Hatam Asgari | Masnavi in Persian Dastgahi Music

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World: Persian traditional World: Middle East Traditional Moods: Type: Vocal
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Masnavi in Persian Dastgahi Music

by Hatam Asgari

The Masnavis in the present collection transcend the radifs and drills which have been published and heard so far.
Genre: World: Persian traditional
Release Date: 

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  Song Share Time Download
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1. Dastgah Shur
10:26 $1.99
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2. Avaz Abu'ata
9:54 $0.99
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3. Avaz Dashti
10:23 $1.99
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4. Avaz Kord Bayat
9:22 $0.99
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5. Avaz Bayat Tork
11:37 $1.99
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6. Avaz Afshari
12:09 $1.99
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7. Dastgah Nava
9:49 $0.99
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8. Dastgah Mahur
10:54 $1.99
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9. Avaz Bayat Esfahan
7:31 $0.99
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10. Dastgah Segah
9:03 $0.99
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11. Dastgah Homayun
12:11 $1.99
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12. Avaz Shushtari
10:49 $1.99
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13. Dastgah Chahargah
11:30 $1.99
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14. Rast
7:55 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
The present collection consists of fourteen Masnavis, being released through the good offices of Mr. Mohammad Mousavi, the respected director of Mahoor Institute of Culture and Arts. The songs have risen from the larynx of a great master who is over eighty one years of age, but —troubled by the obvious afflictions of our time and the evil hand of destiny—has not yet been provided with the conditions necessary to transfer the fruits of all his sufferings throughout years of learning to the generations after him. What you are going to hear was recorded in an unadorned room filled with memories and an abundance of poetry and music, and not even a single piece was repeated twice, contrary to the customary trend among singers today to spend several hours in the professional atmosphere of studios to sing a few minutes of song. Moreover, in order to maintain the coherence of the vocals, the instrumental part has been performed in the shortest time possible.
The Masnavis in the present collection transcend the radifs and drills which have been published and heard so far. Some of their specific features are mentioned here in brief:
In Masnavi-e Shur the gushes slowly and gradually come one after the other, and the listener is swept into the upper tones. The rhythmic performance in the midst of Masnavi causes the interpretation to be distinct from mere drills and lessons. Breaking the words into parts through employing disjunctive warbling is significant, for example, in verses “harke râ jâme ze eshghi châk shod” or “kuh dar raqs âmado châlâk shod” or the word “eshq” at the opening of gushe-ye Hejâz. Moreover, the way Masnavi-e Kord-e Bayât is performed in the midst of shur is unique. In Masnavi-e Bayât-e Tork, the melodic motion within different gushes, such as Qatâr, and warbling and cadences which demonstrate mystic and Khânqâhi features of the interpretation are of specific significance. Various types of warbling in Masnavi-e Mâhur and the melodic motion in different gushes of that dastgâh, the distinct opening of Masnavi-e Dashti, the combination of Hejâz and Gabri in Masnavi-e Abu 'Atâ, performing Masnavi-e Shushtari which was never formally performed before and the complexities of warbling and cadences in Masnavi-e Segâh, Homâyun, Râst and Châhârgâh are among other crucial distinctions of this particular collection worth being mentioned.

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