Saeid Nayeb Mohammadi - A Memento of Istanbul (2023) [Hi-Res]
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BAND/ARTIST: Saeid Nayeb Mohammadi
- Title: A Memento of Istanbul
- Year Of Release: 2023
- Label: Nava Arts UK
- Genre: World, Iranian classical
- Quality: MP3 320 kbps; 16-bit/44.1kHz FLAC; 24-bit/44.1kHz FLAC
- Total Time: 36 min
- Total Size: 82; 168; 351 MB
- WebSite: Album Preview
An Iranian Oud player and composer, Saeid Nayeb Mohammadi was born in Tehran, Iran, in 1978. He graduated from the Tehran Music Conservatory and the Sooreh University of Music. Saeid learned Iranian style of Oud playing and canonical repertoire of classical Iranian music (radif), respectively from Hossein Behroozinia and Arshad Tahmasbi. In addition to apprenticeships with these great Iranian masters, he also studied the Iraqi style of Oud performance with Salem Abd-ol-Karim, a prominent figure among the leading contemporary Oud virtuosos in the world.
In this new album, unlike many young musicians of his generation who dismiss the model repertoire of classical Iranian music (radif) in a radical way, he creates an instrumental suite for solo oud, which begins with a metric introduction, resonating with the way in which a suite is organised in modern tradition of classical Iranian music. Yet, conforming to the old tradition and following the neoclassical movement, this introduction adheres to the compositional form of pishrow. What follows is a long improvisation (over 25 minutes) which starts with a melody derived from the pishrow refrain (molâzemeh or taslim), while comprising at various moments, melodic motifs from the repertoire of radif. The entire improvisation unfolds with dramatic intensities and fluctuations arising from the tension-release interplay. These are sometimes inherent in the modes chosen, and at times intrinsic features of the given melodic and rhythmic patterns. This musical journey, inspired by the memories of the composer's long stay in Istanbul, does not suffer at any moments of its progression from the drastic drops of energy, often found in the works of many contemporary young musicians, who always begin their works with good ideas and highly energetically but lose momentum halfway through. As far as this new album is concerned, throughout this seamless and cohesive suite, the listener's attention remains focused on the music, both in moments of dramatic tension and those of serene calm, which last as much as needed, leaning to moments of introspection and depth. The work is filled with melodic variations, ranging from breath-taking phrasings that postpone the cadential resolutions to creatively expanding of the melodies derived from radif, at times merging with timely and harmonious colorings. As case in point is the repetition of a melody in the lower range at the end of the piece: a rare and exceptional example of a brilliant bass in Iranian music on a traditional instrument. Following a joyous melody devoid of dramatic contrasts, the modulation towards the end of the piece reaches moments of contemplation, eventually returning to the main mode. This leads to the end of the suite: contrary to the conventional expectation that such suites would conclude with a carefree dancing piece that liberate the listener's mind, the whole suite of “A Memento of Istanbul “gracefully and lightly comes to an end with, which result from the simplicity and accessibility of the melody with its descending sequences. Prof. Sasan Fatemi
Tracklist:
1.01 - Saeid Nayeb Mohammadi - Semai (5:25)
1.02 - Saeid Nayeb Mohammadi - Shur-Abuata (10:16)
1.03 - Saeid Nayeb Mohammadi - Chaharpareh (4:53)
1.04 - Saeid Nayeb Mohammadi - Mohayyer-Segah (7:24)
1.05 - Saeid Nayeb Mohammadi - Mokhalef (4:57)
1.06 - Saeid Nayeb Mohammadi - Reng-E Abuata (3:08)
In this new album, unlike many young musicians of his generation who dismiss the model repertoire of classical Iranian music (radif) in a radical way, he creates an instrumental suite for solo oud, which begins with a metric introduction, resonating with the way in which a suite is organised in modern tradition of classical Iranian music. Yet, conforming to the old tradition and following the neoclassical movement, this introduction adheres to the compositional form of pishrow. What follows is a long improvisation (over 25 minutes) which starts with a melody derived from the pishrow refrain (molâzemeh or taslim), while comprising at various moments, melodic motifs from the repertoire of radif. The entire improvisation unfolds with dramatic intensities and fluctuations arising from the tension-release interplay. These are sometimes inherent in the modes chosen, and at times intrinsic features of the given melodic and rhythmic patterns. This musical journey, inspired by the memories of the composer's long stay in Istanbul, does not suffer at any moments of its progression from the drastic drops of energy, often found in the works of many contemporary young musicians, who always begin their works with good ideas and highly energetically but lose momentum halfway through. As far as this new album is concerned, throughout this seamless and cohesive suite, the listener's attention remains focused on the music, both in moments of dramatic tension and those of serene calm, which last as much as needed, leaning to moments of introspection and depth. The work is filled with melodic variations, ranging from breath-taking phrasings that postpone the cadential resolutions to creatively expanding of the melodies derived from radif, at times merging with timely and harmonious colorings. As case in point is the repetition of a melody in the lower range at the end of the piece: a rare and exceptional example of a brilliant bass in Iranian music on a traditional instrument. Following a joyous melody devoid of dramatic contrasts, the modulation towards the end of the piece reaches moments of contemplation, eventually returning to the main mode. This leads to the end of the suite: contrary to the conventional expectation that such suites would conclude with a carefree dancing piece that liberate the listener's mind, the whole suite of “A Memento of Istanbul “gracefully and lightly comes to an end with, which result from the simplicity and accessibility of the melody with its descending sequences. Prof. Sasan Fatemi
Tracklist:
1.01 - Saeid Nayeb Mohammadi - Semai (5:25)
1.02 - Saeid Nayeb Mohammadi - Shur-Abuata (10:16)
1.03 - Saeid Nayeb Mohammadi - Chaharpareh (4:53)
1.04 - Saeid Nayeb Mohammadi - Mohayyer-Segah (7:24)
1.05 - Saeid Nayeb Mohammadi - Mokhalef (4:57)
1.06 - Saeid Nayeb Mohammadi - Reng-E Abuata (3:08)
Year 2023 | World | FLAC / APE | Mp3 | HD & Vinyl
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