Amazon.com
Any recording featuring elderly Armenian
duduk (an ancient, nine-holed shawm-oboe made of apricot wood) virtuoso Djivan Gasparyan is worth treasuring. But this time out, he was heard in particularly august company and under extraordinary circumstances. In September, 2003, the maestro, along with Grammy-nominated Iranian plucked string virtuoso Hossein Alizedeh and a hand-picked group of collaborators, gathered at Teheran's Niavaran Palace. The personnel included Alizedeh's own Hamavayan Ensemble, with Armen Ghazarian and Vazgen Markaryan on
duduk and bass
duduk, plus vocalists Afsaneh Rasaei, Hourshid Biabani, and Ali Samadpour. Alizedeh is a renowned composer and a foremost living exponent of the
tar and other members of the Persian lute family. However, for this recital, he is heard on the six-stringed
shurangiz, a relatively recent and notably resonant descendent of that clan. Gasparyans mature grace ignites Alizadeh's impetuosity as the two men negotiate the highest peaks of passion and inspiration; both are captured at their best and thats saying a lot. But aside from the musical brilliance on hand, the event also constituted a social breakthrough, in which a female singer performed live with an otherwise male roster and appeared before a mixed-sex audience. --
Christina Roden
Amazon.com
Any recording featuring elderly Armenian
duduk (an ancient, nine-holed shawm-oboe made of apricot wood) virtuoso Djivan Gasparyan is worth treasuring. But this time out, he was heard in particularly august company and under extraordinary circumstances. In September, 2003, the maestro, along with Grammy-nominated Iranian plucked string virtuoso Hossein Alizedeh and a hand-picked group of collaborators, gathered at Teheran's Niavaran Palace. The personnel included Alizedeh's own Hamavayan Ensemble, with Armen Ghazarian and Vazgen Markaryan on
duduk and bass
duduk, plus vocalists Afsaneh Rasaei, Hourshid Biabani, and Ali Samadpour. Alizedeh is a renowned composer and a foremost living exponent of the
tar and other members of the Persian lute family. However, for this recital, he is heard on the six-stringed
shurangiz, a relatively recent and notably resonant descendent of that clan. Gasparyans mature grace ignites Alizadeh's impetuosity as the two men negotiate the highest peaks of passion and inspiration; both are captured at their best and thats saying a lot. But aside from the musical brilliance on hand, the event also constituted a social breakthrough, in which a female singer performed live with an otherwise male roster and appeared before a mixed-sex audience. --
Christina Roden