The sixth night of Fajr Music Festival | “Little Italy” was a training class for Iranian jazz musicians!

Fars News Agency – Music Group – Alireza Sepahvand: On the sixth night of the 37th Fajr Music Festival, the groups “Little Italy” and “National Orchestra of Iran” in Vahdat Hall, “Chakavk Orchestra” and “System of Remembrance” in Roudaki Hall, “Harir”, “Drunk Rendan”, “Taftan Call” And “Salman Soleimani” performed at the Arasbaran Cultural Center, “Shab Ali Asghar Bahari” at the Dehlavi Hall, “Paykoob” and “Duet Lira” at the Niavaran Cultural Center, and “Behnam Bani” at the Milad Hall of the Tehran International Exhibition.

On the sixth night of the 37th Fajr Music Festival, the “Little Italy” Orchestra appeared very large to show an improvisation of contemporary jazz music to an Iranian audience.

Giovanni Guidi, a well-known Italian jazz pianist who is known as one of the most creative pianists in Europe, performed a sample and level of contemporary jazz music on the stage of Vahdat Hall last night. Iran and has not been implemented by the Iranians.

Undoubtedly, last night’s performance of the “Little Italy” orchestra can be considered an educational class for those musicians who seek to present a free and contemporary jazz form. Musicians who, in addition to observing the principles and rules of jazz music, play in free form according to their emotions and from the point of view of creation in the moment, using “improvisation” or “improvisation”.

“Little Italy” performed “El Campione” in its first performance last night. A work in the same genre of contemporary jazz that had a very attractive light motif and the use of catchy musical sentences and the opportunity to show all the instruments of the group, including drums and electric guitar and piano, and was properly selected as the first piece. The masterful performance of musicians, questions and answers, playing with his extraordinary rhythm and techniques Giovanni Guidi on the piano nailed the audience to the seats.

After that, the piece “Leoni” and “The House Behind Des Van” (house behind this one house) were performed by a small but influential group “Little Italy”. A performance that was praised by musicians and non-musicians alike, and the continuous applause of the audience at the end of each piece showed their welcome and satisfaction.

Perhaps for audiences who do not pursue music professionally, mentioning that there is always fear and challenge in presenting non-verbal music in Iran does not have much of an Arab dimension and does not know the depth of the story. But for musicians, the presentation of non-verbal music, especially in Iran, the land of words, poetry and literature, which is dominated by our music woven into the words of the great poets and literature and this listening culture still dominates the whole society, the work of non-verbal music or so-called technical Makes “instrumental” extremely difficult. Therefore, when you witness the peak of the audience’s acceptance of a non-verbal music, most of which are only listeners of music, it shows the unique power and position of that group or work that without words and without poetry and singer, has been able to reach the Iranian audience as much. He was thrilled to accompany his musical conversation.

“Rome 1962” was the final part of the performance of the powerful group “Little Italy”. In the last performance, like the first piece of their concert, the band did the right thing in choosing a work that would upset the audience. Here in the last piece, it is as if the musicians in this performance had the last chance to present their music to the last audience in the world. Each of the musicians, with each note he played, blew his whole body and soul and his feelings into those notes. The drummers accompanied the band and melodic instruments in the most improvised way possible in last night’s performance, from showing periodic rhythms to lame rhythms and showing fluid rhythms. Rhythms that were even separately variations of the shape and material of the drums, which improvised in contrast to electric guitar and electric bass and piano.

As for the improvised conversation between the piano and the electric guitar, the climax was the story of “Rome 1962”. “Stefano Carbonelli” did what Hossein Alizadeh did with a string with an electric guitar! Here in improvisation the definition of inner discovery and intuition not only in music but in all the arts defined in the context of the fine arts, in improvisation or improvisation, in excellence in that state they reach inner intuition, and this characteristic of improvisation is a step. The end of music in the Iranian classical genre is jazz music, Indian music and many other types of music.

In the musical and improvisational conversation of “Stefano Carbonelli” with electric guitar and “Giovanni Guidi” with piano, we witnessed the dramatic love of these two instruments, which are constantly improvised with modulation and passing from major to minor and pentatonic steps, and in some places with Chromatic passages, which, outside of this technical description, audibly impressed all the audience in the hall without exaggeration.

As for the explanation for improvisation, it is true that improvisation is the act of playing on the spot, accidentally and suddenly, a piece of music without prior arrangement, but not every incidental and accidental playing reaches the improvisational stage. The famous American composer Leonard Bernstein defines classical music as “precise music” because in this music the musician must play exactly the same notes as the composer wrote. This means that Western classical music, for all its grandeur, does not have this feature of improvisation, although in the past greats such as Beethoven and Mozart improvised pieces, or even today in the cadence section of concerts, a place to improvise and play in the moment based on mood. There is an instant, but today most of the cadences of classical music are clear and are not improvised so that improvisation, especially for Iranian music, remains a prominent advantage!

End of message /