Iran: The Masters of Music, Vol 1

In the 19th century, the once orally transmitted modal tradition of Persian classical music was canonised into a repertoire known collectively as the radif. The creation of the radif cemented the preservation of a wealth of composed melodies, as well as the modal structures from which they were drawn. With a few exceptions, this repertory is intended for solo performance, which is what this album showcases to stunning effect.

Divided between three masters of three instruments, it begins with Dariush Talâ’i on tar (lute). The opening 18-minute piece, ‘Avâz-e Bayât-e Esfahân’, sees Talâ’i weave his own personal interpretation on the ancient mode of the same name, conjuring a multi-movement solo tour de force. The middle portion of the record is dedicated to the ney (flute) of Mohammad Musavi. The breathy overtones of his instrument serve as a beautiful contrast to the tar. Accompanied by Jamshid Mohebbi on zarb (hand drum), Musavi’s three-part suite Dastgâh-e Homâyun coruscates through multiple sections both metered and unmetered – the interplay of the ney and drum evoking the mystical rituals of the music’s Sufi roots. The final third of the album spotlights the santur, performed by Majid Kiâni. An instrument with thousands of years of history, the santur sparkles and ripples with intensity, with Kiâni’s virtuosity on full display – especially on the closing ‘Reng-e Shahr Ashub’. It is a thrilling climax befitting an album that serves as a document of musical mastery.