Qaderi Sufi order, with followers in Iran, Iraq, Turkey, Afghanistan, Pakistan and India, knows itself as based on mystical doctrines of Sheykh Abdolqader Gilani. However, according to history the famous Hanbali jurist of the 6th century after Hegira, himself did not found an order, and left it to his followers to enter such an endeavor. Qaderiye Order became known only as late as 9th century after Hegira, and is amongst few dervish orders, whose music ceremonies even nowadays, after issuing the permission by Khalife, are accompanied by miracles and wonders.
The order divides itself into two main branches known as Talebani, and Kasnazani. Their ceremonies are usually held on Fridays. Apart from this day, some beatific days in the calendar such as ‘eyd-e azha, the Prophet’s Birthday, the day of Prophet’s Ascension (known as mi’raj), occasions their ceremonies. Dervishes’ presence in front of their audience does not ruin the authenticity and quality of their performances; they are not bothered when witnessed by ordinary people. They even install loudspeakers outside their khaneqahs, in different neighborhoods, to communicate with other people through their music ceremonies.
Each Qaderi zekr is composed of two distinct sections: zekr-e tahlil and zekr-e qiyam. The former (known also as zekr-e neshaste) begins with avaz in free meter, something more like a speech-song. The words sung in this section are salavat, and eulogies to mystics and saints. Afterwards, it comes the turn of metric numbers, occasionally comprising nearly the whole part of section. Each number includes a short theme in few measures, on words of Persian or Kurdish classical poetry, and accompanied by daf. More sophisticated pieces have the same quality as that of a highly developed tasnif. This section with its irresistible rhythmic patterns played by daf ensemble, could be regarded as an authentic Sama’ ceremony. Ney is the only melodic instrument used in Sama’, but it is not ubiquitously found in qaderi music festivals. On the opposite, daf is the most esteemed instrument and its presence a conditio sine qua non. Daf elevates the players and listeners alike to a state of rapture. And is regarded as a holy instrument with a rich symbolism; e.g. the number of its chain loops (namely 101) is the number of attributes of the Supreme Being.
Zekr-e qiyam (or zekr-e tawhid) comes immediately after zekr-e tahlil. All performers stand up and sing to the rhythms of daf and tabl. Sometimes, on the ostinato rhythm in the background, few or more dervishes begin to sing separately, creating a unique combination of sound and poetry. At this moment and after some transient fluctuations, the rhythm usually speeds up, and duple meter turns into triple meter. The participants whirl around and respond with their audibly loud breathings to zekrs. Gradually all are transported, and at this very moment each person begins to sing his own zekr without any concern about being concordant to others. The rhythms again begin to accelerate and 1-2 minutes before reaching the end, daf players stop playing and a very fast zekr is sung.
The whole lot that could extend from 45 minutes to more than 2 hours, is terminated with zekr “Allah Allah Allah Hey!” and a requiem for the dead.
The pieces 1, 3, 5, 9, 13 are song before daf playing of zekr-e tahlil, the pieces 6, 7, 8, 11, 12 are performed with daf accompaniment at zekr-e tahlil, and pieces 2, 4, 10 belong to zekr-e qiyam.
Part 1
Part 2
Part 3
Part 4
Showing posts with label Iran. Show all posts
Showing posts with label Iran. Show all posts
Wednesday, 1 December 2010
Tuesday, 30 November 2010
Ostâd Mohammad-Hoseyn Yegâneh 
The late Maestro Mohammad-Hossein Yeganeh was born in the city of Ghoochan (in the northeastern Province of Khorasan) in 1918. He took up playing the dotar when he was only ten with his first teachers Avaz Mohammad and Khan Mohammad Bakhshi. In August 1941, he became a student of Maestro Mohammad Jozanni, the most renowned of all the dotar players of the region. Jozanni himself was a student of Ghollamhossein Zirrevagi, a great music scholar in the north region of the Province of Khorasan. Yeganeh's performance was very much influenced by this master of the art. Jozanni lived in Yeganeh's home for months where his host offered him hospitality and the guest in return taught him his treasured knowledge.
Yeganeh mastered the different Khorasani styles of playing the dotar such as Torkaman, Bakhrazi, Ghoochani, Kurdish, and local Turkish and for many years he sang Ali-Akbar Khan and Shahadat Khan. Alongside being an excellent dotar player, he was a master of singing vocals, making dotar and kamanches (the dotars that he made are among the best instruments in north Khorasan), writing poems in Farsi, Kurdish, and Turkish. His techniques were uniquely phenomenal in playing tekiehs and tazyeens; he had a strong set of fingers. Yeganeh translated some famous Turkish and Torkaman tales of the Ghoochan region into Farsi verse and performed one of them, Ebrahim Adham in the Art Festival of 1973 in Moshir Hall. It was in this very recital that the bone of one of his fingers was fractured but he did not feel the pain amidst the excitement and glory of his rhythms and continued his performance until the end of the program.
Ali Ghollamrezayi Almejooghi and his son, Mohammad Yeganeh are among the best students that he trained. This great dotar player passed away in his hometown in 1992.
The Musical Maghams of North Khorasan
Yeganeh's style of story narrating comprises two major classes: first, a description of the events of the story which have their roots in naghalli (an old Iranian custom of narrating a story to a group of people, especially telling epic tales through paintings) and shahadat-khani, and second, retelling the lyrics through singing. The role of dotar in this regard is more than merely accompaniment; it forms a certain conversation with the vocals. The music part is composed of different maghams each having a specific name. The gerayeli, tajnis, and navayi maghams are considered as the shah-maghams (the key maghams). Yeganeh labeled tajnis as harifkosh (competitor-killing) magham and navayi which has its origin in western Khorasan is one magham with several different subclassifications. Navayi is attributed to Amir-Ali Shirnavayi who lived in the 15th century.
Jovayni, Enjedameh, Gharjebayer, Sarhaddi, Zarenji, and Shahkhetayi are examples of important maghams. Gharjebayer is a Torkaman magham in which the galloping of a horse is imitated and the style of vocals is similar to Torkaman vocals with repeated instances of short cries. Sarhaddi is a vocal magham which contains four verses in locallanguages and is customary in western Khorasan.
The North Khorasan Dotar
The dotar of North Khorasan is a string instrument which is played by all the five fingers of the right hand. The sound box of dotar is pear-shaped and intact and contains two strings. The neck is relatively delicate and contains about ten to twelve octaves on it. The sound box and the plate on it are from the wood of berry trees while the neck is from the wood of apricot or walnut trees or any other strong wood.
http://rapidshare.com/files/71590356/YeganehKhorasanAPE.part1.rar
http://rapidshare.com/files/71548801/YeganehKhorasanAPE.part2.rar
http://rapidshare.com/files/71548775/YeganehKhorasanAPE.part3.rar
Yeganeh mastered the different Khorasani styles of playing the dotar such as Torkaman, Bakhrazi, Ghoochani, Kurdish, and local Turkish and for many years he sang Ali-Akbar Khan and Shahadat Khan. Alongside being an excellent dotar player, he was a master of singing vocals, making dotar and kamanches (the dotars that he made are among the best instruments in north Khorasan), writing poems in Farsi, Kurdish, and Turkish. His techniques were uniquely phenomenal in playing tekiehs and tazyeens; he had a strong set of fingers. Yeganeh translated some famous Turkish and Torkaman tales of the Ghoochan region into Farsi verse and performed one of them, Ebrahim Adham in the Art Festival of 1973 in Moshir Hall. It was in this very recital that the bone of one of his fingers was fractured but he did not feel the pain amidst the excitement and glory of his rhythms and continued his performance until the end of the program.
Ali Ghollamrezayi Almejooghi and his son, Mohammad Yeganeh are among the best students that he trained. This great dotar player passed away in his hometown in 1992.
The Musical Maghams of North Khorasan
Yeganeh's style of story narrating comprises two major classes: first, a description of the events of the story which have their roots in naghalli (an old Iranian custom of narrating a story to a group of people, especially telling epic tales through paintings) and shahadat-khani, and second, retelling the lyrics through singing. The role of dotar in this regard is more than merely accompaniment; it forms a certain conversation with the vocals. The music part is composed of different maghams each having a specific name. The gerayeli, tajnis, and navayi maghams are considered as the shah-maghams (the key maghams). Yeganeh labeled tajnis as harifkosh (competitor-killing) magham and navayi which has its origin in western Khorasan is one magham with several different subclassifications. Navayi is attributed to Amir-Ali Shirnavayi who lived in the 15th century.
Jovayni, Enjedameh, Gharjebayer, Sarhaddi, Zarenji, and Shahkhetayi are examples of important maghams. Gharjebayer is a Torkaman magham in which the galloping of a horse is imitated and the style of vocals is similar to Torkaman vocals with repeated instances of short cries. Sarhaddi is a vocal magham which contains four verses in locallanguages and is customary in western Khorasan.
The North Khorasan Dotar
The dotar of North Khorasan is a string instrument which is played by all the five fingers of the right hand. The sound box of dotar is pear-shaped and intact and contains two strings. The neck is relatively delicate and contains about ten to twelve octaves on it. The sound box and the plate on it are from the wood of berry trees while the neck is from the wood of apricot or walnut trees or any other strong wood.
http://rapidshare.com/files/71590356/YeganehKhorasanAPE.part1.rar
http://rapidshare.com/files/71548801/YeganehKhorasanAPE.part2.rar
http://rapidshare.com/files/71548775/YeganehKhorasanAPE.part3.rar
http://rapidshare.com/files/71546133/YeganehKhorasanAPE.part4.rar
Six Songs from the Qajâr Period 
In classical Persian music the metric song is referred to as the tasnif. Historical sourcesclearly show that vocal metric compositions were of different forms and names at least up to the end of the Safavid period (1501-1722). Safavid vocal compositions included kâr, 'amal, sowt, qowl, ghazal etc., that were differentiated from one another based on their rhytmic and formal structures. By the middle of the eighteenth century, the distinctions between vocal compositions were no longer enforced to an extent that by the end of the nineteenth century, all metric songs, except for one improvised genre (kâr 'amal), were known as tasnifs.
The performance practice of court music in the nineteenth century was mostly of two types, the music which was performed in the biruni or the men's quarter and the music which was performed in the andaruni, or the women's quarter. Professional musicians were male. They were masters of the radif and performed largely in the formal and private gathering of the court or in the house of the aristocracy. On the other hand, female musicians (who were trained to sing and dance by the chief male masters) performed exclusively for the andaruni. While male musicians drew upon the repertoire of the radif and metric compositions in their performances, female repertoire included mostly tasnifs.
The middle of the nineteenth century witnessed the rise of prominent female court composers such as Sultan Khanom, a female musician who later married to a son of Fath 'Ali Shah Qajar (r. 1798-1834), and Tâj al-Saltane, a daughter of Nâser al-Din Shah Qajar (r. 1848-1896), who composed some of the most exquisite vocal compositions of that period. Two of the tasnifs in this album were composed by the above mentioned female musicians.
This album tends to offer an elaborate formal suite, characteristic of the late Qajar court music. Each section is arranged in a compound form marked with frequent performances of non-metric gushes as well as vocal and instrumental metric compositions that is concluded with a closing instrumental piece (reng).
The tasnifs performed in this album are mostly attributed to the Qajar court. The two tasnifs of "Bota Bota" and "Az Delam Bikhabari" are reconstructed and performed in this album for the first time in recent years. The tasnifs of "Bota Bota" in the châhârgâh section and those of "Behesht-e 'Adn" and "Nadide Rokhat" were recorded originally by Reza-Qoli Noruzi, a professional tasnif singer of the late Qajar period. We performed these three tasnifs based on Reza-Qoli's recordings. The tasnif of "Az Delam Bikhabari" is performed based on the version of Hâj Âqâ Mohammad Irâni Mojarrad, which I learned that from Dr. Dariush Safvat. The tasnif of "Negârâ" is played here based on the version performed by 'Abdollah Davami and finally the tasnif of "Tâ be Zolf-e Khish" is taken from a private recording of Nurali Borumand (vocals) accompanied by Ali Asghar Bahari (kamânche).
Tracks:
Dastgâh-e Châhârgâh
1. Chahârmezrâb A metric instrumental piece composed by Abolhassan Saba (1903-1957) a distinguished master of Persian classical music, a setâr player and violinist.
2. Darâmad (a non-metric opening gushe)
3. Zâbol (gushe)
4. Tasnif "Negârâ" An anonymous nineteenth-century tasnif, performed here according to the version of Abdollâh Davami.
5. Zâbol (continued)
6. Hesâr (gushe)
7. Tasnif "Botâ Botâ" A tasnif composed by Sultân Khânom, a female musician in the court of Fath-'Ali Shâh Qajar who later came to be the daughter-in-law of this latter
8. Hozân (gushe)
9. Mokhâlef (gushe)
10. Mansuri (gushe)
11. Tasnif "Az Delam Bikhabari" An anonymous nineteenth-century tasnif, performed here according to the version of Hâj-Âqâ Mohammad Irâni Mojarrad, one of the major authorities of the radif.
12. Reng An instrumental piece composed by Rokn al-Din Mokhtari (1891-1971), one of the most competent composers of the late Qajar and Pahlavi period.
Âvâz-e Isfahân
13. Châhârmezrâb A metric instrumental piece composed by Abolhassan Saba.
14. Darâmad (a non-metric opening gushe)
15. Jâmedarân (gushe)
16. tasnif "Tâ be Zolf-e Khish" An anonymous nineteenth-century tasnif, performed here according to the version of Nourali Borumand.
17. Bayât-e Râje' (gushe)
18. Suz-o Godâz (gushe)
19. Tasnif "Nâdide Rokhat" A tasnif composed by Taj al-Saltane, the daughter of Nâser al-Din Shâh Qajar.
20. Owj (gushe)
21. Busalik (gushe)
22. Tasnif "Behest-e 'Adn" An anonymous nineteenth-century tasnif, performed according to the version of Reza-Qoli Noruzi, one of the most famous tasnif singers of the late Qajar period.
23. Reng A closing instrumental piece composed by Morteza Naydavud (1900-1990), a distinguished Jewish composer and tar player of the early Pahlavi period. ”
http://www.megaupload.com/?d=ZPJG7OHR
http://www.megaupload.com/?d=Y1KSX5EN
http://www.megaupload.com/?d=SC0QQVYT
The performance practice of court music in the nineteenth century was mostly of two types, the music which was performed in the biruni or the men's quarter and the music which was performed in the andaruni, or the women's quarter. Professional musicians were male. They were masters of the radif and performed largely in the formal and private gathering of the court or in the house of the aristocracy. On the other hand, female musicians (who were trained to sing and dance by the chief male masters) performed exclusively for the andaruni. While male musicians drew upon the repertoire of the radif and metric compositions in their performances, female repertoire included mostly tasnifs.
The middle of the nineteenth century witnessed the rise of prominent female court composers such as Sultan Khanom, a female musician who later married to a son of Fath 'Ali Shah Qajar (r. 1798-1834), and Tâj al-Saltane, a daughter of Nâser al-Din Shah Qajar (r. 1848-1896), who composed some of the most exquisite vocal compositions of that period. Two of the tasnifs in this album were composed by the above mentioned female musicians.
This album tends to offer an elaborate formal suite, characteristic of the late Qajar court music. Each section is arranged in a compound form marked with frequent performances of non-metric gushes as well as vocal and instrumental metric compositions that is concluded with a closing instrumental piece (reng).
The tasnifs performed in this album are mostly attributed to the Qajar court. The two tasnifs of "Bota Bota" and "Az Delam Bikhabari" are reconstructed and performed in this album for the first time in recent years. The tasnifs of "Bota Bota" in the châhârgâh section and those of "Behesht-e 'Adn" and "Nadide Rokhat" were recorded originally by Reza-Qoli Noruzi, a professional tasnif singer of the late Qajar period. We performed these three tasnifs based on Reza-Qoli's recordings. The tasnif of "Az Delam Bikhabari" is performed based on the version of Hâj Âqâ Mohammad Irâni Mojarrad, which I learned that from Dr. Dariush Safvat. The tasnif of "Negârâ" is played here based on the version performed by 'Abdollah Davami and finally the tasnif of "Tâ be Zolf-e Khish" is taken from a private recording of Nurali Borumand (vocals) accompanied by Ali Asghar Bahari (kamânche).
Tracks:
Dastgâh-e Châhârgâh
1. Chahârmezrâb A metric instrumental piece composed by Abolhassan Saba (1903-1957) a distinguished master of Persian classical music, a setâr player and violinist.
2. Darâmad (a non-metric opening gushe)
3. Zâbol (gushe)
4. Tasnif "Negârâ" An anonymous nineteenth-century tasnif, performed here according to the version of Abdollâh Davami.
5. Zâbol (continued)
6. Hesâr (gushe)
7. Tasnif "Botâ Botâ" A tasnif composed by Sultân Khânom, a female musician in the court of Fath-'Ali Shâh Qajar who later came to be the daughter-in-law of this latter
8. Hozân (gushe)
9. Mokhâlef (gushe)
10. Mansuri (gushe)
11. Tasnif "Az Delam Bikhabari" An anonymous nineteenth-century tasnif, performed here according to the version of Hâj-Âqâ Mohammad Irâni Mojarrad, one of the major authorities of the radif.
12. Reng An instrumental piece composed by Rokn al-Din Mokhtari (1891-1971), one of the most competent composers of the late Qajar and Pahlavi period.
Âvâz-e Isfahân
13. Châhârmezrâb A metric instrumental piece composed by Abolhassan Saba.
14. Darâmad (a non-metric opening gushe)
15. Jâmedarân (gushe)
16. tasnif "Tâ be Zolf-e Khish" An anonymous nineteenth-century tasnif, performed here according to the version of Nourali Borumand.
17. Bayât-e Râje' (gushe)
18. Suz-o Godâz (gushe)
19. Tasnif "Nâdide Rokhat" A tasnif composed by Taj al-Saltane, the daughter of Nâser al-Din Shâh Qajar.
20. Owj (gushe)
21. Busalik (gushe)
22. Tasnif "Behest-e 'Adn" An anonymous nineteenth-century tasnif, performed according to the version of Reza-Qoli Noruzi, one of the most famous tasnif singers of the late Qajar period.
23. Reng A closing instrumental piece composed by Morteza Naydavud (1900-1990), a distinguished Jewish composer and tar player of the early Pahlavi period. ”
http://www.megaupload.com/?d=ZPJG7OHR
http://www.megaupload.com/?d=Y1KSX5EN
http://www.megaupload.com/?d=SC0QQVYT
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