Top tracks
- Compassion Calls (Avaye' Mehr)
- Laments in Joy (Saz O Avaz)
- pishdaramad hejrani
- Souls Hymn (Naghmehe' Rooh)
- Moments for Joy and Mirth (Laylahen)
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Put your hands on the remote! browse music »Ney Navâ + Avây-e mehr, Nowruz & Savârân-e dasht-e omid by Hossein Alizadeh
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fave it Middle East | World Traditions
13 tracks | 71 minutes
Released Oct 2006
on Mahoor Institute
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- sample lyrics "DOWNLOAD" 04:17 Ney Nava / Darâmad lyrics BUY MP3 04:17 Ney Nava / Darâmad lyrics "GIFT MP3" 04:17 Ney Nava / Darâmad
- sample lyrics "DOWNLOAD" 05:27 Ney Nava / Naghmeh lyrics BUY MP3 05:27 Ney Nava / Naghmeh lyrics "GIFT MP3" 05:27 Ney Nava / Naghmeh
- sample lyrics "DOWNLOAD" 04:10 Ney Nava / Jâmeh-darân lyrics BUY MP3 04:10 Ney Nava / Jâmeh-darân lyrics "GIFT MP3" 04:10 Ney Nava / Jâmeh-darân
- sample lyrics "DOWNLOAD" 09:04 Ney Nava / Nahoft, Forud lyrics BUY MP3 09:04 Ney Nava / Nahoft, Forud lyrics "GIFT MP3" 09:04 Ney Nava / Nahoft, Forud
- sample lyrics "DOWNLOAD" 04:35 Ney Nava / Dance Os Samâ lyrics BUY MP3 04:35 Ney Nava / Dance Os Samâ lyrics "GIFT MP3" 04:35 Ney Nava / Dance Os Samâ
- sample lyrics "DOWNLOAD" 07:21 Riders in the Field of Hope lyrics BUY MP3 07:21 Riders in the Field of Hope lyrics "GIFT MP3" 07:21 Riders in the Field of Hope
- sample lyrics "DOWNLOAD" 04:00 Nowruz lyrics BUY MP3 04:00 Nowruz lyrics "GIFT MP3" 04:00 Nowruz
- sample lyrics "DOWNLOAD" 06:17 Songs of Compassion / Life lyrics BUY MP3 06:17 Songs of Compassion / Life lyrics "GIFT MP3" 06:17 Songs of Compassion / Life
- sample lyrics "DOWNLOAD" 01:30 Songs of Compassion / Sunrise lyrics BUY MP3 01:30 Songs of Compassion / Sunrise lyrics "GIFT MP3" 01:30 Songs of Compassion / Sunrise
- sample lyrics "DOWNLOAD" 05:30 Songs of Compassion / Depth of Catastrophe lyrics BUY MP3 05:30 Songs of Compassion / Depth of Catastrophe lyrics "GIFT MP3" 05:30 Songs of Compassion / Depth of Catastrophe
- sample lyrics "DOWNLOAD" 10:45 Songs of Compassion lyrics BUY MP3 10:45 Songs of Compassion lyrics "GIFT MP3" 10:45 Songs of Compassion
- sample lyrics "DOWNLOAD" 04:04 Songs of Compassion / Ascension lyrics BUY MP3 04:04 Songs of Compassion / Ascension lyrics "GIFT MP3" 04:04 Songs of Compassion / Ascension
- sample lyrics "DOWNLOAD" 04:13 Songs of Compassion / Search lyrics BUY MP3 04:13 Songs of Compassion / Search lyrics "GIFT MP3" 04:13 Songs of Compassion / Search
Emotionally arresting and fully engaging from the downbeat of the first track, this desperately captivating album presents the most stunning works of Hossein Alizadeh, featuring his concerto for ney and orchestra as well as his Songs of Compassion and...
Bio / Background
This CD contains 4 compositions of Hossein Alizâdeh
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1 . Ney - Navâ (Concerto for Ney and String Orchestra),
2 . Avây-e Mehr (Songs of Compassion),
3 . Nowruz,
4 . Savârân-e dast-e omid (Riders in the Field of Hope)
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The witness in the corner, September 4, 2004
Reviewer: "nsabba" (Brookline, MA)
It can't be but because of passion and love for his rich musical inheritance that Hossein Alizadeh can bring hereto hidden voices from traditional Persian music to shine as the center pieces of a complex composition in which he invites the Western system as a universal "goushe".
Goushes can be loosely called "variations" within a single compositional system [dastgah] in Persian traditional music. But it is much more complex than that.
↓ more ↓Goushes have more to do with recalling possibilities demanded by the temporal understanding of the music at hand than a set way of interpretation. So, to call the "Western" guest a goushe may sound sacrilegious to some purists.
But given that goushe has many interpretations, let me the liberty to interpret it as more linguistically as "witness", rather than "corner", as it is usually done. Later you will see that this "witness" will get involved with equal stature.
Goushe was the person who would sit in one of the several rooms surrounding a traditional residential entry hall in Iran. The person would listen to the business or legal conversations of his master and his guests and be a "witness" or a reminder. The goushe would not participate in person as a sign of respect for the guests. But a goushe was legally equivalence of a physically present witness. The gouche's ear was all that mattered, and like a written account, it wouldn't carry any interpretations of the physical interaction of the parties. To use a gouche was an accepted practice when a witness with the same stature of the guest could not be brought in.
Thus we can imagine that here Hossein Alizadeh brings in Western "forms" to witness the nearly infinite array of possibilities in seemingly rigid Persian compositional system. This witnessing affects how the witnessed act and play.
Each western tempo, be it dance, military, or processional, brings out melodies and rhythms from Persian dastgahs in a one to one and then one to many relationships. A single western form evokes multitude Persian "shapes". But, beyond the playful game of precedence, there is also the interplay between the dastgahs in this new environment created by introducing a foreign witness.
Alizadeh goes a long way toward showing that by "witnessing" the Persian through the formalized, often linear western system, we can dust off lost insights and express musical ideas that truly have no edge, no border, nor fronts. The linear becomes tesseletated into fractured wholes.
The number of layers of patterns in these compositions is no less than interwoven patterns "flattened" onto a single surface in the tile designs of the sixteenth century masters. By weaving natural and geometric layers into stories forbidden by the religious sytem or "dastgah" the tile designers mixed human concepts and natural shapes to express the harmony between the two. Thus, a third wonderful game in these compositions appears as the place of natural "voice".
In these pieces Persian melodies are usually voiced by the ney while Western melodies by strings. Then the presence of a natural voice, although abstracted, changes this. In these instance Western melodies voice through the Ney. Similarly for percussion instruments. The daf and the tomabak take turns carrying the two systems, adding new layers of geometric "pattern".
These studies by Mr. Alizadeh accumulate added significance as time goes on. One discovers, and resolves, new complexities with each listening, with the pieces becoming more mystifying in their clarity. One can hear the joy, sadness, and mythical ecstasies of different poems in major dastgahs which here commingle in the presence of a new "witness" [goushe].
Hossein Alizadeh is convincing us that this "witness" SHOULD be made a permanent friend.
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