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Music of Islam, Vol. 9: Mawlawiyah Music of the Whirling Dervishes ~ Music Of Islam (Celestial Harmonies Series) |
~ Music Of Islam (Celestial Harmonies Series)
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~ Mohammed Saleh
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~ Music Of Islam (Celestial Harmonies Series)
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To his surprise, Parsons received generous hospitality and warmth from the Iranian people and the recording of this volume became one of his most satisfying and rewarding experiences out of the entire series. Consequently, Parsons left Iran in love with a country, a culture, and people, and with a yearning to return.
The Iranian musicians featured in this recording; Agha-ye Sadjadifard, Agha-ye Djamshidi and Agha-ye Sahihi, were very enthusiastic about representing Islam and Iran and were passionately devoted in presenting a balanced program offering a broad spectrum of Iranian classical music.
Traditional instruments featured include the santur (a trapezoidal zither), kemenche (Arabic kamanja, a bowed spike-lute), tombak (a large goblet drum) and duff (a large framedrum with cymbals).
The instrumental compositions in this recording belong to Persian art music as passed down to the present. The marked preference of the Persians for instrumental music contributed to the dedication of greater attention by the Arabs, orientated more towards vocal music, to the development of instruments and instrumental performance.
Gusheh-ha - designating small dimensioned tonal melodic tone groups - form the foundations of the great complex creations of the classical music of Iran. A gusheh (singular) is comprised of a dastgah - a kind of five-part suite. The connection with classical music is first established by the integration of all recordings in two very popular dastgah-ha (plural), Shur and Homayoun, also found in most regional music traditions.
The instrumental compositions combining the kemenche and santur offer an excellent rendering of the feeling for sound or of the sound ideal of classical Persian music culture. They are accompanied in the rhythmical formation by the zarb or duff.
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