هنر موسیقی سینما

نامه ای از یک دوست

وبلاگ زیبایی دارید واقعا به شما تبریک می گویم. راستش من هر وقت عکسهای اساتید موسیقی ایرانی را می بینم روح تازه ای می گیرم به ویژه استاد حسین تهرانی که برای ساز تمبک زحمات زیادی کشیده اند البته ایشان شاگردان زیادی را پرورش دادنند مانند: شادروان حسین همدانیان و شادروان جهانگیر ملک و محمد اسماعیلی و شادروان مهرورزان و شادروان ناصر افتتاح و شادروان امیر بیداریان که همگی در جهت موسیقی اصیل و ملی ایرانی بسیار کوشیدند و در جهت نواختن ساز تمبک تلاشهای بسیاری نمودنند که یکی از شاگردان سبک تمبک حسین تهرانی که کسی از او بیو گرافی چندانی ندارد و من اخیرآ با نامشان آشنا گشته ام که دقیقآ مثل تهرانی ساز می زد استاد بهزاد رضوی نیا بود که باید بگویم متاسفانه در فروردین ماه 1385 دربهاری سرد به جمع یاران سفر کرده در مزار گلستان هنرمندان ایران در قطع هنرمندان بهشت زهرا به دیار باقی شتافت. البته او سالها زندگی خودرابمانند استادش بیرا و ساده وقف نواختن ساز تمبک نمود از سوابق هنری او این بود که آن زمان که کلاسهای استاد مهرتاش برقرار بود و همگی به صورت دسته جمعی از کلاس آواز مهرتاش در جهت فراگیری ردیف های موسیقی ایرانی از ایشان فرا می گرفتند که محمد رضا شجریان و به همراه استاد منتشری و خود بهزاد رضوی نیا از شاگردان خوب استاد مهرتاش بودنند او در گفتگو یی در رادیو فرهنگ ابراز نموده بود که هنر یک واحد کلی ست و ریشه ها و شا خه هایش همگی یکی پس از دیگری با هم ارتباط دارند مثل خط و نقاشی و شعر و موسیقی که همه از جایگای خاصی بر خوردار هستند که خود بهزادرضوی نیا سعی نموده بود با تمامی این هنر ها به صورت حرفه ای آشنایی داشته باشد. البته باید بگویم او در خانواده ای هنرمند تولد یافت که برادرشان بهروز رضوی یکی از مجری های رادیو هستند و در جهت دوبلاژ فیلم های مستند صدای خیلی گرمی دارند و خواهرشان عاطفه رضوی و سهیلا رضوی از بازیگران سینما هستند که نشان دهنده هنر ذاتی این خانواده هنری می باشند. البته بهزاد رضوی نیا در کنار نواختن تمبک سازنده حرفه ای این ساز هم بود او در پایان عمر هنری خود برای گروه استاد اسداله ملک و به همراه استاد فضل اله توکل زحمات زیادی کشیده اند او در کاست نوار جان عاشق که با صدای بهرام حصیری اجرا گردیده است نیز همکاری داشته و تکنوازی زیادی با استاد فرهنگ شریف داشته که به صورت تار و تمبک اجرا و ضبط نموده است و در آلبوم بیاد فردین با صدای ایرج خواجه امیری نقش خیلی مهمی را داشته است و همیشه خود را فدای انسانهای مثل فردین ها می نمود چرا که شاگرد حسین تهرانی بود و وصیت استادش را به خوبی اجرا نمود چرا که حسین تهرانی در جایی گفته بود اول شخصیت واخلاق و بعد هنر بهزادرضوی نیا جزو کسانی بود که آنقدر تواضع و فروتنی داشت بی صدا از میان رفت عزیزانی که این مطلب مرا خوانده اند از آنان می خواهم مقاله (( انگشتانی چون بارن استاد بهزادرضوی نیا)) را در گوگل سرچ کنند تا بیشتر با نام این استاد بزرگ تمبک آشنا شوند و بدانند که کشور کهن ایران زمین چه گوهرهایی را دارا بوده است و می توانند قطعات تکنوازی اسدالله ملک و فرهنگ شریف باتمبک بهزادرضوی نیا را از اینترنت دانلود کنند.برای روح همه ی رفتگان موسیقی ایرانی بویژه استادبهزادرضوی شاد باش و آمرزش ابدی خواهانم و فاتحه جاودانه ای می فرستم روحش شادباد

 

Hussian Tehrani

the very great master of tonbak and the father of modern tonbak, was born in 1912 in Tehran. Once that he had gone to zourkhaneh (Persian traditional gymnasium) he felt that he loved the tonbak of the morshed (Morshed is the singer and tonbak player of zourkhaneh that leads the athletes to practise marshal art in zourkhaneh. Morshed literally means spiritual guide.) So when he went back to their house, he made a hole at the end of a clay vase and covered the bigger mouth with skin and started playing his first strokes of tonbak on it. When his father was at work, he was able to practice in a room. But after some days the neighbors complained to his father that sound of Hosain’s tonbak was tormenter. So he stopped practicing at home and started playing tonbak in the train (at that time it was called in Iran ‘vagon-e-asbi’) for people. That train’s line was between Lalehzar crossroads and Machine-Garage at the end of the South of Tehran. This was the first experience of this great master of tonbak of playing in front of people. According to his interviews he started learning tonbak seriously in 1929 under the training of the late Ostad Hosain Khan Esma’ilzadeh (great master of kamancheh) and since at that time there was no notation for tonbak he had to call to mind the rhythms with some interesting phrases such as ‘Yek-Sad-o-Bist-o-Panj’ and ‘Baleh-vo-Baleh-Ba’leh-Digeh’. For continuing his studies and research he went to the classes of the great masters of his time such as the late Ostad Reza Ravanbakhsh and the late Kangarlu. Even he studied the style of the gypsy tonbak players (tonbaknavazan-e-doregard). In 1938 he became acquainted with the late Ostad Abolhasan Saba (multi-instrumentalist) and this acquaintance was an important point in his life and then they became heartfelt and sincere friends and this friendship continued till to the time of the sorrowful demise of the late Ostad Saba. He himself said: ” except the recitation of rhythms that I learnt from Khaleghi, [the late Ostad Ruhollah Khaleghi was composer and writer. His famous works are his book on the history of Persian music (Sargozasht-e-Musighi) and his very famous national composition, Tasnif-e-Ey-Iran.] what I know about the theory and practice of Persian music comes from Saba.” In 1940 after the establishment of Radio Tehran, he and some other artists collaborated with the Radio. In 1941 in the Master Course Music School under the directorship of the late Ostad Ali Naghi Vaziri (tar and setar player and theorist of Persian music and specialist of esthetics) he started teaching tonbak. When somebody else became the director of this music school, the programs of the teaching of Persian music was omitted and the teaching activity of Ostad Tehrani was postponed.1949 after the efforts of Ostad Khaleghi and some other musicians the National Music School was established and Ostad Tehrani was invited to teach in this new music school. In these years after the establishment of National Music Orchestra and National Music Society, he collaborated with these artistic organizations too. After these activities the tonbak became more popular and many volunteers wanted to learn tonbak and Ostad Tehrani invited some of them in order to establish a musical group for tonbak for the first time in Iran. After the establishment of Iranian TV in 1958, he started playing tonbak accompanying Ostad Faramarz Payvar (composer and santoor player). In the first Shiraz Art Festival (1967) he played with Ostad Payvar and was the conductor of the tonbak group and one of the tonbak players of the group was Ostad Mohammad Esmaili. Not only he was very famous and respectful artist in Iran but also many foreigner musicians had praised his tonbak. He had also some concerts in European cities such as London, Paris and Rome. His book Amuzesh-e-Tombak, even now, is the most famous instructional book on tonbak. Later this book was reprinted and Ostad Esmaili has recorded the lessons of this book in two cassettes. Ostad Tehrani recorded some tonbak solos and accompaniments in gramophone disks and some pieces have been reproduced in a cassette. In 1972, though he was ill, he recorded his last performance, rhythms of zourkhaneh. He was acquainted with ‘radif’ repertoire of Persian art music and ‘tasnif’ (rhythmic compositions of Persian vocal music). He was kind, smiling, chic (I should explain that he lost one of his eyes while he was working in a technical workshop in his youth and because of this he was always wearing a smoked glasses), self-possessed and witty. Unfortunately after a long indisposition, he passed in Feb. 25th, 1974

(Amir Nasser Eftetah)

was born 1925 in Amereyeh street in Tehran. He became interested in Tombak when he was very young. He started his Tombak tuition with Hoshang mehrvarzan who was a student of Ostad Hosain Tehrani. Through his dedication, intelligence and aptitude, he became very quickly very proficient in deep understanding of Tombak and a virtuoso performer. He was only 16 when he Joined Iranian national radio. He soon later started teaching Tombak at Rejai music school. At this time, he joined Golha rdaio programme ensemble. He became a Tombak instructor at Mandana music school. He later started his own music school called Gaam. He was very dedicated to his chosen main musical instrument. He was very meticulous in his instructions for correct method of playing Tombak. He sometimes used to spend more than one month with a student instructing him in corrected sitting position and correct method of holding the Tombak. He did not have any children and always treated his students as if they were his own children. He used to take special interest in their education. Punctuality, dedication and practice of his students were very important to him. Many of prominent Tombak artists are student of Ostad Eftetah. they include: Bahman Rajabi, Morteza Ayan, Mahmod Farahmand, Mahmod Rasoli and Homan Pourmehdi.He died in 1977 at the age of 52. He was buried at Emamzadeh Taher in Karaj.

(Nasser Farhangfar)

(1947-1997), was born in Rey city of Tehran Iran. His father was a tar player and his uncle was a tombak player. His grand father, Mirza Mehdi-ye-Khoshnevis, was a famous calligrapher of Ghajar’s time. He started playing tombak at the early age of nine. At this time he regularly went to the local traditional zourkhaneh, not to watch the athletes, but to listen to the rhythms of the tombak used in training of the athletes. Later he studied tombak with the Mohammad Torkaman, Ostad Hosain Tehrani, and Ostad Dr. Noor Ali Khan Boroumand and Ostad Abdollah Davami. His talent and knowledge in the art of tombak playing with his background of zourkhaneh’s tombak made him a unique tombak player in his time. His followers have called his style sabk-e-Ostad Farhangfar (the style of maestro Farhangfar). He performed widely and trained many students. His masterpiece in the art of tombak playing is his accompaniment of the tar of Ostad M.R. Lotfi in Dastgah-e-Segah in the cassette of Parvaz-e-Eshgh, which distributed for his remembrance by Ava-ye-Shayda Company in Tehran.He was also familiar with radif repertoire of Persian art music. He was also a poet and a calligrapher.

(Jahangir Malek)

was born in Abshar street, Rey Avenue, Tehran, Iran in 1931.He stutied at Darolfono high school where he obtained his diploma. While studying at Darolfonon, He became interested in Tombak and started practicing on school tables. Ostad Hosain Tehrani used to live in Abshar street close to Jahangir Malak’s family house. Jahangir Malak used to look at Ostad Hosain Tehrani in an admiring manner and was too shy to approach the master for tuition. Ostad Hosain Tehrani became more and more curious as to why this child looks at him in this way and one day he asked him: why do you always scrutinize my every move; do you what anything? He replied timidly yes. I would like to learn tombak from you. Ostad Hosain Tehrani asked him: where do live and can you come for tuition everyday? He replied; I am your neighbor in Abshar street. Ostad Hosain Tehrani observing his enthusiasm and interest, accepts him as student. He attended Ostad Hosain Tehrani’s classes until 1951. He stared performing in Iranian national radio in 1951. Mr Moshir Homayon, mayor of Tehran and head of music board, attends one of his concerts and asks him to join his ensemble called “orkestere vizhe”. This ensemble consisted of many master musicians and was very difficult for a young musician to collaborate with these masters but he made valuable contribution and became a valuable member of this ensemble. he also collaborated with the following orchestras: Number 1- under leadership of Hosainali Malah, Mehdi Meftah and Ostad Gholamhosain Banan.

(Amir Bidarian)

he was born in 1932. He was student of Morshed Nasrollah and Ostad Hosain Tehrani. He performed in Iranian Radio from 1959 to 1977. He has played in some musical films Hassan Kachal , Zir-e-Bazarcheh and others. he has recorded an instructional cassette for the art of tombak playing .He worked on tombak for about 50 years and passed away in 1997.Ganjine-ye-Vaznha.

(Bahman Rajabi)

was born 1939 in Rasht. His interest in musical rhythms started in his childhood by playing n household equipments like metal trays. He moved to Tehran with his family at a very young age. He could not afford a Tombak teacher due to financial difficulties. Therefore, He started learning Tombak by just listing to and observing Tombak players during his schooling. He also faced family and educational problems. These difficulties very much delayed his artistic development. He considers himself as student of the past and contemporary tombak masters, by learning from past masters and being influenced by contemporary masters. He considers Ostad Amir Naser Eftetah as being more influential. Bahman Rajabi has renovated and modernized the work of other artists. He has also made some notable innovations in the art of Tombak especially in expansion of playing techniques by using logical methods. He has renovated the traditional Iranian 6/8 rhythms known as “motrebi” or “ruhozi”. He has added ten new riz(roll) to the previous five traditional riz(roll). He is an excellent orator. He has given many lectures accompanied by solo performances about Tombak without expecting any financial reward. He believes that a modern Tombak artist must be a scholar, a thinker and a researcher as well as a good player. Bahman Rajabi is a mountaineer. Bahman Rajabi believes that art is for attainment of highest human attributes and not means for accumulating wealth. For this reason, he never plays in any institution in which art has only entertainment value.

( Mohammad Esmaeili)

(1313- sh) (1943- m) He was born in Tehran. His teacher was Hussein Tehrani at 1330-1340 (1951-1961). He has teaches Tunbak in Iranian Music Conservatoire. He was cooperated with Faramarz Payvar, Jalil Shahnaz, Hassan Nahid, Ali Asghar Bahari and … in Iranian Music Masters Group. He was performance Rounama peace at 1355 (1976) in Vahdat [Roudaki] Hall. He was teaches Tunbak in Jahad Daneshgahi Music University at 1376 (1997)

(Mahmood Farahmand Bafi)

was born in Tehran, Iran in 1956. He became interested in traditional Iranian music and Tombak at the age of 9. He started his Tomabk training with Ostad Amirnasser Eftetah in 1968 for two years. He started collaborating with center for preservation and propagation of traditional Iranian music in 1974. He has performed in 3 art festivals in Hafezeye in Shiraz and many concerts in various universities. He joined Molana ensemble in 1980.

(Mohammad Akhavan)

Mohammad Akhavan was born in Tabriz in 1956. from an early age, he became interested in music. he choose Tombak at the age of 6 and start practicing without any teacher. he learnt the elementary playing techniques from books and tapes of the master players. At the age of 18, he was invited by ostad Mahmod Karimi and Daryosh Safavat to join Tabriz radio and television ensemble. At the same time, he started teaching at the Tabriz center for preservation and propagation of music, Tabriz music college and Tabriz music workshop. He has performed in many concerts in America, Europe, Asia and Africa. He now lives in Tehran teaching Tombak and performing with master musicians. As a Tombak player he is a perfectionist. He is always practicing his technique and exploring new styles.

(Jamshid Mohebbi),

he is one of the best and famous Tombak Teacher and Player today he teached Tombak for exampel to Majid Hesabi ,Mohamd Sadehgi,Bahman Mobayyen ,Mehdi Esfahani ,Parissa… Jamshid Mohebi he was a student of Bahman Rajabi ,Naser farhangfar.he also play beautiful setar too.

(Morteza Ayan)

was born in Tehran in 1946. He was 12 years old when he began his studies with Ostad Hossein Khorsandi. A year later he started his apprenticeship with one of the most influential masters of tombak, Ostad Amir Nasser Eftetah and within a few short years he was encouraged by his mentor to participate in various radio productions. After fourteen years of performing, teaching, and developing his personal style on tombak, he was invited by Dr. Dariush Safvat to the Center for Preservation and Dissemination of Traditional Iranian Music. During that time, he collaborated with many masters of traditional music such as Ostad Saied Hormozi and Ostad Yousef Foroutan. He has appeared with many masters of persian music and has given numerous concerts all around the world.

(Jamsid Chemirani)

was born in tehran in 1942. he has studied the tombak since the age of eight. His teacher was Ostad Hosain Tehrani. Under his demanding tutelage, Chemirani made rapid progress and soon became a brilliant player. Since his arrival in Paris in 1961 he has taught at the Centre d’Etudes de Musique Orientale in the Paris Sorbonne Institut de Musicologie. He has performed with eminent Iranian musicians Darioush Safvat, Daryush Talai and madjid Kiani

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(Bahman Mobayyen)

The Tombak or Zarb. Is the Chief percussion instrument of Iranian Art music. This is a one faced drum Where The whole upper half is wider Than the lower. It is carved of single Block of wood! And it body is hallow, Open at lower end covered with a Sheepskin membrane across the Upper part. An average Tombak is 43 cm high with Playing face of 28 diameter A Tombak player holds the drum Diagonally across his lap with the Wider section usually over his right Side and it is played with the fingers And the palm of the hands. Bahman Mobayyen has developed a Variety of techniques to produce different sounds on the single face of This old instrument of Iranian Art music. The tick Bass sound is known As TOM. This sound comes from striking the centre of the face with the Whole hand. The snap, dry sound, is known as BAK and is produced by Striking the face of the rim. Bahman Mobayyen was born in Tehran, 1963. He started studying The TOMBAK and undertook advanced studies at the center for Traditional Music and Art in Tehran, Iran with great masters of Tombak including, Jamshid Mohebbi, Mohammad Akhavan and Naser Farhang far He played percussion for 1- Film Music ,Arabian Nights, Natacha Atlas,(Singer). (Composer Richard Harrvy) 2- World Music for singers, Robbie Williams, Neneh cherry, Maxi jazz 3- at year 2000 he was a Solist for Champer Orchestra with Abdullah Chhade And Conductor Roland Mela… Through his performance And teaching, took a virtuoso approach Towards Tombak playing with the use of western notation in Iran and Other parts of the world especially in Germany where he lives, Tombak is Becoming increasingly popular now, Bahman Mobayyen is one of The most experienced Tombak teachers To day and is teaching at established musical centers around Germany.

(Arash Farhangfar)

is one of the best players of tombak in Iran today, son of a big master, he started his apprentice of this instrument since childhood and that can explained his ability to master his art in spite of his young age. A set apart of a new generation of young creative musicians who search for the absolute truth.

(Hamid Ghanbary)

Hamid Ghanbary was born in 1974, in Tehran, Iran. He was taught playing the Tombak seriously by a well-experienced instructor, Mr.Bahman Rajabi. Dropping out of Chemistry College at that time was a turning point in his life. He was determined to continue his education in his much-loved course, Music. He graduated and he is familiar with playing techniques of other Iranian percussion and so far, has experienced some of which explained below: Hamid gave concerts with “Aftab”, “Afagh”, “Mehrpooya”, “AvA” and “Mahtab” and other bands in Tehran and other cites of Iran with some reputable musicians such as Mohsen Keramati , Hasan Nahid , Karim saleh Azimi , Behzad Foroohari . He cooperated with The “Tehran symphony orchestra” conducted by Fereidun Naseri. He participated in producing and preparing some Theatre, Cinema and Serial music. . He Published traditional music albums such as: “Twilight of the moon” composed by Ehsan Zabihifar, sung by Bijan Kamkar, “Fire and Reed” and “Mystery of Love” played by Behzad foroohary and Majid vatanian, “I heard it from bird” and “Sing with one accord” for children, composed by Mohammad Reza Fayaz, and an album based on “Lori” folk music. Hamid Ghanbary gave a very important help in the recording of “Koutah” , which was a collection of percussion instruments, composed by Pedram Khavar Zamini, published in Europe and Iran. (www.aerakis.net). In collaboration with Pedram, he edited a book on collection of works by Amir Nasser Eftetah, one of Iran`s most famous Tombak masters. Participation and Performance in different festivals and stages in abroad such as : 2003: – Espace Varese, conservatoire National de Region, Toulouse (France) – Association “AVA”, chapelle Sainte Anne , Toulouse (France) – Amdathra, Lausanne (Switzerland) – Les petites fugues, Martigny (Switzerland) – Festival des Nuit Atypique ,Langon (France) – Festival Asian holiday (Baku/ Azerbaijan) 2004: – Casa de cultura, Girona (Spain). – Ateliers ethnomusicology, Geneve (Switzerland) – Festival Des Cinq Continents, Martigny (Switzerland) – Les Arts Renaissants, Museu