۱۹م تیر ۱۳۸۷
The Grand Master of Persian Traditional Music
HOMAYOUN KHORRAM
The Grand Master of Persian Traditional Music
In his academic book, “PERSIAN MUSIC”, the learned author, LLOYD MILLER, of the Utah Arts Council, University of Utah, writes: “In the western world, we chose to cite Rome and Greece as the origins of civilization. Since we usually do not delve deeper into history, we tend to ignore Persia, whose cultural influence spread throughout the world providing inspiration for the civilizations of Greece and other key powers in ancient times.”
He also writes: “From what information is available in written sources and oral traditions, Persian traditional music had already developed by the Achaemenian period and was perfected during the later Sassanian era. The Arab conquest and the advent of Islam served to disseminate Persian instrumental and vocal music along with music theory throughout the Islamic World”, and adds : “After the Aryan tribes moved into India and the greater Persia and their cultures diverged, two different yet related musical systems developed. The Persian system was related to musics of other Aryan peoples in Eastern and Western Europe long before a later from was taken to these areas by the Arabs and Turks.”
According to the Miller’s account, the Persian musical history falls into six basic periods: Mythological, Median, Achaemenian, Selucid, Parthian-Sassanian, Islamic and Modern. In reference to the Islamic period, Miller comments that: “Even though the advent of Islam in Persia resulted in limiting the use of music in public …,but in fact it might be said that Islam had a beneficial influence on (Persian) music by assuring it did not sink to a low level.”
The rich musical heritage of ancient Persia was preserved by a chain of maestros, who generation after generation and heart by heart carried it over to the Modern time when a new generation of the musicians, acquainted with the Eastern classical music, took over and brought it up to it’s present excellence during the recent century.
Homayoun Khorram belongs to the third generation of modern Persian musicians sequencing Aga Ali-Akbar Farahani and Sadegh Khan as the precursors, Ali-Nagi Vaziri, Ruhollah Khalrghi and Abul’Hassan Saba as the second generation.
Homayoun Khorram began his artistic career as a violinist at the age of ۱۰. Saba, his instructor, a legend both in theoretical music and performance, found him a virtuoso in traditional music and devoted his time and effort to make him a noted musician.
It took the young Homayoun only four years of education to become a concert maestro and violin soloist of the State National Radio Orchestra No. ۱. He was only ۱۴ by then. His genius musical talent together with his passion and surpassing interest in learning music made him a leading composer at the age of ۲۱. Amazingly enough, simultaneously with his music education, he followed up his academic education and acquired M.S. degree in electrical engineering. He commented on one occasion that he found music and engineering, which has its roots in mathematics, were complementary rather than contradictory.
Homayoun Khorram’s reputation as a creative composer and improvisionist spread from Iran to India, Pakistan, Afghanistan and even the Asian republics of the former Soviet Union when he joined the GOLHA ORCHESTRA of the State National Radio and Television of Iran. His magnificent melodies performed by this renown orchestra were, and rare, among the best sellers of Persian traditional music.
His works including pieces for violin and orchestra, songs, charmezrabs, overtures and music for films are numbered over ۳۰۰. This alone represents that he is one of the most accomplished musicians of modern Persia.
http://www.homayounkhorram.com/bio.htm
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