corpus darvish khan

7/31/2019 Corpus Darvish Khan

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Darvish Khn

Worksof GreatMediterraneanComposers


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his document has been produced with the financial assistance of the European Community. The viewsexpressed herein are those of the publishers and can therefore in no way be taken to reflect the official opinionof the European Commission.


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Worksof GreatMediterraneanComposers

Darvish Khn

- edited byKiya Tabassian


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II MediMuses

: : , Walter Feldman, Mahmoud Guettat, ,Toufic Kerbage, Kiya Tabassian

(1872 1926) : Kiya Tabassian,

: Kiya Tabassian : : K : : David Edmonds

: : Hy Brazil/ : &

: : : : , 2005

2154622 tel.: +30 2310253285/6

fax: +30 2310257485e-mail: [email protected]

, .


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European UnionProgramme Euromed Heritage IIMediMuses ProjectAction for the History of Music of the MediterraneanAnthologies with works of Great Mediterranean Composers

Artistic Director: Kyriakos KalaitzidesUnder the guidance of the Workgroup for the History of Music: Thomas Apostolopoulos,Walter Feldman, Mahmoud Guettat, Kyriakos Kalaitzides, Toufic Kerbage, Kiya Tabassian

Darvish Khn (1872 1926)Coordination: Kiya Tabassian, Christos Carras

Texts: Kiya TabassianTranslation into English: Kostas LiberisTranslation into Greek: Apostolos KarouliasEditing of the English text: David EdmondsEditing of the Greek text: Despoina Sarafeidou

Digital editing of scores: Elias AndreoulakisGraphic Design: Hy BrazilFilm/Printing: Schema & Chroma

Concept: Kyriakos KalaitzidesProduction coordination: Nikos TerpsiadesProduction assistant: Melina PantazidouProduction: En Chordais, July 2005

EN CHORDAISMusical Traditions of the Mediterranean21 Pavlou Mela Street,54622 Thessaloniki, Greecetel.: +30 2310253285/6

fax: +30 2310257485e-mail: [email protected]

Unauthorized republication or reproduction of the content of this publication in any medium isforbidden.


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ediMuses . MediMuses - . , , .

MediMuses


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9Prologue

Many significant masters have been creatively active in the Near East. Often the impact oftheir work has reached beyond the boundaries of the city or country where they lived andspread throughout the Mediterranean. Nonetheless, the lack of a complete and documentedpresentation of this common cultural heritage is today making itself more and more acutelyfelt; a presentation of particular scientific and educational interest to teachers and studentsof music schools and academies, researchers and musicologists that would also create aninspiring backdrop for new musical creation by contemporary musicians.

Thanks to this series, interpreters, musical ensembles, orchestras and choirs around theworld will have the opportunity to globally study the particular musical idioms of greatcivilizations, as these have been expressed by great composers through the ages. At thesame time, the presentation to the general public of these works of great aesthetic value andimportance will be made possible.

In opposition to the contemporary trend towards conflict between nations, fed by ideologiesof cultural superiority or inferiority, the series hopes to contribute to the reconciliation andthe peaceful coexistence of the Mediterranean peoples, with their common musical heritageacting as an axis of cohesion.

The beginning of this effort is taking place as part of the MediMuses project that is fundedby European Union in the context of the Euromed Heritage II program and has also receivedfinancial support from the Hellenic Ministry of Culture. The MediMuses Workgroup forthe History of Mediterranean Music worked on the planning of the series and in the firstphase six collections of works will be published. Each collection contains the complete worksof the composer, a brief biography, interpretational notes and other related material whichwas collected and edited by established musicians and musicologists of the Mediterranean.

Kyriakos KalaitzidesArtistic Director MediMuses


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0 MediMuses42 ( 2002 2005) , ,

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7 75 6 (CD) 6 (CD) 6 - 2 / 10 - / 3 / 2

MediMuses project42 months (February 2002 July 2005)Research, study, re-composition and promotion of the elements of the commonMediterranean musical heritage

11 Concerts7 International Music Meetings75 Visiting Lecturers6 CDs in the Great Mediterranean Masters series6 CDs in the Great Mediterranean Composers series

6 Anthologies with works of Great Mediterranean Composers2 Workgroups / 10 Workshops / 3 Symposia / 2 Volumes for the History and Theory ofMediterranean Music


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1LEADER

EN CHORDAIS, Musical Traditions of the MediterraneanThessaloniki, GREECE

PARTNERS

- THE NATIONAL MUSIC CONSERVATORYOF THE NOOR AL HUSSEIN FOUNDATIONAmman, JORDAN

- THE LEBANESE NATIONAL HIGHER CONSERVATORY OF MUSICBeirut, LEBANON

- EL HEFNY CENTER FOR MUSIC STUDIESCairo, EGYPT

- ASSOCIAZIONE CULTURALE SCUOLA DI MUSICA ANTICA VENEZIAVenice, ITALY

- THE BYZANTINE FESTIVAL IN LONDONLondon, UNITED KINGDOM

- ECUME, Echanges Culturels en MditerraneMarseilles, FRANCE

- CENTRO FLAMENCO PACO PEACordoba, SPAIN

- ST. LAZARUS SCHOOL OF BYZANTINE MUSICLarnaca, CYPRUS

www.medimuses.gr


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BIOGRAPHY


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(Gholm Hossein) 1872 , . , Hji Bashir Tleghni, . , Drolfonoun . . , Aziz-ol Soltn, Aziz-ol Soltn, Nsereddin Shh, .

, . , : MirzAbdollh Agh Hossein Gholi.

Hji Bashir Tleghani (Darvish). ,

.

, . , Sho Saltaneh MozafareddinShh . , Sho Saltaneh . Badr-ol Saltaneh .

. , . , . Sho Saltaneh . Kaml-ol Saltaneh ( ), , .


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1DARVISH KHN

BiographyGholm Hossein was born in Tehran in 1872 into a middle-class family. His father, Hji Bashir Tleghni, was an art loverand an amateur setr-player. When Gholm Hossein reached

the age of eleven, his father registered him at the Drolfonounmusic school, where Western music was mainly taught. Therehe initially studied snare drum and trumpet, followed byintroductory courses in musical theory and Western notation.While still quite young he was chosen to become member of theAziz-ol Soltn music group, a kind of military brass banddirected by Aziz-ol Soltn, one of the protgs of NsereddinShh, who was king at the time.

Attending the court and its gatherings, he gradually becameacquainted with musicians playing Iranian musical instruments,and informed his father of his desire to learn to play an Iranianinstrument. He was initiated into Iranian music and the setrby his father, and subsequently attended the classes of the twogreat masters of the time, Mirz Abdollh and Agh HosseinGholi.

Hji Bashir Tleghani used to call his friends and his closerelations by the nickname Darvish. This nickname was alsogiven to his son Gholm Hossein, who, until the end of his life,was known by the names Darvish or Darvish Khn.

Mastering the setr and the tr quite quickly, Darvish Khnwas soon regarded as Agh Hossein Gholis best pupil. Duringa musical event at which a number of musicians participated,Prince Sho Saltaneh (son of Mozafareddin Shh) heard himplay and immediately engaged him as a court musician. A fewmonths later, Sho Saltaneh moved his court from Tehranto Shiraz, where Darvish Khn met Badr-ol Saltaneh; theymarried and had a daughter named Ghamar.

Not permitted to participate in musical activities outside thecourt, Darvish Khn felt increasingly under constraint, and hisdesire for freedom got him into trouble: he accepted invitationsfrom other princes, although this was forbidden. Sho Saltanehwas so enraged that he ordered the amputation of his fingers:but thanks to the intervention of his friend Kaml-ol Saltaneh(Abolhassan Sabs father), who was an influential man at thecourt, the musician escaped this cruel punishment.

A few months later, Darvish Khn opened a private schoolof tr and setr at his home. As soon as Sho Saltaneh found


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6 , . Sho Saltaneh . , .

. , , . , Sho Saltaneh, .

, , , . Akhavn- Safi Anjoman Akhavvat . . , - , . .

Saf AliZahir-al Doleh, Safi Nematollhi Anjoman- Akhavvat . TherZdeh, . .

1910, His MastersVoice, Ther Zdeh,

Bgher Khn ( ), Habibollh Shardr ( ), Reza Gholi Khn ( ), Hossein Hang Afarin( ), Asadollh Khn ( ) Akbar Khn ( ). (sz-ovz ).

, Ther Zdeh, Bgher Khn, EghblSoltan ( ) Abdollh Davmi (


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1out about it, he sent a man to search for him. Darvish Khnsensed the trap and took refuge in the British Embassy, wherehe knew a member of the staff: there he met the ambassadorand explained his problem. At the request of the ambassador,he performed some of his compositions and also interpreted afew pieces of European classical music, accompanied on the

piano by the ambassadors wife. Charmed by the art of DarvishKhn, the British couple intervened with Sho Saltaneh,gaining his agreement to definitively release Darvish Khnfrom his engagement at the court.

A free man at last, Darvish Khn devoted his time to teaching,composing, playing and recording. With his colleagues he co-founded the Akhavn- Safi ensemble, becoming its musicaldirector and playing regularly in a series of Anjoman Akhavvat concerts. In the following years he composed several piecesfor this Iranian music ensemble. His pishdarmad , reng andchahr-mezrb were a great success both with musicians andthe public. For the first time, the public heard works composedand played by an ensemble of twenty musicians.

Darvish Khn regularly frequented the house of Saf AliZahir-al Doleh, the spiritual leader of the Sufi order of thedervishes Safi or Nematollhi and the founder of Anjoman- Akhavvat . It was at this house that he became acquaintedwith Ther Zdeh, one of the great singers of the time. A bondof friendship developed between the two men which fosteredmuch artistic collaboration, including several concerts andrecordings.

In 1910, after receiving an invitation from the British companyHis Masters Voice, Darvish Khn went to London for threemonths and recorded several pieces accompanied by TherZdeh, Bgher Khn (kamncheh), Habibollh Shardr (piano),Reza Gholi Khn (vocals), Hossein Hang Afarin (violin),Asadollh Khn (santur and tr) and Akbar Khn (traverseflute); these were mainly short songs with single-instrument

accompaniment ( sz-o vz ).

A year later he left for Tiflis, the capital of Georgia, with TherZdeh, Bgher Khn, Eghbl Soltan (vocals) and AbdollhDavmi (vocals and tombak) to record new instrumentaland vocal pieces. This time, they recorded the tasnif of ArefGhazvivi Az kafam rah shod gharr- dl . During theirstay the group also gave two concerts at the Georgian NationalTheatre.


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8 ) . Aref Ghazvivi Azkafam rah shod gharr- dl . , .

. , 78 (H.M.V., Columbia Polyphone) .

. , Grand Hotel , Amole Oroumiyeh.

, . , Saeed Hormozi, Hussein Sanjari, HusseinAli Ghafri, Ali Mohammad Safyi, Abdollh Ddvar, MousaMaroufi, Morteza Ney-Davoud, Abolhassan Sab ArsalnDarghi.

, , , tabarzin ( , ). Grand Hotel.

23 1926,

. , , . Zahiroddole, . , Ali Naghi Vaziri, , .


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1It is unclear why the compositions of Darvish Khn found noplace in these recording sessions. On the other hand, severalof his works were later put onto disk (H.M.V., Columbiaand Polyphone) in performances by his pupils and othermusicians.

His entourage and society in general considered DarvishKhn a symbol of generosity. He gave many benefit concerts,in particular several concerts in the great hall of the TehranGrand Hotel for the victims of the bazaar fire in Tehran, ofthe fire in Amole and for those involved in the great flight toOroumiyeh.

A humble and unpretentious man, Darvish Khn had manypupils, several of whom subsequently became great masters ofIranian music; amongst others we may mention Saeed Hormozi,Hussein Sanjari, Hussein Ali Ghafri, Ali Mohammad Safyi,Abdollh Ddvar, Mousa Maroufi, Morteza Ney-Davoud,Abolhassan Sab and Arsaln Darghi.

When his pupils reached an advanced level, to encouragethem Darvish Khn gave them a gold medallion shaped asa tabarzin (a two-headed axe, symbol of the dervishes). Onseveral occasions, he himself received various distinctions andmedals from the Ministry of Culture, and also from a FrenchMinister visiting Tehran who attended one of his concerts atthe Grand Hotel.

On 23 November 1926 the carriage which carried Darvish Khnaround Tehran was hit by a car. Seriously wounded, DarvishKhn was immediately taken to the Nazmiyeh hospital, wherehe died, after a few hours, following a cerebral stroke. He wasburied at the Zahiroddoleh cemetery, in Tehran, resting-placeof several eminent artists of the last two centuries. Five dayslater, Ali Naghi Vaziri, the principal of the Music Academy,organised a memorial ceremony in Darvish Khns honour.Several participants spoke in praise of his genius and hisexemplary compassion, and mourned the loss of one of thepioneers of Iranian music. An ensemble played Darvish KhnsBd- Khazn, vazn shod tasnif and Vaziri himself finishedthe evening with a tr solo dedicated to Darvish Khn.

The work of Darvish KhnIn Iran, after the constitutional revolution of 1906 ( Engelb-mashroutiyat ), public gatherings were once again permitted,and soon after this the concert series Anjoman- akhavvat was inaugurated. Darvish Khn took on the direction of the


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0 . Bd- Khazn,vazn shod Vaziri .

, 1906 Anjoman- akhavvat . . . , , . , .

: , - , . , . (sz-o vz ).

. , - ( ) ( ) , . ,

.

, . :


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2ensemble and gave several concerts in this series, giving thepremiere of the pishdarmad- mhour he had composed andarranged for this large ensemble. It was the first time in morethan two centuries that a work composed in the dastghi modalsystem had been performed by a large ensemble. Thus a revivalmovement began that influenced not only the composition

and performance of dastghi music and its status, but also ofIranian music as a whole.

This movement gave rise to a broad repertory of pieces in thefour following forms: pishdarmad , chahr-mezrb , tasnif andreng. In addition to the act of composition which reaffirmed itssignificance, this development is characterized by the creationof big bands and ensemble performances. The presentationof Persian music increasingly took the form of a sequence ofpieces performed by an ensemble, with instrumental or vocalsolos accompanied by an instrument ( sz-o vz ) inserted.

The formal evolution of the works of Darvish Khn closelymirrors the systemic evolution of Iranian music. His

pishdarmad , chahr-mezrb , tasnif and reng are built on theprincipal gusheh (part of a scale) of each dastgh (scale) orvz (subscale) in which he composed his works. These piecesare thus divided into several parts, each of which is based onthe modality and the spirit of a particular gusheh .

To indicate the various parts of each piece, musicians referto the names of the gusheh . The following table displays theconstituent parts of the Pishdarmad- Mhour :

The unfolding of the chahr-mezrb- mhour mode and formfollows the same principle except that it incorporates other

gusheh :


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- :

. , Malek-o Shoar Bahr, .

. . . , . .

Kiya Tabassian


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2The tasnifs of Darvish Khn are pieces composed on poemsvery much attuned to their time, which can be described asinvolved. Five of the six tasnifs were composed on poems ofMalek-o Shoar Bahr, a contemporary of Darvish Khn.

The works of Darvish Khn are written for the tr and the

setr, but they lend themselves perfectly to any Iranian musicalinstrument, and to others of the same family. In Persian music,transposition is frequent. It is thus possible to play these piecesin transposition, facilitating their performance on variousinstruments. Moreover, they may play as solos as well as by smallor big ensembles: this characteristic should ensure longevity ofDarvish Khns works, which constitute an integral part of theIranian musical heritage.

Kiya Tabassian


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ERGOGRAPHY


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1. Pish-darmad- Mhour2. Chhr-mezrb- Mhour3. Tasnif- Z man ngram, Ze man negram habibam xabar nadarad, lyrics by:

Malek-o Shoar Bahr4. Pish-darmad- Rk5. Tasnif- B shab- vaslat, Be shabe vaslat bot divne shodam, lyrics by: Malek-o

Shoar Bahr6. Reng- Qahr-o shti7. Reng- dovom- Mhour8. Reng- svom- Mhour9. Polka (Mhour & Chhr-gh)10. Pish-darmad- Abou-at11. Tasnif- Bahr- Delkash, Bahre delkash resido del be j nabshad, lyrics by:

Malek-o Shoar Bahr12. Reng- Abou-at13. Pish-daramd- Afshri14. Tasnif- Khazn, Bde xazn vazn shod, lyrics by: Malek-o Shoar Bahr15. Reng- Afshri16. Reng- dovom- Afshri17. Pish-darmad- Sgh18. Tasnif- Sobhdam, Sobhedam ze mashreq tolui dar jahan kon, lyrics by: Hajeb19. Tasnif- Arous- gol, Aruse gol az bde sab, lyrics by: Malek-o Shoar Bahr20. Reng- Sgh21. Reng- Homyoun22. Pish-darmad- Shoushtari23. Reng- Shoushtari24. Tasnif- Iran25. Reng- Parichehr-o Parizd26. Reng- Qani-o Faqir27. Reng- svom- Esfehn


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WORKS


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-GREATME

DITERRANEANCOMPOSERS

8

AB

A

B

opus 1

Pish-darmad- Mhour

Darvishe - Khn


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LYRICS


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8 Opus 3

Ze man negram habibam xabar nadaradBe hle zram habibam nazar nadrad

Xabar nadram man az dele xodDele man az man habibam xabar nadrad

Koj ravad del azize man y ke delbarash nistKoj parad morq habibam ke par nadrad

Faqn az in eshq azize man y amn az in eshqKe qeyre xoun jegar nadarad

Hame siyhi azizam hame tabhiMagar shabe m habibam sahar nadrad

Bahre moztar azize man y manl o digar Ke h o zri asar nadrad

Joz entezr o azizam joz esteqmatVatan alje habibam degar nadrad

Ze har do sar bar sarash bekoubandKasi ke tiqe azizam do sar nadrad.

Opus 5

Be shabe vaslat bot divne shodamZe shame ruyat jn parvne shodam

Be mhe rouye to man jn heyrn o mtamZe qame eshqe to shod jn sabro sabtam

Be hale man negar delbar delbar Zr o nazram jn, zr o nazram

Sheydye toam, chashme taram benshin be baramRosvye toam, chashme taram benshin be baram

sheqam kardi jn, delam r bordiBe zolfe sarkeshat, delbar delbar delam gom shode delam jn

Xun shod jegaram be mhe rezat delbar delbar Hal kon moshkelam, jn hal kon moshkelam


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8Opus 11

Bahre delkash resido del be j nabshadAz nke delbar dami be fekre m nabshad

Dar in bahr ey sanam biy vo sheti konKe jang o kin b mane hazin rav nabshad

Sobhdam bolbol, bar deraxte gol, be xande migoftMahjabinn r, nzaninn r vaf nabshad

Agar ke b in dele hazin to ahdo bastiHabibe man b raqibe man cher neshastiChaer azizam dele mar ze kine xasti

Biy dar baram az vafyek shab, ey mahe naxshab, bote bahriTze kon ahdi, tze kon ahdi ke bar shakasti

Opus 14

Bde xazn vazn shodChehreye gol nahn shod

Talye lashkar xaznAz do taraf ayn shod

Cho abre bahman, ze cheshme manChashmeye xoun ravn shod

Nle h morqe sahar az qame shyn zadshyn souxte bin mashale dar jahn zadXodye man, mashale dar jahn zad

Darin zemestn be har shabestan, hTavngarn rhat o shd o xandn

Faqir o oryn, fetde geryn, hGorosne dar bastare barf o bouran

Faqn o zri, siyh o kriVah che konamaz qame bi qarri

T be key keshim zelat o bimriBiy mahe man, ravim az in varteye jn sepri


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0 Opus 18

Sobhedam ze mashreq tolui dar jahan konTire gham zade andar kamne abron kon

Bazme m monavar be rouyat yek jamnMolke del mosaxar be rouyat ngahn kon

Sanam shhi to mar jnam fadyatDelbare mhi to mar mordam baryat

Habibam, tabinam, habibam

Faryd rase man, sham e mahfele manMhe tbnam, toyi to, yre xoubnam, toyi to

Ey sanam, ze hejrat nazram zriyam binsheqam be rouyat negram, xriyam bin

Opus 19

Aruse gol az bde sabShode dar chaman chehre gosh

Al ey sanam bahre xodZe parde to rox bedar kon

Nadide boud chehre pari Nahofte konad jelve gari

To choun az pari zib tariHar yene jelve sar kon

Dideh kasi hargez bovad piche zadan xouye golParde barafkan t shavad parde neshine rouye gol

Be souze del ahle safBe eshq o be mehr o be vaf ey sanamZe parde to rox bedar kon

h nahn cher chehreye deljouye toYr goshde be rouye to o mouye to


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9Opus 24

Iran hengme kr astBarxiz o bebin IranVaqte bous o kenr astHoshyr o neshin Iran

n lobate xandnB m be sedq o vafstBin bar sare kouyashChe shour o qoq be pst

Xod ze dard o qam nahnad m rXod be kme del resnam m r

Dore jahn negar Ke che b m xhad kardDore zamn negar Ke ch qoq xhad kard

h, che mehnat h ke keshidi Iranh, be kme del naresidi, joz qam nadidi Iran

Xod ze dard o qam nahnad m rXod be kme del resnam m r

T key be del javni nakonam

Be date pirnJmi bedeh be yde vatanamSalmate Iran, Iran

T ze del bar kesham nareye zdi.

h, che mehnat h ke keshidi Iranh, be kme del naresidi, joz qam nadidi Iran

Xod be kme del resnam m r

Xod ze dard o qam nahnad m r


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/ CONTENTS

/ Credits 6 / Prologue 8 MediMuses / MediMuses Project 10 / Biography 13 / Ergography 25 / Works 27

1. Pish-darmad- Mhour 282. Chhr-mezrb- Mhour 303. Tasnif- Z man ngram, Ze man negram habibam xabar nadarad, lyrics by:

Malek-o Shoar Bahr 364. Pish-darmad- Rk 385. Tasnif- B shab- vaslat, Be shabe vaslat bot divne shodam, lyrics by:

Malek-o Shoar Bahr 416. Reng- Qahr-o shti 43

7. Reng- dovom- Mhour 458. Reng- svom- Mhour 479. Polka (Mhour & Chhr-gh) 4910. Pish-darmad- Abou-at 5111. Tasnif- Bahr- Delkash, Bahre delkash resido del be j nabshad, lyrics by:

Malek-o Shoar Bahr 5412. Reng- Abou-at 5513. Pish-daramd- Afshri 5714. Tasnif- Khazn, Bde xazn vazn shod, lyrics by: Malek-o Shoar Bahr 5915. Reng- Afshri 6116. Reng- dovom- Afshri 6317. Pish-darmad- Sgh 6418. Tasnif- Sobhdam, Sobhedam ze mashreq tolui dar jahan kon, lyrics by: Hajeb 6619. Tasnif- Arous- gol, Aruse gol az bde sab, lyrics by: Malek-o Shoar Bahr 6820. Reng- Sgh 7021. Reng- Homyoun 7222. Pish-darmad- Shoushtari 7523. Reng- Shoushtari 7724. Tasnif- Iran 7825. Reng- Parichehr-o Parizd 8026. Reng- Qani-o Faqir 82

27. Reng- svom- Esfehn 84

/ Lyrics 87


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