Arranged and Directed by Hossein Hamidi
Vocals: Bahram Sarang

This album is the result of Hossein Hamidi’s researches about Qajar music, which was performed for five nights in Main Hall of Niavaran Cultural Center in Tehran and for three nights in Hilal Ahmar Hall in Sari. The performing method of this concert along with theatrical mise-en-scène and been divided into two scenes, usage of classic theatre performance along with Qajar music, tries to revive the lost sense of music groups in Qajar era. We also should add costume design (for men and women of Qajar era) and characterisation to this form of performance. “Costumes and Titles” are used for characterisations, however for the narrator, also the intonation and words of that era is a matter of importance. The narrator’s role was performed by Afshin Hashemi; theatre and cinema’s actor and director, and one of the primary members of Shemshal Ensemble.
And for the music part also the group is committed to the ways of playing of that era (playing Târ on the chest, use of Vâkhun for Kamancheh) and the titles given to the players: “Âvâzkhân (an old word) instead of Khânandeh (the new one)2, Târzan instead of Tar player, Kamunchehkesh instead of Kamancheh player, Zarbgir instead of Tombak player and Bâlâbânchi instead of Balaban player.  
the concert divides in two act:
Act 1. Solo vocal (Bahram Sarang), Trio (two Tars and a Dayereh), Dasteh-ye Zarbgir-hâ (percussion group) which is a remake of Tombak class in Qajar era, Duet of Kamancheh, Solo playing of Tombak and The Women Orchestra (Qızlar Dəstəsi) which only women play in it, in memory of “Mikhak Sattarzadeh” - grandmother of Hossein Hamidi; who had a music group with the same name in 40s to 60s in Ardabil. In this part no microphone was used and instead, the techniques of that time for the vocals and instruments were important. The sound recorders only used a few microphones for recording the ambience. This part in CD is the performance in Main Hall of Niavaran cultural Center.
Act 2. in this part, the members sit next to each other and play the rehearsed tracks of that particular era. This part is the performance of Hilal Ahmar hall in Sari.

Hossein Hamidi

1. In Qajar era there were some music groups in purpose of entertaining (by music) the people or the monarch. And these gatherings were called “Majles” which in Persian has two meanings: 1. Parliament 2. Some kind of (big and formal) feast. The original title is “Majles-Ârâyi-e Dasteh-ye Shemshâl” which literally means “to run or to manage a Majles by Shemshâl Ensemble”.
2. Âvâzkhân or Khânandeh means Singer, Vocalist.

Conductor: Hossein Hamidi

Main Hall, Niavaran Cultural Center, Tehran
Actor: Afshin Hashemi
Balaban: Hossein Hamidi
Tar: Koohyar Babaeian, Parisa Kashefi, Amir Nasrollah  
Kamancheh: Parisa Kashefi, Afshin Hashemi
Shurangiz: Rabeh Eftekhari
Tombak: Arjang Faramarzi, Marjan Bashiri
Dayereh (Qaval), Gavargeh and Dayereh Zangi: Golnoosh Hamidi
Chorus: Parvin Namazi, Afsaneh Jahangiri, Nazli Jahangiri
 
Helal Ahmar Hall, Sari
Balaban: Hossein Hamidi
Tar: Koohyar Babaeian, Peyman Asheghan, Amir Nasrollah  
Kamancheh: Parisa Kashefi, Afshin Hashemi
Shurangiz: Rabeh Eftekhari
Tombak: Hamid Sarvari, Anali Vakili
Dayereh (Qaval), Gavargeh and Dayereh Zangi: Golnoosh Hamidi
Chorus: Parvin Namazi, Afsaneh Jahangiri, Nazli Jahangiri

Recorded by Saeed Ganji (Tehran), Arash Mohsenpour (Sari)
Recorded live at Main Hall, Niavaran Cultural Center (Tehran), Helal Ahmar Hall (Sari)  

Record Date: 2008-2009  

Unpublished

Majles-Arayi-e Dasteh-ye Shemshal (Shindig by Shemshal)
Qajar Music | Shemshal Ensemble Concert

| © 2017 Hossein Hamidi | Created by Entr"acte Studio |

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discography