MUSIC
Iranian Classical Music
- Iranian Music
& MIDI Web
- Kereshmeh
Records
- Bibliographic
references for Iranian classical music
- Rec.Music.Iranian
newsgroup
- Introduction
to Traditional Iranian Dastgah Music
- Jalal Zolfonun's
- Hossein
Alizadeh
- About Iranian Classical Music
- A Review of Iranian Classical Music by Parisa and others
- Javod Marufi
- Persian Music
- XDot25 Productions
- Hossein Alizadeh is
not only one of Iran's leading contemporary composers, but also one of
the greatest virtuosos of tar and setar. He has performed extensively throughout
the US, Europe, and Asia. In 1993 he gave an unforgettable performance
at the J. Paul Getty Museum as
- part of the Los Angeles Festival. His music is available
under several international CD labels such as Kereshmeh Records (Los Angeles),
Buda Records - Musique du Monde (France), and Al Sur (France). In 1995,
he became the head of Tehran Conservatory of Music. Alizadeh is currently
on the faculty of California Institute of the Arts teaching Persian classical
music.
-
- Kayhan Kalhor, an
internationally reputed performer, is a virtuoso on the kamancheh, the
Persian spike fiddle. The beauty and magic of his music, his mastery of
the instrument, and his knowledge of both Eastern and Western traditions
have created a solid foundation for his delicate
- and craftful improvisational style. A child prodigy,
Kalhor was invited at the age of thirteen to work with the National Orchestra
of Radio and Television of Iran where he performed for five years. He has
received his composition degree at the Carlton University in Ottawa, Canada.
- Kalhor's unique skill has made him one of Iran's most
exciting and important Kamancheh players.
-
- Pejman Haddadi has
accompanied Hossein Alizadeh on many concerts throughout the United States.
He began studying the Tombak at the age of ten under the supervision of
Asadullah Hejazi. He later continued his studies with one of the best tombak
players of Iran, Bahman
- Rajabi. Haddadi has a new approach to playing percussion,
by viewing the instrument over and above the confines of accompanying other
instruments as an independent force to create rhythms and contribute to
an improvisational passage spontaneously.
-
- JC Kramer of the Washington's Spectator described Alizadeh's
performance in Washington: "The listener was drawn into a world where
such typically Western ideas as critical distance disappeared. The intellect
was given its due, the rest went right to the heart."
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