Rahim AlHaj - Hossein Alizadeh & Djivan Gasparyan
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Rahim Alhaj
Hossein Alizadeh & Djivan Gasparyan The last century has visited more than its share of tragedy and suffering upon Armenia, Iraq and Iran, and it would be easy to romanticize the musical heritage of the region. The world-music panel at the January 2007 Association of Performing Arts Presenters (APAP) conference in New York attracted a striking mix of people, among them a young Iraqi exile who related the difficulties he confronts in seeking to study Iraqi classical music with elderly tradition bearers, and spoke passionately to the audience about the music's tenuous future in his homeland and abroad. His concerns are certainly borne out by recent history in Iraq, although the future of Iraqi music may not be quite as bleak as he seemed to suggest. Consider the work of another Iraqi exile, Rahim Alhaj, who studied oud in Baghdad with Salim Abdul Kareem and Munir Bashir (1930-1997), the latter widely regarded as the most important oud player of the contemporary era, as a master of Iraqi maqam (roughly, "mode"). In Iraq, "maqam" refers to a sense of melodic movement and structure; to a specifically Iraqi vocal tradition; and to the concept of a spiritual station.
Endless Vision unites Armenian virtuoso Djivan Gasparyan on duduk (an eight-holed, double-reed flute made of apricot wood, derived from the regional shepherd's flute) and Iranian master Hossein Alizadeh on tar and shurangiz (new Iranian lute). Their live 2003 outdoor performance at Tehran's Niavaran Palace was accompanied by a trio of singers (in Armenian, Azeri and Persian), Armen Ghazaryan (duduk), Vazgen Markaryan (bass duduk), and the Hamavayan Ensemble (vocals, oud, shurangiz, percussion).
Alizadeh began his career in the late 1970s after studying Persian classical music at the University of Teheran's School of Music; he conducts the Iranian National Orchestra of Radio and Television, and enjoys an international reputation as a soloist and composer at home and abroad. This meld of Persian and Armenian songs unfolds slowly and dramatically; the musicians and singers give one another plenty of room to explore the delicate nuances of these complementary and evocative musical traditions, whose microtonal character is accented by the plaintive duduk and the extraordinary overtone singing of Hourshid Biabani, Afsaneh Rasaei and Ali Samadpour. Reflecting upon this remarkable performance ought to call into question the wisdom of perpetrating in Iran the militarist folly and human sacrifice that already haunt Armenian and Iraqi history. By contrast, as Gandhi observed when asked his opinion of Western civilization, "It would be an excellent idea." - Michael Stone Read the RootsWorld interview with Rahim AlHaj
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