A legendary supernatural bird in Persian literature Oiseau fabuleux de la légende iranienne „Schahname“ 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 Le Livre des rois (Shâhnâmeh) de Ferdowsi- poète épique persan de la fin du Xème siècle- n’est pas seulement le plus epic, Nibelungensage. The Shahnameh is indeed unequalled as a literary work. important monument de la littérature persane, mais aussi un des chefs d’œuvre de la littérature mondiale. Cette épopée composée de cinquante mille distiques brossant une fresque mythologique où protohistoire et histoire se succèdent dans un And if we look at other Persian poets who have explored the themes of love, despair, envy and zeal, we find that while Fer- même souffle épique, contient deux fois plus de distiques que l’épopée d’Homère, l’Iliade et l’ Odyssée, et vingt fois plus dowsi deals with the same themes, he also unveils the science of Iranian epic history and legends and leads the reader deep que l’épopée allemande Nibelungen. into the spirit of his characters, probing a vast array of human feeling. He carries the reader with him to the battlefields and Parallèlement aux richesses du nombre de distiques et de notions comme l’amour, la nostalgie, l’enthousiasme, le Shâh- the feasts. He paints these scenes masterfully, giving the stories vibrant, tangible expression for his readers. The difficulty of nâmeh illustre des scènes des contes mythiques de l’Iran antique et ramène le lecteur au coeur de l’histoire de ses héros, de using musical narration to portray Ferdowsi’s epic stories lies herein. leurs champs de batailles et de leurs scènes de plaisirs, d’où la difficulté d’une version musicale de ces contes. La musique est l’art de transmettre des concepts comme l’amour, la haine, la nostalgie, mais quand il s’agit de raconter une scène Simorq, the story of the birth and growing up of Zaal and his love for Roodabeh, the daughter of King Mehrab of Kabal, is vivante, alors la version musicale rencontre des difficultés. one of the most beautiful and, in structural terms, complete facets of the Shahnameh. L’orchestration dans la musique iranienne ne date pas de très longtemps et les oeuvres d’orchestration sont très rares. In this story, Ferdowsi has interwoven human preoccupations with luck, fate and destiny, greed, fear and disgrace with the Pour créer une oeuvre d’après un texte tel que le Shâhnâmeh, le musicien a besoin d’un ensemble de différents thèmes et need and desire for fame and love, under the canopy of the epic story. The story of Simorq, apart from its literary beauty, is mélodies et d’une polyphonie de plusieurs airs. Ce sont justement ces complications qui ont empêché les musiciens iraniens also informed by an inner music. de présenter une version musicale de cette immense oeuvre. Simorq, dont l’histoire raconte la naissance et la croissance de Zâl, l’enfant albinos dont l’oiseau devient la nourrice, est l’une des plus belles et des plus complexes des histoires du Shâhnâmeh. Dans cette histoire, Ferdowsi aborde, dans un souffle Eine musikalische Interpretation des iranischen épique, des thèmes comme la destinée, la peur, la malédiction et surtout l’amour. Nationalepos „Schahname“ Ferdowsis Schahname ist nicht nur eines der berühmtesten Meisterwerke der persischen Lyrik, sondern auch eines der größten der Weltliteratur. So ist der über fünfzigtausend Verse umfassende Nationalepos Irans doppelt so groß wie Homers Epen und zwanzigmal umfangreicher als das Nibelungenlied. Dies ist jedoch nicht alles, was Schahname so einzigartig macht. Während sich die Werke anderer persischsprachiger Dichter hauptsächlich mit abstrakten Inhalten des menschlichen Wesens wie Liebe, Anmut und Sehnsucht befassen, geht Ferdowsi einen Schritt weiter; er nimmt den Leser nicht nur mit in die tiefsten Punkte und verborgernsten Ecken der Seele seiner Helden, sondern führt sie auch mitten hinein in mystische Schlachten und Festivitäten, welche dem Leser wie lebendige und lebhafte Szenerien erscheinen. „Simorq“ handelt von Sam, einer Urgestalt des iranischen Heldentums, von seinem aufgrund seines Aussehens verstoßenen Sohnes Zaal, von Simorq, der den neugeborenen Prinzen in seine Obhut nimmt und schließlich von der leidenschaftlichen und feurigen Liebe des tot geglaubten jedoch zurückgekehrten Prinzen zu Roodabe, Tochter eines Königs, dessen Vorfahren zu den Größten Feinden Irans zählten. Somit ist diese Sage einer der schönsten und zugleich strukturell Kompliziertesten Teile Schahnames, in dem Ferdowsi Liebe, Hass, Glück, Schicksal, Ruf, Verruf und insbesondere die ewige Sehnsucht des Menschen nach dem Unerreichbaren gleichermaßen in Szene setzt. 2 www.simorq.org www.simorq.org 3 Hamid Motebassem Homayoun Shajarian Composer and Tar & Setar Player Singer (Soloist) Hamid Motebassem was born in 1958 in Mashad, Iran. is a Persian classical music vocalist, as well as a Tombak and Kamancheh He was raised in a musical family, where his brother was a violinist and player. He was born (21 May 1975) in Tehran in a music-dedicated family. his first teacher was his father, Ali Motebassem who played the Tar. His He is the son of Mohammad Reza Shajarian, who is in turn the grand subsequent teachers included the masters Habiballah Salehi, Zeydallah master vocalist of traditional Persian music. Toloie, Houshang Zarif, Hossein Alizadeh and Mohammad Reza Lotfi. He began studying knowledge of technique and rhythm under Motebassem studied in the Tehran School of Art and the Conservatory of supervision of Nasser Farhangfar, master of Tombak, at the age of five. Persian Music. He was a member of the Chavosh Cultural Center where he Afterwards, he also continued learning Tombak under Jamshid Mohebbi’s taught music. One of the original members of Aref Ensemble, he founded supervision. Dastan Ensemble as well as Ensemble Chakavak, Mezrab & Pardis upon immigration to Germany in 1986. Hamid Motebassem is the founder of He commenced learning Persian traditional vocal Avaz under father’s su- the Society of Tar and Setar and has since 1994 organized annual semi- pervision and gained knowledge of Avaz techniques and voice-producing. nars dedicated to the two instruments. He has performed on numerous albums of contemporary Iranian compos- Simultaneously, he attended Tehran Conservatory of Music and chose ers as well as on all the released works of Dastan Ensemble since 1992. Kamancheh as his professional instrument as well as being tutored by Ardeshir Kamkar. He joined Ava Music Ensemble in 1991. He accompanied Discography: father, Hossein Alizadeh and Keyhan Kalhor in concerts of Ava Music • Bamdad • Gol-e Behesht Ensemble, playing Tombak. • The Scent of Norooz • Maah Aroos Discography: • The Song of the Sea • LoolianQeijak-e Koli • Nasim-e Wasl • Naghsh-e khyal • Saz-e No, Avaz-e No • Be Nam-e Gol-e Sorkh • Na-shakiba • Khorshid-e Arezou • Dastan Trio • Shurideh (Winner of the title “Musical Shock“ in the music • Showgh-e doest • Qeijak-e Koli • Dastan Duet journal, Le Monde and the recipient of the 2003 Best Music • Hanaie of the Year Award from the French Ministry of Culture.) 4 www.simorq.org www.simorq.org 5 Hooman Khalatbari Conductor Born on April 17th Hooman Khalatbari studied piano with Nayyerh Oskouyi, Lilly Sarkisian, and Melik Aslanian. He also studied harmony and counterpoint with Fer- eydoun Nasseri, composition with Ahmad Pejman, and the principles of orchestral conducting with Thomas Christian David and Heshmat Sanjari. He graduated with a B. Mus. from the University of Arts in 1996, having studied Iranian traditional music and Setar playing with Mehrbanu Tofigh, and classical music with Sharif Lotfi, Houshang Kamkar, Amir- Ashraf Arianpour, and Kambiz Roshan-Rawan. From 1988 to 1996, he was the principal pianist of Tehran Symphony Orchestra, assistant conductor of Tehran Symphony Choir, principal pianist for Bahman Cultural Center (BCC) orchestra and choir, and assistant conductor to Prof. Thomas Chris- tian David with Tehran Youth Philharmonic Orchestra. Mr. Khalatbari moved to Austria in 1997 and entered Kunstuniversität Graz, where he studied choral conducting under Rupert Huber and Johannes Prinz, orchestral conducting under Arturo Tamayo, Raffi Armenian and Martin Sieghart. He also studied Opera conducting under Wolfgang Bozic and Günter Fruhmann. He graduated with honours in 2006 with degrees in both choral and orchestral conducting. He was the assistant conductor (and later the principal conductor) of the Junger Kuenstler opera festival in Graz between 1999 to 2001, and the founder and artistic director of the Kirchstetten Castle International Music Festival in northern Austria since 2001. He will be celebrating the latter festival’s 11th season with a performance of Johann Strauss’ Die Fledermaus later this year. Mr. Khalatbari has frequently appeared at the podium of the Graz Opera since 2001, where his conducting repertoire for the 2010-2011 season has included Verdi’s La Traviata, Richard Strauss’ Die Frau Ohne Schatten, Gounod’s Faust, and Shostako- vich’s Lady Macbeth of the Mtsensk District. Mr. Khalatbari’s conducting repertoire spans a wide spectrum of musical traditions, ranging from classical (opera and symphonic) to atonal and contemporary music, and reflects his eclectic musical tastes. Conducting the combined forces of a Persian music Ensemble for the world premiere of the Mr.Motebassem,s Simorq Project with Homayun Shajarian is his latest musical venture. 6 www.simorq.org www.simorq.org 7 Copyright 2010 Simorq Inc. All rights reserved Technician © سیم www.simorq.org Sasan Azodi رغ [email protected] شاهنامه فردسی نه تنها یکی از برجسته ترین آثار ادب پارسی، که یکی از شاهکارهای ادبیات جهان است. حجم حماسه Iliad Odyssey Orchestra Management and communications ملی ما با بیش از پنجاه هزار بیت بیشتر از دو برابر حماسه های » « و» « هومر و بیست برابر حماسه آملانی Nibelungensage« Saeedeh Ghazi English Translator« است.