Hassan Nahid from the eyes of others; He labored with satisfaction, he died unsatisfied

Charso Press: After the death of Hassan Naheed, composer and orchestra leader, Ali Derari mentioned him as one of his best teachers and published a text to remember the late master as follows: “I was very saddened to hear the news of the death of Master Hassan Naheed.” Professor Hassan Nahid, in addition to being a reed teacher for two years, trained the best students for three years during my tenure at the National Music Academy. Master Naheed, like Dehlavi and other masters, worked hard with great satisfaction, but lived and died with immense dissatisfaction. All the media published the news of his death and his funeral and many people carried his coffin. This is the fate of most of the musicians in Iran and they must die so that hundreds of people remember them and mourn them. Professor Hassan Nahid was a real teacher, a very artistic, pleasant, excellent and kind teacher, and I remember very well that during my student days at the National Academy of Music, at the suggestion of my teacher Hossein Dehlavi, to learn more about Iranian instruments, I spent two years with Professor Esmaili Tembak and In addition to that, I learned reed making from Nahid for two years. Interestingly, together with Professor Nahid, who was a very young, well-mannered and well-dressed teacher at that time, and perhaps not more than twenty years old, I had developed a great interest in playing the reed instrument.“

A sound in connection with the spirit of Venus
Dawood Ganjei, teacher and fiddle and violinist, has mentioned Nahid as follows: “Hasan Nahid is all love for me. A person who was good-natured, his moral character was and still is famous, he thought of helping his fellow man, he had special respect for his elders. He was neither jealous nor slanderous. He was an example of a good teacher and had an exceptional character and was an example of a perfect human being. It was enough to talk to him once to fall in love with his personality.
He was one of the few reed players who was familiar with the note line. Playing reeds is very spiritual and very mystical, and if someone uses this instrument for professional orchestras, it shows his skill and mastery in playing this instrument..
Of course, I believe that Khosh Ni’s voice is directly related to the musician’s heart and inner leaven, and the voice of Hassan Naheed had a close relationship with his heart and soul, and for this reason, it was pleasing to the ears.…”

Both pleasant and precise
Farhad Fakhredini, the composer and conductor of the orchestra, also mentioned Nahid in an interview with Khana Musiqi: “I saw Hassan Nahid for the first time in the conservatory. He used to come to see Hossein Dehlavi. Later, when Dr. Mehdi Berkeshli took charge of the radio’s music unit for a while, in addition to the existing orchestras of the radio, such as the flower orchestra, the Barbad and Nakissa orchestras, a small orchestra was formed in the old fashion by Mr. Ebrahim Mansouri, and I, in addition to the orchestras mentioned in this I also collaborated with Hassan Nahid in the orchestra. The musicians of this orchestra were: Ali Tajveidi and Habibullah Badiei (violin), Hassan Nahid playing reeds, Lotfollah Majd tar, Zandi Santoor, Amir Nasser Tembak, and I was the alto violinist. Hassan Nahid was a very honorable and noble person. The voice of compromise was actually his inner voice which was very clear. He was a very pleasant and precise musician. I have always enjoyed meeting this respected artist. He had a sensitive ear in playing and I used to see him on the radio in the Piver Orchestra, who played an important role in tuning the orchestra.“

There was no sign of imitation
Zaman Khairi, a music teacher and reed player, mentioned Nahid in an interview with Hamshahri, “Just as someone is the father of reed soloing and improvisation in Iranian music, Nahid should be mentioned as the father of reed band and orchestra playing. As it was said, when Nahid introduced the ni to the large orchestra of national instruments and expanded it, the view of the audience and music listeners changed towards this instrument and gave it a special place. Nahid instrument had several important characteristics and a unique sound. In a sense, it was a heavenly voice. It was so called just and clean and extremely elegant. Few people can match his elegance. Despite being a super musician like Kesai, becoming Hassan Nahid requires a special talent and creative power and artistry, which Nahid had all of them. It is very difficult to play reed in Iran without being influenced and imitating someone.
Nahid was born almost two decades after Kesai, and when he entered music, every flute player was influenced by Kesai. Nevertheless, there is never any sign of imitation in Nahid’s playing“

Influencing the national music of Iran
On the occasion of Hassan Naheed’s 78th birthday, Saeed Nyakothari said in a note about this master Ni Nawazi: “Master Hassan Naheed is rightly one of the most influential figures in the national music of Iran. Undoubtedly, if it were not for the efforts of him and great teachers such as Master Saba, Master Hasan Kasaei, Master Asadullah Esfahani, Master Mohammad Mousavi, Dr. Talai and other musical greats in playing the reed instrument, perhaps such an artistic gem would have been like in the past without seeing art in the presence of the greats and in the paw. The magical hands of the true artists will be in tune with their messianic tail and bring the color of the voice and the necessary techniques, the national music of Iran, maybe still in the hands of pure-hearted shepherds, under the small shade of the trees, at the foot of the blue spring, it was a pleasant sound that the simplicity of the life of the nomads and the generosity of the small table but He decorates their hearts and sometimes in the midst of mourning and sometimes in the auspiciousness of celebrations, he became the narrator of the feelings of the people who drew the song of their lives on the page of life with trumpets and trumpets and the sound of drums and cymbals, and just as easily as the musicians of the ancestors of many centuries with their lips. It was self-harmonizing. But the efforts of Naib Asadullah Esfahani changed the lip-playing technique to a dental one, and the diligent efforts of his successors gave him an opportunity to enhance the spiritual and cognitive status of these seven melodious parts, the essence of Iran’s national music, which had been mixed with mystical literature for centuries, and It became a regular basis for music concerts…”