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  1. #1
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    25

    إفتراضي محمّد رضا شجريان Mohammad Reza Shadjarian

    محمذد رضا شجريان أحد أبرز الفنّانين الإيرانيّين المعاصرين المهتمّين بالتّراث الكلاسيكيّ الفارسيّ، وقد أصبح يحتلّ مكانة عالميّة وجاوزت شهرته حدود بلاده بكثير إذ طبع الكثير من الأقراص المضغوطة وأحيى الكثير من الحفلات في أوروبا وأمريكا (وقد أسعفني الحظّ بحضور إحداها في نيويورك منذ بضع سنوات) وقد عني بإحياء التّراث الموسيقيّ والغنائيّ الفارسيّ من خلال أدائه والتّأليف أيضا ناسجا على منوال الأقدمين، ومكانته في تقديري بالنّسبة إلى الموسيقى الفارسيّة تعدل مكانة قدسي إرغونير بالنّسبة إلى الموسيقى التّركيّة ؛ وأقدّم لكم اليوم محتويات قرص صدر له عن إذاعة فرنسا ضمن سلسلة أوكورا وسجّل بمسرح مدينة باريس سنة 1989 ؛ وتجدون بقيّة المعلومات ضمن غلاف القرص بالمرفقات.

    This is the initial step to fulfill a long overdue promise I made to Ambrosebierce. In fact, what I promised Paul is the full Radif collection interpeted by Shadjarian and this will certainly come at a later stage. But, here's to begin with the full content of a CD published in the Ocora collection. More details are to be found in the CD cover uploaded here along with the CD tracks. In my view to the Persian classical music what Kudsi Erguner is to the Ottoman music
    الصور المرفقة الصور المرفقة
    • نوع الملف: jpg Back.jpg‏ (476.2 كيلو بايت, عدد مرات التحميل : 32)
    • نوع الملف: jpg Face.jpg‏ (210.0 كيلو بايت, عدد مرات التحميل : 25)
    الملفات المرفقة الملفات المرفقة
    آخر تعديل بواسطة أبو علاء ، 25-02-2006 الساعة 23:36
    أبو علاء

  2. #2
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    25

    إفتراضي

    وهذه بقيّة القطع :

    Here are the remaining tracks
    الملفات المرفقة الملفات المرفقة
    أبو علاء

  3. #3
    AmbroseBierce Guest

    إفتراضي

    Thank you - a wonderful album. I agree with you that Shajarian's role is sort of comparable to Kudsi Erguner's in their respective musical cultures, particularly when it comes to what they did to spread their music in the Western world. And both did not corrupt the purity of their tradition in order to accomodate Western listeners more easily.

    I see one major difference between Kudsi Erguner and Mohammad Reza Shajarian though: The latter never experimented with jazz fusion like Kudsi Erguner did (with considerable success).

    My favourite recordings of Shajarian are the three CDs in two albums with Kayhan Kalhor, Hossein Alizadeh and Shajarian's son published by World Village: "Without You. Masters of Persian Music" and "Faryad. Masters of Persian Music". I saw that group live in Cologne a couple of years ago and it was one of the very best, deepest and most moving musical performances I ever attended. If you're interested I can upload some samples here.

    Anyway, I'm looking forward to the Radif of Shajarian.

  4. #4
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    25

    إفتراضي

    I agree with you on the "oriental jazz" bit and I confess this an additional reason for me to appreciate Shadjarian's work. I too had the chance of attending one of the group concerts in New York four or five years ago. Unfortunately, Ali Husayn Zadeh was missed the concert because the Americans denied him the entry visa! I have the CD Without you I bought on that occasion, but I don't have the two others. The first track on the present CD and in particular the instrumental prelude is simply breathtaking for me
    أبو علاء

  5. #5
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    25

    إفتراضي Apologies

    I owe them to you Paul and to all the interested members who followed this discussion. I've finally dug out in my Iranian CD collection and found out I mixed up two different things! I do have a full version of the Radif on 5 CDs but it's not by Shadjarian but rather by Dariush Talaï on setar. On the other hand, I have a series of 3 CDs by Shadjarian and his ensemble covering 3 of the major modes (bidad/humayun, dashti and mahur) and featuring in particular Parviz Meshkatian as group leader, santour player and composer. In other words, this work does not belong to the classical repertoire. Now, this clarification made, just tell me whether you are still interested and I will upload both series, only one (you have to tell me which) or forget about it all. Sorry for this confusion
    أبو علاء

  6. #6
    AmbroseBierce Guest

    إفتراضي

    Never mind - please upload the Radif by Dariush Tala'i, and at least the first two of the Shajarian albums. I have the third - it is the al sur series, isn't it? But what makes you think, the Shajarian series are not part of the classical repertoire? Might be right, though my idea of Persian classical music is that the repertoire is constantly evolving, based on fundamentals transmitted through learning the radif, with new compositions coming up constantly. That's where people like Hossein Alizadeh and Parvez Meshkatian are drawing their reputation from (of course they are great instrumentalists too, but I think they're composers above all). In that respect (though not only in that) I think Persian classical music is similar to the Indian tradition - you have a set of basic formulas which are more or less fixed, but new compositions based on these fundamentals are being produced all the time by the contemporary artists. And the term "classical" is based not on the compositions played, but on the adherence of these to the basic set of rules. At least that is my understanding. Taking the album you just presented here as an example, you can see that apart from those mainly improvised pieces where you just have the singer accompanied (we could say "followed") by one instrumentalist, the music is composed by again Parviz Meshkatian and Shahjarian himself - of course on poems by the great poets of classical Persian literature, like Hafez in this case.

    The more I think of it, the closer it seems to me to Indian, particularly South Indian (Karnatic) classical music - in structure. There they also have a large set of compositions ("kriti" and other forms), many from the 18th century (or earlier) onward, but with lots of recent pieces. They do improvised passages on these compositions ("pallavi" and other forms) and they have fully improvised pieces (like "ragam" and "tanam"). And they do consider contemporary compositions as part of the classical repertoire - if these follow the basic rules of raga.
    آخر تعديل بواسطة AmbroseBierce ، 26-02-2006 الساعة 20:47

  7. #7
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    25

    إفتراضي

    My knowledge of Persian music is very limited compared to yours wheres I know nothing at all about Indian music. So, I can't discuss all these notions but I suppose you're right. My supposing Shadjarian CDs did not belong to the classical repertoire was simply based on the assumption that these are new compositions, but, of course, what you wrote makes sense. Anyway, I will upload that stuff progressively.
    أبو علاء

  8. #8
    AmbroseBierce Guest

    إفتراضي

    While waiting for the radif we may spend the time listening to another very beautiful piece by Mohammad Reza Shajarian, a song in Dashti, which is an auxiliary mode (or Avaz) related to the Dastgah Shur. Dashti is widely used in Persian folk music and is sometimes described as the basis of folk music, but it is also very common in "serious" classical music.
    Shajarian sings a poem of the Persian poet Sâyeh. The recording is quite old: it was done at Roudaki concert hall in 1979 and published by Al Sur as Vol. 2 of their 3-CD-series on Shajarian in 1996 (CDAL 192).

    The ensemble consists of:
    Faramarz Payvar, santur
    Houshang Zarif, tar
    Rahmatollah Badii, kamanche
    Hassan Nahid, ney
    Mohammad Esmaili, tombak
    Hossein Farhad Pour, ghajak
    Parvin Saleh, ghijak
    Parvin Shakalvar, ghijak
    Hassan Manoutchehri, barbat (Persian oud)
    Mohammad Delnavazi, robab

    That was the time, when mixed male/female ensembles were still allowed to perform. Soon after, women could appear on stage only in front of all-female crowds. That of course created tremendous difficultues for female musicians.
    الملفات المرفقة الملفات المرفقة
    آخر تعديل بواسطة AmbroseBierce ، 15-03-2006 الساعة 02:06

  9. #9
    تاريخ التسجيل
    Sep 2005
    الإقامة
    Vienna, Austria
    المشاركات
    25

    إفتراضي

    Thanks, Paul. Don't loose patience for the Radif and the volumes of this very trilogy you don't have yourself. I've been away from home for the last couple of weeks. And this is part of my plans for the next few days once I'm back in Rome.
    أبو علاء

  10. #10
    Hakem Guest

    إفتراضي

    Many many thanks ya Abu Alaa, this is a real gift!
    آخر تعديل بواسطة Hakem ، 15-03-2006 الساعة 23:55

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