Like many music types of the East, Persian classical music, better known as Persian dastgہhi music, is based on a definitive repertoire. This repertoire known since late Qajar period as radif comprises of tetrachords (dangs) melodic ornamentations, melody models, and above all of a certain logic of music rendering.
The authentic rendering of dastgahi music includes the instantaneous impression on the player who combines it with his inmost character qualities. The larger and deeper is the memory of the player, the more authentic and deeper would be his rendering of the music. Basically the esthetics of Persian classical music has originated from the "logic" of radif. This has formed during centuries and based on the nation's esthetic criteria and expressed itself as a sort of Iranian Weltanschauung
In this way, technique and esthetic qualities ه both rooted in repertoire and influential by the musical taste of the player ه results each time in a newer version of radif filtered through his mind and consciousness. On the other hand, during the previous century a large corpus of master recordings and definitive interpretations has largely added to the treasure of Persian classical music. The new facility provided by recording early music samples makes any musician confront a huge archive of legendary recording. This archive serves as unending source of inspiration and contact with sheer art of interpretation to younger generation. In other ways, radif repertoire and masters' interpretations have been rich music sources during the last century.
Iman Vaziri is one of these younger musicians who by knowing radif deeply and having great technical skills in tar playing, by auditing carefully diverse master interpretations by the players and singers of last century, has accumulated a large amount of knowledge of the repertoire and its ways of rendering and relying on his vast knowledge has maintained an authenticity in his interpretation. The present collection is his new interpretation, having its roots in two mentioned sources and heavily relying on the school of Ostad Ali-Akbar Shahnazi.
Iman Vaziri
Born in 1970, Iman Vaziri has studied music in Iran and Germany. In his early years he began to study tar with Ostad Fereydun Hafezi, a master of tar-playing technique later known as "shirin-navazi."
His real master, however, was Dr. Asadollah Hejazi, whose main approach was to old zarbis of radif and the playing style of Ostad Ali-Akbar Shahnazi. Vaziri continued his radif studies with Dr. Daryush Safvat who supervised his music scholarship and greatly influenced his general musical approach.
Of his released works are a few albums in which he has appeared either as composer or soloist. He has given several concerts and composed music for a few movies. Piano Quartet, Chamber Music, Tar Solo and Sadegi are amongst his released oeuvres. ...