Any professional or amateur can put a recording of this style, two trees or others, and accompany singing with his voice, on the same, often very high pitch, to realize that one minute is enough to exhaust the muscles, vocal tendons, neck muscles, stomach and throat, so how can these monsters stand up at this tired point For an hour or more, in an almost continuous performance, where the Arabs are at the heart of the game (and not accidental as in the Arab tarab), in a kind of almost continuous trill? How? How do they walk these distances on the singing hills, as paranormal human beings, as the German philosopher Nietzsche spoke of the Persian language Zardasht in his famous book? Or are they mountains between the mountains of that beautiful and cruel part of the world? Aren’t two trees, like his Azerbaijani colleague Alim Qasimov, a mountain that paints its features in front of us, up and up, until we see the steep summit and breathe, because we expected it higher, and then it came higher? It is said that the difference in composition between a great voice, strong and beautiful in tone, and a normal one, is very slight at the biological level (tendons or vocal muscles, larynx, …). This difference could be the case in the case of two trees and the like.
What follows, in this article, is no longer very important. On the biography of Muhammad Reza Shajarian you can find a lot on the Internet. And about Iran’s relationship, which has been historically long and unhealthy since 1979 with music and singing, and about the late’s stances against the regime’s behavior if it distorted, before and after the Islamic revolution, especially the days of Ahmadinejad, which is the worst thing that happened to Iran musically, as well. This is a topic that Iran’s allies approach with funny justifications, and its enemies approach it with wailing political hatred, and in both cases the concern is seldom artistic, aesthetic, or cultural. Yesterday, Iranian politicians mourned him, from the President to the Minister of Foreign Affairs and others, because they know that a cultural and artistic stature of its size imposes an exception on the reverence of the “theories” of jurisprudence, Sharia and politics. Insulting to music, in the name of religion or country, is folly, and a point on the line.
At the beginning of the line we add: Religious chanting is the strongest basis for singing. It is a rule that all adults followed in Islam and Christianity, and so did Shajarian, who began as a child reciting Qur’anic verses. His father was a reciter, and from him he picked up the first thread to enter the world of music. A study of Persian musical heritage and its instruments. He mastered playing the santoor (essential in traditional Persian music). He sang on the radio, then on Iranian theaters, and then the world. He arrived in Lebanon in 2010 during an international trip, with his band, “The Shahnaz Group,” and it was the most beautiful thing that happened in that cycle of “Beiteddine Festivals”. The instruments used in Iranian traditional singing (Tar, Seh Tar, Kamanje, Daf, Tambak, Tannur, Santoor…) carried the stage and the audience on a vocal mat and flew everyone towards an unknown beauty, leading us towards him and knowing him by two trees.
“Al-Estad” (meaning “teacher” or “teacher”), or “the greatest professor” as his compatriots called him, died, leaving us with: in the family legacy, a son named Humayun (1975), who is a professional singer “and his voice is more beautiful than his father’s voice.” It is also said of the gentle exaggeration that mothers resort to in situations like this. And in the recorded legacy, he left that sacred supplication that sounds like a recording in every Iranian home during Ramadan, “Our Lord” (from Surat Al-Imran – and in it we hear a tajwid performance, different from traditional singing, in Arabic and not in Persian), and dozens of recordings, mostly live, which are It contains what is closer to connections interspersed with improvised or similar mawwals and signed syllables, in traditional or traditional songs and Sufi ghazals by which Muhammad aspires to rise towards the beloved Creator and almost reaches him … So did death reach him?
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