Milad Kiaei
Audio of the Entire Interview
Interview Transcript
Part 01
At the age of 15
I was born in 23 September 1944 in Tehran.
My father had important official businesses in that time – I remember that he was the assistant secretary of The Ministry of Finance. He had top posts.
I was the third child of the family – I mean we were four children:
older brother and sister and with a gap me and my brother Bahman who is younger than me for two years.
We all have been familiar with music since childhood, according to the father’s wish and familial conditions.
But the important thing was that the father used all his powers for we to learn a kind of art without having a musical job,
because he believed that music is a [kind of] spirituality and has a special elevation and an extraterrestrial value
and it’s such a pity that it becomes contaminated by – God forbid – material things and so on.
He wholly believed that art shouldn’t be our job and it happened in this way.
Anyway, we studied in “Razi” primary school, “Hakim Nezami”, “Rahnama” and “Kherad” high schools – I changed –
and The Faculty of Nutrition Sciences and Public Health.
We passed these levels, but music has been in our life since age of 7-8.
My first music teacher was my father – as I said, he had top posts, but he never considered them as honor.
He said my honor is playing Tar and Santoor (Iranian music instruments) – of course he was playing with the ancients’ way – rhyming and painting.
My father wrote many books – the first book about physiognomy and palmistry [in Iran] is written by Gorgin Kiaei, our father.
Not bad to say that our familial names are taken from “Shahnameh” [rhymed by] Ferdowsi (Iranian poet).
For example, my name – Milad – was used for the first time in Iran, according to the national identity card office documentations.
My father – God bless him – was saying that when I went for getting national identity card for you,
the agent of issuing national identity card said that excuse me Mr. Kiaei! Is your child son or daughter?!
Because in 1944 – almost 72 years ago – this name wasn’t current at all.
The second person in Iran whose name was Milad, is our relative and younger than me for twenty-one years.
We all got familiar with music in the family and Santoor became my main music instrument naturally and willy-nilly, because it was put opposite me in the first day.
It’s a very hard music instrument as being sweet and full of charm,
because master needs two skills in playing Santoor: playing and tuning it – it is the only music instrument that has 72 strings.
<i>Let me say that cultured people – culture makers and nurturers – always are the hosts of history and politicians are the guests of history, du ring the history.
We’ve had artistic sense and talent about music since childhood in our family.
My first music teacher was my father, but he didn’t get acquainted with modern music theories much.
I can say that my older brother – late Iraj Kiaei – whom we missed in 7-8 years ago at middle-age, was my first music theories teacher
and was one of master Abolhassan Saba’s (Iranian musician) apprentices in 1952 –
he was [learned] for some years by this great master who signed [here] for Iraj Kiaei almost in 64 years ago.
I was eight or nine years old in that time and I was my brother’s apprentice indirectly.
He was also left-handed and playing powerfully,
but his job also in life wasn’t music – as I said, his love and eagerness was music art.
Unfortunately, we missed him in some years ago because of diabetes.
Also, Iraj Kiaei was one of the first presenters of National Iranian Television in far past.
After me, my brother – Bahman Kiaei – was, who is in New York now.
Despite having important posts, his artistic sense, eagerness and love is music
and has many apprentices there to teach music art for promote it there.
I was an adventurous person and always had an adventurous life from age of 7-8 when I was a boy scout and did social activities,
in addition to studying – to tell the truth, I wasn’t studious.
For example, if the [least] pass mark was 12, my score never was 13.
I was lazy, but not unconscious lazy. I was traveling to other worlds in my mind in addition to studying. One of them was music.
For example, I remember that I was playing music instrument at the age of 9 in children program of radio,
that Dr. Manuchehr Moein-Afshar (Iranian radio manager) was its producer, who was the first-assistance of “Flowers (Gol-Ha)” program
and cooperate with Mr. Davood Pirnia (Iranian radio manager) closely in producing “Flowers (Gol-Ha)” program.
<i>One of the wishes of many artists and musicians in that time was being admitted in radio.
<i>The best way for us to communicate to the people was only radio in that time.
<i>Here’s the No.8 radio Studio where has been since almost 53-54 years ago. Is it right Dr.?
<i>- Dr. Manuchehr Moein-Afshar: Yes, it’s.
<i>“Flowers” (Gol-Ha) orchestra was recorded here.
<i>We have No.1 and 2 and many orchestras – [such as] “Farabi” and “Nakisa” orchestras and so on.
<i>Before them, the orchestra that Mr. Ruhullah Khaleghi (Iranian musician) was conducting it.
<i>Anyway, this studious has had many memories of these artists.
<i>- Dr. Manuchehr Moein-Afshar: Our first acquaintance with master Milad Kiaei was in Ramsar (a city in Iran) in 1962.
<i>The Ministry of Education [in Iran] had programs – I think there still has it – that were art competitions.
<i>I was the arbitrator of some fields – such as music – there. We discovered Mr. Milad Kiaei there
<i>– I mean his music instrument [playing] was more sweet, masterly and enjoyable than all the people who were win from their province.
Ruhullah Khaleghi…I never forgot my blissful meeting with him at the age of 14.
I and my father went to the music vocational school – in Kakh Street (present: Palestine Street).
He (Ruhullah Khaleghi) was the principal of the music vocational school –
such a good principal and great people whom he taught and handed over to Iran’s society.
I was in eighth-grade – I remember eighth-grade in “Hakim Nezami” high school.
I told my father repeatedly that dad! If you don’t let me, I myself escape from the high school to the music vocational school.
My father’s love and eagerness were that we were into art, but our job wasn’t it in any way – fortunately it happens.
But he brought me [there], because he looked that there’s no choice – I was a bit rebellious.
Ruhullah Khaleghi examined [me] for some times. Well, I played music instrument in a part and he liked it –
he asked me do you tune your music instrument yourself? My father answered yes.
He said well-done! He asked some questions – musical test question[s] – and I became accepted.
He said it’s very good, but he told [my father] that he [Milad Kiaei] can’t go to nineth-grade – he must start from seventh-grade.
I was in eight-grade – I mean the seventh-grade and eighth-grade that I studied would be missed –
and my father made this as an excuse: No, No! You’ll fall behind for two years [, if you do this].
Nothing else, I became accepted not to [start from seventh-grade] and I was going in the music vocational school at night and learned by different teachers.
<i>At the age of 18
<i>Not bad to tell a memory here of the school time:
<i>Well, [some students] became required to sit for a makeup exam in that time – you must remember that –
<i>especially some students who were weak at studying and also me became required to sit for a makeup exam, one or two or three scores.
<i>I remember that I had a comfortable summer in just one year and didn’t became required to sit for a makeup exam,
<i>when I fail examinations repeatedly! And it’s a long story.
<i>I was composing a song at the age of teens in the school,
<i>The teacher was teaching – I remember well that he was natural science teacher.
<i>He was saying that when we drink beverages and not.
<i>He was saying that: It’s better not to drink beverages 15-20 minutes before eating meal
<i>that the enzymes of stomach, liver and so on won’t became diluted and digestion happens well.
<i>Also, it’s better not to drink beverages or water immediately after eating meal.
<i>I was notating, wasn’t there was in music’s world – the tv programs were live in 1961 or 1962 that I’ll show you, if it’s needed.
<i>It’s interesting! I have a picture that we played music instrument in tv in that time.
<i>1963, 53 years ago. This’s me.
<i>This’s Mr. Mojtaba Mir-Zadeh (Iranian musician) who was a genius in playing music instrument and composing
<i>– he was coming from Kermanshah to Tehran (cities of Iran), cooperating with us and returning back – programs were also live.
<i>Anyway, I was composing the songs of this program in that time at the age of teens [in the school]
<i> and my voice became increased! The teacher came and asked what are you doing?! Do you sing a song?! What did I say?!
<i>Well, something – such as beverages, water and so on – was in my mind. I answered teacher you were speaking about water.
<i>He asked was I speaking about water?! What did I say?
<i>I answered you were saying that when we should drink water and not.
<i>He asked when we should drink water?
<i>I answered it’s not a question at all! Whenever human gets thirsty, he/she drinks water!
<i>The kids burst out laughing! The teacher expelled me from the class and didn’t mark me, so I failed the exam!
<i>Some years passed. One of my classmates who was sitting beside me, got the post-doctorate degree of nutritional science,
<i>went to America – Boston state – started to cooperate with NASA and became the manager of astronauts nutrition project.
When we went to different states of America and Canada for [performing] concert with Mr. Golpayegani (Iranian singer) – the famous singer of “Flowers (Gol-Ha)” – program about 20-21 years ago,
my classmate came to see our performance accidentally. He came the backstage graced me, because I was the supervisor of the group.
<i>He said do you remember that teacher who expelled you very unjustly and so on?
<i>I conclude by my knowledge that whenever human gets thirsty, he/she should drink water!
What does it mean [that we should drink] in 15 minutes before or after [eating meal]?! This memory can continue that topic.
<i> (from right to left) Alireza Khademi, Abdullah Sarvestani, Milad Kiaei (at the age of 160), Jafari, Ali Farkobian – The National Iranian Television program of teenagers, October 1960
<i> (from right to left) Reza Behnam, Milad Kiaei, Mojtaba Mir-Zadeh – in one of The National Iranian Television programs, fall of 1964
Because of composing – a person who composes must be acquainted with harmony willy-nilly –
so I started to play piano – as the second music instrument [that I used] –
and learned from great masters – such as late Morteza Hannaneh (Iranian musicians) – for a time.
[I learned] harmony, composing, music dictation and Solfège [from him], because he was one of very intimate friends of late Iraj Kiaei – my brother.
In this way, I learned from him privately for a year and a half.
Of course, I learned from other masters – such as Mr. Pourtorab and Mr. Yusuf-Zamani (Iranian musicians) and other ones.
For examples, I learned music dictation much from master Fereydoon Farzaneh (Iranian musician) for 8 sessions – I never forget that he was a thoughtful person.
I learned music theory from Fereydoon Naseri (Iranian musician) in sessions that were held in The Ministry of Culture and Art
– in the past – the music high vocational school – in front of the Marble Palace – when we were going in about 44-45 years ago.
I learned from Mr. Mallah (Iranian musician) for 10-12 sessions that I remember he was the technical head of the radio music council in that time
Mr. Hossein-Ali Mallah who was also the bridegroom of the great music master, Colonel Vaziri (Iranian musician).
He was very high-class, always stylish, neat and with a [fantastic] expression – he was a very cultured person.
Anyway, I had this chance to learn from these great people in composing and – especially – arrangement.
I owe to all artists – all of them, indiscriminately – even that one whom I met him/her,
because if I learned a lesson about the way of speaking, sitting, holding music instrument, public relations and all of these, so I wouldn’t say that I had one or two teachers.
All artists were teachers to me somehow and I owe to all of them.
Part 02
The selected orchestra of Tehran students, with playing Santoor (Iranian music instrument) by Milad Kiaei – Farhang hall, September 1963
The selected choir of Tehran students, with the management of Milad Kiaei – violin players: Ali Rahbari and Abdullah Tarighat (Iranian musicians) – Farhang hall, September 1963
“Feeling and Thought (Ehsas va Andisheh)” program was appropriated for unprofessional young people.
This program ratified by the music council of radio at the time once a month
and by producing of Mr. Siroos Shahrdar (Iranian musician) – the son of Moshir-Homayoun Shahrdar (Iranian musician)
who was the chairman by seniority of the music council of radio at that time.
I was managing this program and [invited from] the singers and musicians of my generation to there
that was broadcast once a month for 30 minutes and four years.
“The Banquet of Friday (Bazm-e Adiney)” – that you asked about – was a live television program from 1962 to 1966 – four years –
on Fridays that was broadcast lively at 8:30 a.m. to 9:00 p.m.
and we were five people: I was playing Santoor and Fakhreddin Hakimi (Iranian musician) was playing Tar (Iranian music instrument).
Our singers were changeable. Mojtaba Mir-Zadeh (Iranian musician) was playing violin and coming from Kermanshah (a city in Iran)
and sometimes Mr. MohammadReza Lotfi was coming from Gorgan (a city in Iran) and playing Tar with us.
The program of The Ministry of Culture and Art – in the past – was held from Saturday to Thursday:
One day was allocated to master Payvar (Iranian musician) or Emad Ram (Iranian musician)
or the choir of women – by management of Mrs. Ofelia Partov (Iranian musician) – or Abbas Khosh-Del (Iranian musician) – the composer – and we were on Fridays.
Mojtaba Mir-Zadeh and Milad Kiaei (Iranian musicians) – the art camp in Ramsar (a city in Iran), summer of 1963
Ali Rahbari, Milad Kiaei and Ishmael Vaseghi (Iranian musicians) – the art camp in Ramsar (a city in Iran), summer of 1963
I joined the Central Youths Palace in 1966 – excuse me – 1965.
I was appointed to the supervisor of the music group quickly.
Then, I was done a favor more and became the consultant of the group until something interesting happened.
The manager of the Youths Palace came and told me Mild Kiaei! A person will come
and want to visit the Youths Palace at tomorrow and you’ll perform music for him for 10 minutes.
I asked can these 10 minutes become to two of five minutes? He answered yes.
It also can be three of 3 minutes and 30 seconds. It’s important to last for 10 minutes.
However, I asked who is this person, he answered we can’t say because of his position.
Well, I was young and curious – God! Who is he? – [and want to know] what’s the suitability of him to perform a kind of music.
When I was going to the home, I saw the headlines in “Kayhan”, “Ettelaat” – that had full circulation in the past
– and “Ayandegan” – that was published in the mornings – newspapers:
The head of the Soviet Union – Alexei Kosygin –has come to Iran recently.
My guess was that the person [who will come to the Youths Palace] is him.
Immediately, I arrived to Ferdowsi square. There was a store of phonograph records named “Carnaval”
and was selling Russian phonograph records – if you remember, there were phonograph records [to play music] in that time.
I bought 2-3 long-playing records: “Shoor” (a musical Iranian modal system) by Amirov (Azerbaijani musician),
“Bayat-e Shiraz” (a musical Iranian modal system) by Soleiman Aliasgerov (Azerbaijani musician)
and “Rast” (a musical Iranian modal system) by Niyazov (Azerbaijani musician).
See the love: I arrived home and called the friends at night. [I called] Mojtaba Mir-Zadeh! Come here from Kermanshah.
We’ll perform at tomorrow night.
We had another friend – Loghman Adhami (Iranian musician) – who was playing violin and established an art college in California.
Our singer was Morteza Johari (Iranian musician) who is alive now.
Other artists passed away – such as Lotfi and Mojtaba Mir-Zahdeh (Iranian musician).
I arrived to home immediately and notated rom the first part of these songs.
We had practiced [performing] the Iranian music [part], [so] we didn’t need to practice.
The others came at midnight and we started to practice these songs until the morning.
We arrived to the central Youth Palace in the afternoon and saw my guess was correct:
Mr. Alexei Kosygin, the leader the of Soviet Union, came there – the world had two blocs in that time: America and the Soviet Union.
Well, one of the biggest people in the world has come Iran.
The announcer declared that we (the musicians) will perform in two parts.
The first part was Iranian music because of patriotism [to Iran] and the second part was Russian music.
When the first 5 minutes finished, we saw ah! Mr. Kosygin and his fellows stood up and were going out.
These much love and hardship, but they were going! They didn’t smile or keep feeling at all – arid!
I don’t know what energy came to me. I went behind the microphone and said Mr. Kosygin! Mr. prime minster! Mr. mayor! We have 10 minutes [to perform].
We performed Iranian music, but we had arranged some Russian pieces for our high-ranking guest.
Let us perform in the second five minutes.
I was seeing much annoyance in the faces of the country’s politicians – [it seemed that said] who are you, young man?!
What is your role in the play?! How dare do you stand behind the microphone and say these [important] people come back?!
I remember well that Heydar Aliyev (former president of Azerbaijan) – the father of current president of Azerbaijan – was the translator of Kosygin, because he knew Persian.
He translated my sayings in Kosygin’s ear. Kosygin nodded his hand aridly and everyone came [back].
When we performed the Russian piece with love and Russian feeling in our music instruments, I raised my head in a moment and saw smile in Kosygin’s face.
The faces [of others] were so cheerful that Kosygin came on the stage.
As you see, this’s me, this’s Kosygin, this’s Mr. Abbas Akhbari – the manager of the Youths Palace – and this’s Heydar Aliyev –
that came and talked to me about Santoor (Iranian music instrument) and so on for 10 minutes – I was explaining [for him] what’s that and so on.
They liked it so much that they ordered Mr. prime minster – Hoveyda (Iranian politician) – to invite these young people
(musicians) to visit the Soviet Union as soon as possible and perform some music pieces for young artists of there.
Some days passed. Dr. Nik-pay – the mayor [of Tehran] and chairman of the board of the Youths Palaces in that time – asked me to come to him.
He said we’re establishing the branches of the Youth palaces all over Iran and the environs of Tehran
– there was only the central branch above the “Zarrab-Khaneh” junction –
and decided to entrust active youths with management of these branches. We consider you as one of them.
I asked me? I don’t know the method of this job at all.
He said we know you don’t know. You’ll learn. The important thing is the daring that you had.
It caused that I was admitted in the Youth Palaces in 1966 officially – exactly 1965 –
in about 51 years ago until two years after the revolution when I must leave there and retired after several years.
Santoor duet by Milad and Bahman Kiaei (Iranian musicians) – the assembly hall of the central Youths Palace, November 1965
Santoor duet by Milad and Bahman Kiaei (Iranian musicians) – the assembly hall of the central Youths Palace, November 1965
During the 16 years when I was the manager of the Youths Palaces,
I learned many experiences and lessons – these were used in my art life much.
Well, see – for example – many people play music instrument and compose very well and are great musicians in this time,
but if you take music instrument away from them, you’ll see they become weak.
Thank God in this context, I can say that I learned lessons in the Youths Palaces in those years – 16 years –
that was an academic or super-academic course for me, because I associated and accompanied different people
– academic, scientific, cultural, artistic, even athletic and [other] different parts – and learned many lessons from these great people.
– Well, you left the Youths Palace in two years after the revolution…
I retired and this is respectfully to inform you that I was never working professionally in my life until those years after the revolution
– music – as I said – was [my] love, passion and eagerness.
In the first years after the revolution, in an art-cultural gathering, I was with master AmirNasser Eftetah (Iranian musician)
who was a dominant master in [playing] Tonbak (Iranian music instrument) and playing in “Flowers (Gol-Ha)” program.
He was respecting and cooperating with me, because of [our] familiar friendship – although they were older than me for some years.
We were invited to somewhere with art-cultural aspect. The police entered there and arrested us!
They examined that there was nothing going on and has art-cultural aspect and asked some questions from the others in a standing posture,
but I and AmirNasser Eftetah were brought to the police Station located in the north of “Vanak” square – “Jahan-e Kodak” street.
It was a cold winter and there wasn’t any mobile in that time – we weren’t allowed to call our families.
[They said] you were playing music instruments, so such and such a clergyman should come here at tomorrow and dispose your situation!
God knows how it happened to us until the morning.
The morning appeared and such and such the [interrogator] person came and said bravo! Music instruments?! What the hell! and so on.
[He asked] why are the two hired musicians (!) here?
Mr. Amir-Nasser Eftetah became so shocked of this behavior that he didn’t still believe what happened in the country!
[The interrogator] said I heard that you play “Tonbak” instrument!
I said he (Eftetah) is the master of playing “Tonbak” and the famous player of “Flowers (Gol-Ha)” program.
He [the interrogator] said I don’t listen to the radio at all. It’s better for him to follow a more honorable job.
Anyway, after asking question and giving answers, it’s arranged to hand over our music instruments to the Ministry of Guidance [of Iran]
and if it is advisable, our music instruments will be delivered to us. Otherwise, the music instruments will be destroyed!
Also [it’s arranged that] we must undertake not to touch music instrument.
How much I said sir! This is his job, he (the interrogator) said I don’t know!
Mr. Amir-Nasser Eftetah said I don’t know how to even sell cooked red beet sir! –at last, everyone [knows a profession].
[The interrogator] said I don’t know! Undertake!
I said Well, we undertake. What will happen if we touch music instrument?
He answered the [punishment] of [touching] for the first time is cutting four fingers of left hand!
Mr. Nasser Eftetah trembled – this trembling and falling down was because of stroking and we didn’t know!
Anyway, I told [Mr. Amir-Nasser Eftetah] let’s sign [to undertake] and get rid of here.
We signed, coming out and got in a taxi.
I made a decision on the way – you asked [me to tell a] memory, so this’s one of my life’s important memories.
I was playing music instrument and composing for my eagerness (with all my heart) until that time
It’s right that I was composing and arranging [music], but they were for my eagerness.
made up my mind to play music instrument for all hearts [of people] since that time – [I mean] work more professionally.
Until when? Until the time when my fingers are cut!
If my fingers are cut, by chance I’ll be historic – I didn’t steal finger that my fingers become cut.
I played music instrument, so my fingers are cut. Let them be cut! Let them cut them! I made this decision,
but Amir-Nasser Eftetah couldn’t accept this reality and the illness and stroke that happened to him in that morning didn’t free him until he passed away.
I’m saying another memory: We saw the picture of that interrogator – who wanted to cut four fingers of our left hand
– in canvasses of the presidential [election] of Iran in – if I don’t make mistake – 2003.
He became a candidate of the presidential election of Iran.
Good gracious! The more surprising thing was that his canvasses were with live performing of music in – for example – such and such a cultural center or somewhere!
Another more surprising thing was that the names of music instrument players and singer were announced [in the canvasses]
to attract people and speech for the canvass of his presidency.
I wasn’t surprised of him that wanted to cut our fingers in the first years after the revolution
– [he said] if you touch music instrument for another time…[or] you must undertake… .
He believed in something – correct or wrong, it was respectable for himself, but what happened here?!
Because of your profits, not only music becomes lawful, but also your speech is with live performing of music!
Anyway, I’ve worked professionally since that time – the time of Amir-Nasser’s story –
until almost now that I’m at your service and I’m working professionally.
I educated a lot of apprentices – I think maybe over 4000 people.
Many of them were admitted in PhD level.
I have two music training center that are first-rate, nevertheless I don’t teach there – my apprentices teach there.
Only I have some private apprentices that they come for advanced course on one or two days of week.
Especially, I’ve holden the first class of educating Santoor tuning for the first time in Iran for 12 years.
Many apprentices have registered from all over Iran.
They come and get acquainted with Santoor tuning experimentally, scientifically and practically.
Part 03
Painted by Gholam-Hossein Shahriyari, 2011
I remember that I composed the first artwork for orchestra at the age of – not 16 – maybe 15 and a half.
A song crossed my mind and I composed it for big orchestra – in unison [parts] in that time, because I didn’t experience [music] arrangement.
We were 3 friends named “3 high school friends” in that time:
they were me, Iraj Jannati Ataei (Iranian poet) – songwriter – and Babak Bayat (Iranian musician) – who was singer, not composer in that time.
Anyway, Iraj Jannati Ataei was affected by this song that I composed and also notated at the age of about 16
and he wrote or made his first lyrics on my song.
If you read the book of Iraj Jannati Ataei’s memories that has been published for several time[s],
you’ll see that [he said there] the first lyrics that I wrote was on Milad Kiaei’s song in – I think – 1961.
What beautiful lyrics that he wrote! I remember then…
– Do you remember his lyrics now?
– “God! My youthfulness passed / You’re killing me / My life spoiled by restlessness / You haven’t seen my dark night / You’ve stampeded from me like my fortune”.
Anyway, I instructed Babak Bayat in this song – he was singing beautifully.
We made a big orchestra of teenagers, went to the radio building and recorded this song.
I composed it with “Isfahan” (a melodic piece in Iranian traditional music), because I love “Isfahan” very much
I believed originally that “Isfahan” is so extensive that it’s a pity it was named [as a] melodic piece or “Avaz” (a vocal section in Iranian music).
It must be named as a “Isfahan Dastgah” (a musical modal system in Iranian traditional music).
Not to move away from the topic, we [recorded] this song – as I said –
by an orchestra of 17-18 teenagers in that time when we all loved music and art.
We went to a radio program named “Feeling and Thoght (Ehsas va Andisheh)”.
Eng. Cyrus Shahrdar – the son of Moshir-Homayoun Shahrdar (Iranian musicans) – was the producer of this program.
Well, it was possible that our artwork could be weak and have a problem and so on.
He was convincing the music council [of the radio] that these – [me and teen music instrument players] – aren’t professional.
Don’t judge them by professional viewpoint, when you want to vote.
However, whenever I composed song for Babak Bayat – that was sweet-singing and singing with us –
the music and poem councils [of the radio] ratify the song and lyric, but refused to ratify his singing!
They were saying that [we refuse], because he sings exactly like a singer – they were right –
who appeared famous well and soon for a duration in that time from one of east Khorasan’s villages.
For example, “Hey bride! / Hey groom! / You are unopened flowers!” was one of the songs that he sang. Or [singing a song] …he was Ravanbaksh.
Before him, Viguen (Iranian singer) has appeared famous much as a pop singer,
but he – Ravanbakhsh – was singing folk and traditional [music] in addition to singing pop [music];
therefore, his singing was popular – suddenly it absorbed all the Iran society.
The singing of Babak Bayat [resembled Ravanbakhsh’s singing] exactly – I mean if somebody didn’t see [Bayat], he/she would think that Ravanbakhsh was singing.
Therefor the music council [of the radio] was announcing that dear fellow! We put aide the main singer and it isn’t accepted that he [Bayat] sings exactly like him [Ravanbakhsh].
I was the first music teacher of Babak Bayat from 1962 to 1964 – for 2 years.
He came to my house twice a week. We were also slum-dweller guys – we were living in Amiriyeh neighbor, Mokhtari street.
The artistic senso to compose gradually appeared in him –composed some songs for himself and so on.
Anyway, his artistic sense, eagerness and talent concentrated making melody, because he couldn’t change his singing.
Then, he gradually got acquainted with other artists – such as Mohammad Oshal (Iranian musician) who was in The Culture and Art ministry [of Iran] in that time
and Varoujan (Iranian musician) who was one of the powerful people in arrangement in that time – and arranged his melodies for orchestra.
– Was that song performed or not eventually?
– It was performed.
– How?!
– But its lyrics were removed! It was played without singer [singing].
Babak Bayat: I’m really indebted much to Milad. </i>
Maybe if he didn’t start to teach me music solfège, I would graduate from high school </i>
and become an army officer or a normal employee or follow music by another way in that time. </i>
But when I went to the opera and Mrs. Evelyn Baghtcheban (Iranian musician) examined me about music solfège, </i>
she told me that I think you’ve worked on music solfège for 4 years! </i>
After about 15 days with practicing, I became one of tenor [singers] that I could perform “Cavalleria rusticana” opera.</i>
I was spontaneous sir – spontaneity was in my inside.
Also, I say we aren’t composer – it’s a communis error that [someone] is called “composer”. Who’s composer?
This’s in nature. Sometimes God does me a favor for example in driving – I always carry along paper, pencil, pen and note paper.
I see that a melody crosses my mind, so I pull over and I write its chapter heading. Then I arrive home and arrange it.
Someday I was driving in Ziba-Kenar port.
Suddenly I saw that a melody crossed my mind that I haven’t heard it somewhere, but it was inspired by the nature of northern [Iran].
Before that – when I was coming from Tehran to north and then Ziba-Kenar – I thought about “Shoor” by Fikret Amirov –
the famous composer of the former Soviet Union who composed the most beautiful symphony named “Shoor”.
he embarked on it actually, because he collected beautiful and pleasant melodies of Russia’s different provinces,
linked them together with sections and composed a suite symphony named “Shoor”.
Something crossed my mind that ah! We have many provinces [in Iran] and many beautiful melodies are there.
Why are they performed one by one? Why aren’t they linked together? – This incident that I say happened about 25 years ago.
Suddenly it – melody – crossed my mind. I composed it, came back to Tehran, chose 12 provinces [of Iran] and started to work on their melodies
– not taking from them exactly, but seeking inspiration from those melodies.
It last 4 months and a half. I chose melodies of 12 provinces [of Iran], worked on them and linked them together with sections.
My spectacles’ number increased by 0.75, because my eyes were pressurized much.
I arranged them in two parts – two of 25 minutes that in all were 50 minutes.
I gave its sheet music to the music council – before that I composed simple melodies.
It was ratified as an artwork and they said come here and the highest salary is ready for you and so on
[I had] an eagerness that I gave an enduring artwork.
After a while, the answer [from the music council] was achieved: unfortunately, your artwork wasn’t ratified in the music council!
Why?! I got its sheet music and saw was written under the sheet: The artwork wasn’t ratified, because it wasn’t distinguished to have priority!
– Which [music] council?
– The [music] council of [Iran] broadcasting.
Suddenly I became depressed – [Although] I always have a mood full of love, passion and happiness, I became depressed.
One of my very great friends – because my biggest wealth is my friends – did me a favor and asked what happened? I told the story.
He asked don’t you get in to go and record it ourselves? I said man, it costs expensive.
He said right, we support you.
For example, I had used 12 wind instruments and I removed 6 of them.
There had been 12 violins and I remove removed 6 of them.
In short, I divided music instruments’ numbers in half, because it cost much expensive. We recorded its first part.
We gave the first part to the music council [of the broadcasting] not for ratifying [it] and so on, but for being in their archive.
Because I accommodated this artwork to a tv series named “Aunt Sarah (Khaleh Sara)” that was broadcast from IRIB TV1 frequently.
This series strike a chord with others much not because of my music that I arranged,
but because the music has adopted with traditional music themes [of the series].
Well, we became happy and press wrote about it so on that this series appears great by the music.
Someday, from the music council [of the broadcasting] – as I said, I gave them a copy of it to be in their archive – called
and asked me to be there – sir, come. We have a word with you. [I went there.]
Suddenly, the secretary of the council said congratulations!
I said I congratulate too. What’s up today?
He asked don’t you know? I answered no.
[He said] your artwork in the music council is recognized as a top-notch [artwork]! Eh! This artwork has been refused! Now, is it top-notch?! Yes.
I was given an official citation and done a favor by [paying] the highest salary and so on.
Also, it’s supposed to [record] the second part in the broadcasting [studio]. [So, we went to the studio of the broadcasting.]
The time turned exactly to 6:00 p.m. and if the sound recordist let us for another 4-5 minutes, recording would be finished.
He said it’s 6:00 p.m. and office hours finishes.
I said sir, I request from you. There aren’t much remainder music bars.
He said sir, here’s a state-owned [studio], not personal. My official time is until 6:00 p.m.
We came back the next day. The power has gone off for 2-3 hours!
The power was back, but – for example – the studio had a mechanical failure!
The studio was repaired and we wanted to record. The music performer was playing out of order in a part.
I told him from the control room that excuse me sir! You played this note out of order.
He said how much are we paid that you except to play correctly, man?! – You played out of order, man.
– He said here’s a state-owned [studio] – How can I tell you, sir? –Someone asked don’t you compose it for the film?
I answered the film isn’t the case. He said this [music] behind the sound of wind, storm and so on won’t be heard! There isn’t any love in working there at all!
In short, I gave up the second part of the song and find the first part sufficient – that was recorded freely and amorously.
I named that collection as “The Music on Iranian Traditional Themes” – as I said, that included 6 provinces [of Iran] and the second part remained.
“The white mountains (Kooh-Haye Sefid)” was a tv series for teenagers and youths that was broadcast accidentally from IRIB TV1
and Mr. AbolGhasem Maarefi was its director.
Its leading actor was – If I’m not mistaken – was Mr. Hashemi.
I composed its music for piano and orchestra.
Piano was played by a much excellent player – and it’s better to say – a genius in playing piano who was Andre Arezoomanian (Iranian musician) –
I don’t know you heard him or not. It’s a pity that he passed away very soon.
We had to name him as someone who has a golden hand!
You see many of very beautiful artworks that the film score composers – such as Mr. Shahbaziyan, Dr. Mohammad Sarir (Iranian musicians) or others – made,
the sweet pleasant playing of piano in them was made by Andre Arezoomanian that enlivened those artworks.
This artwork was recognized as a good music and I named it “The white mountains (Kooh-Haye Sefid)”.
“The Sun and The Moon (Mehr va Mah)” was also a tv series that was broadcast from IRIB TV2 in about 27-28 years ago.
Its producer was Mr. Ouji – I think Majid Ouji. I don’t remember the name of its director now.
Its music was hearable all by itself.
When – for example – I came back from outside, party or studio at most nights and turned on the radio,
I heard that my song was broadcast from “The Way of the night (Rahe Shab)” program.
[Your another artwork is] “Some pieces for Santoor (an Iranian music instrument) …
– And orchestra.” …Yes.
This was custom-made. I had a very dear friend – God rest his soul.
He was my apprentice – he was learning Santoor [playing] beside me and was singing.
He sang very well, but he didn’t know that he sang in which “Dastgah” (a musical modal system in traditional Iranian music) or “Mayeh” (tonality).
Someday when there was a banquet in his home and many artists were there,
I was playing a piece by Santoor with an artist friend name Mojtaba Mir-Zadeh (Iranian musician).
We were playing together and my [deceased] friend became emotional.
He asked what’s this? I answered it’s a duet piece [for Santoor].
He said let’s go to studio and record it – because this friend was a wealthy person and had a very good financial position.
I said Well, now if you want, so let me arrange it for an orchestra instead of [only] one violin. He said it doesn’t matter.
Therefore, this became a piece for Santoor and orchestra and Mojtaba Mir-Zadeh played its first violin.
This artwork became so joyful that I remember my artwork was played from the radio in the days of the revolution’s anniversary in 32-33 years ago – 2-3 years after the revolution,
whereas I didn’t give to the radio or its producer. I don’t know how they were achieved, [so] my artworks were played.
Akbar Golpayegani (Iranian musician) and Milad Kiaei, October 2000</i>
MohammadReza Shajarian, Abulrazzagh Vahdat (Iranian musicians) and Mild Kiaei, fall of 2001</i>
Fereydoon Pour-Reza (Iranian musician) and Milad Kiaei, May 1995</i>
Anoushiravan Rouhani (Iranian musician) and Milad Kiaei, March 2006</i>
Hossein Ghavami (Iranian musician) and Milad Kiaei, fall of 1977</i>
I published 3 albums – not much.
One of them was “The Clear Secret (Raz-e Ashkara)” that was a solo music –
in other words, it was also an accompaniment music with [playing] Tonbak (an Iranian music instrument) and so on. It last about an hour.
Some of the orchestral artworks – such as the artworks that I worked on traditional [Iranian] music themes – was published,
but in form of cassette – as I say, it was in about 28-29 years ago.
One of them was “Passion and Joy (Shoor Va Shadi)” and another one was “The Meadow (Sabzeh-Zar)”.
A reliable company reproduce them and they became much popular,
because any song wasn’t published or marketed fast like today in that time.
“Passion and Joy (Shoor Va Shadi)” was a solo of Santoor
and “The Meadow (Sabzeh-Zar)” was a collection of songs that I made in that time.
I dare say that maybe I’m among the musicians who have worked with all singers.
I remember that I was 9 years old and went to an art gathering with my father.
Molook Zarrabi (Iranian singer) was there. Also, Parivz Khatibi (Iranian journalist) – if you heard him – was there,
because he brought up this memory in “Some memories of artists” book and mentioned me in it:
I was playing music instrument and invited people became emotional there.
When they sat on the ground and congregated, she [Zarrabi] started to sing.
I’ve worked with ladies Delkash, Hayedeh, Elaheh, Marzieh and Pouran (Iranian singers),
but I’ve worked with Mr. Golpayegani and Iraj more than others who are alive now.
The ladies passed way – God rest their souls.
[I’ve worked] especially with Akbar Golpayegani, because I was the supervisor of his group – orchestra –
when he was invited to all over the world for [performing] concert and went there.
I can almost say that I’ve traveled to America for 3 times, Canada for two times and all over Europe frequently.
Mostly, the music performances were so welcomed that they were repeated – especially with Mr. Golpayegani, as I say.
According to my pointing [at working with singers], [I mean] I’ve cooperated with most singers friendly.
I’ve played in art gatherings and meetings.
Therefore, I must say that [I’ve worked] with everyone – with respected master Abdulvahhab Shahid (Iranian musician)
and the very sweet-singing singer, Mr. Golchin (Iranian musician) whom if human hears his lyrics singing, he/she feels the meaning of the lyrics and song – the human hears the verse [of song].
Mahmoud Karimi (Iranian musician) and Milad Kiaei, fall of 1977</i>
Houshang Zarif, Mansour Nariman (Iranian musicians) and Milad Kiaei, March 2006</i>
Rashid Mostaghim (Iranian musician) and Milad Kiaei – Babolsar (a city in Iran), March 2006</i>
Rahim Moeini Kermanshahi (Iranian journalist) and Milad Kiaei, Nowruz (Iranian new year) 2005 </i>
Hassan Nik-Bakht (Iranian poet) and Milad Kiaei, spring of 2005 </i>
There’s a book of a summary and selection of my art memories in 50 years that was published in about 10 years ago,
but it happened in the time that there were more limitation than today
and was published with difficulty that’s named “The Clear Secret (Raz-e Ashkara)”.
About 83 pages of this book were censored!
I hope someday I can inform the dear people [of Iran] these 83 pages in a way,
because there were the life and death of some artists [in those 83 pages] that remained unknown for many people and they passed way unknowingly –
such as Mahmoudi Khansari (Iranian musician) and the master of playing Tonbak, whose apprentices’ apprentices are masters now, Amir-Nasser Eftetah (Iranian musician).
Tears are really wept because of his death – it’s painful. I wrote all of these [topics] that were unfortunately censored.
There’s another book that I named it “Taking A Leap in The Dark Needs silence (Del Be Darya Zadan, Dam Nazadan Mikhahad)”.
I sent it to France in about 6-7 years ago to publish with Persian language there
in addition to the around 80 pages of “The Clear Secret (Raz-e Ashkara)” that were censored.
Also, other books about music teaching, music theory and the note of the pieces that I made were published.
– Please mention them by name.
– “Some pieces for Santoor”, written by Milad Kiaei.
– Which artwork of you was the most successful one?
– I was asked with this question frequently.
First, I give its answer [telling] to listener that he/she says which one he/she likes more.
But if you ask me, I answer I haven’t still made my best artwork.
– Which artwork of you was the more successful in the society?
– “The Sun and The Moon (Mehr va Mah)” that was actually a 7-beat piece with a very big orchestra – performed by more than 40 musical performers –
and was praised characteristically by the music council [of the broadcasting] – I was given a special official citation.
This piece is among the artworks that many of experts have liked it, but I still believe that I haven’t still made my best artwork.
– Which project are you working on now?
– According to composing, it must cross my mind that I write.
Sometimes, a melody crosses my mind at night or midnight.
I stand up, notate it and at my leisure, arrange and then orchestrate it.
But my time mostly is being spent in teaching.
I have about 170-180 apprentices now and it’s interesting that most of them are musical performer –
I mean they’ve played musical instrument from 25-30 years ago for the advanced course or learning tuning,
because you know that I’m the first people who have holden tuning educating class in Iran.
I still don’t know of someone who has done this.
I did this initiative in 15-16 years ago and many musical performers from townships
and even sometimes from other countries – such as Dubai and [United Arab] Emirates -and neighboring countries [of Iran] – such as Turkey and so on –
and the Iranians who have played music instruments for years there, come [here] once a month
and learn Santoor tuning scientifically, practically and experimentally.
Part 04
Yesterday is the history…Tomorrow is the riddle…Today is the life…
Milad Kiaei – Gilan (a city in Iran), 1985
Milad Kiaei – Taleghan (a city in Iran), 1995
Milad Kiaei, summer of 2007
Milad Kiaei: Composer, teacher and player of Santoor (An Iranian musical instrument)
The soundtrack of “The White Mountains (Kooh-haye Sefid)” Series, composed by Milad Kiaei
The primary idea is the thing that crosses the mind.
I don’t consider composing as making something on occasion of something – it’s not composing.
It’s ordered – there’re many ones of this.
This
but renovating – or in other words, orchestration of and coloring– the song are the scientific levels –
it seems that they’re pertaining to artistic sense.
[For example,] two talented people graduated from a music vocational school with a very great score,
[but] why does the artwork of one of them appeal more?
Because the artistic divine sense is in his/her existence, but it’s not in the other one’s existence such as him/her – it happens in this way.
These levels must be passed to [compose] a song and if it’s vocal, the lyrics will be worked on,
But I also tell you that old songs appealed more, because the song was composed at first.
Then, the composer exchanged his/her feeling with the lyricist.
For example, I don’t know that I told you [about] Paviz Yahaghi (Iranian musician) and Bijan Taraghi (Iranian lyricist)
– God blesses them and their souls are always blessed – who were originally the celestial celebrities in Iranian music.
They were describing that we were in a social gathering in about 3-4 years after the revolution,
because most of old artists [was coming] sometimes [in these gatherings] – maybe I (Kiaei) was the youngest person among them in that time –
and these meetings were held by Sharokh Naderi (Iranian radio producer). In those meetings, we were together and meeting [others].
[In a social gathering,] someone asked Mr. Yahaghi! Paviz Khan! How was the “In the time when kindness becomes such a legend” song composed?
Another person asked [them] how was the “I saw the leaf of fall on a way / fallen because of the times’ injustice / that was…” song composed?
[Yahaghi] answered I don’t know. Only, I know that I (Yahaghi) and Bijan Khan -Bijan Taraghi – were going to Meygoon (a city in Iran) in a fall sunset in –
for example, as he (Yahaghi) described – 20-25 years ago – if we want to count it now, it was in 50 years ago.
It was raining and wind blowing – fall wind. Suddenly, a leaf fell and get stuck to the windshield-wiper.
At once, Bijan Taraghi said: “I saw the leaf of fall on a way / fallen because of the times’ injustice / that was separated from the branch”.
Driving, Yahaghi sang: “I saw the leaf of fall on a way / fallen because of the times’ injustice / that was separated from the branch” with the windshield-wiper’s rhythm.
See! It came, not be made. It suddenly came into being [or] inspired [or] was revealed – It was started.
They arrived Meygoon and sit in nature and so on.
[Yahaghi] notated it and Taraghi wrote the lyrics’ rest there.
It’s [an] eternal [song] that was composed in “Busalik” Gusheh (a melodic mode) of “Isfahan” Maqam (the system of melodic modes in Iranian traditional music)
“Busalik” is a very beautiful melodic mode. It starts in that melodic mode,
goes to [other] different melodic modes, comes down in “Isfahan” Maqam and then finishes.
See! You – that are quite older, young and middle-aged people enjoy it. Why?
– I was enjoying [it] in that time too
– It’s originally among the …songs.
– It’s still in my mind.
– This song and other songs such this are still…
– For example, I can hear Marzieh’s (Iranian singer) singing now.
– And the beautiful, soft and pleasant singing of Marzieh and Elaheh (Iranian singer).
Lady Delkash (Iranian singer) and Milad Kiaei, summer of 1981
Lady Delkash, Siavash Zendegani (Iranian violinist) and Milad Kiaei, summer of 1996
MohammadEbrahim Bastani Parizi (Iranian historian) and Milad Kiaei, November 2002
Ali Tajvidi (Iranian musician) and Milad Kiaei, March 2006
At the age of about 14-15, when I learned the instrumental Radifs (collections of many old melodic figures in Iranian music) from my older brother – the late Iraj Kiaei,
I felt I started to become afflicted with the intricate problem of repeating in playing music instrument.
For example, I was playing the “Kereshmeh” Gusheh of “Shoor” Dastgah (a musical modal system in traditional Iranian music).
If I played a bit back and forth, my brother suddenly tweaked my ear and asked what are you doing?!
I answered I want to show a bit enthusiasm.
He said don’t do that! Do according to something that dictated from the past.
He said don’t do that! Do according to something that dictated from the past.
that Papa! Let me record and play this [performing], because you say that it mustn’t differ even a bit.
[He said] no, I think it’s not correct. He said no, no!
Well, they were thinking traditionally and also were right, but I was right too – to some extend – and young.
[So,] I sneaked and innovated somethings.
Also, because of being affected a bit by piano playing’s style of the respected master of music – Javad Maroofi (Iranian musician) – in those times,
I sneaked and tune innovations. My instrument playing was broadcast from the teenager program of the radio
and I was attending in the youth program of the television [to play music instrument] in those times.
The next day when I was playing music instrument, the music instrument shopkeepers called me and said we sold 20 Santoors, man!
There was a person – God bless him – named Farhad Del-Shad (Iranian maker of music instruments)
who had the “Del-Shad” music instrument store on the corner of Bahrestan Square [in Tehran].
He called me much – he was telling me that I sold 24-25 music instruments today!
Which piece did you play in the television last night?!
I remember that someday, he carried a music instrument and came with his son – God bless him.
He passed away incredibly because of hyperactivity of making and repairing music instrument.
Someday, he came to me with his son and said I made a music instrument and want to know your opinion.
He brought a melodious music instrument. Even he had put the instrument’s hole at instrument’s top, instead of instrument’s bottom.
He was explaining that how he had changed it, especially about putting “Poul” (a special bar) in Santoor.
It was very melodious – I said you made it very well – thank you!
He said Well, that’s a relief; because I bring it to give you as a present, but I wanted to get your confirmation.
I asked what’s the occasion for it? He said no occasion! I sold 40-50 music instruments in these days.
Anyway, he gave this music instrument to me and what a great instrument that was!
Now, one of my apprentices has it who’s in Canada and became a master.
It was his birthday – Whenever he wanted to perform a concert somewhere, he took my music instrument.
I saw that he fell in love with this Santoor!
Also, I had a Santoor from the past that was good and the memento of my father – made by Markar (Iranian Santoor maker).
[I considered that] it’s better to present this to him for his birthday, because he asked it every time – and now he has it.
Because music instrument communicates emotionally much with player.
Anyway, I sneaked and stylized and it became my new-playing style.
Today, you see that many young or middle-aged people are innovating,
but Mr. Houshang Kamar (Iranian musician) – the supervisor of “Kamkars” orchestra my friend since about 55 years ago,
Houshang Kamkar: Milad was among the best players of Santoor
I mean we liked to hear his playing and it was very surprising to us.
Today, anybody who claims that I’m the contemporary Santoor player, it roots in Mr. Kiaei’s Santoor [playing].
And his brother who wasn’t born in that time – Ardavan (Iranian musician) – continues my style with younger and more energetic passion,
because they (Kamkars) are all genius family
and now, there aren’t few youths and people who continues my style which was innovated in 1960-1961 – in those times.
I’m glad – It must have been something [special] that appealed many supporters.
Then, when I became middle-aged, I came back to [traditional style of playing Santoor] – not exactly much traditionally.
I remember that at the age of about 28-29, I played music instrument heartily in a social gathering!
all [invited people] were middle-aged and older there.
I don’t think that I haven’t played music instrument to the power of that night yet, because it was recorded.
[It seemed that] I was playing acrobatic exploits! – I don’t know which energy came to me.
When playing finished – listen carefully! It’s a lesson. – [invited people] clapped much.
Someone kissed me; someone shook my hand and someone gave me flower.
My perspiration was falling from my head and face – I thought that I did a masterpiece!
An old man was there and he was requested to play Setar (an Iranian music instrument).
He brought his Setar. He played such this: Bloom! He moved a bit its handle to resonate. [Then he played such this]
…suddenly, everyone said wow! What the master does?!
The master charmed us! [Then he played such this] …
He was moving the handle of the Setar to resonate there.
Some people beat their heads against the wall and some people lay down! – [saying] we were charmed! Wow!
I said [to myself] that God! He just played such this…
what’s this?! You become much Emotional! – what did he do?!
Well, I was young and full of young spirits, so I wanted to crush on them!
But sir, times made me understand that I’m making a mistake!
I couldn’t do [such that old man] despite of my many displaying artistic skills, maneuverings and arpeggios (a chord broken into a sequence of musical notes)! – others just clapped for me.
I couldn’t appeal their hearts, but he with [playing] such this …
communicated with the others. So, he’s an artist.
I was shocked there by [this advice]: if I want t show off my virtuosity,
I must do it for 1 minute or 30 seconds – not from the beginning to the end.
This shock and incident caused me to return and try to [achieve] the maturity, past experiences and this recent incident – that was a big lesson for me in my life.
Whenever I describe it for anyone – especially for teenagers
who are playing from the beginning [to show off their virtuosity] – I tell them don’t lose the maturity.
Anyway, I always try to demonstrate an arithmetic mean of my learnings that I got in my childhood and adolescence
and experiences that I did in my youthfulness and middle age today.
Part 05
Tuning or Sound recognizing isn’t learnable, sir.
It’s the same as composing – someone say that we want to compose! We’re not composers;
we are messengers – we’re revealed by a power’s kindness and we demonstrate it.
Tuning is an existential thing – an essence. It’s an effervescent art, not attemptable.
It’s inside some people and not inside some people.
Some people tune with tuner instrument and such systems – this’s very wrong. So,
what does this do?! We must distinguish with it that God gave us.
All right, we can get tonic – basic – note from the tuning fork;
but we must find others with our ear or feeling, because the artwork must make sense.
You see that [it’] one of the causes that the past music [of Iran] was full of sense – in 37-38 years ago.
In these 36-37 years, [about] 36-37 thousand songs have been composed!
Why do the young generation [of Iran] perform the songs of our time or before it, when they want to get together and perform music?
One of its causes is this: Because those times were full of love and artworks were full of sense – not robotic such this [time].
One of them is tuning. Tuning must be in our existence.
For example, I’m performing it now…
I must distinguish its fourth grade myself, not from the instrument. …
Another lower…I mustn’t get it from the instrument. …
The third [grade]… .
It was effervescent and a celestial kindness that was applicable to my case; [so] my ear is strong.
But I must learn the knowledge and science of it to know if this note is in “Shoor” Dastgah (a musical modal system in traditional Iranian music), what are its intervals?
If it’s in “Chahar-Gah” Dastgah, what are its intervals?
For example, if it’s in “Mahoor” Dastgah, what are its intervals? These are related to [music] science.
I was seeing (asking myself) that God! Why does some people’s music instrument playing charm people,
in spite of Santoor players that don’t affect deeply?!
<i>Playing of Master Ahmad Ebadi (Iranian musician) </i>
I thought much [to answer it]. I saw that some music instruments – such as Tar, Setar (Iranian music instruments), violin and ney (Eastern music instruments) –
can change the note in addition to playing, but Santoor – because of being immovable-tune – can’t do this.
Well, I thought about its solution – a solution had to be found eventually.
For instance – you can even adjust the camera on the front side of [Santoor’s] strings and I explain. …
Well, this was a musical beginning of “Shoor” Dastgah.
Every musical scale is 8 grade – it’s called grades of musical scale.
The first and second grades must be a quarter of the major tone, but I conclude that it doesn’t have to be!
We write in music theory that [it must be a] three-quarter of the major tone, but it can be a half of the major tone. …
The interval also can be one major tone and three-quarter of it.
Again, it can be changeable in these ones. Now, I play a beginning of “Shoor” Dastgah.
You see that I use 3 notes in second grade of this beginning instead of 1 note.
[I play] a half-major-tone interval and a one-major-tone interval. See it. …
What’s this note? It’s that one-major-tone interval. …
[It’s] the half-major-tone interval…
while the steady note is this. …
See, I had the similar [notes] of these two notes here.
I opened the strings of these two notes and put a white string – instead of yellow string – and tuned a higher octave such this.
For instance, if this’s “Shoor” within “G” note…
it’s the “B♭” note and it’s the ”A (natural)” note. …
What’s this? It’s the “A koron” note. …
So, these are ”A (natural)”,“A koron” and “B♭” notes – I used 3 notes in “Shoor”. Did you see how I used?
It’s that one-major-tone interval. … Now, I play the fifth-grade “Shekasteh” (a melodic mode) of “Shoor”.
…1,2,3,4,5. …This part of the note must break. … See. …
So, I take full advantage of this of Santoor limitation that I use such notes.
In several times, I was listening to Tar playing of master Shahnaz (Iranian musician), because of art positions that I had in the past.
I’ve had this chance and bliss to be associated with great artists and be together in art, cultural and familial meetings – such as Jalil Shahnaz.
I was seeing [and asking myself] that God! Why does his playing of Tar appeal much?!
I paid attention and see when he plays this note… .
See, these two differs in an added octave and an added quarter tone now…or [this]. …
Violin, Tar and Setar vibrate [while being played] and singer sings.
What does Santoor do while it’s straight? It can happen! Do we sit on our hands and say it can’t happen?!
An [sample] is this… . Another one is this… .
Of course, it’s a very hard work, because I do it with this nail on a string, not 4 strings.
See…the thumb came on a string. My hand is controlled here not to get away.
See…the ancients were calling it “Hazrat-e Abbasi” (the brother of Shiites’ third imam) playing – with one hand.
Of course, this – with one hand – last for some moments or music bars. …
God! This was happening that Kasaei’s (Iranian musician) ney playing was appealing,
but why doesn’t his Santoor playing – with all his power – affect the listener magically?
[Because of] these delicacies and fine works. …See…it [looks like a] grudge. Do you see that? …
Grudge means being obstructed. Sigh, innate character and pains inside the history are transferred on the strings or their sound.
Because of this, a sound [or] a music instrument’s [playing] appeals;
but a music instrument’s much technical playing doesn’t appeal.
After the incident of that night, when the old man held Setar in hand, I was shocked; [so,] I looked for and found these [topics].
It’s possible to extract [for example] 8-10 kinds of sound from the music instrument, with this music instrument.
For example … [it seems that] it’s hailing… .
Now, it seems that two music instruments are played together – for example, Oud (an Iranian music instrument) and Santoor… .
Another kind of sound… .
Another one… .
[What I said] was a simple instance and many works can be done [such this] in kinds of different Dastgahs and Maqams (the system of melodic modes used in traditional Iranian music).
I explained summarily to you about. See that how much the music instrument makes sense [such this].
Part 06
What’s your key to success in continuing your artwork[s]?
The first [key] is gratefulness – thankfulness. Sir! We the [Iranian] nation – most of us, not all – are creditors!
For example, someone gets in the taxi. Because of tight place there, [he says] oh! Well, excuse me, man.
[Please] tolerate 5-10 minutes – sometimes I tell [such people that] I wish I didn’t have a leg, so you sat more comfortably.
Or it’s winter [and we say] ah! [The weather] is so cold. [Or] it’s summer [and we say] ah! [The weather] is so hot. Ah! It’s very…
[It seems that] we the [Iranian] nation must grumble! – some of us, not all.
If we’re a bit grateful and thankful, we’ll see that life becomes so sweet.
Doesn’t it deserve to thank [God] for having two eyes and seeing you?
Doesn’t this leg deserve to thank [God]? Doesn’t this hearing ear deserve to thank [God]?
I was breathing; so, doesn’t it deserve to thank [God]?
When you look at the world with this [vision], you’ll see that you’re not only not creditor but also debtor.
Do you attach social role to musician?
%100. See, I’ve said frequently – in these two sessions when I had the honor of being for you – that art isn’t the first [issue] – it’s the second.
The first [issues] are morality, culture and rules of conduct.
Because of this, this subject has started in our mind since ancient times: culture and art.
Therefore, if someone becomes much discussed for art in the society, he/she will become a pattern and model.
He/she must dress so that people see him/her and learn.
He/she must talk so that he observes the literally rules.
Unfortunately, I sometimes saw and see somethings that are really shameful.
Someday, in a music class, I saw an artist – that I feel ashamed to name him as an artist.
I saw a void of culture being that came wearing pajamas and giveh (a type of Iranian cotton sandals)!
Such people never find a position [for themselves] in the society.
It’s possible that they succeed in a point of time and short time like a meteor – that last for a moment,
but they never endure for all time like the sun.
Do you see any innovation in current Iranian music?
Yes. Many of good youths and musical performers have innovated in playing Tar (an Iranian music instrument) and national music instruments,
but to be good or bad and be confirmed or not confirmed by us, let the time to judge [them].
Well, many incidents happened in the past.
For instance, an American composer suddenly changed 7 musical notes to 6 notes in about 57-58 years ago!
He publicized it much universally!
You know that we have 7 musical notes that 5 of them have one- whole-tone interval and 2 of them have half-tone interval.
He unified those 2 notes and change all notes’ intervals to one whole tone;
[so,] they became 6 notes – I don’t consider its scientific aspect.
Many songs were composed – in the musical scale that he innovated – and proselytizing were done much; [but] it didn’t appeal!
He worked hard and publicized much, but it didn’t appeal.
Why? Because he changed the nature – you know that these [musical subjects] are within nature.
The notes and so on weren’t made – it’s wrong that some people imagine these are made.
No! No, dears! Pay attention! These are embarked on.
These have been in nature and then were discovered, extracted and worked on.
The first musicologist of history is Plato (an Athenian philosopher) who discovered octave (the interval between one musical pitch and another) in global music.
Then, [history] moved forward and some great [musicians] appeared.
Why is Iranian [classical] music sad?
See, sir. The answer is distinct. [It’s] the history.
See, after extinction of Sasanian dynasty (one of the Iranian empires), [anything artistic] didn’t happen to this country (Iran) for about 2 centuries!
It’s very important. Such incident has happened in fewer countries of the world.
For 2 centuries, there (Iran) wasn’t any poem, music, painting, writing and tile-work – nothing! Much void?!
[Because of] these historical pains, sorrows, sufferings, how could [Iranian artists] suddenly appear after this silence lasting in about 2 centuries?!
While before those [centuries], there were a special song for each day of week,
that if it should be [said], I fortunately know most of their names.
Of course, they’re as narratives – not supporting documents,
because supporting documents is something that’s proved it’s exactly the performed musical note. These’re as narratives.
For instance, there’s a Gusheh (a melodic mode in Iranian music) named “Jameh-Daran” in Iranian music. What was “Jameh-Daran”?
Do we perform it in “Afshari” or “Bayat-e Turk” or “Isfahan” (three branches of “Shoor” Dastgah in Iranian traditional music) as what “Jameh-Daran” was exactly?
It’s a short Gusheh. How much I want to maneuver on “Jameh-Daran”, it lasts for 3-4 minutes.
What was this? In short, it was written in the history that whenever Barbad (an Iranian poet-musician) performed a musical piece,
he made everyone happy at first. Then, he upset and made them cry – not immediately, but with a time span.
After that, he mesmerized them with his music [performing] so much that they rend their clothes!
Eventually – on the 4th level – they fell asleep in Sama (a Sufi ceremony).
So, is “Jameh-Daran” [Gusheh] exactly the same as [what Barbad was performing]? No, it’s impossible.
What was that? Notation has used to our country (Iran) since about a century ago.
Also, somethings that were [used] in the past – [such as] … (Persian poetry’s meters) –
and the narratives that are [remained] from past periods of the history, don’t represent which melody was performed exactly.
So, today what we say [about such topics] is a narrative.
The sad course of time’s passing [continued] after Sasanian dynasty until [the time of] Safavid dynasty and then Qajar dynasty (two of the Iranian empires).
From Qajar dynasty [times], little by little, at first [Iranian] music came to Ta’zieh (a condolence theater inspired by a historical and religious event about the martyrdom of 3rd imam of Shiites).
From Pahlavi dynasty [times] (the last Iranian empire), the expressing of griefs is removed from Ta’zieh
and only the Avazs (a vocal section) were remained and reconstructed as Radifs (a collection of old melodies in traditional Iranian music);
but [Iranian music] actually was formed by almost modern vocal appearance from Qajar dynasty [times].
For example, was the “Husseini” Gusheh of “Shoor” [Dastgah] the same as this? …
As our important and ancient people said, there was a period [of time] named “Under-Aba (Zir-e Abaei)”.
My father narrated from his father that there was a period in [Iranian] music named “Zir-e Abaei”.
Because of this, all [Iranian] music performers were playing Tar or Dotar or Setar (two Iranian music instrument) in this period [of time].
There wasn’t any Santoor, accordion and other music instruments in this period and history –
if there was, they were so paltry and unobtainable that they’re not much discussed.
Why? Because they could carry music instrument under [their] aba (a sleeveless outer garment worn by ancient Iranian men) in this period [of time]
and were going from a social gathering to another one – from a banquet to [another] one.
They were [playing music instruments] in the large rooms in the basement of traditional Iranian house – with a small pond in the center
not to come out [their] sounds, because music performers were declared an unbeliever in those time!
Anyway, “Right-Tuning” and “Left-Tuning” (two methods of tuning in traditional Iranian music) accidentally are related to “Under-Aba (Zir-e Abaei)” period.
If the singer was a woman, the music performers would play Tar or Setar from the bottom (left) corner of their middle part.
For instance, [the music instruments] were played on “C” or “D” notes, from the bottom – left – corner of their middle part in “Shoor” Dastgah
and in step with female singer’s singing; so, it was [well-known for] “Left-Tuning”.
If the singer was a man, [the music performers] would play [Tar or Setar] from the top – right – corner of their middle part, on “G” or “A” notes in step and in step with male singer’s singing;
so, because of being on the right corner, it was named “Right-Tuning”.
The reasoning of “Right-Tuning” and “Left-Tuning” basically has remained since from “Under-Aba (Zir-e Abaei)” period.
Until [another time] came. Whereas Iranian people always have had a special intelligence during the history,
they prevented [Iranian] from music dying – despite it was sick, but many Gushehs were forgotten.
[Iranian music] was protected with our grandmothers’ lullaby and the entered songs in Ta’zieh – many Gushehs were retrieved from Ta’zieh;
but as I said, the weeping and wailing were removed [from Ta’zieh]
and only the Radifs were remained that Mirza Abdullah (Iranian musician) compiled them,
Although Mirza Abdullah – this great man – knew the theory of [Iranian] music practically – he didn’t know musical note.
[Then,] some important [musicians] came and notate [Radifs] and nowadays they’re compiled.
[Also, the notes for] Santoor – and originally – Tar and Setar are notated and utilized by the current generation.
Which musician have you been affected by in music?
I’ve benefited from all [musicians]; but more than all, I’ve profited from the artists who were firstly with a distinct personal style
I mean what they demonstrated was their personal art.
I gave you an example: one of them is Javad Maroufi (Iranian musician), because I was attracted much to his personality and art.
But the great man of Iranian music’s history, who – up to this moment that I’m at your service – is unique –
even someone may come [in a] higher [position] than his – while with his quite short lifetime,
composing many eternal artworks, educating good apprentices and remaining artworks –
whether written or structural, up to this history of [Iranian] culture and art, is Rohullah Khaleghi (Iranian musician).
Because of this, [up to the time] when I attained this age, I haven’t [known] someone more impressive than Rohullah Khaleghi
in terms of culture, art and management – management is very important.
[For instance,] many people are good music performers; many people are good makers and many people are good composers,
but sir if some of them are divested of music instrument, their beings will become worthless!
But one of the people who had extended dimensions – I must mention many people, but because of your question to give an example – is Rohullah Khaleghi.
Say about your wishes, hopes and despairs.
Firstly, I’m full of hope – I’m always hope to the bright future.
Dark cloud must step aside and the sun eventually will shine.
Another point is that my happiness is always within solving problem of my compatriots and fellow human beings.
One of my wishes is that our country’s people – compatriots – improve the culture of gratefulness and thankfulness a bit within themselves.
Ungratefulness causes us to suffer the loss [of gratefulness] in this time – although we have good times [now].
When we turn the tap, there’s water in – it deserves to thank, sir.
The light is switched on – it was possible that we lighted a candle with much with difficulty.
[Someone] said that instead of damning darkness, isn’t better to light a candle?