Qatār

Mollā Mostafāī

Naftīye

Hejrānī

Javāb-e Qatār dar Pāīne Daste

Kūche Bāghī: Tasnīf-e Avval

Kūche Bāghī: Tasnīf-e Dovvom

Kūche Bāghī: Tasnīf-e Sevvom

Darvīsh Allāh  Weysī

Leylī Leylī

Darvīsh Abdālī (yā Darvīsh Allāh Weysī Esfahānī)

Darvīsh Abdolbāqī: Tasnīf-e Avval

Darvīsh Abdolbāqī: Tasnīf-e Dovvom

Sūz o Godāz (Kurd)

Rāz o Nīyāz

Forūd

Sūz o Godāz Bālā Daste

Tarz-e Qatār

Bargasht be darvīsh Abdālī

Forūd-e Bargasht

Gūshe Saharī

Samā

Sangeli Samā

Qara Chūpī

Hey Dāwed Sangīn

Hey Dāwed Tond

Haqqan Haqqan Sangīn

Haqqan Haqqan Tond (sabok)

: dance) literally means “dance in black clothes.” Some Iranian Kurds perform this dance when a loved one passes away.

Qara Chūpī (qara: black, chūpī: dance) literally means “dance in black clothes.” Some Iranian Kurds perform this dance when a loved one passes away.

Ostad was well-versed in the techniques and repertories of instruments in the Persian classical tradition. The influence of the classical tradition became perceptible in his playing of the tanbur, which in turn inspired his interpretation of pieces in the classical Persian repertory. Seeking to achieve a synthesis of the Persian and Kurdish lutes (the setār and tanbur, respectively), he designed and built an original instrument—a tanbur with five strings—that enabled him to integrate the characteristic techniques of the setār and the tanbur. It was on this five-string tanbur, which he alone could play, that Ostad expresses himself here in a piece entitled the Qatār suite.The term Qatār covers a wide range of meanings. Depending on the context, it can mean advancement, train, caravan, convoy, chain, link, or liaison. In addition to being the name of a musical mode in the repertory of the classical Iranian tradition, Qatār also designates an ancient modal suite that provides the origins of the modern mode, whose resonances can be heard echoing in certain peculiarities in Ostad’s playing. The Qatār mode is a profound, intimate mode that is not very rhythmic, evoking a sense of prayer and contemplation. What is remarkable here is the way in which Ostad fleshes out his interpretation of some twenty pieces that he describes as being in the Qatār mode, playing them in the aura, tonality, and tuning characteristic of Qatār while connecting one piece to the next with the fluidity of a cascade. Approximately forty minutes in length, the Qatār suite rendered here is considered among the most complete recordings that remain of Ostad’s music.

Cascade

Tanbur Panj Sīmī

Instrumental

qatar

Qara Chūpī

Details

Renditions of Qara Chūpī

More of Qatār on same Album