Latest news, photos, reports and interviews from Santour International Festival in Iran
Saturday, August 30, 2003
The periodical interview with the players and the responsibles of the International festival of santour with the attendance of Mr. Majid Kiani from iran and Mrs. Victoria Herencsar from Hungry and Mrs. Martina Krigovska from Slovakia And Mrs. Barbara Schirmer from Swiss and with the attendance of Mr. Sasan Rasouli ( the responsible of the musical unit of the Niavaran cultural center ) and Mr. Farshad Tavakoli ( the councillor of the cultural center in the international Festival of santour)and the group of reporters has been accomplished and celebrated At the 11:00 in the morning of 8/30/2003.
At the beginning of the interview with Mr. Sasan Rasouli , after welcoming , he mentioned somethings about the goals of the festival and the selection way of the Iranian players . he added : we select them of their special School ( the way of playing ) method and their special way of playing . but unfortunately from 5-6 Indicator players just Mr. Majid Kiani and Mr. Saeed Saabet can come and the others can not just because of the personal reasons .
Mr. Farshad Tavakoli told about the sections of the invitation of the foreigner players to our reporter : " we started to research about the santour players of all over the world from the Isfand ( March ) of the previous year . with so many problems the players have been invited from India , China , Swiss , Greece , Hungry , Bulgaria , Belarucia , Slovakia and Iran . he mentioned that the standards of this invitation are based on the method of Santour playing and the specials of their santours.
Then , every player introduced her own country's Santour breifly :
MARTINA KRIGOVSKA from Slovakia :
The usage of the Simbal or Santour have been started since 18th century . these sorts of Santours had small sizes and they put them on the tables and played them with two wooden Plectrums . the viration of this Santour was probably two octaves And a half . gradually , in the Hungry which is the neibour of Slovakia , were made so many big size of Santours that had pedals and of course the Gipcies brought them to the Slovakia from Hungry . and now they use the sort of Santour that has four octaves and a half variation of sound . gradually they tought it in the schools . and people got friendly with it . this kind of Santour brought to Slovakia by Gipcies and because of this it has a relative with the Folk music , but unless the Folk concerts they also this musical instrument in their classical concerts . now it's the sixth years that the academy of the Santour was started and also Mrs. Victoria Herencsar teaches there. I am the student of her and I have been finished the classes of the academy and now I play music for a classical concert of the Zchek Republic but here I will play a Folk music and I love to play it with a song and of course I will play some parts of the Zchek music too .
VICTORIA HERENCSAR from Hungry :
Santour was brought from asia to Europe by the immigrated people and still had usage till the 15th century . we have so many documents to show that in the 15th century the Hungry's music was played just by Santour . this kind of santour was just like the thing that you have and put on the table . in 19th century classical musicians used santour in their own music . now there are so many musicians that made so many songs and so many musics with Santour but the folk playing of it is still teaching .
I , myself play the classical santour and also follow the real way of playing . we should say that in the 19th century Santour even used in the Operahs . and I am a member of an Operah in the Hungry too . in 1991 an International association of santour started to work that included 29 countries . such as Asian earopian south -Amerian and Australian . then an academy of Santour started to work in Hungry that I teach there too . I will play the Folk music of the Hungry and I will have some Impromtu , too.
BARBARA SCHIRMER from Swiss :
The situation of the Santour is more different in Swis s from what ever that Mrs. Herencsar said . Santour brought to Swiss from the eastern countries of Europe .
But after invention of Piano playing Santour probably had been forgotten , and the method of plying remained just in two states : Apentesel & Vadlis , and almost played with the farmers .
the farmers themselves made their Santours and because of this every body had his or her own Santour . forexample I can not play my fathers Santour . of course this problems are not due to the numbers of the scales . but also the scene and the manner of two Major & Minor scales are different in any Santour .
In the recent years in Swiss, Santour came bach to the Towns and Cities from the mountains but it has still a long time to be teached in the academies and etc.
MAJID KIANI from Iran :
I think the reality of these kinds of festivals is to show us where are we in the world of music and what are the others doing . we have so many points in our Guests speeches that they said all the Santours were brought to the Europe from the East and all of them were small and had 5 tetrachords or two Octaves and a half . but when we look at the Iranian Santours we can see that it's just like the 15th century's Santours without any changes . and of course we can see the talent of the young people in Europe and the masters who wana teach this music .we also do the same things and tried to make the santours bigger and changed it into pedal ones and also changed the pitch to play the cromatic scales .
As result we have two different ways of Santour playing . the one is classic and the other is the modern . but the interesting matter is that the modern santours are just the old ones as if the Iranian talent , any way , does not want to make any changes on it . and the Europian countries also wants to return to their old methods . our music is a kind of Impromtu on the scene but the music itself does not creat , but also it just played . the patterns and the themes have been learned and the models have been teaching chest by chest, and on the scene the player just play it, maby by him or her self's talent . I can not predict that what I will play in this festival just I think some systems are important to play such as : Homayoun, Nava, Mahour, Shour, and I will plan (choose) my own playing from them .
At the beginning of the interview with Mr. Sasan Rasouli , after welcoming , he mentioned somethings about the goals of the festival and the selection way of the Iranian players . he added : we select them of their special School ( the way of playing ) method and their special way of playing . but unfortunately from 5-6 Indicator players just Mr. Majid Kiani and Mr. Saeed Saabet can come and the others can not just because of the personal reasons .
Mr. Farshad Tavakoli told about the sections of the invitation of the foreigner players to our reporter : " we started to research about the santour players of all over the world from the Isfand ( March ) of the previous year . with so many problems the players have been invited from India , China , Swiss , Greece , Hungry , Bulgaria , Belarucia , Slovakia and Iran . he mentioned that the standards of this invitation are based on the method of Santour playing and the specials of their santours.
Then , every player introduced her own country's Santour breifly :
MARTINA KRIGOVSKA from Slovakia :
The usage of the Simbal or Santour have been started since 18th century . these sorts of Santours had small sizes and they put them on the tables and played them with two wooden Plectrums . the viration of this Santour was probably two octaves And a half . gradually , in the Hungry which is the neibour of Slovakia , were made so many big size of Santours that had pedals and of course the Gipcies brought them to the Slovakia from Hungry . and now they use the sort of Santour that has four octaves and a half variation of sound . gradually they tought it in the schools . and people got friendly with it . this kind of Santour brought to Slovakia by Gipcies and because of this it has a relative with the Folk music , but unless the Folk concerts they also this musical instrument in their classical concerts . now it's the sixth years that the academy of the Santour was started and also Mrs. Victoria Herencsar teaches there. I am the student of her and I have been finished the classes of the academy and now I play music for a classical concert of the Zchek Republic but here I will play a Folk music and I love to play it with a song and of course I will play some parts of the Zchek music too .
VICTORIA HERENCSAR from Hungry :
Santour was brought from asia to Europe by the immigrated people and still had usage till the 15th century . we have so many documents to show that in the 15th century the Hungry's music was played just by Santour . this kind of santour was just like the thing that you have and put on the table . in 19th century classical musicians used santour in their own music . now there are so many musicians that made so many songs and so many musics with Santour but the folk playing of it is still teaching .
I , myself play the classical santour and also follow the real way of playing . we should say that in the 19th century Santour even used in the Operahs . and I am a member of an Operah in the Hungry too . in 1991 an International association of santour started to work that included 29 countries . such as Asian earopian south -Amerian and Australian . then an academy of Santour started to work in Hungry that I teach there too . I will play the Folk music of the Hungry and I will have some Impromtu , too.
BARBARA SCHIRMER from Swiss :
The situation of the Santour is more different in Swis s from what ever that Mrs. Herencsar said . Santour brought to Swiss from the eastern countries of Europe .
But after invention of Piano playing Santour probably had been forgotten , and the method of plying remained just in two states : Apentesel & Vadlis , and almost played with the farmers .
the farmers themselves made their Santours and because of this every body had his or her own Santour . forexample I can not play my fathers Santour . of course this problems are not due to the numbers of the scales . but also the scene and the manner of two Major & Minor scales are different in any Santour .
In the recent years in Swiss, Santour came bach to the Towns and Cities from the mountains but it has still a long time to be teached in the academies and etc.
MAJID KIANI from Iran :
I think the reality of these kinds of festivals is to show us where are we in the world of music and what are the others doing . we have so many points in our Guests speeches that they said all the Santours were brought to the Europe from the East and all of them were small and had 5 tetrachords or two Octaves and a half . but when we look at the Iranian Santours we can see that it's just like the 15th century's Santours without any changes . and of course we can see the talent of the young people in Europe and the masters who wana teach this music .we also do the same things and tried to make the santours bigger and changed it into pedal ones and also changed the pitch to play the cromatic scales .
As result we have two different ways of Santour playing . the one is classic and the other is the modern . but the interesting matter is that the modern santours are just the old ones as if the Iranian talent , any way , does not want to make any changes on it . and the Europian countries also wants to return to their old methods . our music is a kind of Impromtu on the scene but the music itself does not creat , but also it just played . the patterns and the themes have been learned and the models have been teaching chest by chest, and on the scene the player just play it, maby by him or her self's talent . I can not predict that what I will play in this festival just I think some systems are important to play such as : Homayoun, Nava, Mahour, Shour, and I will plan (choose) my own playing from them .
Sunday, August 24, 2003
Introduction
Considering and recognizing the cultural relationship between different nations has been taken into consideration since early days. So recognition of the cultural identity is not possible without knowing the other culture’s specifications.
Undoubtedly, at our time this knowledge is being felt more. For this reason, paying attention to different domains of culture, art and wisdom is a duty being felt on the shoulder of our generation.
Meantime, music, in title of the most unintermediary art is doubtlessly of a great attention. One of the most important cases in cultural transactions that must be over looked is using common instruments among different nations.
We know that today knowing the main goal of common instruments in the world, helps acquainting many scientific points in recognizing old cultures and also other sciences related to liberal arts as linguistics and anthropology and …
Through this vision, some instruments show off more than others. The wide spread field of instruments like Naey (pipe), Santour (Dulcimer), Robaab and Tambour which they also exist in similar names, is interesting and considerable.
Santour is one of the oldest instruments have been made by human. First traces available from Santour’s existence belong to old Ashore and Babelian stone works (669 B. D) that shows this instrument's existence clearly.
Today, this instrument is being played in an expand range from Far East-to-East Europe and also North Africa, and it’s called in different names.
Santoor, Santeer and Saantoor in Islamic world and also texts belonging to the Jews, Hackbrett in Germany, Dulcimer in English, Cymbalom, Zymbalum in East European countries, Yank-kin in China and also Psaltery in some other texts.
Meanwhile this instrument is being preformed in countries such as Iran, Turkey, India, China, Vietnam, Korea, Iraq, Egypt, Greece, Ukraine, Middle Asia, Hungry, Romania and East Europe.
In the other hand, utilizing various kinds of Santour has also been taken into consideration by a few European classic composers such as Bach, Stravinsky and…
Considering this extensive field, Santour can be considered an international instrument.
Regarding the mentioned matters, Niavaran Artistic Creations Foundation has decided to perform a Festival named “International Week of Dulcimer”.
Goals
- Considering cultural music relations by the common instruments among them.
- Recognition and introduction to the history of Santour’s musical utilization in different cultures
- Creating considerative searching background and comparing different ways of performance of Santour in various cultures
- Creating considerate searching background and comparing different ways of making Santour
- Creating searching opportunities for young composers of the country
- Gathering the possibility for the dialogue between civilizations in the field of music
- Providing an audio- visual collection from different ways of composing Dulcimer in the world
Date and Location
- Time: International Week of Santour will be held for 4 nights (2-5 September 2003).
- Location: Niavaran Artistic Creations Foundation, Pasdaran Ave. opposite of Niavaran Park, Tehran, Iran
Programs
- Music Concerts: September 1-4, 2003 at 20:00.
- Work Shops: During these four days of festival, there would be free training work shops with the presence of the foreign artists at Niavaran Artistic Creations Foundation for the profit of interesteds two times a day, morning and afternoon.
Foreign Performers attending the Festival
Mrs. Yangqin Zhao - China
Mr. Marios Papadeas – Greece
Mrs. Viktoria Herencsar – Hungaria
Mrs. Barbara Schirmer - Swiss
Mrs. Katsiarina Anokhina – Belarussia
Mrs. Martina Krigovska – Slovakia
Iranian Performers attending the Festival:
Mr. Majid Kiani
Mr. Saeed Sabet along with the Tonbak of Mr. Mohammad Esmaeeli
Festival program
Monday- 1 Sep 2003
-Viktoria Herencsar -Hungary
-Marios Papadeas -Greece
-Break
-Majid Kiani -Iran
Tuesday- 2 Sep 2003
-Yangqin Zhao -China
-Martina Krigovska -Slovakia
-Break
-Saeed Sabet & Mohammad Esmaiili -Iran
Wednesday- 3 Sep 2003
-Barbara Schirmer -Swiss
-Marios Papadeas -Greece
-Break
-Majid Kiani -Iran
Thursday- 4 Sep 2003
-Yangqin Zhao -China
-Katsiarina Anokhina -Bella Russia
-Braek
-Saeed Sabet & Mohammad Esmaiili -Iran
Workshops Program
Tuesday- 2 Sep 2003
Time : 11:00 to 13:00
Martina Krigovska -Slovakia
Viktoria Herencsar -Hungary
Wednesday- 3 Sep 2003
Time : 11:00 to 13:00
Yangqin Zhao -China
Thursday- 4 Sep 2003
Time : 11:00 to 13:00
Barbara Schirmer -Swiss
Katsiarina Anokhina -Bella Russia
Time : 15:00 to 17:00
Marios Papadeas -Greece
Considering and recognizing the cultural relationship between different nations has been taken into consideration since early days. So recognition of the cultural identity is not possible without knowing the other culture’s specifications.
Undoubtedly, at our time this knowledge is being felt more. For this reason, paying attention to different domains of culture, art and wisdom is a duty being felt on the shoulder of our generation.
Meantime, music, in title of the most unintermediary art is doubtlessly of a great attention. One of the most important cases in cultural transactions that must be over looked is using common instruments among different nations.
We know that today knowing the main goal of common instruments in the world, helps acquainting many scientific points in recognizing old cultures and also other sciences related to liberal arts as linguistics and anthropology and …
Through this vision, some instruments show off more than others. The wide spread field of instruments like Naey (pipe), Santour (Dulcimer), Robaab and Tambour which they also exist in similar names, is interesting and considerable.
Santour is one of the oldest instruments have been made by human. First traces available from Santour’s existence belong to old Ashore and Babelian stone works (669 B. D) that shows this instrument's existence clearly.
Today, this instrument is being played in an expand range from Far East-to-East Europe and also North Africa, and it’s called in different names.
Santoor, Santeer and Saantoor in Islamic world and also texts belonging to the Jews, Hackbrett in Germany, Dulcimer in English, Cymbalom, Zymbalum in East European countries, Yank-kin in China and also Psaltery in some other texts.
Meanwhile this instrument is being preformed in countries such as Iran, Turkey, India, China, Vietnam, Korea, Iraq, Egypt, Greece, Ukraine, Middle Asia, Hungry, Romania and East Europe.
In the other hand, utilizing various kinds of Santour has also been taken into consideration by a few European classic composers such as Bach, Stravinsky and…
Considering this extensive field, Santour can be considered an international instrument.
Regarding the mentioned matters, Niavaran Artistic Creations Foundation has decided to perform a Festival named “International Week of Dulcimer”.
Goals
- Considering cultural music relations by the common instruments among them.
- Recognition and introduction to the history of Santour’s musical utilization in different cultures
- Creating considerative searching background and comparing different ways of performance of Santour in various cultures
- Creating considerate searching background and comparing different ways of making Santour
- Creating searching opportunities for young composers of the country
- Gathering the possibility for the dialogue between civilizations in the field of music
- Providing an audio- visual collection from different ways of composing Dulcimer in the world
Date and Location
- Time: International Week of Santour will be held for 4 nights (2-5 September 2003).
- Location: Niavaran Artistic Creations Foundation, Pasdaran Ave. opposite of Niavaran Park, Tehran, Iran
Programs
- Music Concerts: September 1-4, 2003 at 20:00.
- Work Shops: During these four days of festival, there would be free training work shops with the presence of the foreign artists at Niavaran Artistic Creations Foundation for the profit of interesteds two times a day, morning and afternoon.
Foreign Performers attending the Festival
Mrs. Yangqin Zhao - China
Mr. Marios Papadeas – Greece
Mrs. Viktoria Herencsar – Hungaria
Mrs. Barbara Schirmer - Swiss
Mrs. Katsiarina Anokhina – Belarussia
Mrs. Martina Krigovska – Slovakia
Iranian Performers attending the Festival:
Mr. Majid Kiani
Mr. Saeed Sabet along with the Tonbak of Mr. Mohammad Esmaeeli
Festival program
Monday- 1 Sep 2003
-Viktoria Herencsar -Hungary
-Marios Papadeas -Greece
-Break
-Majid Kiani -Iran
Tuesday- 2 Sep 2003
-Yangqin Zhao -China
-Martina Krigovska -Slovakia
-Break
-Saeed Sabet & Mohammad Esmaiili -Iran
Wednesday- 3 Sep 2003
-Barbara Schirmer -Swiss
-Marios Papadeas -Greece
-Break
-Majid Kiani -Iran
Thursday- 4 Sep 2003
-Yangqin Zhao -China
-Katsiarina Anokhina -Bella Russia
-Braek
-Saeed Sabet & Mohammad Esmaiili -Iran
Workshops Program
Tuesday- 2 Sep 2003
Time : 11:00 to 13:00
Martina Krigovska -Slovakia
Viktoria Herencsar -Hungary
Wednesday- 3 Sep 2003
Time : 11:00 to 13:00
Yangqin Zhao -China
Thursday- 4 Sep 2003
Time : 11:00 to 13:00
Barbara Schirmer -Swiss
Katsiarina Anokhina -Bella Russia
Time : 15:00 to 17:00
Marios Papadeas -Greece