The relationship with one’s own traditional music is fundamental for every composer, of every culture. This relationship is surely more problematic and full of consequence for composers who engage with Western music, but come from countries with strong traditional music that is very different from our own.
Ashkan Behzadi (1983), Carnivalesque II for ensemble (2016) Alireza Farhang (1976), Sabā per tār and ensemble (2007-2013) Karen Keyhani (1979), As Far As Possible for santur and ensemble (2016) Mehdi Khayami (1980), Kamanche Concerto for kamanche and ensemble (2016)
Traditional Iranian Music by Mehraein Ensemble
Saman Samimi, kamanche – Karen Keyhani, santur
Milad Mohammadi, tār – Mohammadreza Raeesi, percussion
Is it possible to integrate instruments that come from different traditional backgrounds? This concert searches for the answer to this question by examining four compositions by the Iranian composers Alireza Farhang, Karen Keyhani, Medhi Khayami and Ashkan Behzadi. These artists approached Western music from a strong traditional Iranian musical background. Three Iranian soloists will converse with the Divertimento Ensemble by playing instruments of their ancient traditions: a tār— a Persian plucked, stringed instrument that is similar to the guitar in name and in form, a santur—like the cimbalom or a psalterium, and a kamanche— an instrument with a bow that has a resemblance to the violin.
Milano, Auditorium San Fedele Via Hoepli 3B - Milano Eventi