Tar Sweet Tar

  

Ata Jangouk & Farid Mozaffarzadeh

Navaye BiNahoft

15 tracks

Ata Jangouk - tar
Farid Mozaffarzadeh - tombak

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 

 

 

Ata Jangouk

Short Description

    مــردن عـاشـق نمي ميــرانـدش / در چراغي تازه مي گيرانـدش

Personal Information

    عطا جنگوک، نوازندهٔ ایرانی تار و سه‌تار و پژوهش گر و مدرس موسیقی در پاییز 1327 در شهرستان لار متولد شد.

    با علاقه وافری که به موسیقی داشت از 16 سالگی مشق موسیقی را با تار آغاز نمود و برای آموختن اين ساز چند صباحی به تبریز رفت و نزد استاد محمد حسن عذاری_ از شاگردان درویش خان _ به یادگیری تار پرداخت.
    وی تا مقطع دیپلم را در زادگاهش سپری نمود و در سال 1351 وارد دانشکدهء هنرهاي زيباي دانشگاه تهران گردید. در سال هاي دانشکده از محضر اساتید بزرگ ردیف، همچون نور علی خان برومند و دكتر صفوت بهره برد.

    شاگردی مکتب علی اکبر خان شهنازي_ ردیف دان و استاد بی همتای تار _همواره آرزوی او بود.با راه یافتن به مکتب استاد حدود 10 سال به فراگیری راز و رمز موسیقی ایرانی پرداخته و به واسطهء تلاش بی وقفه اش، همزمان به تدریس سایر شاگردان استاد زیر نظر ایشان پرداخت و خليفهء كلاس شد .

    عطا جنگوك در سال هاي دانشكده ، رديف هاي آقا ميرزا عبدالله و آقا ميرزا حسين قلي و هم چنين رديف و ضربي هاي استاد شهنازي را تمام مي كند و در ضمن در سال 1352 به مركز حفظ و اشاعهء موسيقي راه پيدا كرد و از اين زمان بود كه نواختن سه تار را نيز زير نظر اساتيد بزرگي چون سعيد هرمزي و يوسف فروتن آغاز نمود .او هم چنين مدت ها از محضر غلام حسين بيگجه خاني استفاده كرد .

    فعالیت وی در مرکز حفظ و اشاعه موسیقی در سالیان متمادی منجر به همکاری وی با اساتیدی چون مرحوم علی اصغر بهاری و مرحوم رضوی سروستانی شد.

    بهره مندی از محضر اساتید بزرگی که هر کدام گنجینه ای از موسیقی ایرانی بودند از یک سو و خلوص و بداعتی که در مواجهه با آواها و نواهای ایرانی در وجود او بود از سوی دیگر، منجر به پیدایش لحنی صمیمی، دلپذیر و گرم در آثار او گردید.

    وي در دو زمینه موسیقی محلی (فولکلور) و موسیقی ایرانی فعال بود و برخورداری از شخصیت ویژه هنری در هر دو گروه از آثار وی، حکایت از عمق بینش و نگاه توام با آگاهی به موسیقی این مرز و بوم دارد. آثار وی در حوزه موسیقی محلی شامل گرد آوری، ساخت و اجرای موسیقی های فارس، بختیاری، بندر عباس و به طور عمده جنوب غرب ایران است. محبوبیت دو سویه این آثار در بین مخاطبین هم زبان و غیر هم زبان نشان از تسلط او به شاخصه های موسیقی محلی دارد. چنان که ارائهء مطلوب و خلاقانهء آثار موسیقی محلی توسط وی منجر به خلق کارهایی بسیار ماندگار در این حوزه شده است. آثاری که شایستگی یافته اند که در نزد مردم زمزمه شوند و شنونده هر چند واژه ها را نمی شناسد، اما به سبب بیان روان ساده و در عین حال ژرف اثر، در جریان فضای کلی و روحیه حاکم بر آواها و ترانه های محلی ارائه شده قرار می گیرد.

    آلبوم‌های "چشم به راه" (خواننده: شهرام ناظری)، "همسایه" (خواننده: علیرضا افتخاری) و "سرو و ماه" (خواننده: بهرام باجلان) از ساخته‌های عطا جنگوک در زمینه موسیقی سنتی ایران است.
    «مال کنون» و "هی جار" در زمينهء موسيقي در ايل بختياري ، " پرستاره " در زمينهء موسيقي محلي فارس و «یار کدیم» در زمينهء موسیقی هرمزگان است.
    او هم چنن دو اثر تك نوازي سه تار به نام هاي " نوروز " و " نواي بي نهفت " دارد .

    در دو اثر "هی جار" و "مال کنون" می توان جوهره زندگی کوچ نشینان را لمس نمود. زندگی، عشق، هجران و کار، دلبستگی های قومی و احساسات ناب و ساده ایلاتی ها را تجربه کرد و صدای احساس بر انگیز و گوش نواز زنگوله ها در زمان کوچ ایل را از لا به لای مضراب های ساز شنید.

    همنشینی صمیمانه سازها در کنار هم از ویژه گی های بارز آثار جنگوک است. در گروه آثار محلی وی، سازها ضمن حفظ استقلال و هویت خویش، به هماهنگی مطلوبی می رساند و نمونه برجسته ای از اجرای ملودی های محلی با گروه سازهای ایرانی را به وجود می آورند. حزنی عمیق و شیرین در تمام آثار جنگوک موج می زند که مخاطب را آرام آرام به خود فرا می خواند و از لا به لای صداها، به شنونده رخ می نماید. آثار جنگوک در زمینه موسیقی ایرانی نیز دارای ویژه گیهای منحصر به فرد است. برخورد خلاقانه در ترکیب سازها و توجه به استقلال آنها در حین همنوازی از جمله این ویژه گیهاست. در این گروه از آثار چه به صورت گروهی و چه به صورت تکنوازی، آن چه بر کلیت اثر احاطه دارد روحیه و احساس هنرمند است که در فرم دادن به اثر حرف آخر را می زند. صریح ترین تجلی نگاه و سبک هنرمند را در "نوروز" که تنها نوازی سه تار است می توان مشاهده نمود. آثار جنگوک به واسطه صمیمیت، سادگی و خلوص به موسیق ایرانی فرصتی دوباره می بخشد تا به جایگاه اصلی خود که همانا میان مردم است بازگردد.

    ديگر فعاليت ها :

    _كنسرت هاي " ماهور " ، " بيات اصفهان " و " بيات ترك " با همكاري خانم " پريسا "
    _تنظيم و اجراي موسيقي به مناسبت جشن هنر شيراز با آواز مرحوم "رضوي سروستاني"
    _سرودهاي انقلابي چون "فرياد سياوش "(قيام) ، " پسر ايران " ، " گلباران " ، " جنگ و گريز " ، " بهار آزادي " ، " بيا و خرم شو " و ...
    _موزيك متن چند فيلم مستند
    _كتاب هايي چون " ترانه هاي محلي فارس " ، " سوز و ساز " ، " گشايش " و " نواي بي نهفت " و ويرايش كتاب دستور مقدماتي تار و سه تار


    جنگوك يكي از چهره هاي بي ادعا ولي بسيار قابل بحث در موسيقي است كه در تمام اين سال ها شاگردان فراواني را تربيت كرد و زحمات بسياري براي پيش رفت فرهنگ و هنر اين مرز و بوم كشيد .

    وي در تاریخ ۱ اردیبهشت ماه ۱۳۸۹ شمسی به علت سکته مغزی در تهران درگذشت. یادش همواره جاوید و گرامی
    
source

  

♥
 

Farid Mozaffarzadeh 

Born 1954, plays tombak.

Early studies in Urumiyeh and Sari. He was especially interested in tar and tombak and began to learn music seriously since 1980 in Tehran. He has graduated from Faculty of Fine Arts at the Tehran University and has perfected his technique with such masters as Ata Janguk, Arshad Tahmasbi, Hossein Alizadeh, Daryush Talai and Moh.-R. Lotfi. He studied tombak for one year with the late Naser Farhangfar.
  

  

Tar

Undoubtedly tar is the most important of our national classical instruments, for the formation, compilation, edition and inheritance of the most authentic and the most comprehensive and detailed versions of radif are all worked on this instrument. Many of the greatest of tar players have deeply influenced the general trends of Persian classical music and also the major styles and forms of it. The most prominent musicians who contributed to early musicosocial activities were also players of this instrument.

***

Tar (Persian: تار‎) is a Persian and Azerbaijani long-necked, waisted instrument, shared by many cultures and countries like Iran, Afghanistan, Armenia, Georgia, Republic of Azerbaijan, and other areas near the Caucasus region. The word tār (تار) means "string" in Persian, though it might have the same meaning in languages influenced by Persian...

wiki

wiki

♥

While my tar gently weeps...

  

Ostad Ali Salimi, Tar
Azerbaijan Music

2001

Tracks:

01. Segah, Zabol 15:40

02. Shur 7:30
03. Tasnif Segah 3:06

04. Reng Chargah 1:37    
05. Tasnif Segah 2:52
06. Tasnif Bayat-E-Shiraz 4:19

07. Fantasy No. 2 2:02
08. Qaitaqi 1:35
09. Bayat-E-Shiraz 19:30
10. Reng-E-Segah 2:03
11. Segah-E-Yatim 11:37

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  

Ostad Ali Salimi was born in 1922 in Baku. Poverty of the family was the major obstacle for him to enter the field of music. His parents encouraged their son to study in science and technics in the hope of overcoming the unpleasant situation. But his fervent adoration for music worked at last, and he persuaded his mother to buy him and instrument. The father objected him, but in vain, and one of his relatives bought a tar for him. Finally his father abandoned his first attitude and accepted the condition. Music lessons began in Salimis' house, with only a single room to live. At the age of 11, he registered as a student in Music School of Ship-manufacturing Factory, where his father worked. The weak quality of teaching caused father to seek for another tutor. He was found, the prominent tar master of Azerbaijan Ahmad Bakikhanof, with whom he developed a rare kind of friendship and intimacy. In those years Stalin government forced Iranians either to accept Soviet citizenship or to leave for Iran. Father was prisoned for 2 months and Salimi abandoned his studies and hid himself until 1938, when all of the family left USSR for Iran. The family settled in Mazandaran and Salimi left there for Tehran. The poverty continued but there was hopeful news which informed Salimi that an Azerbaijani Orchestra had been founded in National Radio. The Council of Music (Moshir Homayun, Ruhollah Khaleqi, Abolhasan Saba, Hoseyn-Ali Mallah) tested the young artist. Salimi had studied composition, counterpoint and harmony before and was regarded as a brilliant artist and at last was appointed as the conductor of the newly-founded orchestra.

Salimi married in 1959 with one of his co-workers. His wife was a symbol of fidelity and sacrifice. Several of Salimi's works were premiered by the voice of his wife. In 1963 the orchestra was disbanded and all of the economic pressure of the family was put on the shoulder of his wife, who worked with sincerity as a dressmaker.

When the "Orchestra of Culture and Art" was founded, Salimi was invited again. The first program was held in Rudaki Hall in the presence of late Ostad Shahriar. It was based on Heydar Baba epic poem by Shahriar and some other works all composed by Salimi, and fortunately it was well received. Then the orchestra toured Iran with great success. Afterwards Salimi went to Tabriz and collaborated with some other masters such as late Qolam-Hosyn Bigje-Khani and late Ostad Dadestanpur. After the revolution, Ostad Salimi worked permanently with Tabriz radio and Television fund and composed many pieces.

In 1962, Rashid Behbudof - the famous tenor of Azerbaijan Opera Company - came to Tehran to give concerts. He was deeply moved by hearing the famous composition of Salimi, Ayrilig and with kind permission of the master, he managed to record this beautiful song performed by himself.

In addition to Airliq - which has been performed in countless versions and arrangements - Ostad Salimi composed many other instrumental and vocal pieces. Of these works Heydar Baba, Siza Salam Gatir Misham, Gejalar are performed and recorded. Some of his compositions have not been published yet, for example a piece for voice and orchestra, based upon the translation of Rubaiyats of Omar-Khayyam. His course book on Azari Tar known as "Tar-e Maktabi" (Scholar Tar Playing) is a precious work in this field.

Ostad Ali Salimi passed away in 1997 in Tabriz. 

May his cherishing memory last forever and ever.

♥

Ayrilig
(Separation)

Azerbaijani lyrics by Farhad Ibrahimi
Music composed by Ali Salimi
 
I cannot sleep at nights, thinking of you.
I cannot get these thoughts out of my mind;
What am I to do since I cannot reach you?
Oh, separation, separation, painful separation.
It's harsher than any pain-separation.
The dark nights are so long in your absence.
I don't know where to go in the dark distance.
The nights have injured my heart so much.
Oh, separation, separation, painful separation.
When I remember your hazel eyes,
I ask the stars of your whereabouts.
Have you forgotten me, now that we are apart?
Oh, separation, separation, painful separation.

Ayrilig by Behbudof 1962

♥

wiki

"Beloved tar player, composer and music instructor Ali Salimi died in Tabriz in April 1997. Salimi was born in Baku in 1922. In 1938, at the beginning of World War II, Stalin ousted all non-citizens from the Soviet Union. Salimi's mother did not want to be separated from her husband, an Iranian, so she lied claiming that she was a native of Ardabil (Iran) and, thereby, succeeded in getting herself and her children eligible to join the crowds of refugees heading south to Iran. Salimi, a youth at the time, fled with the refugees carrying only his tar across the border.

In the 1940s and 50s, performing music in Iran was associated with drug addicts and smoking opium, but Salimi's music was so dearly loved that officials invited him to start playing everyday on Tehran Radio. He later went on to create a string ensemble for the radio which continued until a few years before the Islamic Revolution (1979).

Salimi is most remembered for the hauntingly mournful melody of "Ayrilig" (Separation), a song set to lyrics written by Farhad Ibrahimi which was an immensely popular hit in the late 1960s both among Azerbaijanis living in the North (Soviet Azerbaijan) and the South (Iran). Both Baku's Rashid Behbudov and Tehran's "Googoosh", a famous Iranian female singer of Azerbaijani descent, popularized it. The song also played a symbolic role in Baku's quest for independence in the late 1980s."

source

"I had a great love for music from very early childhood. My parents, however, were not musical at all. They thought music would prevent me from doing well in my studies. They were both very religious; that's another reason why they were against my love of music.

But whenever I heard the tar strings vibrate, it used to tug at my heart so deeply. Eventually, my aunt bought me a tar. She told my parents, "Don't you see? This kid is dying for music! Why don't you let him play it?"

And that tar became my life. I used to practice it everyday. I really took care of it, I would varnish it, make it shine. When my father understood how deeply I loved this instrument, he arranged for a music teacher to instruct me at home. A year later, my teacher told my father, "I can no longer teach your son; he already plays better than I do." I was about 11 at the time."

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