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ranian Zoroastrian Ritual Religious Music (Regional Music of Iran 60)

イランMahoor Institut Avesta-Khani and Gata-Khani in Yazd

Research and ompilation by Mohammad-Reza Darvishi

Accompanying notes by Pedram Akbari

Regional Music of Iran 46 (Shahnameh-Khani in Iranian Folk Music)

イランMahoor Institut The Shahname (The Book of Kings)
The Shahname of Ferdowsi speaks about the history of ancient Iran, from the dawn of Persian civilization to the decline of the Sassanid Empire.
Shahnamekhani (Reading/Reciting the Shahname)
Shahnamekhani may be considered a kind of minstrel ritual that has spread in Iranian culture since long times ago in three different ways:
1. Shahnamekhani in Z?rkhanes, which was performed and is still performed by a Morshed, playing the tombak and the bell during ancient exercises;
2. Naqqali (narration), which was performed in teahouses (qahvekhanes) and places of social gathering by narrators or reciters of the Shahname; Through reference to biographies and historical texts of Safavid dynasty, it is clearly realized that Shahnamekhani was a common practice in teahouses, places of social gathering and courts of Isfahan and Qazvin. Regarding the contemporary period, we can mainly refer to the performances of the narrator, pardekhan and reciter of the Shahname, late Morshed Mohammad Torabi. This type of Shahnamekhani can be better attributed to the urban than to the rural areas.
3. Shahnamekhani-e Majlesi, which was most common in small towns, villages and tribes and performed in soirees and intimate circles; These ceremonies were often held in the presence of a number of readers or reciters of the Shahnameh (shahnamekhans), reading it one after another. In one of the narratives from Chaharmahal and Bakhtiari, sometimes a line or a verse of the Shahname was recited by a group of reciters in response to a single reciter.
Regional Music of Iran 47 (Epics in Iranian Folk Music)

イランMahoor Institut Epics are reflections of the most unsaid, most particular events of different people and nations' lives which have been filtered and purified by the minds of individuals, narrators, storytellers and vocalists throughout the previous generations. These epics were often transferred orally, passing through the brilliant minds of narrators and storytellers, and as a result, some embellishments were added to them while the main content and the very essence of them were always preserved. In the course of this gradual transformation they have taken on a legendary or semi-legendary color.
In the process of studying different nations' oral and written literature, addressing epics-among all other types of poetry and branches of art-is considered of great importance, since epics are the most significant, most influential works which help us learn about many cultural, ethnic, racial and linguistic characteristics, customs and social relations.

▲シーア派の宗教音楽 (4CD)
Religious Music of Iranian Chiites(4CD)

CD 1- National Ta'zie
CD 2- Regional Ta'zie
CD 3- Praise Songs
CD 4- Nowhe & Pish-Khani

イランMahoor Institut *シーア派のイスラーム宗教音楽が4枚組で登場。シーア派の音源は、おそらく初のことでしょう。内容はイラン各地で行われたの宗教劇と祈りの歌のようです。現在はこの録音が成された頃のように質の高い歌が歌われていないそうですので、これは貴重な記録のようです。冒頭の男性独唱から、タハリールの入った素晴らしい歌唱にぐいぐい引き込まれました。ペルシア古典声楽の要素を強く感じさせます。

Researched & Recording & Accompanying notes by
Jahangir Nasri asharfi
▲ドタール  Dotar (2CD)
Iran, Central Asia & Anatolia

Collection, Recording and accompanying notes:Jean During
イランMahoor Institute The Dotar as a musical system
The Dotar is a long necked lute of the tanbur family, generally with two strings (in Persian, do tar) widespread from Kurdistan to Xinjiang.
These two CDs, devoted to this instrument, show how by starting from the very simple concept of a lute with two strings struck or scraped by the fingers of the right hand, each relevant culture has created its own instrument, with its specific sonority, its style and its technique. According to an Iranian master, one of the differences between his music and that of the West is that the perfection of sophistication must concentrate on the subject or the agent - i.e. on the playing technique - and not on the object, i.e. the instrument. Thus the traditional instruments remain simple, while the manner of playing them is highly sophisticated. The case of the reed flute, ney, is well-known; that of the dotar is even more outstanding because of the complexity of its playing and the diversity of the approaches. From the organological point of view, many long necked lutes belong to the dotar family (Turkish saz, Greek buzuki, etc), but from the practical point of view, the dotars are distinguished radically from the other lutes by the playing technique of the right hand: the strings are struck (and sometimes plucked) with several fingers, and not with only one finger (Persian setar) or with a plectrum (Arabic tanbur) or a thimble-pick (new Afghan dotar, Uzbek tanbur). The various manners of striking the strings with fingers are especially developed on two-string lutes. On these lutes, it can be supposed that sometimes one string has been doubled later (Baluchi tanburag, Kurdish tanbur), or a third string has been added (Turkish Uteli, Kyrgyz komuz). With some exceptions, one can place in the same category the lutes with two strings and those whose three strings are generally struck together, by only one gesture.
This double CD takes into account only this family of instruments. If their sonority is often very close - and it would be still more if steel had not replaced the gut or silk - the way of playing and mainly the fingering of the right hand are as varied as the musical traditions these lutes belong to. Attentive observation reveals how a musical tradition is conditioned by the technique and the gesture that generate it. If the mind is able to conceive forms ad infinitum, the hand also - and sometimes it seems in an autonomous way - takes part fully in this noble activity.
By its system of fingering, the dotar allows infinite rhythmic effects, while the systematic striking of two strings at the same time makes it possible to diversify the weight and the color of each note, so that the airs grow rich on both rhythmic and melodic levels. Indeed, if the drone g remains stable, the notes of the first string generate a bi-phony on each fret: g-c, g-d, g-e, g-f, g-g, etc., with various nuances of consonance (octave, fifth, sixth, diminished fifth, etc). Moreover, in the Turkish playing style, the left thumb is used on the second string to vary the drone's pitch, which lightens each note in various possible ways. Thus on the fret F, one can produce five different basses: g-F, a-F, b(flat)-F, c-F, d-F. This aesthetic feature is typical of the Turkmens, Qaraqalpaks, and also of the Kazakhs and (in another way) the Kyrgyzs. It can be found also in the dotar of Eastern Khorasan and that of Kurdistan, but seldom elsewhere.
現地のレーベル、バルバッドのイラン地方音楽シリーズ。このレーベルは面白いことに古典音楽より民謡の方が充実しているレーベルです。IRAN EPIC MUSIC(イランの叙事詩の音楽)を筆頭に、バフティアリ、ガシュガイ各少数民族の膨大なシリーズなど、バルバッドならではの音源が豊富に揃っています。レーベル名はササン朝ペルシアの宮廷音楽家バルバッドから。
演奏はIran Folk Music Mastersとだけ記載されています。ジャケット、曲目と演奏時間(Vol.7以外)は近々アップ予定。
Zoroastrian Ritual-Epic Music   

01- from Bahram Yasht (Yazd)
02- from Mehr Yasht (Yazd)
03- Chub bazi do nafareh (Bdokht, Gonabad)
Chub bazi goruhi
Asbe Chubi (2 parts)
04- Jangi, Jangi (Bdokht, Gonabad)
05- Mandali Sardar (Bdokht, Gonabad)
06- Charkheshe Dohol (Birjand)
07- Raqse Doreh (Birjand)
08- Chub bazi goruhi (Birjand)
09- Khorus Jangi (Birjand)
イランBarbad *ゾロアスター教は、イスラーム成立前の古代ペルシアで長らく国教だった宗教。音源に耳を傾けると、キリスト教と仏教の間にあって、その両方に多大な影響を与えた宗教の威風、そして「イランの誇り」を感じます。今でもゾロアスター教徒が住む中部イランの古都ヤズドでの録音。


3曲目から後は南ホラーサーンの音楽が入っています。 当初はホラサーンのゾロアスター教徒の宗教音楽以外の祭礼音楽の類か、と思っていましたが、どうも一般的なホラサーンの音楽のようでした。

Ashiqi Music of Eastern Azerbaijan
イランBarbad 以下のイランBarbadの全タイトルのジャケット、曲目と演奏時間(Vol.7以外)は近々アップ予定 ¥2,500
Ashiqi Music of Eastern Azerbaijan
イランBarbad ¥2,500
Music of Eastern Azerbaijan
イランBarbad ¥2,500
Music of Western Azerbaijan
イランBarbad ¥2,500
Music of Northern Khorasan, Asheq ha
イランBarbad ¥2,500
Music of Northern Khorasan,
イランBarbad ¥2,500
Zoroastrian Ritual-Epic Music
イランBarbad このコーナーのトップをご参照下さい。
Music of Khorasan, Torbate Jam, Taybad
イランBarbad ¥2,500
Music of Khorasan, Semnan
イランBarbad ¥2,500
Music of Sistan & Baluchestan
イランBarbad ¥2,500
Music of Baluchestan
イランBarbad ¥2,500
Music of Kurdistan
イランBarbad ¥2,500
Music of Kurdistan
イランBarbad ¥2,500
Music of Keranshahan
イランBarbad ¥2,500
Music of Keranshahan
イランBarbad ¥2,500
Music of Bakhtiari, Laki, Lori
イランBarbad ¥2,500
Music of Turkemen Sahra, Golestan
イランBarbad ¥2,500
Music of Mazandaran, Katoul
イランBarbad ¥2,500
Music of Mazandaran, Gilan, Talesh
イランBarbad ¥2,500
Music of Qashqayi, Fars
イランBarbad ¥2,500
Music of Bushehr
イランBarbad ¥2,500
Shahnameh-khani I (Singing of Shahnameh)
イランBarbad ¥2,500
Shahnameh-khani II (Singing of Shahnameh)
イランBarbad ¥2,500
Selected Persian Folk Songs
イランBarbad ¥2,500
Researched by Dr. Mansureh
Vocals: Qorban Ali Qasemi
Sorna: Zeynolabedin Hoseyni
イランBarbad ¥2,500
Vocals: Ajam Mokhtari, Karam Ali
Bozorgnia, Asgar Amiri
Daf: Alireza Amirian
Tonbak: Shahram Amiri, Mohammad Amiri, Dariush Amiri
Dayereh: Peyman Bozorgnia
イランBarbad ¥2,500
Karna, Sorna, Kamancheh: Ali Akbar
Dohol: Ali Heydari
Vocals: Bijan Ne'mati
イランBarbad ¥2,500
Vocals: Yaqoub Madadi, Naqi
Zolfaqari, Davud Eydi, Rahman
Madadi, Nasrollah Abbasi, Rasul
Madadi, Hatam Abdollahi, Ma'na
イランBarbad ¥2,500
▲BAKHTYARI MUSIC 5  Ney Haftband
Ney: Abdeh Khoon Sadeqi, Ahmad
Qoli Behzadi, Yahya Salehi, Abdeh
Vocals: Alidad Behzadi
イランBarbad ¥2,500
Vocals: Allah Morad Karimi, Qolam
Shah Qanbari, Mohammad
Behdarvand, Hoseyn Qasemi (Modal),
Sogoli Behzadi, Juli Bahmani, Yahya
Salehi, Mohammad Morad Qasemi,
Hatam Abdollahi
イランBarbad ¥2,500
Vocals: Allah Morad Karimi,
Mohammad Morad Abbaspur, Qolam
Shah Qanbari, Mohammad
Behdarvand, Jamshid Emaminejad,
Hoseyn Qasemi (Modal), Nejat Ali
Zakipur, Hatam Abdollahi
イランBarbad ¥2,500
Vocals: Qolamshah Qanbari
イランBarbad ¥2,500
Vocals: Mohammad Morad Abbaspour,
Seyfollah Heydari, Jamshid
イランBarbad ¥2,500
Vocals: Abolghasem Dehghani, Rahim
Yadollahi Farsani
イランBarbad ¥2,500
Vocals: Allah Morad Karimi, Khodadad
Karimi, Shams Ali Mansourifar, Rahim
Yadollahi, Zolfaghar Seyfouri, Yahya
Salehi, Alidad Behzadi, Mohammad
Behdarvand, Hosen Gholi Aghaie,
Mohammad Reza Taherpour, Ahmad
Mirtavakoli, Pejman Mo'men Nejad
イランBarbad ¥2,500
Chaharmahal & Bakhtyari (Ben)
Kamancheh & Vocals: Najaf Gholi
イランBarbad ¥2,500
▲BAKHTYARI MUSIC 13 Gagriv (Elegies)
Vocals: Kokab Zakipour, Tayebeh
Fadaie, Bibitala Yadollahi, Goljahan
Bozorgnia, Haminbas Aghaie, Latif
Najafi, Jamshid Emaminejad,
Mohammad Reza Taherpour,
Mohammad Baharvand, Hoseyn Gholi
Aghaie, Peyman Bozorgnia, Ya'ghoob
Karna, Sorna: Kakakhan Hasani, sabz
Ali Khojasteh, Nourollah Mo'men
Nejad, Ahmad Mir Tavakkoli,
Dohol: Mousa Khojasteh, Mohammad
Kouchaki, Khan Mohammad Mo'men
Nejad, Pejman Mo'men Nejad
イランBarbad ¥2,500
▲BAKHTYARI MUSIC 14 Gagriv (Elegies), Serou, Ta'zieh
Vocals: Shams Ali Mansourifar,
Jamshid Emaminejad, Seyfollah
Heydari, Zolfaghar Seyfouri, Goodarz
Sepyani, Mohammad Morad Ghasemi,
Bakhsh Ali Mahmoudi, Gholam
Ghasemi, Mohammad Reza
Karna, Sorna, Ney: Abdeh Shah
Mo'men Nejad, Yahya Salehi, Rostam
Pour Asadian (Ghapouni),
Heshmatollah Tannazi
Dohol: Aziz Vesagh, Barouni Moradi
イランBarbad ¥2,500
▲BAKHTYARI MUSIC 15 Karna, Sorna, Dohol (Lahne Torki)
Karna, Sorna: Akbar Mehdipour
Dohol: Ali Heydari
イランBarbad ¥2,500
Regional Music of Iran
Compilation by Mahshid Naghashpour
Vocals, Tar, Tonbak: Hoseyn Tarzari,
Bahaeddin Ghaemi, Shanbehzadeh,
Abdorahim Namaki
イランBarbad ¥8,500
Vocals: Manijeh Kheyrkhah, Mahin
Naghashpour, Banooy Mahaleh
Abdollah Banoo, Kokab Aab
Aabzadeh, Abdoreza Farahizadeh
Vocals, Tar: Bahaeddin Ghaemi,
Abdorahim Namaki, Hoseyn Tarzari,
Ali Kouchaki, Mansour Baba, Mianabi
Ney Jofteh: Hasan Ali Mokhtarband
Tonbak, dayereh: Ali Mohammad
Shahami, Abdorahim Namaki
Tar: Abdolmohammad Barjasteh (Kal
Vocals: Kazem Mehrpour, Mohammad
Ali Shahami, hasan Gorji
Ney Jofteh: Eydi Nazarali,
Gholam Mokhtarband
Vocals: Barati
Dayereh: Zaman
Tar: Abdolmohammad Barjasteh (Kal
Abdol), Houshang Farhang
Vocals: Kazem Mehrpour, Mohammad
Ali Shahami, Mehdi Ghaemi
Ney Jofteh: Eydi Nazarali, Gholam
Mokhtarband, Karam Anbar
Tonbak: Mohammad Ali Shahami
Dayereh: Zaman
Regional Music of Iran
Collected by Parvin Bahmani
Kamancheh & Vocals: Ashiq Emamqoli
Ebrahim, Ashiq Mohammad Ja'farinia,
Ashiq Amir Hoseyn Jeddifar, Ashiq
Mohammad Qoli Khorshidi
イランBarbad ¥4,450
Kamancheh & Vocals: Ashiq Emamqoli
Ebrahim, Ashiq Mohammad Ja'farinia,
Ashiq Amir Hoseyn Jeddifar, Ashiq
Mohammad Qoli Khorshidi
Kamancheh & Vocals: Ashiq Emamqoli
Ebrahim, Ashiq Mohammad Ja'farinia,
Ashiq Amir Hoseyn Jeddifar, Ashiq
Mohammad Qoli Khorshidi
Music of Northern Khorasan, Asheq ha
イランBarbad ¥2,500
Ashiqi Music of Eastern Azerbaijan
イランBarbad ¥2,500
YEYLAGH Iranian Folk Wedding Music
Piano: Pouyan Azadeh
Dayereh: Keivan Pahlavan
イランBarbad ¥2,500
▲Faryad-e Daf
FARYAD-E DAF  Sufism Music
Daf: Ata'ollah Salamieh
イランBarbad ¥2,500
Dotar & Singer: Morteza Goodarzi
イランBarbad ¥2,500
Khorasan  ホラサーン地方(イラン東北部)
▲イランの地方音楽 19 -

イランMahoor Institute *ホラサーン北部の語り物。まるで浪花節のような発声で、シャーナーメ(王書)やガザルが独唱されています。ズルハネとも関連性が深いようで、これは興味深い音源。ナッカールとは、シャーナーメなどを専門で唱える歌手を指します。 ¥2,250
▲イラン東部 北ホラサーンの音楽 
仏Buda *近年活躍が目覚ましいイラン東部ホラサーン州出身の女性歌手。 ¥2,350
▲イラン東部 南ホラサーンの音楽 
仏Buda *近年活躍が目覚ましいイラン東部ホラサーン州出身の女性歌手。 ¥2,350
Mahoor盤        Anjman盤
イランMahoor Institut *すさまじいドタール・テクニックを弾き語りで披露するホラサーンの吟遊詩人。東部のホラサーンだけに、イランよりは中央アジア諸国の音楽とのつながりを強く感じさせる。95年頃リリースの米Kereshmeh盤とは別音源。Anjmanレーベルの同名盤はMahoor盤と同内容です。 \2,250

仏Inedit *ホラサーンの吟遊詩人Rowshan Golafruzのドタール弾き語り。ドタールの妙技と激情型の語りにまず驚かされる。英雄ターヘルと彼の恋人ゾーレのロマンス物語を語っていて、ダスタン(中東の叙事詩)語りの典型。キング盤の同郷人ミルザーイなどとはちょっと異なる芸風。2枚で1枚の価格  ¥2,500
▲Music from Northern Khorasan
 Rowshan Golafruz, Vocal and dotar
イランMahoor Institute 仏Inedit盤と同じ演奏家。同音源かどうかは未確認です。 ¥2,250
▲Music of Northern Khorasan
 Mokhtar Zanbilbaf -Moghadam: dotar
イランMahoor Institute ¥2,250
▲Daf and Dayere from Northern Khorasan
Recordings and Accompanying Notes by
Keyvan Pahlevan
イランMahoor Institute ¥2,250
▲Torbat-e Jam Dances East Khorasan
 Gholam-Ali Neynavaz: Sorna
 Abbas Neynavaz: Dohol
イランMahoor Institute ¥2,250
Music of Torbat-e Jam
 Noormohammad Dorpour: vocals
 Zolfaqar Asgaripour: dotar
イランMahoor Institute *ホラサーンの南部(おそらく)のトルバッテー・ジャームの吟遊詩人の音楽。ドタールの伴奏で、熱く語っています。歌、ドタール共、これだけ込み入ったテクニックだと弾き語りは難しいのでしょう。トルバッテー・ジャームというタイトルで、いくつか見かけますので、特徴のある語りを聞かせる地方なのだろうと思われます。 ¥2,250
▲North Khorasan's Dance
Heshmat Saadati: Sorna Mohammad Asheq  Qarakhani:Qoshme Abdol ali Damanjani: Vocals
Qorban Baqeri: Kamancheh & Dohol
イランMahoor Institute ¥2,250
▲The Instrumental Maghams of Torbat-e Jam
 Nazar-Mohammad Soleymani: dotar
イランMahoor Institute ¥2,250
▲Music from Northern Khorasan (Daregaz)
 Bakhshi Olya-Qoli Yeganeh: dotar
イランMahoor Institute ¥2,250
▲Music of Northern Khorasan
 Mohammad-Hossein Yeganeh: dotar, vocals
イランMahoor Institute ¥2,250
 /Music of Torbat-e Jam
イランMahoor Institute *ホラサーン地方のドタール名手のソロ。2弦しかないことが信じられないような超絶技巧。 
曲目:Allah, Hezaregi, Sarhaddi, Verd-e A'zam, Sabz-e Pari, Kucheh Baqi, Mashq-e Peltan(Savareh), Me'raj-Nameh, Jamshidi, Kabk-e Zari, Oshtor Khejow, Navai
Baluchistan, Sistan, Kerman  東部、東南部イラン (バルチスタン、シスターン、ケルマン)
Ritnoaivi ja nieguid oaidni / The Frost-haired and the Dream-seer
ノルウェーEtnisk Musikklubb *日本の大正琴がアジアに渡り土着化した楽器ベンジュの名手、アブドゥルラフマン・スリゼヒに、ヴォーカル、ハルダンゲル・フィドル、タブラという北欧とアジアの楽器を取り混ぜたグループ「パディック」。イラン南東部、パキスタン西部と南西アフガニスタンをまたがるバロチスタン(バルチスタン)地方の豊かな音楽の伝統を紡ぐ。 ¥2,550
Regional Music of 35 (Music & Trance-Music of Baluchistan)

Compilation and accompanying notes by Mohammad-Reza Darvishi
イランMahoor Institut This is 2 CDs collection includes music and dhikrs of Gwati music of Baluchistan, like dhikrs of Gwati ceremonies of Baluchistan, The maqam of Zahiruk, The maqam of Simorq, The maqam of Mar, and Gwati music of Iranshahr, Chabahar, Nikshahr and Bampur which are performed by Khalife Shahmir Baluch Maldari and Khalife Angur Pirandakh Ensemble with other players of Iranshahr music ensemble. Two maqams in this collection are played by Ostad Shirmohammad Espandar and Musa Baluch with doneli. ¥3,100
Regional Music of Iran 36 (Great Masters of Baluchi Music)
Music for Joy, Pain and Ecstasy

Recording and accompanying notes by Jean During
イランMahoor Institut This collection is performance of Baluchi music by famous players of Baluchi music like Arzu Mohammad, Abdolbaqi, Abdollah Lasi, Mohammad Ramezan and Yar Mohammad Sheykh with common instruments of that region like sorud, doneli and benjo. The booklet of this album is written by Jean During and includes introducing of Baluchi music, players and instruments and description of the pieces. Some pieces of this album are: Zahirig and Vocals, Lahro,Sasuli, Gane-ye Baluchi and Guati Suite. ¥2,250
■バルチスタンの音楽:恍惚と治癒の音楽 (2CD)

仏Ocora *バルチスタンに伝承される悪霊払いのヒーリング儀礼グワーティーの音楽。 \4,500

Recordings and Accompanying Notes by
Keyvan Pahlevan
イランMahoor Institut *地方別のイラン・フレーム・ドラム特集の一枚。イラン東南部のバルチスタンに隣接(北側?)するシスターン編。バルチスタンの近くらしく弓奏楽器ゲイチャク弾き語りの伴奏を数人の枠太鼓奏者が受け持っています。 ¥2,250
▲Dancer of Eastern Kerman (Baluchi)
Collected and Researched by Mansureh Sabetzadeh
イランMahoor Institut The province of Kerman is limited to such privinces as Khorasan and yazd from north, to Hormozghan from south, to Sistan and Baluchestan from east, and to the province of Fars from west.Up to now, it has been referred to as Kerman, Kamaniya, Kermaniya, Jermaniya, Karmani, Kermani Ghashir and Shahre Abrisham in various reference books.
The word Kerman has so far been interpreted as to be a combination of the two words of "Kar" and "Man" (meaning "work" and "house" respectively) together signifying the battle field of warriors and heroes.
▲Baluchestan Dances
Collected and Researched by Mansureh Sabetzadeh
イランMahoor Institut ¥2,250
▲Qalandari Music of Baluchistan
 Mohamad Gamshazehi,doneli
 Karimbakhsh Nuri,sorud
 Pahlevan Boland Zangshahi,sorud & vocal
 Bahram Surizehi &
 Khodadad Shakkalzehi,tanburak
 Rahime & Sahebe,vocal
イランMahoor Institut ¥2,250
▲Music of Baluchestan
 Shir-Mohammad Espandar: doneli
 Jahangir Parvin Jakas: tamburak, vocals
 Abdorrahman Dastyar: doholak
イランMahoor Institut ¥2,250
▲Turkaman Dance and Festivity Music
 Collected and Researched
 by Mansureh Sabetzadeh
イランMahoor Institut ¥2,250
▲The Music of Turkaman-Sahra
 Nazarali Mahjubi and
 Ashur Galdi Garkazi: dotar, vocals
 Mansur Sabuhi: dotar
 Bayram Bardi Yamudi: kamancheh  
イランMahoor Institut ¥2,250
Gilan, Mazandaran  北部イラン (ギーラーン、マザンダラーン)
▲Regional Music of Iran 43 (Music of Kumesh 1)

Music of East & North East Kumesh(2CD)
イランMahoor Institut ※北イランの古い地方名の一つ、クメーシュに残るフォークロアの2枚組3セット! 凄いヴォリュームです。 \3,100
▲Regional Music of Iran 44 (Music of Kumesh 2)

Music of South, Centre & West Kumesh(2CD)
イランMahoor Institut \3,100
▲Regional Music of Iran 45 (Music of Kumesh 3)

Music of South, Centre, West & North Kumesh (2CD)
イランMahoor Institut \3,100
▲Regional Music of Iran 28
(Music of Talesh Rice Farms)
イランMahoor Institut Recording & accompanying notes:
Armin Faridi-Haftkhani

〓▲イランの地方音楽 16 -
ギーラーン地方の音楽アンソロジー (3CD)

イランMahoor Institut *イラン北部、カスピ海岸の地方ギーラーンの民俗音楽を3枚に亘って収録。これはギーラーン音楽の決定版的内容。北イランの米作風景は日本の東北辺りに似ているとよく言われますが、音楽も昔の日本の祭りや縁日の音に通じる雰囲気があります。太鼓の演奏など、ここは日本かと錯覚するようなリズムも。 \4,450
▲Gile-Lo Music of Gil and Deylam
イランMahoor Institut *ギーラーンなど、北部高原地帯の民謡のアレンジもの。タイトルはギーラーンとデイラーマンの略か? カウベル?や縦笛も交えたイランの田園風景が目に浮かぶようなアレンジ。 ¥2,250
イランMahoor Institute *米作風景が日本に似ているとも言われる、カスピ海南西岸に位置するギーラーン地方の民謡集。ご当地の歌手でしょうか、フレイドゥン・プールレザの歌にホセイン・ハミディの編曲。追分け風に長閑なタハリールが聞ける。伴奏はキャマンチェ、セタール、ウード、タールバース、ソルナ、ナガレ、ダイェレ他 ¥2,250
Taleshi Dance and Festivity Music

Vocals: Qesmat-Khani,
Dayereh(Dyare): Mohammad Qasemi,
Tambure & Vocalist: Armin Faridi,
Khele & Vocalist: Human Faridi
イランMahoor Institute *ギーラーン州の北部に位置するカスピ海南西岸の地方ターレシュの音楽。3枚組みはネイにスポットが当たった内容でしたが、こちらは歌と弦楽器、打楽器による祭りの音楽が中心。 ¥2,250
▲イランの地方音楽 4 - ターレシュ地方の音楽アンソロジー (3CD)
A Musical Anthology of Talesh (Gilan) 3CD
 Collected & Recorded
 by Armin Faridi Haftkhani

イランMahoor Institut *ギーラーン州の北部に位置するカスピ海南西岸の地方ターレシュ。ここの音楽はプリミティヴで、あの繊細なペルシア古典音楽と同じ国のものだとは信じられないほど。特にネイのダブルトーンの演奏は特徴的で、東欧のカヴァルを連想させます。 \4,450
▲Dance Tunes from Mazandaran
Collected and Researched by Mansureh Sabetzadeh
イランMahoor Institut ¥2,250
▲A Musical Anthology of Mazandaran
 Nur-Mohammad Talebi,
 Shaban Nikkhu, Mosayyeb Yaqubi,
 Qorban-Ali Rezai: vocal,
 Ahmad Mohsenpur: kamancheh
 Qadar Atuli: kamancheh,
 Hossein Tayyebi: laleva
イランMahoor Institut ¥2,250
▲Eftab Teh: Mazandarani Music
 Composer: Ahmad Mohsenpur (arangement)
 Nurollah Alizadeh and Abolhasan Khoshru: vocals 
イランMahoor Institut ¥2,250
Azarbayejan  北西イラン (アザルバイジャン)
Asheqi Music : East Azerbaijan REGIONAL MUSIC OF IRAN 59
イランMahoor Institut 94年に来日した長身のサズ(ホプス)弾き語りアシュク(吟遊詩人)のラスル・ゴルバーニ初め、タブリーズのアシュク達の録音を集成した一枚。録音年のクレジットがありませんが、古そうです。ダブルリードのバラバンとカヴァル(ダフ?)の伴奏が入ったり、自由闊達なサズ演奏を聞かせたり、色々楽しめる演奏を繰り広げています。 ¥2,250
▲レズギ Lezgi

Piano , Accodion: Bijan Dadashi
Naqara: Vahid Asadollahi
Garmon: Rahman Asadollahi
イランMahoor Institute このアルバムでガルモン(アコーディオンの一種)を弾いているRahman Asadollahiによって集められた曲を含むアゼルバイジャン音楽のコレクション。ピアノ担当のBijan Dadashiの1984年の編曲。レズギと言う名からは、北カフカスのレズギンカをすぐさま連想しますが、ここで演奏されているのはレングやMahni(マフニ?)になるようです。
This collection includes a number of pieces from Azerbaijani music that are gathered by Rahman Asadollahi who in turn has contributed to their performance by playing Garmon. All these performances were arranged and recorded by Bijan Dadashi in 1984.
The pieces here are from dance music (Reng) and Mahni. Rengs of Azerbayjani music possess the same rhythmic quality of Rengs in the Iranian music. One can equal Mahni with Tarane which itself is different from Tasnif in Azerbayjani music. The latter is more complicated in form and often contains dependent and established pieces that are parts of a Dastgah, contrary to Tasnif in the iranian music that is separated from the body of Radif. Mahni's, however, on account of their simple structure, generally resemble simple popular Tarane's. Two kinds of them can be specified in Azerbayjani music: Khalq Mahnisi or the popular Mahni belonging to the folklore and Vastekari Mahnisi or the Mahni with its creator as known. To name the most renowned Mahni composers we can mention Tofigh Aliyov, Saeed Rostamov, and Jahangir Jahangirov. Certain Bastekari Mahni's are so closed in mood to the popular Mahni's that are often considered to be Khalq Mahnisi, e.g. Alaguz by Saeed Rostamov or Ayriliq, one of the most famous and over-popular Mahnis throughout Azerbayjan, by Ostad Salimi.
Asheqi Music from Eastern Azerbaijan
Regional Music of Iran 26 (Mishu)

Ashiq Mahnilari
Ashiq Imran Heydari
Imran Heydari
イランMahoor Institute Ashiq Imran Heydari was born in 1956 to a family appreciative of art. In 1973, alongside his education, he began studying saz under Ashiq Haji Ali Ebadiyan. Afterwards, listening to the works of Ashiq Edalat Nasibov and Ashiq Kamandar Afandiyov, he continued practicing on his own. He has studied under celebrated Ashiq-s of Azerbaijan such as Ashiq Qasham, Ashiq Jebra'il, and Ashiq Isa. Since 1976 on, due to his keen interest and skill in instrument making, he has been busy making saz. In this regard, he has learned a lot from master Mahmud Samadzade. In 1981, he finished his studies in civil engineering and went to Tehran. There, he co-operated with the Azerbaijani orchestra of the Radio Tehran for four years. Ashiq Imran pursues his career in ashiqi music by performing concerts both in Iran and abroad, training young students, conducting research on the art of ashiqi, and making saz. ¥2,250

Regional Music of Iran 20 (Asheghi Music from West Azerbaijan)

Dotar & Vocals: Ashegh Aslan
イランMahoor Institute The Tale of Kur Oghlu: Discovering Eyvaz
Collected and Researched by: Fozie Majd
イランMahoor Institute *往年のアゼルバイジャンのタール名人(1922-97)。首都バクー生まれ。少年時代にスターリンの圧政から逃れ家族ごとイランに移住。イラン北西部ア ザルバイジャン地方のタブリーズで、亡くなるまで活躍した。同時代のアゼリ系タール名人ビグジェーハーニなどとも親交があり、アゼルバイジャンとペルシア 古典の折衷的なユニークな演奏を披露している。 ¥2,250
イランMahoor Institute *94年に来日公演を行ったイラン北西部アザルバイジャン地方のアシュク。サズとバラバン、ダフの伴奏に乗るアシュクのハイトーン・ヴォーカルは、「アゼルバイジャン」のものと一味違います。 ¥2,250
▲Asheqi Music From East Azerbaijan
 Asheq Rasul Qorbani, Saz and Vocal
 Abolfazl Ebadiyan, balaban
 Nezam-Ali Qaradaghi, qaval
イランMahoor Institut ¥2,250
Heydar Baba: Ostad Shahryar's Masterpiece
 Asheq Hasan Eskandari: saz and vocals
 Reza Qara-Daqi: dayereh
 Mashallah Ali Akbari: balaban
イランMahoor Institut
Kurdistan  イラン西部 クルディスタン (ケルマンシャー他) 〜Ostad Elahiはクルド音楽コーナーに出ております。
▲グランの宗教音楽 (2CD)
Regional Music of Iran 41 (Ritual Music of Guran)

Collected and researched by Partow Hooshmandrad

イラン西部のクルドのヤルサンの音楽を研究する民族音楽学者Partow Hooshmandradによる現地録音。この2枚組は、ケルマンシャー州にあるグラン地方のKhamushiとYadegariの家族に焦点を当てた録音。オスタッド・エラーヒやナーゼリー(BudaのMythical Chantなどの作品における)のヤルサン(アール・ハック Ahl-i Haqq とも)の宗教音楽に関心のある方は、要チェックのアイテム。
イランMahoor Institut The present album includes selections from the group and solo tanbur maqams/nazms of Guran, which is performed by the kalam-khwans (chanters of the sacred texts) of this region and recorded in their natural living environment. This collection is the result of twelve years of field research by Partow Hooshmandrad. Partow received her Ph.D. in ethnomusicology from the University of California, Berkeley. She has done extensive research on the cultural heritage of Yarsan since 2000 which continues to the present. As a scholar and a musician her expertise includes the musical tradition of Guran as well as Iranian classical music.
Among other awards Hooshmandrad has received a grant from the National Geographic Society for continuing her research and preservation work on the cultural heritage of the Kurds of the Guran region. She is currently teaching at California State University, Fresno.
The aims of publishing this album include introducing the ritual music of Guran to Iranian music and culture aficionados, and to help conserve an important part of the Iranian cultural heritage. The album focuses on the Khamushi and Yadegari families of the Guran region in the province of Kermanshah (known for maintaining the oldest Ahl-i Haqq traditions), presenting only a selected number of kalam-khwans. It is our hope to also present performances by other contemporary kalam-khwans of the region as well as older masters in the future. It is important to note that time references that have not been properly documented in various sources, have not been used in this text.

Maqam-e Bastan (Tanbur Solo)
Tanbur: Davud Azizi

1. Khan Amiri
2. Sarukhani, Sama
3. Tarz, Maqam
4. Zarbi Piece in Maqam-e Sahari
5. Improvisation in Dastgah-e Mahur
6. Jeloshahi
7. Sama
イランMahoor Institut ¥2,250
▲イランの地方音楽 18 - Sufi Music Zekr-e Ya Rahman Qaderi Dervishes of Kurdistan
Daf & vocals: Khalife Mirza Aghe Ghowsi

イランMahoor Institut *イラン西部クルディスタンのスーフィー儀礼の音楽。ダフと歌 ¥2,250
▲イランの地方音楽 17 - Sufi Music Zekr & Chant of Qaderi Dervishes of Kurdistan
Ostad Khalife Karim Safvati

イランMahoor Institut *イラン西部クルディスタンのスーフィー儀礼の音楽。ダフと歌 ¥2,250

 Sama: The music of Kermanshahn (Sahneh)
 Amrollah Shahebrahimi: vocals, tanbur
イランMahoor Institut ※タンブール独奏、または弾き語りで聞かせるイラン西部クルディスタンのスーフィー音楽。エラーヒ・ファンは勿論、モラディやナゼリのファンも要チェックの2点。両者とも弾いているKhan Amiriなどはエラーヒの録音にもありました。彼らクルドのタンブール弾きの基本的なレパートリーなのでしょう。 ¥2,250
▲アミル・ハヤティ/Ali Guyam, Ali Juyam
(Saying Ali, Seeking Ali)
 Amir Hayati: vocals, tanbur

イランMahoor Institut ¥2,250
▲Kurdish Dances
 Mohammad Bahmani: Sorna,
 Abdollah Qorbani: Vocals
 Abdollah Nabiollahi: Dohol
イランMahoor Institut ¥2,250
▲Avat (Kurdish music)
 Composer: Saeid Farajpuri (arrangement)
 Aziz Shahrokh: vocals M. Firouzi: ud
 H. Hamidi: balaban, sorna 
 B. Saeid: divan, bamtar
 S. Tarif: daf, tombak, dayereh, dohol
 S. Farajpuri: kamancheh
イランMahoor Institut ¥2,250
Fars, Lorestan, Qashqayi, Bakhtiyari  中部イラン (ファールス、ロレスターン、ガシュガイ、バフティヤリ)
Qashqayi Lullabies
<Lalayihaye Qashqayi>
Association Pour Le Developpement De La Musique Du Monde Musulman \2,500
Qashqayi women’s songs
<Avaze Zanaaneye Qashqayi>
Association Pour Le Developpement De La Musique Du Monde Musulman \2,500
Nezam Rajabzadeh / Smile of Sun - Folk music from Lorestan

バーマン・ファリャドラス(Kamanche, Kamanche Alto)、
レザ・ソフィ(Santor, Tar Bam Tar)
ノルウェーEtnisk Musikklubb *中部イランに位置するロレスターンの音源と言えば、Mahoor Institut盤とNimbus盤位だったでしょうか。そこへ何とノルウェー盤が登場です。アーヴァーズのネザム・ラジャブザデーを中心に、ケマンチェ、ケマンチェ・アルト(低音をカバーできるケマンチェだと思います)、サントゥール、タール、トンバクなどで、古典的な演奏を聞かせます。ロレスターンの民謡をモティーフに構成されたペルシア古典音楽アルバムと言って良さそうです。ケマンチェが巧みにロレスターンのソルナ(ズルナ系)のダブルリードの音を模倣しています。なお、ジャケットのセタールを弾く古老は、メンバーに入っているかどうかは不明。 ¥2,550
Regional Music of Iran 49 (Qashqayi Music, Ashuqlar Muqamlari)

イランMahoor Institute Performances by the Last Survivors of the Generation Qashqayi Ashuqs

Research, compilation & accompanying notes by Damun Sheshboluki
Naghme-ha-ye Shekarin

イランMahoor Institute Vasunaks from Shiraz and Songs from Various Regions of Fars

Compilation & accompanying notes by Damun Sheshboluki
Regional Music of Iran 38
(Shahnameh singing-Among Lors)

Compilation, recording and accompanying notes:Peyman Bozorgniya
イランMahoor Institute ロレスターンなどに住むクルド語に近い言語を話すイラン系遊牧民のロル族に代々伝わるシャーナーメ(王書)の伝承。
This collection includes 19 performances of the most famous Shahname Singers who some of them have passed away and a few recorded materials are left from their works. Sahhname singing is the most important style of epic songs in Lor tribes, so that in every tent or in every house in the village a book of shahname exists. Shahname Singers first learnt shahname in Maktabkhanes or from the masters of their tribes and they gave the same lessons to their students,they considered shahname singing as the first step in raising their children. Some titles of this collection are: "The Story of Ashkbus", "Qasam-name of Zal's Son", "Borzu-name", "Shahname-khani of Boyerahmadi", "The Story of Siavash", and "Laki Shahname Singing".
▲Regional Music of Iran 32
(Dehkordi Music)
イランMahoor Institute Chahar Mahal and Bakhtiyari province has two important musical traditions according to its geographical divisions: 1) Bakhtiyari music, 2) Chaharmahali music. Bakhtiyari music is very vast and is of great importance. Chaharmahali music consists of the music of Dehkord and its suburbs, and the music belonging to the Turkish people in the province.
The most popular music of Dehkord and its suburbs (Shahre Kord, Hafshejan, Farrokh Shahr, Borujen, Chaleshtar) is the music of sheepherder nomadic tribes in Shahre Kord who are all from Dehkord and migrate with Bakhtiyari tribes.

Recording & accompanying notes
Peyman Bozorgniya
Regional Music of Iran 30
(A Musical Anthology of Bakhtiyari Tribe)
イランMahoor Institute Lullabies(子守唄)
Funeral Music(葬送音楽)
Work Songs(仕事歌)
Music of the Toshmals (Festivity)
Pastoral Music(田園の音楽)
Wedding Songs(結婚式の歌)
Festive Songs(祭りの歌)
Versified Stories(物語詩)
Epic Songs(叙事的な歌)
Tribal Stories(部族の物語)
Love Songs(愛の歌)

Recording & accopanying: Peyman Bozorgniya
▲Regional Music of Iran 27
(Qashqayi Songs)
イランMahoor Institute Vocals: Mohammad-Hoseyn Kiyani
Setar: Hadi Nakisa, Habibollah Gorginpur
Violin: Forud Gorginpur
イランMahoor Institute *シーラーズの周辺辺りに居住しているトルコ系のQashqayi族の伝統音楽。カルナー(ダブルリード管楽器)とナッカーレ(バチで叩く二連太鼓)による演奏。イランには こういう荒削りな部族音楽も存在する。 ¥2,250
イランMahoor Institute *「ペルシア」という呼び名はペルシア語のファールスから来ているので、この地方は「ペルシアの中のペルシア」とでも言えるのでしょうか、シーラーズを中心とする ファールス地方の民謡集。甲高い声のメーラン・バルディデーの歌にソルナ系管楽器、タンブール?、ダフ等の大きな編成の民族楽団。音楽はホセイン・ハムディ(編曲?) ¥2,250
▲ヤズドとナーインのダフとダイェレ Daf and Dayere from Yazd and Na' in
Recordings and Accompanying Notes by
Keyvan Pahlevan
イランMahoor Institut *地方別のイラン・フレーム・ドラム特集の一枚。今でもゾロアスター教徒が住むことで名高い中部イランの町ヤズドなどのダフとダイレ演奏。聞けるのはゾロアスターではなくイスラム教徒の枠太鼓伝承のようです。    ¥2,250
▲Music of Bakhtiari
 Ramezan-Ali Baruzeh,
 Nariman Fazeli: vocals
 Ali Akbar Mehdipur: sorna, karna
 Ali Heydari: dohol, tombak
イランMahoor Institut ¥2,250
▲Qashqayi Dances 
 Ganj-Ali Salmanizadeh, Karna
 Peyman Salmanizadeh, Naqareh
イランMahoor Institut ¥2,250
▲Qashqayi Music
 Forud Gorgianpur, Kamancheh
 Esfandiyar Behzadpur &
 Tahmures Jahangiri,vocals
 Allah-Qoli Gorginpur & Nowruz Saadati,
  Naqareh & tombak  
 Hoseyn-Qoli Saadati, karna
イランMahoor Institut ¥2,250
▲Lorestan Dances
 Seyd-Mirza Azizi: Kamancheh
 Ahmad-Ali Rezayi: Vocals,
 Shamirza Moradi: Sorna
 Reza Moradi: Dohol,
 Mohammad Bonyadiyan: Zarb
イランMahoor Institut ¥2,250
▲Mir-e Noruz (The Music of Lorestan)
 Ahmad-Ali Rezai: vocals
 Seyed-Mirza Azizi: kamancheh
 Zolf-Ali Bonyadian: zarb
イランMahoor Institut ¥2,250
▲Music of Lorestan
 Shahmirza Moradi: sorna  
 Reza Moradi: dohol
イランMahoor Institut *おそらく英Nimbus盤と同音源 ¥2,250
イラン南部  Bushehr etc. (ブーシェフル、フーゼスタン etc.)
▲ブーシェフルの嘆きの歌  Ahl-e Matam (2CD)
Songs of Lamentation in Bushehr

Compilation, research by Mohsen Sharifian
イランMahoor Institut The mourning music in Bushehr, from two aspects of variety and multiplicity, occupies the main part of music of this region. This style of music in melody and theme is related to Shiite rituals. The mourning music in comparison to other forms of local music of Bushehr has less changed and this is the reason why its preservation and introduction seems necessary.
Bushehr province is in the south-west of Iran, from north it extends to Khuzestan and Kohgiluye and Boyer-Ahmad, from east and north-east it extends to Fars, and from south and west it meets Persian Gulf. Bushehr port - which is the main region of this research - from the historical point of view has an ancient and distinguished background. This region is among the important and ancient centers which have influenced Iranian culture and land. According to accomplished researches and studies, the age of this province, especially the city of Bushehr is more than 5 or 6 thousand years. The spoken language in Bushehr is Farsi with a special accent. The local accent of Bushehr is related to Persian Lori and Sivandi, and is also influenced by the old Shabankareyi accents.

Ensemble Shanbehzadeh, Matthieu Donarier Trio / ZAR, JAZZ & MUSIC FROM SOUTH IRAN

仏Buda *イラン南部ブーシェフル(政治の世界では「ブシェール」と表記されることが多い場所)のシャンベーザデーと、フランスのジャズ・トリオの共演。シャンベーザデーはBudaからの2枚目。


2010 年7月のライヴDVD(NTSC)とのセットで一枚ものの価格!

Iran : Musiques Du Golfe Persique
仏Buda *イラン南部ペルシア湾岸のバグパイプ奏者のアルバム。ザラブ、ダマム、手拍子、踊り、歌というシンプルなアンサンブルをバックに演奏。トランス系ではと思っていたら、ザールの名が曲名にもはっきり出てきています。動画はパルマ=カナリア諸島でのウォーマッド出演時のもの。. \2,400
▲ノバーンとザールの音楽 Music in Noban and Zar Regional Music of Iran 15
イランMahoor Institut *悪魔祓い(エクソシスト)と憑依に関連した黒人系の治療儀礼の音楽。ホルムズ海峡のケシュム島での現地録音。同種の儀礼はイラン南部だけでなく、マグレブやエジプトなどアフリカ北部からイラン南部まで、黒人のいる所に帯状に存在しているようです。モロッコのグナワやハイチのヴードゥーとの関連性も見えてきそう。しかしそんな恐いものを部屋で聞いていいものかどうか。。(笑) 低弦と打楽器、呪術的な歌声という点でも似通っています。ノバーン、ザールとも悪霊の名でもあり、ザールはアフリカ渡来の非イスラム悪霊説が濃厚。マフマルバフ、ナセール・タグヴァイ他競作の映画『キシュ島の物語』にザールのイメージを見ることが出来る。「イランの地方音楽 Hasht Behesht」(4CD)の最初がこのCDの10曲目。  ¥2,250
Qolam-Ali Margiri,
Abbas Samai: daf, vocals

イランMahoor Institut *悪魔祓い(エクソシスト)と憑依に関連した黒人系の治療儀礼の音楽。同種の儀礼はイラン南部だけでなく、マグレブやエジプトなどアフリカ北部からイラン南部まで、黒人のいる所に帯状に存在しているようです。モロッコのグナワやハイチのヴードゥーとの関連性も見えてきそう。しかしそんな恐いものを部屋で聞いていいものかどうか。。(笑) マフマルバフ、ナセール・タグヴァイ他競作の映画『キシュ島の物語』にザールのイメージを見ることが出来る。 ¥2,250
Regional Music of Iran 31 (Sharve Khani in Bushehr)

イランMahoor Institut Sharve is a free meter song, which is mostly performed in mode of Shur and in different versions (garde). Sharve has its own specific and special melody which, according to its style, is performed in various areas differently. Although the structure of most of them is the same considering their musical intervals, the difference is mostly in performing the periods considering the ornamentations, melismas, accents, rests, duration of notes, the starting and ending figures, climaxes, and cadences.
In singing sharve, usually one verse is assigned to each period. The periods are separated with the aid of long rests. In these songs the melody, which has a specific curve, usually sets the highest pitch a fifth or seldom exceptionally an octave above the tonic.
Sharve singing is started with an overture, whose verses are from Rumi. This overture which is called masnavi khani (Masnavi singing) is performed in Shushtari gushe from mode of Homayun. It is possible to use Nezami's verses instead of Rumi's though. If so, it is called nezami khani (Nezami singing). After this overture the singer performs his own style of sharve khani (sharve singing).
"Singing Masnavi or Nezami's verses as an overture is for preparation of the singer and the audience. Singing Nezami's or Masnavi verses is possible before any style, but many singers avoid this just because they are not able or they are not willing to do it. It is worth mentioning that the connection of the content of Masnavi or Nezami's verses to the melody of sharve requires high skill. In fact, in the last verses, the required atmosphere for sharve singing is prepared gradually. The main musical notes of sharve, and its melodic moods, which are the result of the melodic movement of the song, are pointed and, increasingly, the atmosphere of the sharve is stablished in a peculiar moment."
At the end of each quatrain in sharve, to complete the periods, create sectional stops or perform perfect cadences, additional verses or words like a del, ay dust, ruzegar, ay ruzegar, azize del, si to migom, ect. are added. Sometimes instead of additional words, some of the words of verses, especially in cadences, are repeated twice or several times which are called vakhun (drone).
Sharve singing may be performed by two or several singers, a style which is called do man doyi or donbale khani. In this kind of performance, usually one of the versions of sharve is chosen and is carried around. In such gatherings sharve singing may last for hours. Although sharve singing is not allocated to a certain place or time or situation, it is not popular to sing it in a wedding ceremony.
A kind of sharve singing, which is performed with mourning verses, is called marsiye khani. Some sharve singers consider it quite different from sharve singing, because, although sharve is performed with a gloomy and mournful melody the verses are amorous and they speak of union and disunion, while marsiye khani is related to death and elegy.
Regional Music of Iran 25 (Khayyami)
( Khayyam-Khani in Bushehr)

Khayyami 1
Singer: Kheder Aziz-zade, Yazle: Mohammad Saqiri,
Ney-jofti: Mahmud Pakdel, Zarb: Morteza Palizdan, Abdol'ali Mohandesi
Khayyami 2
Singer: Abdorreza Akhlaqi, Flute: Mohsen Heydariye, Zarb: Mohammad-Reza Shushtari, Hoseyn Sangesar
Khayyami 3
Singer: Qolam Doriye, Flute: Amir Rasa'ifar, Zarb: Rajab Badrimun, Mohammad Zolqadr
Khayyami 4
Singer: Kheder Azizzade, Flute: Amir Rasa'ifar, Zarb: Mahmud Zolqadr
Khayyami 5
Singer: Esma'il Bakhtiyari-Azad, Flute: Amir Rasa'ifar, Zarb: Hoseyn Sangesar, Mehdi Sharifiyan
Khayyami 6
Singer: Ruhollah Safavi, Flute: Amir Rasa'ifar, Zarb: Qolam Doriye, Esma'il Bakhtiyari-Azad
Khayyami 7
Singer: Kheder Azizzade, Ney-jofti: Mahmud Pakdel, Zarb: Morteza Palizdan, Mohammad-Reza Shushtari
Khayyami 8
Singer: Jahanbakhsh Kordizade (Bakhshu), Flute: Abbas Keshtkar, Zarb: Musa Yaqutzade (1968)
イランMahoor Institut In the early history of the music of Bushehr, alongside the local poetry, mainly those by Fa'ez and Maftun, there existed the Persian classical poetry by such great poets as Mowlavi, Ferdowsi, Nezami, Khayyam and so on.
Khayyami or Khayyam-khani is considered as a unique form of the music of Bushehr which consists of instrumental and vocal periods. These instrumental and vocal parts can be represented either independently as a form of a dialogue or simultaneously to complement each other.
The metric structure of Khayyami is a combination of free and fixed meter. At the beginning, the vocalist sings an Avaz in free meter in Bayat-e Tork as a prelude. When finished, he does sing a rhythmic song in the same mode creating a cheerful atmosphere. Afterwards, he keeps singing the local poems.
This form of music which is solely noteworthy in Bushehr, concerning both its musical structure and its content and functions is undoubtedly recognized as a kind of unique musical form in Iran.
It should be noted that Khayyami has much more urban characteristics in it than the other local forms of music in Bushehr. In addition, the melodic structure of Khayyami makes it completely different from other forms.
The outstanding rhythmic feature of the second part is the harmony of the rhythm with the applause of the excited audience, reinforced by the percussion instruments.
▲ブーシェフルのアルバエーン Arba'een in Bushehr Regional Music of Iran 14
Nohe Singers:Jahanbakhsh Kordizadeh and Hosseyn Khormai
Collected and Researched by Fozie Majd

イランMahoor Institut *南部のブーシェフルのイスラーム伝統音楽。毎年行われる、預言者ムハンマドの孫エマーム・ホセインの殉教から40日めの記念祭の模様。両面太鼓のダムマーム等の打奏に始まり、カントールのような男性の独唱、会衆の応唱が続く。イランの古典音楽とは全く異なる印象。イランの広さを実感する一枚です。   ¥2,250
▲Dance Tunes from Bushehr
Collected and Researched by
Mansureh Sabetzadeh
イランMahoor Institut ¥2,250
▲Music of Bushehr
 Abdorrahim Karami: vocals
 Ahmad Alisharafi: neylabak, ney jofty
 Jafar Bardaknia: dammam
 Saeid Shanbehzadeh: dammam
イランMahoor Institut ¥2,250
トランスオクシアナ (或いはトランスオクサニア)〜中央アジアのペルシア系
▲ゴザル・ムミノヴァ /

イランMahoor Institut *ウズベキスタンの女流ドターリストのソロ・アルバム。女流だからと侮ること無かれ、これは凄いテクニック!ショッキングなほどの演奏です。その上にチュルク的な歌謡性が横溢し、興味は尽きません。1977年ヒヴァ生まれで、仏Ocoraから出ていた「ドタールの芸術」のアブドゥルラヒム・ハミードフに師事したようで、成る程の超絶技巧です。2弦なのが信じられません。 ¥2,250
▲トランスオクサニア -
 Folk Music of Persian-Speaking People

イランMahoor Institut *現在ではウズベクなどのトルコ族の優勢な地域に住むペルシア系少数民族ですが、昔はペルシア文化の中心地の一つ。ダイェレとソルナ、ドタールなどの伴奏で歌われる歌は、表面上はほとんどトルコ的。ブハラやタジクのドゥシャンベなどでの録音で、パミール東部バダフシャンの吟遊詩人語りがラスト。仏Ocora音源らしきトラックもあり。トランスオクサニアと聞いてすぐ連想するアム〜シル両河川の間からは少々拡大しているように思います。 ¥2,250
▲Heyy Allah
(Mystics of Qaderieh Sect Zekr,
 Daf and Vocals) 
 Ostad Khalifeh Mirza Aqeqosi, Alireza and
 Abd-or-Rahman Qosi: daf, vocals

イランMahoor Institut スーフィー音楽と思われます。 ¥2,250
▲Zhuan (Promise)
 Sadollah Nasiri: Divan, Vocals
 Said Farajpuri: Kamancheh
イランMahoor Institut ¥2,250
▲Essare Su
 Composer: Ahmad Mohsenpur (arrangement)
 Shaban Nikkhu, Nurollah Alizadeh,
 Abolhasan Khoshru: vocals
 Ahmad Mohsenpur: kamancheh
 Nurollah Alizadeh: laleva, qerneh
 Nasir Shirdel: dotar
 Bahmanyar Sharifi: desarkotan, dohol, zanjil
 Aref Honarikar: daf
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▲In the Memory of Seyyed Ali-Asqar Kordestani
 Aziz Shahrokh: vocals
 Saeid Farajpour: kamancheh
 Bahram Saed: tar
 Daryush Zargari: tombak
イランMahoor Institut (おそらく古典作品) ¥2,250
 Composer: Saeid Farajpouri (arrangement)
 Aziz Shahrokh: vocals M. Firouzi: ud
 H. Hamidi: narmehnay (balaban)
 B. Saed: divan, tar A. Abdollahi: ney
 S. Tarif: tombak, daf 
 S. Farajpouri: kamancheh 
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その他 (管弦楽曲、映画音楽、イラニアン・フュージョン、ポップス)
Rangarang - Pre-Revolutionary Iranian Pop

西Vampisoul *イラン革命前のポップスは、カルテックスやタラネーなどでこれまでにも沢山出ていましたが、編集盤が登場しました。CD,LP共に完全限定とのこと。ロックやサイケなど、60〜70年代の欧米音楽の影響を受けながらも、レングのリズムは残っていたりするのが面白いです。日本でも最も人気の高いグーグーシュを初め、民謡風(タスニーフ含む)な名唱を色々聞かせた女性歌手プーランも入っていますが、一番の驚きは冒頭の男性歌手の歌唱。Feridoon Farrokhzadの歌っているのは、何と「屋根の上のヴァイオリン弾き」(東欧系ユダヤのシュテトルを舞台にしたミュージカル)のテーマ曲「伝統(Tradition)」。現在では絶対にありえないでしょう(笑) ¥3,200
/ハジメ・サブズ (Green X)

Century *イラン革命前に絶大な人気を誇ったポップス歌手グーグーシュの2010年の新作。カルテックス、タラネー、パールス・ヴィデオ等、アメリカ西海岸レーベルの往年の録音が入手難になっている今日、アラカン世代になった歌姫の嬉しい最新盤の登場です。年齢を全く感じさせない瑞々しく相変わらず艶っぽい歌声には驚きを隠せません。イラン音楽は古典ものしか聞かないという人もうならせる歌の上手さ。 ¥1,900
▲Leyli & Majnun(ライラとマジュヌーン)
- Composer: Mahin Zarrinpanje

マジュヌーンのサマー、ライラの祈り、愛の奔流 他
Bohdan Jarmolowicz指揮 ポーランド・フィルハーモニー管弦楽団
イランMahoor Institut *往年の名タール奏者ナスロッラー・ザッリンパンジェの娘で、イラン近代音楽の大御所ルーホッラー・ハーレギーから影響を受けた女流作曲家による、名高い恋愛叙事詩をテーマにした管弦楽曲。ロマンティックな哀切さの中にエキゾチックさも顔を覗かせる作品。冒頭はラフマニノフの有名なピアノ協奏曲第2番の最初にそっくり。 ¥2,250
▲Aminoullah Hossein
/ Les Oeuvres Orchestrales

イランMahoor Institut ペルシアの細密画、シェヘラザード、ペルセポリスの交響曲 ¥2,250
▲アリレザ・マシュアイェヒ、アタ・エブテカル・アカ・ソテ/PERSIAN ELECTRONIC MUSIC
- Yesterday and Today 1966-2006
CD1 Alireza Mashayekhi
01- Shur, Op.15 (1966) 02- Mithra, Op.90 (1982) 03- Development 2, Op.24 (1970) 04- East-West, Op.45 (1973) 05- Chahargah 1, Op.75 (1979) 06- Panoptikum 70, Op.27 (1970) 07- Stratosphaere 1, Op.46 (1973) 08- Yaad, Op.66 (1970)
CD2 Ata Ebtekar / Sote
01- Miniature Tone 02- Nashid 03- Saint Homayun 04- Synthetic Overture (Satan’s Lullaby) 05- Micro Tuning 06- Breadth Digit (Glass Lung) 07- Robot Radif 08- Tahrir (Love-Birds Drowned In Sorrow) 09- Picture Of A Whisper 10- Cry 11- Lovaz 12- Niaaz 13- Plainsong
白Sub Rosa 
*イラン現代音楽界のパイオニアAlireza Mashayekhi (1940-) と、若手サウンド・クリエイターのAta Ebtekar aka Sote (1972-)、それぞれの作品集2 枚組。精緻にシステム化されたペルシア古典音楽や、ペルシアの民俗歌謡に影響をうける一方で、ときにまったく新しい音楽世界の構築も試みてきた二者が描く、エキゾチック・エクスペリメンタル・サウンド。ダストガーが感じられる電子音楽集。 
▲OST「Hezar Dastan」 -
Composer: Morteza Hannaneh
イランMahoor Institut ¥2,250
Escape from the Trap, The Tale of Mahan, The Wearied Wolf, Hail!My Country, Wave and  Kilim, Shower of Bullets
イランMahoor Institut *ストラヴィンスキー等の影響を感じさせながらも、イランの民謡〜オリエンタル色の濃厚なオーケストレーションの曲が収録されています。これは興味深い一枚。 ¥2,250

*イラン南部のホルムズ海峡に浮かぶケシュム島をテーマにしたアルバム。イラン古典をベースに、この島に見られるというアラブ音楽やインド音楽の要素を散りばめ、現代的なアレンジを随所に施したニュー・ペルシャン・ミュージック。 ¥2,625
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*60年テヘラン生まれの作曲家アリゴリによるジプシーをイメージした楽曲。イラン国内で高く評価されているという人で、民族色を取り入れたサントラ風アルバム。 ¥2,625
典Caprice *94年に結成されたバンドで、メンバーの出身はイラン、クルディスタン、ガンビア、スウェーデンという変わり種。レパートリーはイランの民謡や、バルチスタンの踊り、ガンビアのリズム等。ガンビアの太鼓がイランの6/8拍子の民謡に意外にも合っています。 ¥1,200


米Delos *現代アメリカのアルメニア系作曲家ホヴァネスが、中世イランのハイヤームの四行詩に作曲。詩は英語で語られていますが、この組み合わせの面白さで入れてみました。彼の作品特有のエキゾチスムは控えめ。 ¥2,250