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: Radif: The integral repertory of Persian art music by Dariush Tala'i



26-03-2006, 13:39
For an introduction to the Persian classical music in general and the concept of radif, its bases and its main components, see the excellent thread of AmbroseBierce here: http://www.zamanalwasl.net/forums/showthread.php?t=835
This version was produced by one of the prominent contemporary Iranian musicians. It was published in 5 CDs by Al sur. It was recorded by Gary Louis from the Washington University in the summer of 1992. Dariush Tala'i was initiated to the Radif by some of the greatest names of the discipline such as Ali Akbar Shanâsi (son of Aqâ Hosein Qoli), Nur Ali Borumad, Yousef Froutan, Saïd Hormozi and Abdollâh Davâmi. He holds a Doctorat (French PhD) in musicology. He has been teaching classical music at the universities of Washington, Seattle and the Sorbonne as well as in Tehran. He plays setar.
Volume1: Dastgâh-e Shur
(I will upload the tracks according to their order on the CDs)
Tracks 1 to 6:

26-03-2006, 13:49
In continuation, tracks 7 to 12 of the same CD.

26-03-2006, 13:58
Tracks 13 to 18:

26-03-2006, 14:07
Tracks 19 to 24:

26-03-2006, 14:42
Tracks 25 to 30:

26-03-2006, 15:16
Tracks 31 to 36:

26-03-2006, 15:25
Tracks 37 to 42:

AmbroseBierce
26-03-2006, 21:56
That's wonderful - thanks a lot. I'm already waiting for the other volumes :-).

I can't yet place Tala'i's version in the 11 forms of Radif as explained by Mohammad Reza Lotfi, since as you said Tala'i studied with so many teachers, and Lotfi counts three of them (Davami, Shahnazi and Borumand) among the sources for his 11 forms of radif. But I'll try to find out.

26-03-2006, 22:09
You're welcome. It will just take time to upload all the CDs due to the great number of tracks, but I'll definitely upload all of them in the next few days. I'll also try and transcribe excerpts from the CD booklets Tala'i himself wrote. Maybe, we'll find more about this version of the radif.

28-03-2006, 21:11
Volume 2 is devoted to Dashti, Homâyun and their ramifications.

28-03-2006, 21:19
Pieces 7 to 12:

28-03-2006, 21:30
Tracks 13 to 18:

28-03-2006, 21:40
Tracks 19 to 24:

28-03-2006, 21:50
Tracks 25 to 30:

28-03-2006, 21:56
Tracks 31 to 36:

28-03-2006, 22:04
Tracks 37 to 42:

28-03-2006, 22:18
Tracks 43 to 48:

28-03-2006, 22:23
The last two tracks 49 and 50:

AmbroseBierce
28-03-2006, 22:31
Thank you so much, Abu Alaa, for the lot of work you're taking on your shoulders to upload these dozens of small tracks. But it's extremely valuable for the lovers of Persian classical music. My Persian colleague, who is learning to play setar these days, is very much looking forward to listen to Tala'i's radif.

Still I have one more small request: It seems that when you use ' in the name of a file you upload in this forum (I've noticed it with my own files), the letters preceding the ' will not appear. So I saw that for the tracks No.19, 37 and 48 of the second album the name of the gushe might not be complete. Could you give the name of these tracks again?

28-03-2006, 22:59
My pleasure, Paul. I was already aware of the apostrophy/inverted commas problem. Yet, I was taken by surprise in the case of two or thre files, but I immediately noticed it and I did correct the name simply deleting the "indesirable" character. So, theoretically, all the names are complete (except for the missing characters - one per file). However, I'll go through the list again and enter the required corrections if any.

28-03-2006, 23:15
Done. There was only one.

AmbroseBierce
28-03-2006, 23:31
Thanks. You're sure no.48 is just "ozzl"?

28-03-2006, 23:39
Affirmative. By the way, the titles were automatically retrieved from the cddb by the conversion software itself.

30-03-2006, 20:19
Dastgh-E Nav and Dastgh-E Segh.
Tracks 1 to 6:

30-03-2006, 20:28
Tracks 7 to 12:

30-03-2006, 20:37
Tracks 13 to 18:

30-03-2006, 20:48
Tracks 19 to 24:

30-03-2006, 20:55
Tracks 25 to 30:

30-03-2006, 21:03
Tracks 31 to 36:

30-03-2006, 21:09
Tracks 37 to 42:

30-03-2006, 21:45
Tracks 43 to 48:

30-03-2006, 21:47
I thought I would never finish with this one. Blaze media pro refused obstinately to convert the last two tracks. No other soft would do it. I had to go three different ones...
Last track, number 49:

AmbroseBierce
30-03-2006, 22:44
Thanks a lot for the third album of this series. I really appreciate the work you do with this although the Persian section is (still?) a small and not very crowded place, so that right now only few people really benefit from this.

30-03-2006, 23:11
No problem, Paul. As for the state of the section, who knows, maybe sometime in the future we'll succeed in involving Shadjarian and things will be different here. Who knows?:)

11-04-2006, 18:07
Sorry for this quite long interruption. Curiously enough, Media Blaze Pro couldn't retrieve the Album information and I had to enter it manually.
Tracks 1 to 6:

11-04-2006, 18:10
Tracks 7 to 12:

11-04-2006, 18:12
Tracks 13 to 18:

11-04-2006, 18:15
Tracks 19 to 24 (Bear with me! There are 56 of them! More to come tomorrow):

12-04-2006, 14:17
Tracks 25 to 30:

12-04-2006, 14:27
Tracks 31 to 36:

12-04-2006, 14:33
Tracks 37 to 42:

12-04-2006, 14:38
Tracks 43 to 48:

12-04-2006, 14:42
Tracks 49 to 54:

13-04-2006, 13:29
And here are the last two tracks:

AmbroseBierce
14-04-2006, 21:17
Thank you again, Mohsen, for the work you do to upload these albums. So many small pieces... And still one album to go - you must feel relieved once you're through.

14-04-2006, 21:27
My pleasure, Paul. The problem is that this comes with all the other things I have to do for the forum and a big focus on the Egyptian section, the only one for which I'm knowledgeable to a certain extent. My knowledge as far as Turkish and Iranian music is concerned is little more than nil.

AmbroseBierce
15-04-2006, 01:08
My pleasure, Paul. The problem is that this comes with all the other things I have to do for the forum and a big focus on the Egyptian section, the only one for which I'm knowledgeable to a certain extent. My knowledge as far as Turkish and Iranian music is concerned is little more than nil.

Oh, I know that since Frederic Lagrange's entry into this forum many of you are in great "turmoil" - so many interesting things have happened in the Egyptian section since, and I am profiting also from that, though I can't contribute anything useful there. So I am even more thankful that you didn't forget the Radif for this section. This set of CDs is a real treasure.

15-04-2006, 02:16
And the fifth and last volume will be coming soon.

AmbroseBierce
17-04-2006, 20:35
To give some background to what you present to us, I add some information on the artist from his website http://www.dariush-talai.com/. First a biography and a list of his published works - recorded and written.


Dariush Talai is one of the great masters of Persian classical music, whose creativity combines finely authenticity and innovation. His art has its roots in the tradition and at the same time opens itself generously to the world.
Born in 1953 in Iran, he studied in the time-honored Persian tradition with masters of the Radif. His exceptional talent was recognized at an early age and as a young musician in Tehran, he was admitted to the circle of all the great masters of Persian Classiacl Music. In this atmosphere, he acquired an extensive knowledge of theory and a highly accomplished technique on the Tar and Setar. His teachers included the brilliant Tar player Ali Akbar Shahnazi, the late N.A. Borumand with whom he studied Radif and old compositions, as well as U. Forutan and A. Davami, with whom he studied Setar and vocal techniques and repertories.
Master Talai taught at the University of Tehran, University of Sorbonne-Paris, University of Washington-Seatlle and was awarded a number of major prizes for his contribution to Persian Art Music. His collaboration with prestigious artists such as Maurice Bejart, Carolyn Carlson, Michel Portal and with his numerous recordings and concerts throughout Europe and the USA, he has found a place in the western cultural heritage.
Dariush Talai is not only an outstanding performer and master of Persian Art Music but, unlike most his predecessors, conscious that the Art Music, its techniques and repertory must be organized, explained and exposed in accessible books and if need, accompanied with audio materials. He has published several books and created a new method according to this principle.

Curriculum Vitae

Education
1964-1971 National Conservatory of Music, Tehran.
1971-1975 B.A., Faculty of Fine Arts, Tehran University.
1979-1983 M.A., Music Education, University of Paris VIII
1983 Ph.D. candidate, University of Paris X. Title for dissertation: "The Musical Modes in Iranian Tradition".

Teaching Experience
1992-2002 Professor of Persian Music in Tehran University, Faculty Fine Arts.
1992 Course on "Classical Persian Music, Music 389, Department of Music, University of Washington, Seattle.
1991-92 Visiting Artist, Department of Music, University of Washington, Seattle.
1979-89 Master teacher, Centre d'Etude de Musique Oreintale, Paris, Sorbonne.
1976-79 Professor of Persian music in Tehran University, Faculty of Fine Arts.
1971-79 Master teacher in the Center for the Preservation and Diffusion of Iranian Music, Tehran.

Awards and Scholarships
1975 In the Azmoon-e Barbad, Competition for traditional music, organized by Iranian Radio & Television:
First prize for performance on the Tar,
First prize for performance on the Setar,
First prize for Best performance.
1979-83 Scholarship for higher education from the French Government.
1985 Research and Aid Creation Scholarship from French Ministry of Culture.



Tapes, Videos and CDs

1978 Anthologie de la musique traditionnelle - Setar and Tar (Record : Ref. Paris OCORA 558540).

1980 Tradition classique de l'Iran (Record : Ref. Harmonia Mundi No. 1031), France.
Side A : Improvisation in Shur - Side B : Improvisation in Mahour
(D. Talai, Tar / D.Chemirani, Zarb).

1982 Trobada de music a de mediterrani Vol. 1, Face 1 (Record : Ref. Diffusion mediterrania-lsagunt 17-13a 46009 Valencia).

1983 Musique traditionnelle, Radio France (Two cassettes, Ref. OCORA 4558617/8).
Cassette n1 :
SideA Improvisation in Mahour (D.Talai, Tar / D.Chemirani, Zarb).
FaceB Improvisation in Shur (D.Talai, Setar / D.Chemirani, Zarb).
Cassette n2 :
SideA Improvisation in Tchahargagh (D.Talai, Tar / D.Chemirani, Zarb).
SideB Improvisation (D.Chemirani, Zarb), Tchaharmezrab Darvish khan (D.Talai, Setar / D.Chemirani, Zarb).

1987 Dariush Talai : Tar and Setar (Cassette).
Side A Improvisation in Nava, and (SideB) Modulation in Shur (D.Talai, Tar / D.Chemirani, Zarb).
Side B Improvisation in Mahour (D.Talai, Setar / M.Gavihelm, Zarb).

1988 Le Tr et le Str de Dariush Talai (Video Tape, CEMO-INALCO).

1991 Iran : Les Matres de la Musique Traditionnelle, France ;Vol.3 and Bands on Vol.1, Setar and Tar (CD, Ref. Paris OCORA C560024).
Vol.1
Band 1 Improvisation in Avaz-e Bayat-e Esfahan (D.Talai, Tar).
Band 2 Improvisation in Tchahargah (D.Talai, Setar).
Vol3
Bands 1 to 4 Avaz-e Afshari - Bands 5 to end Dastgah-e Mahour
(Shahram Nazeri, Vocal / D.Talai, Setar / B.Kamkar, Zarb and Daf).

1992 Performance of Radif of Mirza Abdollah on the Setar (Six Cassettes and a book) in Iran.

1992 Performance on Setar (Cassette in Iran, Mahur publication).
In Shur, Bayet-e Esfahan and Segah (D.Talai, Setar).

1993 "Concerti Digar" (Cassette in Iran).
In Afshari and Mahour (D.Talai, Setar / Sh.Nazeri, Singer).

1993 Iran : Les Grands Interprtes - Tradition Classique de l'Iran II, Le Tr (CD, Ref. Harmonia Mundi No. 1901031), France.
The CD edition of the Record Ref.Harmonia Mundi No. 1031, listed above : Improvisation in Shur - Improvisation in Mahour (D. Talai, Tar / D.Chemirani, Zarb).

1993 Performance of Radif of Mirza Ahdollah on the Setar in France (5 CDs) Al Sur.
Vol 1 Dastgah-e Shur, Avaz-e Bayat-e Kord
Vol 2 Avaz-e Dashti, Avaz-e Bayat-e Esfahan, Dastgah-e Homayoun
Vol 3 Dastgah-e Nava, Dastgah-e Segah, Avaz-e Afshari
Vol 4 Dastgah-e Mahour, Avaz-e Bayat-e Tork
Vol 5 Dastgah-e Tchahargah, Dastgah-e Rast-Panjgah

1997 Performance on Tar (Cassette in Iran) : "Sayeh Roshan".
In Nava (D.Talai, Tar).

1998 Performance on Setar (Cassette in Iran) : " Tchahargah".
In Tchahargah (D.Talai, Setar).

1998 "Dariush Talai en concert" - Concert of Utrecht August 30th 1996 (CD), Al Sur.
1-Sy roshan (in Dashti) 2-Hekyat1 (in Abou ata) 3-Yorgh (in Abou ata) 4-Naghm (in Abou ata) 5-Hekyat2 (in Neyshabourak and Nava) 6-Jamal (in Khojaste) 7-Khb (in Forud b Nava) 8-Aqiq (in Nava) 9-Elam (in Nava) 10-Sahari (in Nava) 11-Lb (in Nava) 12-Koub (in Nahoft and Neyshabourak) 13-Anjm (in Forud b Nava) 14-Shdegni.


PUBLICATIONS

1983 "Persian music and poetry ; Analysis of the rhythm in Persian Music through Persian Prosody", M.A. thesis.

1998 "23 Pieces Pishdaramds & Rengs of Ostad Ali Akbarkhan Shahanzi", Mahour Publication, Iran.
1-Pishdaramad-e Shur 2-Reng-e Shur 3-Pishdaramad-e Abu ata 4-Reng-e Abu ata 5-Pishdaramad-e Bayat-e Tork 6-Reng-e Bayat-e Tork 7-Pishdaramad-e Afshari 8-Reng-e Afshari 9-Pishdaramad-e Dashti 10-Reng-e Dashti 11-Zarbi-e Segah (Solh) 12-Zarbi-e Segah (Djang) 13-Reng-e Segah 14-Pishdaramad-e Tchahargah 15-Reng-e Tchahargah 16-Dozarbi-e Tchahargah 17-Pishdaramad-e Homayoun 18-Reng-e Homayoun 19-Pishdaramad-e Bayat-e Esfahan 20-Reng-e Bayat-e Esfahan 21-Pishdaramad-e Mahour 22-Reng-e Mahour 23-Fantasy in G Major.

1999 The Radif of Mirza Abdollah : An notated Score, including an explanation of the radif and modal structure of Persian Art Music. Published with the Setar performance of the Radif, listed above under recordings. MAZDA PUBLISHER, Inc.Costa Mesa, CA 92626 U.S.A.

2002 "A new Approach to the Theory of Persian Art Music : The Radif and the Modal System", in the Garland Encyclopaedia of World Music.

AmbroseBierce
17-04-2006, 20:39
Then something on the instruments he is playing, namely the Setar (as on these CDs) and the Tar:


The Setar
The Setar is a lute made up of a small pear-shaped body and a long fingerboard. There are 25 gut frets going up the fingerboard at the end of which are four small pegs. Although the Setar is variable in shape, the body must be small enough to be held in one hand, and the length of the fingerboard is such that the strings are never longer than 67 cm. The body is made of mulberry, the fingerboard is made of walnut and the pegs are made of walnut or mulberry.
Because of its light weight (around 350 grams), its rich and delicate sound an intimate volume, the Setar is the instrument and favourite companion of erudites and music lovers which prefer playing for themselves rather than for a public.
The famous tanbur of Khorassan (North Eastern province of Iran) which is part of the iconography of the Sassanides (III and VIIth centuries) studied by Farabi in the Xth century is a close ancestor to this instrument.
The word "Setar" means three strings, but today there are four strings on the Setar. A fourth string was added between the former second and third strings. This fourth string doubles the third string, but one octave higher, in an aim to enrich the other strings. It is not played alone. This innovation is attributable to Moshtaq Ali Shah at the end of the XIXth century.
The long fingerboard lute is very popular and widespread throughout Central Asia in various shapes and sizes but the Setar holds a special place due to its specific and unique technique in Persian Music. It is played in a combination of stroks by the index from the bottom towards the top and vis-versa. The tip of the finger, fingernail and skin strum one or several strings, bringing out the melody on the melody string that is played by enveloping it in notes strummed on the adjacent strings or by picking the bass chord in an irregular rhythmic beat.
The range of Setar is of over two and a half octaves.


The Tar
The Tar was the chosen instrument of the great masters of Persian classical music who flourished in such abundance between the mid-nineteenth and the first third of the twentieth centuries. It has remained no less in favour today. It is not known how far back its origins go ; however it seems that the Tar appeared in its present form around the middle of the 18th century.
The Tar belongs to the Iute family. It has a resonating body in the shape of two bowls joined together. They are of mulberry wood. The sounding-board is in the shape of two hearts joined at the tips. This sounding-board is made of lambskin with the bridge placed on the lower, i.e. the broader hall. The long fingerboard is furnished with twenty five frets of catgut lied round the neck and six (formely five) strings, two of which are double. They are plucked with a plectrum usually made of a brass blade mounted in a small bail of wax.
The Tar has a range of about two and a half octaves.

27-04-2006, 12:54
Here we are, at least
Dastgh-e Chahrgh
Tracks 1 to 6:

I've had to re-upload all tracks from scratch and to change the format to wma, (sorry Hatim for that) as I couldn't do otherwise. This time I'm using Windows media player that could retrieve the CD info from the net and provides a solution to the problem of duplicate names....

27-04-2006, 13:03
Tracks 7 to 12:

27-04-2006, 13:16
Tracks 13 to 18:

14-05-2006, 23:53
Ok, Paul. Here I'm again. I know it took too long, but better late than never. Just have a look to the first post to understand what I did.
Tracks 19 to 24:

15-05-2006, 00:07
Tracks 25 to 30:

15-05-2006, 10:58
Tracks 31 to 36:

15-05-2006, 11:02
Tracks 37 to 42:

15-05-2006, 11:08
Tracks 43 to 48:

15-05-2006, 12:21
Tracks 49 to 54:

15-05-2006, 12:26
Tracks 55 to 60 and with these I'll have completed the uploading of all the tracks of the five CD collection making up the integral Radif in Dariush Tal'i version:

Hattouma
15-05-2006, 17:30
Great Effort Abu Alaa ..

AmbroseBierce
15-05-2006, 23:18
Thank you so much, Mohsen. That was a lot of time-consuming work, and I am very grateful. Just a small question: can you please confirm from the booklet the full names of No. 36 and No. 47?

16-05-2006, 09:38
My pleasure. Sorry, Paul, I didn't realize those names were gone. Probably a problem of apostrophy. I sytematically took away the one in Tal'i, but I must have overseen those ones. I'll check the names and edit them when I'm back home.

16-05-2006, 22:44
Both names have been edited. It was indeed a problem of apostrophy and quotation mark (the one to indicate seconds).

AmbroseBierce
17-05-2006, 09:01
Thanks again Mohsen, for finishing a big work - including the last small, final touches.

tecladista
20-06-2006, 21:48
Wow! It is a big work!!!!!!!
Thanks to you a lot!!!!!!!

20-06-2006, 22:57
Thank you teclaudista and welcome to the forum.

nassim165
29-11-2006, 17:09
Thank you a lot

drakusrazel
17-05-2008, 19:25
Thanks for your work

mary farris
28-11-2008, 10:13
yes, thanks so much for doing all this!

28-11-2008, 12:41
yes, thanks so much for doing all this!

My pleasure. Welcome to the forum!

Paolo Castelluccio
01-05-2009, 15:34
This is gold, Abu Alaa.
I'm endlessly grateful for this work. Finally a Radif is accessible for me, too. :)

01-05-2009, 16:47
This is gold, Abu Alaa.
I'm endlessly grateful for this work. Finally a Radif is accessible for me, too. :)

My pleasure! Usually, we do not encourage the posting of any material that can be accessed in the commerce or elsewhere in the web, mainly for copyright considerations, but I was told by knowledgeable persons that this collection was out of print and was exhorted to post it.

carl
11-04-2011, 08:30
Many thanks for taking the trouble. :)

Daniel Younessi
05-07-2011, 00:49
Firstly, thank you so much for talking the trouble to post all of this up. Secondly, I had a question: avaz-e bayat-e tork, as far as I've heard, is identical to the major scale apart from a half-flat (koron) on the B. In this version of the radif, bayat-e tork is played with a traditional shur tonality. Can anyone explain this?

Franck Leriche
05-07-2011, 09:23
Bayat-e tork is really different from the major scale, it's based on the third degree of shur tetracord.

The melodic movements turn within shur tetracord.
As it's moving toward the fifth it shares some gush with Mahur, but each time the forud is back to B-Tork.
And when correctly played it has an overall completly different perfum.

so if you listen carefully to a vocal version the tonic of B-tork always have some "vibrato" , same as the third degree of shur.
Sometimes it's less obvious with string intstruments specially if the tonic is played on an open string.(wich destroy a little of the B-tork feeling)

Bayat-e tork is very much used for azan in Iran.

Here's a real B-tork "hl", Ostad M.R. Shajarian on Mevlana's turbe.
******
He starts singing at 1:45



Please, no links to files uploaded on externeal websites. If you want to illustrate your argument, you can download the file in question from that website, cut the relevant part and post it here.