ON THIS COMPILATION
Tasnifs of the present anthology belong to a period when the form was going to detach itself from its early semi-popular nature, and when the composers insist on mentioning their names with tasnifs. Aref and Sheyda, two diligent tasnif-makers, composed both their music and
poetry, as well as Hesam-os-Saltane, and Darvish Khan (here represented by a Pishdaramad) all belong to the same period that coincides with the events of constitutional movement during which tasnif played an important role in political excitations. Earlier popular amateurish tasnif was occasionally with political-social content. Tasnifs of Aref, Darvish Khan, and Hesam-os-Saltaneh in collaboration with Malek-osh-Sho`ara Bahar belonged to a new genre far from popular domain. Aref used to say that he was the first to compose "serious" tasnif,but only as far as his opinion signifies that he was amongst those who developed popular anonymous tasnifs to include such realms as political and social domains of issues.However, popular elements were still present in tasnifs of this period,especially those by Sheyda, amongst them are present non-prosodic verses and light stereotypes.Usually three types of poetry were used in tasnifs of this period:
1. Prosodic verse;
2. Semi-prosodic verse;
3. Non-prosodic stereotypic verse.
Sometimes only one type is present in a tasnif, e.g. "az Gham-e Eshq", or "Shekaste del" (in this collection). Sometimes tasnifs enjoyed a
combination of two or, rarely, three of mentioned types, like "Eftekhar-e Afaq", "Tar-e Zolf", and "Bidad Makon".
As a general rule, word in tasnifs of this period was subservient to melody. Music always had priority not only as regards to determining the quality and nature of the poetry, but also in breaking words and syntax.
Often a single word is divided in such a way that it was to be sung at the end of the first musical phrase, and at the beginning of the second phrase. But the whole procedure shows an aesthetic rule of choice on part of the
composer for whom the fluidity of melody was sometime obtained to the expense of poetry.
Sasan Fatemi
Mohsen Keramati was born in 1947 in Tehran. He is a graduate of the Faculty of Fine Arts in Tehran University. He studied singing in 1978 with great masters M.-R. Shajarian, and Mahmud Karimi. He has performed in different countries such as France, Germany, and United States,alongside such masters as Hossein Alizadeh, Daryush Talayi, Hamid Motebassem, and Arshad Tahmasbi. Of his numerous recordings are Sobhgahi (Aubade), Raz-e No, and Panje-ye Dashti.
Farshad Mohammadi Persian composer and santur-player began studying the instrument at an early age with Parviz Meshkatiyan and
Pashang Kamkar. He has collaborated with the BBC World Service in London, and Dutch Radio Station. He gave a Persian santur recital at
ITV1 (London). He has recorded as soloist, and accompanist while working with ensembles such as Now-Ava, Hamraz, Parniyan, and
Rowshani.He has composed scores for several motion picutres. His recent concert engagements include performances at Swansea, Nottingham Music, Farid Al-Din and Brighton Festivals. Mohammadi has also performed as soloist in Germany, Netherland, Scandinavia, and Iran. He is currently doing his research on aspects of musical performances as part of his PhD program at the School of Oriental and African Studies.
Farhad Zali was born in 1974 in Tehran. He entered the National Conservatoire of Music in 1988 and started learning to play ney with
Afsharniya and Kiyani-Nezhad. Later of he was entered for his BA in music at the conservatoire. His concert engagements include working with ensembles Dena, Ozzal, Fakhte, and Aftab. Farhad Zali has performed in Lebanon, Japan, France, Ireland, and Iran. His recording activities include Sur-o-Sug (Siyamak Jahangiri), Dargozar (Reza Fayyaz), Dar Khane-ye Aftab (Reza Fayyaz), and Man
Tarabam (Majid Derakhshani). He teaches at the National Conservatoire and is actively working with different ensembles, including Rowshani.
Nima Salimi was born in 1975. He received his BA degree in music from Tehran University. Since 1988 he has been trained to play tombak with Bizhan Zanganeh, Naser Farhangfar, and Bahman Rajabi, and also tar with Arshad Tahmasbi, Hossein Alizadeh, Fariborz Azizi, and Daryush Talayi. He is a co-founder of Aftab Ensemble, and has held numerous concerts in Iran. ...