Iran: The Masters of Music, Vol. 2

Description

The master singer Mohammad Karimi has drawn from the most authentic source of the radif (classical repertoire), for an intimate expression far from any artifice, in perfect harmony with the ney flute of Mohammad Musavi - a simple reed with immense breath. Karimi thus presents the mode he has chosen to sing: "Navâ possesses a specific beauty. It is a gentle, fine, and subtle mode, which plunges the listener into a state of meditation. The melodies that constitute it are among the most traditional and have been transmitted for at least three hundred years from master to student down to my own masters, Davâmi and Hâjji Aqâ." The reed flute (ney) of Mohammad Musavi also signifies the calligrapher's reed pen. There is indeed a way of emphasizing the song with a single note as with a stroke, of taking up a fragment in echo, of seizing a motif to unfurl it in arabesque, of organizing its punctuation, which evokes calligraphy and illumination. At this point, two ineffable breaths remain: that of a man, that of a flute. But, as Mowlânâ Rumi suggests, are they not one and the same being?