symphony - International Music Network

SYMPHONY
PROJECT
ARTIST’S STATEMENT
Rumi Symphony Project
Music without borders
We proceed in life along the axis of our own distinctness and boundaries, but it is in union
that our soul soars and that we dream. Each time my father and I come together, you could
say tradition meets innovation. Some people might consider my father as tradition and me
as innovation. The reality is that we represent a continuous spectrum that manifests and
reinvents itself in different shades and tones across time. My personal quest is to develop a
new musical vocabulary that speaks to our times and to our present generation.
Just as Rumi is both the East and the West and yet is neither exclusively, this relationship
between tradition and modernity blossoms around the axis of an exchange, a conversation.
Like the Sufi school of thought born of Rumi’s teachings, these tidings have one foot in the
past and another that takes the past and drags it out towards the future and wide open
spaces. Fervor and poetry join forces and create a new language that transcends time and
space.
The Rumi Symphony Project aspires to dissolve the frontiers that place different cultures
in opposition to one another. Like Rumi, I see humanity as a continuous variation that is
perpetually renewed in the act of creation. In my music, by fusing classical Persian and
Western music into a new harmonious whole, I attempt to break the boundaries of identity
that create antagonism and strife. Music becomes a medium with a message that is at once
eternally true and particularly relevant to the fissured time we live in today.
My father and I will perform with an ensemble of musicians of diverse nationalities and
musical traditions. In my compositions, I integrate Persian monophonic music and
improvisatory styles with Western harmonic forms and structures. In doing so, I will
explore and showcase the specific character of Persian and Western instruments and bring
them together as a unified ensemble. As in my ideal world, I underscore the opportunity
for individual identities and traditions to interact with one another on a shared and
borderless playing field.
My musical homage to Rumi on the 800th anniversary of his birth is my way of advocating
inclusiveness. I hope that it will serve as a metaphor for bridging the divide that separates
East from West, and old from young. I hope that it may inspire a new tradition of love,
respect, peace, and transcendent harmony that links the best of the past with the brightest
promises of the future.
Music is the universal saving grace that brings us together and makes us whole.
Hafez Nazeri
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RUMI
"Come, come, whoever you are.
Worshipper,
Wanderer, Lover of Leaving; ours is not a caravan of despair.
Though you have broken your vows a thousand times...
Come, come again, Come."
The best-selling poet in the United States according to Amazon is not… Allen Ginsburg or
Emily Dickinson or Walt Whitman, or Keats or Byron, or evidently Shakespeare. It’s
Mawlana Jalal ad-Din Rumi, a 13th century Persian poet.
Over the course of the last decade the West has discovered Rumi and has been electrified
by his poetry. Thinkers, artists and poets such as Peter Sellars, Coleman Barks, Deepak
Chopra, Bill Moyers and Bill Viola, among others, have been moved by his work. Who is
Rumi and how to explain his impact on us centuries after his own birth and death?
Mawlana Jalal ad-Din Rumi was an Iranian poet and Muslim mystic born in 1207 (d.
1273) in Balkh, a city in the greater Khorasan province in northeastern Iran (now part of
Afghanistan). Writing chiefly in his native Persian, his oeuvre is considered among the
most significant in all of Persian literature. The underlying theme of his poetry centers on
the concept of Tawheed (unity) and a longing for reunion with his “beloved,” the primal
source from whom he has been separated.
Rumi moved with his father to Iconium (now Konya) in Anatolia (modern Turkey) when
he was 18, and composed smaller volumes of poetry in Turkish and Arabic as well. His
tomb in Konya is a famous place of pilgrimage.
Rumi’s apprenticeship as a Sufi was guided by Shams ad-Din Tabrizi (d. 1247), a
mysterious companion and one of his chief spiritual masters. Their encounter resulted in
an exquisite collection of some 40,000 couplets called the Divan-e Shams. Rumi’s most
celebrated work is the Masnavi, a six-volume work of spiritual teachings and Sufi lore of
such extraordinary quality that it is commonly known as “the Persian Koran”. Rumi
founded the Mawlaviyya (Mevlevi) Sufi order whose initiates, known in the West as the
Whirling Dervishes, use dancing and music as a technique in their spiritual search for
union and transcendence.
Rumi’s silent conquest of the West can be attributed to the relevance of his vision to the
modern world. He addresses the conflicted nature of human existence and celebrates its
earthliness as well as its divinity. For him, poetry was a way to articulate the divine
mysteries of love and union—mysteries, the depths of which have yet to be fathomed, 800
years on.
While Rumi’s Masnavi forms part of the classical Iranian musical repertoire, Shahram
Nazeri was the first to set his Divan-e Shams to music. With Rumi Symphony Project,
Hafez Nazeri continues along the path his father forged with new compositions that pay
homage to Rumi as a living icon.
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SUFISM
"There are three ways of knowing a thing. Take for instance a flame. One can be told of the
flame, one can see the flame with his own eyes, and finally one can reach out and be burned
by it. In this way, we Sufis seek to be burned by God."
Sufism is an umbrella term for the ascetic and mystical movements within Islam. While Sufism is
said to have incorporated elements of Christian monasticism, gnosticism, and Indian mysticism, its
origins are traced to forms of devotion and groups of penitents (zuhhad) in the formative period of
Islam. The early pious figures, later appropriated by Sufism, include Ali, Hasan al-Basri (d. 801),
and Rabia al-Adawiyya, a woman from Basra (Iraq) who rejected worship motivated by the desire
for heavenly reward or the fear of punishment and insisted on the love of God as the sole valid
form of adoration. The word Sufi first appears in the 8th cent., probably in connection with the
coarse wool that many ascetics wore.
Two central Sufi concepts are tawakkul, the total reliance on God, and dhikr, the perpetual
remembrance of God. Al-Muhasibi (d. 857) and his disciple Junayd (d. 910) are representative
early figures. The introduction of gnostic elements (marifa) into Sufism is often attributed to Dhun-Nun al-Misri (d. 859). Sufism nonetheless faced growing opposition from orthodox clerics. The
scholastic and ecstatic paths further diverged with the concept of fana, the dissolution into the
divine, advocated by al-Bistami (d. 874), and used by Hallaj in the declaration of his unity with
God, which eventually led to his execution in 922. Islamic orthodoxy and Sufism were not
irreconcilable, as attested by the attempt by al-Ghazali (d. 1111) to infuse conformist Muslim
religious life with mysticism.
The evolution of Sufism in the post-Ghazali period was influenced by Ibn al-Arabi and Ibn alFarid. Their theoretical contributions led to the development within Sufism of a complex system
of initiation and progression toward the Divine and set the stage for the emergence of organized
Sufi orders. This phase of literary Sufism was also characterized by the prominence of Persian
works, notably those of Shihab ad-Din Suhrawardi (d. 1191), Farid ad-Din Attar, and Jalal ad-Din
Rumi, and the subsequent development of Persian, Turkish, and Urdu mystic poetry. Important
Sufi figures elsewhere in the Islamic world include Muin ad-Din Chishti in India and Baha ad-Din
Naqshband (d. 1390) in central Asia.
Sufi orders, which assimilated aspects of native religious traditions more readily than more
dogmatic versions of Islam, played a major role in the expansion of Islam into sub-Saharan Africa
and central, S, and SE Asia. The oldest extant order with attested historicity is probably the
Qadiriyya, founded by Abd al-Qadir al-Jilani (d. 1166) in Baghdad. Other important orders
include the Ahmadiyya (notably in Egypt), Naqshbandiyya (Central Asia), Nimatullahiyya (Iran),
Rifaiyya (Egypt, SW Asia), Shadhiliyya (N Africa, Arabia), Suhrawardiyya and Chishtiyya (S and
central Asia), and Tijaniyya (N and W Africa).
The work of Idries Shah has been instrumental in introducing Sufism to the West; see his The
Sufis (1964) and The Way of the Sufi (1968). Although Sufism has made significant contributions
to the spread of Islam and the development of various aspects of Islamic civilization (e.g.,
literature and calligraphy), many conservative Muslims disagree with many popular Sufi practices,
particularly saint worship, the visiting of tombs, and the incorporation of non-Islamic customs.
Consequently, in recent centuries Sufism has been a target for Islamic reformist and modernist
movements.
Source: The Columbia Electronic Encyclopedia, Sixth Edition Copyright © 2003,
Columbia University Press.
9
Classical Persian Music
The artistic gift of the Persian people has produced a staggering literary heritage, an
exquisite tradition of decorative arts and handicrafts, a superb legacy in architecture, and a
refined musical culture whose influence is evident as far away as Spain and Japan.
Historic Retrospective
The history of musical development in Iran [Persia] dates back to the prehistoric era. The
great legendary king, Jamshid, is credited with the invention of music. Fragmentary
documents from various periods of the country's history establish that the ancient Persians
possessed an elaborate musical culture. The Sassanian period (A.D. 226-651), in particular,
has left us ample evidence pointing to the existence of a lively musical life in Persia. The
names of some important musicians such as Barbod, Nakissa and Ramtin, and titles of
some of their works have survived. With the advent of Islam in the 7th century A.D.
Persian music, as well as other Persian cultural traits, became the main formative element
in what has, ever since, been known as "Islamic civilization.”
Persian musicians and musicologists overwhelmingly dominated the musical life of the
Eastern Moslem Empire. Farabi (d. 950), Ebne Sina (d. 1037), Razi (d. 1209), Ormavi (d.
1294), Shirazi (d. 1310), and Maraqi (d. 1432) are but a few among the array of
outstanding Persian musical scholars in the early Islamic period. In the 16th century, a new
"golden age" of Persian civilization dawned under the rule of the Safavid dynasty (14991746). However, from that time until the third decade of the 20th century Persian music
became gradually relegated to a mere decorative and interpretive art, where neither
creative growth, nor scholarly research found much room to flourish. Since the early 20th
century, once again, Persian music begun to find broader dimensions. An urge to create rather than merely perpetuate the known tradition, and an interest to investigate the
structural elements, has emerged. Fundamentally, however, what can still be recognized as
the national music of Iran [Persia] is the tradition of the past with marked imprints of 19th
century performance practices. This traditional or classical music represents a highly
ornate and sophisticated art whose protagonists are professional city musicians. Prior to the
present century, such musicians were patronized by the nobility. Today, in a progressively
modernizing society, they are generally engaged by broadcasting media. They are also
active as teachers both privately and at the various scholars and conservatories of music.
Form and Structure
Iranian classical music is modal and monophonic. The most serious interpretations
generally consist of a melodic soloist (or sometimes, a duet) and often a percussion
accompanist. Orchestral combinations are becoming popular.
There are twelve basic modes: seven primary modes (dastgâh’s) and five secondary modes
(âvâz’s). Each âvâz is derived from a specific dastgâh, but it is also able to stand by itself.
Performance is based on the idea of a "suite" in a single mode, in which the artist will
choose items to make a finished composition. Actual performances generally proceed
largely as improvisations, incorporating and culminating in the chosen melodic patterns.
Part of the artistry is to make smooth transitions between elements of the suite.
The standard melodic patterns of Iranian classical music are codified in something called
the Radif, written down from oral sources at the beginning of this century. The Radif
consists of a large number of melodies or sequences (gushe’s) grouped by mode (dastgâh).
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Some dastgâh’s have more gushe’s than others. To form a suite, the artists will select
appropriate gushe’s, along with classical poetry, improvised elements or original
compositions. Some gushe’s are always present in a classical rendition, whereas others are
less common; the order within the suite is also pre-determined, to some extent. Some
gushe’s and compositions have specific rhythms, while others do not. When there is a
percussion accompanist, he will take part in some sections but not in others. Finally, there
are different versions of the Radif that different artists will use, especially for different
instruments.
There is a large body of classical poetry, from medieval times to the present day, available
to vocalists. This is some of the world's great literature, and the flowing, timeless intensity
of an Iranian singer will really bring these fine poems to life. Most of the poems are
rhythmically free (that is, sung without a time signature, but following an internal rhythm
of phrasing), and are generally performed within the context of a suite of gushe-s taken
from the Radif.
Although the classical poetry is largely medieval, and the codification of the Radif is
modern, the musical forms are believed to date from the days of Classical Persia. Iranian
music has managed to sustain itself in recent decades, despite political suppression, and
looks to be undergoing a burst of creativity.
Iranian classical instruments are generally brighter and crisper in tone than many of those
used by neighboring cultures. However, the voices are very deep and rich, although highly
animated.
Source: Excerpts from “An Introduction to Persian Music” by Hormoz Farhat
11
GLOSSARY of Persian Musical Instruments
DAF is one of the most ancient frame drums in Asia and North Africa and is considered a
Sufi instrument to be played in Khanghah-s during ceremonies of Sufi worship. Daf has
recently become very popular and has been integrated into other forms of Persian music.
KAMANCHE is the Persian spike fiddle and dates back to antiquity. This narrow, upright
bowed-string instrument has a small, hollowed hardwood body with a thin stretched skinmembrane. Its neck is cylindrical, and it has four strings. When you play it, you have to
turn the instrument to be able to play on different strings. The kamanche is often
represented in Persian miniature paintings.
NEY is the reed flute common throughout the Near-east, although the Iranian technique is
probably the most versatile, using both the low breathy register and the sharp higher
register (held between the teeth).
BARBAT is a short-necked fretless lute with five double-courses of strings that is
traditionally played with an eagle's quill. It is the ancestor of the European lute, and
functions as a bass instrument.
SETAR is a Persian long-necked plucked-string instrument generally made from thin
mulberry wood; its fingerboard has twenty-five or twenty-six movable gut frets. Although
setar literally translated means three strings, in its present form, the setar has four strings.
SANTOUR is a hammered dulcimer, similar to the santur used in Indian classical music
(pioneered by Shivkumar Sharma), though of a brighter tone.
TANBOUR is a guitar or harp-like instrument.
TAR is a fretted plucked-string instrument with sharp overtone series and is larger than the
setar.
TONBAK (or DONBAK) is a goblet drum and the most popular percussion instrument in
Persian music today. Unlike other goblet drums, this has a much more squared-off shape
and produces lower-pitched and softer tones due to its size and skin being put on with less
tension.
12
Hafez Nazeri to accompany dad at Paris concert with new setar
Tehran Times Art Desk – May 2, 2009
TEHRAN – Hafez Nazeri, the son of vocalist Shahram Nazeri, is to accompany his dad with his new
instrument “Hafez” at the Paris concert.
In a press conference held on Thursday, father and son as well as conductor Loris
Tjeknavorian attended. Hafez (Nazeri) gave some details about the new instrument.
“During the time I was in the United States giving solo performances with the setar, I
discovered that this instrument needed changes in its pitch and bass range.
“I felt the necessity for changes due to imnovations that have occurred in playing
techniques over the years. It was in 2002 I developed two modified designs for setar and
patented them in the U.S,” he said.
Hafez noted that he actually did not intend to design a new instrument, since Iranian music
does not require it, adding, “The only change in this new setar is that it has a flatter handle
and two additional strings which allow the addition of 10 new notes to its range.
On choosing the name Hafez, he said, “It was not just because my first name is Hafez. The
major thing is that the word hafez means to preserve (oral heritage and music) and on the
other hand it bears the great name of the Persian poet Hafez.
“I am not a musical instrument maker but rather,I am a musician who is interested in the
beauty of the music. When I drew up the design, I showed it to the brothers Majid and
Saeid Safari who built over 15 instruments and we finally settled on this design,” he
explained.
Shahram Nazeri was next to talk and said, “Despite some who disagree with any change in
traditional music, I agree with new experiments. Perhaps others feel that traditional music
is a divine entity bestowed upon us and hence, there should be no changes made to it. I
respect their ideas, but there are other dynamic individuals who want to experience new
ideas, using their creativity.
“I myself always made changes in singing. I believe the destination is not important, what is
important is the route one takes. Maybe it will turn out to be a winner, maybe it won’t. On
the whole, experiencing the innovative is a good omen,” he mentioned.
Tjeknavorian continued and said that he agrees with Shahram Nazeri, saying, “I never
liked to stick with old traditions for their own sake. On the whole, when you wake up every
morning, you should learn something from old tradition and then find a creative, new way
to apply it.”
On the characteristics of the new instrument, he said, “I am so happy to get to know Hafez
(Nazeri). We also both recently recorded one song in London which was a wonderful
experience.
“I congratulate Hafez for his work. The instrument has a beautiful sound and I hope I can
write a concerto for this special instrument. The sound I heard from this instrument was
what I recall hearing from the setar of master Ahmad Ebadi. This sound should not change
and should remain as it is,” he commented.
Shahram Nazeri later talked about his concert in Paris and said, “Hafez and I are holding
a concert at the Salle Pleyel hall in Paris on May 16 and will be accompanied by
Azerbaijan’s great singer Alim Qasimov and his daughter Fargana. This is the first time
two singers from the East are giving performances together.”
Press TV
1 of 1
http://www.presstv.ir/pop/Print/?id=93238
Iran's Hafez Nazeri unveils new Setar
Fri, 01 May 2009 17:26:25 GMT
Iranian musician Hafez Nazeri has unveiled his new Persian string instrument which is believed to
be a developed form of the Setar.
“The new Setar is easier to tune, and has a larger body and two more strings that give it additional
sound volume,” Nazeri told a press conference in Tehran.
“I did not want to create a thoroughly new instrument, because I believe Persian music only needs
to be developed and all we have to do is to perfect our traditional instruments,” he added.
Nazeri registered the design for his new instrument, called Hafez, in the US in 2000 and claims to
have designed 20 new instruments so far.
Hafez has been made by Majid and Saeed Safari, who according to Nazeri have worked on it every
day for the past year.
Son of prominent vocalist and musician Shahram Nazeri, Hafez has been playing tambour, Setar
and Daf since young.
Hafez has accompanied his father in numerous international music festivals and has performed in
many others, including Belgium's Sfinks, Italy's Festa del Popolo, France's Theatre de la Ville and
Lebanon's Beiteddine festivals.
He has also received a UCLA creativity award for most distinguished young composer and the
Irvine City Hall Award of Distinction in Kurdish music for his contributions to spreading through
music mystic Persian poet Mowlavi's spiritual message of peace.
San Diego County named February 25, 2006 the 'Hafez Nazeri Day' and he has been invited to
lecture at Emory University and Harvard where he was honored for his efforts and innovations in
Persian music.
Hafez Nazeri has also received a recognition award from the US Congress.
TE/HGH
5/28/2009 11:33 AM
Observations: Persian poet's musical journey
By Anne Penketh
Friday, 9 January 2009
He has performed sell-out concerts across America and in his native Iran. The
Composer Hafez Nazeri is hoping that this year, his mystical musings inspired
by the Persian poet and philosopher Rumi can be just as successful in Britain.
"I'm trying to bring the world together with a music that can talk to everyone," says the classically trained Nazeri
who is now in London, Where he has just recorded his first CD with the London Symphony Orchestra. Nazeri's brand
integrates the melodic sounds of the West with those of Iran, to produce a "spiritual journey" based on the work of
Persia's great Sufi poet, who has also inspired Madonna.
"I'm bringing a fresh sound to classical music," says Nazeri, a 29-year-old tenor who is an accomplished player of
the setar and the tambour, traditional Persian string instruments. "The idea behind it is a political message of unity,
of peace and friendship and love."
Nazeri emerged from the shadow of his father, Shahram Nazeri, when he put together a Rumi ensemble while the
legendary singer, who has been called the "Pavarotti of Iran" was on tour. But his father encouraged him to follow
his own path from a young age: the piece performed by Nazeri with the LSO, Night Angel, was written when he
was 16.
Now he is working on a project for a Rumi symphony, whose first cycle was performed in August 2007, marking the
800th anniversary of the poet's birth. Nazeri plans to return to London with his father as part of a world tour.
Rumi has become America's most popular poet, and Nazeri senses that British audiences will respond to his bridgebuilding approach. "The idea of the Rumi symphony is to show another dimension of my country, to show the
beauty of the country," he says.