Ney Nava

 

 

NeyNava and Song of Compassion are two pieces by leading Persian composer Hossein AlizadehNeyNava (written 1983) is a concerto for the ney, which is the breathy Middle Eastern flute, and a Western string orchestra. It represents a meeting of East and West, not only in the instruments but in the writing: traditional Middle Eastern music does not use harmony or counterpoint but instead relies on the very complex and usually improvised development of melodic figures for its interest. In NeyNava Alizadeh has attempted to work out an explicit harmony based on the intervals of those traditional Persian figures. The experiment is an undeniable success. While the strings sound at moments like a number of Western composers -- Rimsky-Korsakoff, Vaughan Williams, and Shostakovich, to name a few -- they do not so consistently resemble any single one of them as to be accused of being derivative. And the strings dovetail with the rich timbre of the ney to create a mood that is foreboding yet large-souled. While most of the piece is on the slow and dreamy side, it closes with a movement entitled "Sufi Dance" that is more sprightly and which weaves the fascinating texture of two neys together with bold gestures from the strings. With Song of Compassion (composed in 1991) we enter a completely different sound-world. Instead of the soothing sound of the ney against the familiar background of Western strings, we are assaulted with Persian lutes, zithers, fiddles, winds, and drums. An orchestra of such instruments sounds anything but sweet and smooth, and of course that's the beauty of it. Song of Compassion was written to commemorate the victims of the 1990 earthquake in northern Iran. It's not a go-quietly-into-the-night requiem, however, but a cry of desperation, of suffering, of compassion for that suffering, switching between impassioned vocalists throughout. The third movement, for example, "Depth of Catastrophe," starts with a heartbeat-like tattoo upon the drum and builds to the male singer performing a stylized scream. In the movement "Song of Compassion" we hear what sounds like a Western tympani and a Persian tombak drum accompanying a woman's wordless song of comfort. The subtitle of Song of Compassion is "Composed for Orchestra of Indigenous Instruments of Iran." The piece features Iranian instruments, like the double-reed sorna that are rarely heard in Persian classical music, as well as instruments borrowed from Iranian Azerbaijanis, like the dayeré frame drum. The variety of instruments provides something for the ear to chew on, offsetting the fact that the pace of the piece is consistently midtempo. ~ Kurt Keefner
Ney Soloist: Jamshid Andalibi
Personnel: Djamchid Andalibi (ney).

Home vs. Abroad..

Both Sudan and Egypt has fierce campaigns to promote for expatriate citizens who are professionally or academically successful, as potential candidates to lead the reforms and changes..

Sorry, it is never a resume issue..

Worldwide, none of who had succeeded internationally, could made a following local success.. But, local success had always base the int'l one.. Check..!

This is a global structural phenomenon.. We can't claim different..
If we want to make it right, we should do it right..!
There are many reliable and local ones to make it right.. We are not talking a rocket science, but basic performance framework of planning, governance and control..

Always who are remote and distant can conclusively observe much better.. Progress is never delivered in isolation.. Both culture and technology has no address but the globe.. As Tunisians, Turkish, Serb, Indian, Chinese had created the dialogue between their local and expatriate citizens, as their success was, in transforming their countries and broke the hurdles of development and sustainability..

Regretfully, within the course of patriotic enthusiasm, local citizens are either unable to envision the necessity of such integration, or hesitant to believe that they can independently succeed.. This is where the roles of intelligentsia are, especially among media professionals; to make it of break it..!!

This does not strip the expatriates from patriotism, nor add distinction to the local citizens.. It is a matter of appropriateness and fitness.. Expats had inevitably lost many local details, subject to their personalities and time-abroad, while Locals had inevitably lost clarity on proper approach subject to the nature of their endeavor and earning burdens..The issue is the shared epistemia not the glory of participation..

Adolescence and dumbness are extremely harmful and hazardous..

Check the stories within both image above and video below..!!

Hamza El Din..

This late brilliant composer was almost unknown to the 80 million Egyptians.. yet, believed in being an Egyptian..

Either he chose a wrong stage, a wrong theme, or a wrong ID..!!

A part of the mysterious Egyptian legacy..!

http://en.wikipedia.org/wiki/Hamza_El_Din

Schehrazade..

 If Music would be translated into Words, they would tell exactly what’s about in Arabia.. or they would say nothing as the only way to interpret the Arabic culture is the Music..!!

The truth is always half uncovered.. Attractive and appealing for further search or deep dive.. Yet, if you dive, you would hardly survive on your own..!
I guess it is the legacy of Mankind, not only Arabia.. where all contradictions and matches are  mysteriously workingtogether, to deliver the preciousness of life..

Enjoy.. or Read..!

Farhad Besharati..

Certainly he is very good, and mastering his instrument..

Yet; the essence and the spirit is lost..!!

Maybe because both West & East are greatly apart; culturally and practically..

Anyway, Enjoy a different taste for a my favorite song..

Farhad Besharati is a Persian Kanun player who fuses traditional Persian music with contemporary flair. A Kanun is Persian instrument that looks very much like an autoharp, often used in Appalachian folk music, but sounds more like a cross between a mandolin and the Greek balalaika, with 78 strings and 30 notes. FarhaD has had an interesting musical journey. Originally from Tehran, where he was first exposed to the Kanun, he was forced to flee Iran after the Islamic revolution forbade him to pursue his music. Reflections and Blue Love and Bird and Rain and latest one is Zenith. Farhad's debut recording on Planet Beat International, and Clatex Records And MZM records are all-instrumental, showcasing his virtuosity on the rare and difficult Kanun. The albums features some original compositions, and each song has an ethereal, ephemeral air to them, which is at once relaxing and engaging. The songs are accompanied tastefully by very famous life musicions . The albums are very exotic sounding, and will appeal greatly to fans of both World Music and New Age.