A piece that Alireza Ghorbani sang for “Iran” / narrated by Mr. Angasaz – Mehr news agency Iran and world’s news
Mehr News Agency – Art Group – Alireza Saidi: Although in the definition and description of what happened to Iran’s national music, it is possible to refer to numerous media statements and trace the reasons for the decrease in audience in this field due to mismanagement and various mistakes, but one of the most obvious features that returning to them can at least be remembered. And a suitable reading for the re-reading of musical works in this field is the production of numerous national and patriotic works by respected and valuable artists of Iranian music over the past years, whether in the form of “albums”, “singles” or “singles”. A musical work in an album” have been presented to the audience of this field. The works that, due to the intelligence of composers, musicians and singers in choosing the works they chose for production, made these works not only the most lasting and distinguished national-patriotic works, but they can also be mentioned as the most distinguished musical works in the field of Iranian music. . The works that many of them had regardless of the political-social point of view they had at the time of their publication and the audience could have different perceptions of them at the discretion of what happened in their time, but they included valuable and distinguished musical components that cannot be easily overlooked. did
Basically, paying attention to the musical works produced in the fields of patriotism and patriotism by the music artists of our country, especially in these days when our country is in the midst of various events and inflammations, is an inevitable thing that can be free from heartbreaks, political fights, disputes. Within the group, social conflicts and opposition of different ideological approaches, which need to be dealt with in another space, provide suitable mental conditions to escape from these inflammations, listening to which includes creating a spirit of unification and friendship with Iran, and listening to music that once upon a time There were houses, cars, and shops for the transmission of audio circles and devices, but even now they are in the most abandoned form possible among a wave of noise pollution originating from the productions of musical nozzles.
What has been noticed in the series of reports of “Reciting Mehr from Navahai for the Homeland” is a brief return to the musical works that have been presented to the audience in the past decades and recent years by the valuable artists of our country’s music in different styles and in these media reports. We will address them without delay. The conditions that the criticism and analysis of each of these works include different dimensions and have always been the focus of critics, lecturers and researchers in this field, but in these reports, an attempt is made to introduce them briefly.
In the twelfth issue of this series of reports, we went to the soundtrack and credits of the documentary TV series “Iran” broadcast on the first channel of the Islamic Republic of Iran, which was directed by Hamid Mojtahedi and produced by Hossein Taheri in the mid-eighties.
The series, which was produced and made in 1380 in the history, culture and art group of Ik Sima network and continued until 1384, and it included important innovations in the field of filming and directing, which was able to be welcomed by the audience very soon. A collection that, due to its more or less creative direction and also the use of complementary elements such as music and narrator, became a lasting project in the field of national media documentation, which unfortunately has found few similar ones in recent years.
Sadegh Chiraghi: Currently, in the impatient and hasty Iranian system, what is popular as film music is a kind of anonymous music that is often prepared in a short time with the help of the world of samples and the help of several acoustic instruments without any regard for originality and such things. It is edited with the film and this obnoxious practice has been accepted by many simple-minded directors and producers What can be found about this television documentary series in the databases is that the production of the first part of the Iranian documentary started in 1380 with the investment of Sima Channel 1 and continued until 1384. Of course, it has also been stated that the reason for the delay of phase 1 was the time needed to coordinate with various departments and organizations to acquire tools and equipment as well as filming and activity permits.
In the first season of this series, which had 14 episodes, documentaries related to Persepolis, Tehran, Kashan and Esfahani were shown, and after the start of this series in 2004 on the first network and met with wide acceptance by the fans, a situation arose that involved This program decided to release this documentary collection in Nowruz of 2015 1386 to be broadcast continuously on the air of various national media networks.
According to the director of this collection, library research and research is considered one of the main foundations of Iran’s documentary, so that without conducting research, Iran’s documentary camera will not step anywhere. […] Some time after the completion of phase 1 of the Iran documentary, the necessary preparatory work for the continuation of this collection, including library research, began. in May 1386 The continuation of filming began with the use of an HD camera. With the end of the aerial photography of Shiraz city, the parts related to this city in Nowruz 1387 It was broadcasted on one TV channel, but the broadcast of other parts of the provinces was postponed to another time.
Phase 2 of Iran’s documentary was also dedicated to the city of Mashhad, and these parts were dedicated to the Razavi Holy Shrine in five parts, special to the introduction of the city of Mashhad, special to the Ferdowsi tomb and the Haruniye building, and these parts were presented to the audience in Nowruz 2009. The episodes related to the city of Qom were aired in June 2009. In the filming of the parts related to Yazd province, in Shahrivar of 2009, the conditions progressed in such a way that the viewers witnessed its broadcast in Nowruz 2010, and after that, the parts related to Kerman region were introduced to the viewers.
In this framework, at the same time as the Kerman parts of the Iranian documentary were aired, the ground filming of the new provinces also continued, and in this way, with the completion of the editing of these parts in the spring of 2019, Ardabil province was covered in 4 parts in June 2019, and Lorestan province was covered in 4 parts in July. The antenna is gone. According to Hamid Mojtahedi, the director of this series, it will cover other parts of Iran as well, and it can be considered as a magazine to introduce Iran.
But what became an excuse to talk about one of the most important television documentaries with the warm voice of Behrouz Razavi in the last decade or two, is the soundtrack and title of this musical work, the music of the first phase of which was composed by Ali Derakhshan (Heidraniya). Meanwhile, after the first phase and for the creation of other parts, the composition of the work is entrusted to Sadegh Cheraghi, a musician and music researcher of the regions of Iran. The conditions that were highly noticed by the creators of this documentary in the national media and they wanted to make what is presented to the audience a melody based on the national-patriotic images of Iranian music with a vocal seasoning. They took over the singing of this work. Of course, it is worth mentioning that only Iranian instruments are used for the music of this collection, and according to the city introduced in each episode, the local music of the same area was used in the music.
Sadegh Chiraghi was the composer of this magnificent collection not long ago, who said about making the music of the documentary “Iran”: Considering the adobe buildings, the desert, and the very diverse historical spaces that exist in Yazd and Kerman, to create the music of these provinces, we tried to create the atmosphere of the instruments. Ancient Iran, the land of music, has a stronger relationship with these spaces. The presence of instruments such as Serena, Balaban, Qichak Bass and the group of percussion instruments and voices have come to the aid of other sounds of Iranian instruments in this connection. Of course, due to the mutual need for old sounds along with more modern modes, the need for the color of other sounds was also felt in order to achieve a wider range of combinations and all this made the use of three-string six-string (three-string bass) in this orchestration. And for the first time, this instrument was present in the orchestra and even a cello. The motive behind the predominant use of the Iranian music orchestra was the insistence of the director, and it is mostly related to the fact that in the previous episodes, this type of orchestra was able to complement the images much more than other types of sound.
He continued: Considering the centrality of the issue of Iran, a ballad was also prepared and performed in this regard with the poems of Hakim Abolqasem Ferdowsi in the Nava device, which was performed artistically by Alireza Ghorbani. The vocal parts were performed by artists such as Alireza Vakilimanesh and Horosh Khalili, focusing on Ferdowsi’s poems. Of course, many other artists are also invited to cooperate for the fruition of this program.
In another part of his speech, this composer admitted: Currently, in the impatient and hasty Iranian system, what is popular as film music is a kind of anonymous music, which is created with the help of the world of samples and the help of several acoustic instruments without paying any attention to originality and elements of This type is often prepared in a short time and assembled with the film, and this unpleasant custom has been accepted by many simple-minded directors and producers. But fortunately, both the director and the producer have carefully addressed this issue in this series and continue to make this series carefully. Since preparing music with Iranian acoustic instruments is time-consuming and requires patience, simultaneously with the work of the videographers, the work of making and producing music is also ongoing and progressing.
In any case, although the soundtrack and title track of Iran’s documentary is not in the ranks of Alireza Ghorbani’s popular works of these years, it is without a doubt among the melodies that can be among the works due to the composer’s mastery over the choice of poetry and the composition of the melody, as well as the singer’s ability to perform this work. To remain with national-patriotic quality.