SYMPHONYPROJECT

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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 unionthat our soul soars and that we dream. Each time my father and I come together, you couldsay tradition meets innovation. Some people might consider my father as tradition and meas innovation. The reality is that we represent a continuous spectrum that manifests andreinvents itself in different shades and tones across time. My personal quest is to develop anew 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 relationshipbetween 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 thepast and another that takes the past and drags it out towards the future and wide openspaces. Fervor and poetry join forces and create a new language that transcends time andspace.

The Rumi Symphony Project aspires to dissolve the frontiers that place different culturesin opposition to one another. Like Rumi, I see humanity as a continuous variation that isperpetually renewed in the act of creation. In my music, by fusing classical Persian andWestern music into a new harmonious whole, I attempt to break the boundaries of identitythat create antagonism and strife. Music becomes a medium with a message that is at onceeternally 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 andmusical traditions. In my compositions, I integrate Persian monophonic music andimprovisatory styles with Western harmonic forms and structures. In doing so, I willexplore and showcase the specific character of Persian and Western instruments and bringthem together as a unified ensemble. As in my ideal world, I underscore the opportunityfor individual identities and traditions to interact with one another on a shared andborderless playing field.

My musical homage to Rumi on the 800th anniversary of his birth is my way of advocatinginclusiveness. I hope that it will serve as a metaphor for bridging the divide that separatesEast 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 brightestpromises 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 orEmily Dickinson or Walt Whitman, or Keats or Byron, or evidently Shakespeare. It’sMawlana Jalal ad-Din Rumi, a 13th century Persian poet.

Over the course of the last decade the West has discovered Rumi and has been electrifiedby his poetry. Thinkers, artists and poets such as Peter Sellars, Coleman Barks, DeepakChopra, Bill Moyers and Bill Viola, among others, have been moved by his work. Who isRumi 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 ofAfghanistan). Writing chiefly in his native Persian, his oeuvre is considered among themost significant in all of Persian literature. The underlying theme of his poetry centers onthe concept of Tawheed (unity) and a longing for reunion with his “beloved,” the primalsource from whom he has been separated.Rumi moved with his father to Iconium (now Konya) in Anatolia (modern Turkey) whenhe was 18, and composed smaller volumes of poetry in Turkish and Arabic as well. Histomb in Konya is a famous place of pilgrimage.

Rumi’s apprenticeship as a Sufi was guided by Shams ad-Din Tabrizi (d. 1247), amysterious companion and one of his chief spiritual masters. Their encounter resulted inan exquisite collection of some 40,000 couplets called the Divan-e Shams. Rumi’s mostcelebrated work is the Masnavi, a six-volume work of spiritual teachings and Sufi lore ofsuch extraordinary quality that it is commonly known as “the Persian Koran”. Rumifounded the Mawlaviyya (Mevlevi) Sufi order whose initiates, known in the West as theWhirling Dervishes, use dancing and music as a technique in their spiritual search forunion and transcendence.

Rumi’s silent conquest of the West can be attributed to the relevance of his vision to themodern world. He addresses the conflicted nature of human existence and celebrates itsearthliness as well as its divinity. For him, poetry was a way to articulate the divinemysteries of love and union—mysteries, the depths of which have yet to be fathomed, 800years on.

While Rumi’s Masnavi forms part of the classical Iranian musical repertoire, ShahramNazeri 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 payhomage 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 theflame, one can see the flame with his own eyes, and finally one can reach out and be burnedby 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 issaid to have incorporated elements of Christian monasticism, gnosticism, and Indian mysticism, itsorigins are traced to forms of devotion and groups of penitents (zuhhad) in the formative period ofIslam. 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 desirefor heavenly reward or the fear of punishment and insisted on the love of God as the sole validform of adoration. The word Sufi first appears in the 8th cent., probably in connection with thecoarse wool that many ascetics wore.

Two central Sufi concepts are tawakkul, the total reliance on God, and dhikr, the perpetualremembrance of God. Al-Muhasibi (d. 857) and his disciple Junayd (d. 910) are representativeearly figures. The introduction of gnostic elements (marifa) into Sufism is often attributed to Dhu-n-Nun al-Misri (d. 859). Sufism nonetheless faced growing opposition from orthodox clerics. Thescholastic and ecstatic paths further diverged with the concept of fana, the dissolution into thedivine, advocated by al-Bistami (d. 874), and used by Hallaj in the declaration of his unity withGod, which eventually led to his execution in 922. Islamic orthodoxy and Sufism were notirreconcilable, as attested by the attempt by al-Ghazali (d. 1111) to infuse conformist Muslimreligious life with mysticism.

The evolution of Sufism in the post-Ghazali period was influenced by Ibn al-Arabi and Ibn al-Farid. Their theoretical contributions led to the development within Sufism of a complex systemof initiation and progression toward the Divine and set the stage for the emergence of organizedSufi orders. This phase of literary Sufism was also characterized by the prominence of Persianworks, notably those of Shihab ad-Din Suhrawardi (d. 1191), Farid ad-Din Attar, and Jalal ad-DinRumi, and the subsequent development of Persian, Turkish, and Urdu mystic poetry. ImportantSufi figures elsewhere in the Islamic world include Muin ad-Din Chishti in India and Baha ad-DinNaqshband (d. 1390) in central Asia.

Sufi orders, which assimilated aspects of native religious traditions more readily than moredogmatic versions of Islam, played a major role in the expansion of Islam into sub-Saharan Africaand central, S, and SE Asia. The oldest extant order with attested historicity is probably theQadiriyya, founded by Abd al-Qadir al-Jilani (d. 1166) in Baghdad. Other important ordersinclude the Ahmadiyya (notably in Egypt), Naqshbandiyya (Central Asia), Nimatullahiyya (Iran),Rifaiyya (Egypt, SW Asia), Shadhiliyya (N Africa, Arabia), Suhrawardiyya and Chishtiyya (S andcentral Asia), and Tijaniyya (N and W Africa).

The work of Idries Shah has been instrumental in introducing Sufism to the West; see his TheSufis (1964) and The Way of the Sufi (1968). Although Sufism has made significant contributionsto 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 modernistmovements.

Source: The Columbia Electronic Encyclopedia, Sixth Edition Copyright © 2003,Columbia University Press.

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Classical Persian Music

The artistic gift of the Persian people has produced a staggering literary heritage, anexquisite tradition of decorative arts and handicrafts, a superb legacy in architecture, and arefined 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. Thegreat legendary king, Jamshid, is credited with the invention of music. Fragmentarydocuments from various periods of the country's history establish that the ancient Persianspossessed 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. Thenames of some important musicians such as Barbod, Nakissa and Ramtin, and titles ofsome 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 elementin what has, ever since, been known as "Islamic civilization.”

Persian musicians and musicologists overwhelmingly dominated the musical life of theEastern 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 ofoutstanding 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 (1499-1746). However, from that time until the third decade of the 20th century Persian musicbecame gradually relegated to a mere decorative and interpretive art, where neithercreative growth, nor scholarly research found much room to flourish. Since the early 20thcentury, 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 thestructural elements, has emerged. Fundamentally, however, what can still be recognized asthe national music of Iran [Persia] is the tradition of the past with marked imprints of 19thcentury performance practices. This traditional or classical music represents a highlyornate and sophisticated art whose protagonists are professional city musicians. Prior to thepresent century, such musicians were patronized by the nobility. Today, in a progressivelymodernizing society, they are generally engaged by broadcasting media. They are alsoactive 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 interpretationsgenerally consist of a melodic soloist (or sometimes, a duet) and often a percussionaccompanist. 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 willchoose items to make a finished composition. Actual performances generally proceedlargely 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 calledthe Radif, written down from oral sources at the beginning of this century. The Radifconsists 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 selectappropriate gushe’s, along with classical poetry, improvised elements or originalcompositions. Some gushe’s are always present in a classical rendition, whereas others areless common; the order within the suite is also pre-determined, to some extent. Somegushe’s and compositions have specific rhythms, while others do not. When there is apercussion accompanist, he will take part in some sections but not in others. Finally, thereare different versions of the Radif that different artists will use, especially for differentinstruments.

There is a large body of classical poetry, from medieval times to the present day, availableto vocalists. This is some of the world's great literature, and the flowing, timeless intensityof an Iranian singer will really bring these fine poems to life. Most of the poems arerhythmically free (that is, sung without a time signature, but following an internal rhythmof phrasing), and are generally performed within the context of a suite of gushe-s takenfrom the Radif.

Although the classical poetry is largely medieval, and the codification of the Radif ismodern, the musical forms are believed to date from the days of Classical Persia. Iranianmusic has managed to sustain itself in recent decades, despite political suppression, andlooks to be undergoing a burst of creativity.

Iranian classical instruments are generally brighter and crisper in tone than many of thoseused by neighboring cultures. However, the voices are very deep and rich, although highlyanimated.

Source: Excerpts from “An Introduction to Persian Music” by Hormoz Farhat

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GLOSSARY of Persian Musical Instruments

DAF is one of the most ancient frame drums in Asia and North Africa and is considered aSufi instrument to be played in Khanghah-s during ceremonies of Sufi worship. Daf hasrecently 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, uprightbowed-string instrument has a small, hollowed hardwood body with a thin stretched skin-membrane. Its neck is cylindrical, and it has four strings. When you play it, you have toturn the instrument to be able to play on different strings. The kamanche is oftenrepresented in Persian miniature paintings. 

NEY is the reed flute common throughout the Near-east, although the Iranian technique isprobably the most versatile, using both the low breathy register and the sharp higherregister (held between the teeth).

BARBAT is a short-necked fretless lute with five double-courses of strings that istraditionally played with an eagle's quill. It is the ancestor of the European lute, andfunctions as a bass instrument.

SETAR is a Persian long-necked plucked-string instrument generally made from thinmulberry wood; its fingerboard has twenty-five or twenty-six movable gut frets. Althoughsetar 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 thesetar.

TONBAK (or DONBAK) is a goblet drum and the most popular percussion instrument inPersian music today. Unlike other goblet drums, this has a much more squared-off shapeand produces lower-pitched and softer tones due to its size and skin being put on with lesstension.

  

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.”

 

Iran's Hafez Nazeri unveils new SetarFri, 01 May 2009 17:26:25 GMTIranian musician Hafez Nazeri has unveiled his new Persian string instrument which is believed tobe 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 additionalsound volume,” Nazeri told a press conference in Tehran.

“I did not want to create a thoroughly new instrument, because I believe Persian music only needsto 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 tohave designed 20 new instruments so far.

Hafez has been made by Majid and Saeed Safari, who according to Nazeri have worked on it everyday for the past year.

Son of prominent vocalist and musician Shahram Nazeri, Hafez has been playing tambour, Setarand Daf since young.

Hafez has accompanied his father in numerous international music festivals and has performed inmany others, including Belgium's Sfinks, Italy's Festa del Popolo, France's Theatre de la Ville andLebanon's Beiteddine festivals.

He has also received a UCLA creativity award for most distinguished young composer and theIrvine City Hall Award of Distinction in Kurdish music for his contributions to spreading throughmusic 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 tolecture at Emory University and Harvard where he was honored for his efforts and innovations inPersian music.

Hafez Nazeri has also received a recognition award from the US Congress.

TE/HGH

Press TV http://www.presstv.ir/pop/Print/?id=93238

1 of 1 5/28/2009 11:33 AM

Observations: Persian poet's musical journeyBy Anne PenkethFriday, 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 Nazeriwho 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 bridge-building approach. "The idea of the Rumi symphony is to show another dimension of my country, to show the beauty of the country," he says.