypophysis Attar Foundation’s First Endeavour VII. Annihilation Upon Summit “Qaf” , from one thousand birds that journey, 30 arrive to be one Their solidarity gives birth to the legendary bird “Simorgh” (Si=Thirty, Morgh=Bird) The legend of the “Simorgh” is Urge VI. Bewilderment Within the cradle of the brain thousands of cells gather in oneness This union generates the splendid Hypophysis, the Master Gland The mastery of the Hypophysis is Integrity V. Unity The phenomenon of our universe is not its glory alone but the choreography of this endless diversity as one entity. The complexity lies in the art of orchestrating the marvel of existence. IV. Detachment Homeostasis is the core of celebrating differences and by asserting integrity and balance it heightens the beauty of our enigma. The vast unknown has drawn the mystics of the world. Their belief is that the love wholesomely.