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Parham Nassehpoor, Persian Tar and Kamanche Player |
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Kamanche belongs to the Cordophones category of instruments, and in more details to Bowed-Stringed Instruments or it can be said Kamanche is a Persian Spike Fiddle. The word Kamanche means in Persian language a small bow. Kamanche is played in many different cultures and regions, like in Iran, Azerbaijan, Armenia, Turkey,...and with different pronounciations and different names, like Kamanche or Kamancheh or Kamantche in Iran, Kamancha or Kamantcha in Azerbaijan, Kemanche or Kemancha or Kemantcha in Armenia, Kabak Kemane in Turkey, Ghijak (Gijak, Gidzhak,...) in Central Asia, Rababa in Arab countries.... Kamanche is played both in classical and folk Music. KAMANCHE STRINGS Strings were first made of gut or silk. Modern strings may be gut, solid steel, stranded steel, or various synthetic materials, wound with various metals. Kamanche strings are produced in the countries, in which Kamanche is played, but the quality of these strings are not good enough, that is why many Kamanche players try to use Violin or Viola strings for Kamanche. Kamanche players will usually change a string when it no longer plays true or when it loses the desired tone. We count the strings from the highest tone to the lowest tone. Kamanche has mainly four strings at the present time, but there are some kinds of Kamanche that they have three strings and there were at the past time some kinds of Kamanche with two until six strings. KAMANCHE TUNINGS If we put Diese next to a note, the note will become half note higher, Bemol, half tone lower, Sori, 1/4 tone higher and Koron 1/4 tone lower. The signs and definitions that we use here, are only to show the exact notes that we play in the mentioned musical culture. For example when we use Mi Diese, we do not mean the note, that is half tone higher than Mi, but we mean the note between Re and Mi Koron. It means the usage and function of the signs are not exactly like the definitions of the signs. We count the strings from higher to lower. We assume that the string No. 1 has always the Do tuning, but you can tune the first string Re or Mi. It depends on the Kamanche player himself. DASTGAH CHAHARGAH
AVAZ BAYAT ESFAHAN
DASTGAH SHUR
The Kamanche player of Ghajar era, that the persons ,who have heard his performance, believe that he was in Kamanche playing as skillful as Mirza Hossein Gholi in Persian Tar. Thanks to Pooyan Nassehpoor for preparing these recordings.
Bagher Khan Rameshgar a Kamanche player of Ghajar era. Special about him is his Kamanche with six pegs. He was the son in law of Mirza Hossein Gholi, the Persian Tar virtuoso.
Ali Asghar Bahari (1905–1995) was Kamanche player of Iran. His teachers were his father Mohammad Taghi Khan, his uncles: Akbar, Reza and Hassan, famous kamancheh players.He was also a professor of music in Tehran University for a few years. He was for a long time the only Kamanche player in Tehran, during the time that Violin was the usual bowed instrument for the Persian Classical Music.
BAYAZ AMIR ATAI Bayaz Amir Atai (1955-) an Iranian Kamanche maker. He became familiar in 1971 with Ebrahim Ghanbari Mehr, a muli-instrument maker and learned from him how to make musical instruments, but his main instrument is Kamanche.
He is a skilfull Azeri Kamanche (Kamancha) player and chief teacher of Baku Musical Academy. He has also notated the repertoire of Azerbaijani Classical Music (Mughams) for Azeri Kamanche (Kamancha).
Shafiga Eyvazova (1947-) an Azeri Kamanche (Kamancha) player, professor of Baku Musical Academy and Arif Asadullayev’s wife. She has accompanied singers like Arif Babayev and performed as Azeri Kamanche (Kamancha) solist with Tekfen Philharmonic Orchestra.
Munis Sharifov Munis Sharifov (1962-) is an Azeri Kamanche (Kamancha) player. His teachers were Shahit Adbullayev, Shahin Ibrahimov, Shafiga Eyvazova and Prof. Rafig Imrani. He is Azeri Kamanche (Kamancha) professor at the National Conservatory of Baku.
HABIL ALIYEV Habil Aliev, one of the great masters of Azerbaijani Classical music, was born on May 28, 1927 in Azerbaijan. His first concert was relayed from the TV in 1961. He played “Segah” with a new style of performing and technique, which caused a great reflect among the admirers of Azerbaijani music. He began to extend his creative researches from day to day. He gave a new life to many of mughams (Azerbaijani modal system). In 1952, he entered the kamancha (Azerbaijani spike fiddle) Dept. of Musical School after A. Zeynalli. Lately he worked at Philharmonic Society in Baku, Azerbaijan. He has been to more than 60 foreign countries, promoting Azerbaijani Classical music. He also became famous accompanist. To sound every mugam in its own language in a tripet, to protect its united spirit and to stress the individuality of all the components of the music is one of his splendid efforts.
HAIG Unfortunately we do not know so much about his biography, but fortunately we have some recordings of his Kamanche playing. He is an Armenian Kamanche player from Iran and a friend of Sasha Tarkhanian, the Caucasian or Armenian Tar player. You can listen here to two recordings, that we guess these were recorded in 1930’s. Thanks to Pooyan Nassehpoor for preparing these recordings.
Andranik Arustamian, Armenian Kamanche player was born in Russia, that the family originally came from Iran. He learned Violin in Kharkov, Ukraine. Maybe he has learned Kemancha himself. He lived in Iran, Armenia, Azerbaijan and USA.
David Ayrian is an Armenian Kamanche player. He learned to play the violin and the kemancha from his father and from such masters as Nefton Gregorian. He can perform as a soloist and as an instrumentalist with international symphony orchestras.
Parham Nassehpoor, Persian Tar and Kamanche Player, Halle/Saale, Germany
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