Ustad Rahim Khushnawaz - Afghanistan - COMPACT DISCS [CD]

A self-taught master of the dutar and tanbur lutes, Turgun Alimatov stands out on the delicate and rare sato (bowed tanbur) with it's hazy yet precise timbre. InchI first heard Turgun Alimatov's music in 1977. I had come to Tashkent, Uzbekistan to study Central Asian music at the Tashkent Conservatory, and of all the music I heard that year, Turgun's elegant and laconic performances on the tanbur (long-necked lute with raised frets), dutar (two-stringed lute), and sato (...) made much the strongest impression. This man is a master, I thought, after listening to Turgun's recordings on the Soviet Melodiya tag, and I must meet him. Thirteen years later, I did, and thus began a much-cherished friendship with a startlingly original musical creator whom I have come to regard as one of the great musicians of our time.Inch Theodore Levin. Turgun Alimatov (1922-2008) was a master performer on the tanbur, dutar and sato which he was instrumental in reviving. He began his musical career playing the violin in Tashkent's Muqimi Theater of Musical Drama. In 1948, Turgun Alimatov joined the Tashkent radio station, where he performed in a succession of ensembles, until 1982. For his innovations, Turgun Alimatov earned scepticism from older musicians. In any event, Alimatov's achievement has won him a large following, and his neo-classical performance versions have become classics in themselves for a younger generation of musicians. Album Tracks 1. Nawa 2. Surmaisi 3. Farganacha Tanovar 4. Chul-I Iraq 5. Oinasam 6. Gul-I Zarim 7. Segah 8. Nasr-I Segah 9. Samarkand-I Ushshaq 10. Aman-Yar 11. Sama-I Dugah 12. Chargah 13. Tanovar 14. Girya 15. Dotâr Nawasi

Alessandro Solbiati writes InchTo discuss in chronological order the pieces on the album dedicated to the 37-year-old Iranian composer Mehdi Khayami represents for me both a thrill and an enrichment. Why a thrill? Because I have had the joy of sharing with him much of his Italian journey he arrived in Italy in 2006, having already obtained his diploma of composition in Iran. Mehdi (as we always called him) began my composition class at the Conservatorio di Milano, doing entire bachelor course and master degree course. Five years later, he took his diploma and obtained the highest honours, and subsequently specialised at the Accademia di Santa Cecilia in Rome with Ivan Fedele. I want, at least, to remember the splendid way the composer leads us by the hand slowly to the appearance of an instrument that is so strange for us a dense texture of the ensemble, which does not allow individuality to show through, starts from a rather dark region and gradually rises the subtle sound of the Kamanche will take up the register given to it by the ensemble and will lead it still higher, much higher. From there begins a formal curve that becomes progressively dramatic, until it culminates in an extremely tense climax, which fundamentally we did not expect, given the initial climate. It opens a final chasm between the very high and very low regions, a true abyss into which the rhythmic pulsation reminds us of the climax of the Violinkonzert by Alban Berg east and west shake hands, in the life and work of Mehdi Khayami.Inch Album Tracks 1. Kamanche Concerto 2. Angha 3. Primo Piano Trio 4. Sellat 5. Canto Delle Menti 6. Ghorbate Nashad 7.

The main instruments in Baluchi music are recorded on this album -the most prominent (the sorud fiddle), the oldest (the doneli double flute), and the most recent and brilliant (the benju zither)- that presents the art of a freedom-loving nomadic people, living from hand to mouth and always on the move. The Baluchi are a people of about five million individuals, scattered mainly across Pakistan (of which they occupy nearly half), the South-East of Iran, Afghanistan and the Emirates of the Persian Gulf, where they form a large immigrant community. Because of their origins and language, they belong to the Iranian world; they seem to have occupied first the centre of Iran (Kermân), or perhaps even the north, before migrating towards the southeast. It was only in the 18th century that a Baluchi national identity arose. It won over and brought together various tribes, essentially on the condition that they would speak the same language. Probably around that time, epic poetry was developed between them, thus unifying all the groups and sub-groups, whatever nuances there might be, into an entity which we now call the Baluchi people. Album Tracks 1. Zahirig Miânag Et Mélodie Shervandi / Zahirig Biâ Ke Et Mélodie Shervandi / Zahirig Salât Et Mélodie Shervandi 2. Zahirig Rudbar / Sowt InchMÂBÂ ToInch 3. Sowt InchDelpa Madoka BandantInch Et InchMan Lene Taraga BandantInch 4. Zahirig Baho /Zahirig Ballok Ordok / Mélodie Shervandi InchBalachInch / Zahirig Kordi 5. Sâsuli Khorâsâni (Répertoire de Transe) 6. Sowt InchLeiko Kamam Bian Tara Lod BiaranInch / Trois Airs Guâti (Répertoire de Transe) 7. Bage SÂZ / Simorgh / Sâsuli Khorâsâni (Répertoire de Transe)