Chun iste Hale Bostan e Bad Nobahari
I'm listening to these historical recordings of persian music. These performances were so well done. I can completely get lost it them, just by sitting and listening.
ضربیخوانی در آواز دشتی و ابوعطا | پوران، عبدالوهاب شهیدی، عبدالعلی وزیری
av Ali KazemiPåYouTube
The text description of the video (written by Ali Kazemi, whose performance I saw in Geneva some months ago) says:
The first ballad of the this collection has the title "Chun iste Hale Bostan e Bad Nobahari". Two recordings of it have been found so far; One is with Purân's voice and the other with Hossein Qavami's voice. In both of these performances, we hear the Tar of master Jalil Shahnâz and the Zarb of Amirnaser Eftetâh. This observation strengthens our assumption that this ballad was composed by master Shahnâz. Another hypothesis, which is more unlikely, is that it was composed by another musician. No other information on this topic is immediately available. Another point is that in Hossein Qavami's performance, which is probably later, two more verses were added to the first version, and master Shahnâz also did not play any rhythmic introduction, like what we hear in the presented example.
There are also two performances of the second zarbi of the present collection in Hijaz Abu Ata, both with vocals and oud by Abdul Wahab Shahidi. These two versions were performed in two different modes.
Performances in order:
1. Abu Atâ
Vocals: Purân
Tar: Jalil Shahnâz
Zarb: Amirnaser Eftetâh
2. Hijaz
Vocals and Oud: Abdul Wahab Shahidi
Violin: Parviz Yâhaqi
Zarb: Amirnaser Eftetâh
3. Abu Atâ
Vocals: Abdul Ali Vaziri
Santur: Reza Varzandeh
Zarb: Unknown
4. Dashti
Vocals and Oud: Abdul Wahab Shahidi
Ney: Hassan Nâhid
Zarb: Amirnaser Eftetâh
5. Dashti
Vocals: Abdul Ali Vaziri
Tar: Lutfollah Majd
Santur: Reza Varzandeh
Violin: Mehdi Khâledi
Zarb: Hossein Tehrâni
Percussion singing or karam/kar and aam, or in a more technical term improvised/semi-improvised music with rhythmic words, has been absent from Iranian instrumental music performances for decades and there is no trace of it in the performances and recordings of this music except for a handful of examples.
The collection that you hear in the modes of Abu Atâ and Dashti was performed by professional singers and musicians of the period of flowers.
Some of the performances of this set may have been formed in group rehearsals before recording, no information is available in this regard. Some may also be very similar to famous ballads, in this case it is as if we are listening to a different version of that ballad, possibly with a new poem.
I hope that these collections, along with their tasteful listening and research function, can deepen our understanding of instrumental music and also cause creative ideas to emerge.
