Santur : Faramarz Payvar
Tombak : Mohammad Esmaili
Masters of Persian clasical music in Qajar era have introduced "Homayun" as one of seven dastgahs and counted its peculiar gushehs (Chakavak, Bidad, Raz-o-Niaz, Shushtari) as well as its common ones with other dastgahs (Oshshaq, Leyli-o-Majnun, Nowruz-ha, Ravandi, Jame-daran, etc.) and as a whole defined its bounduries.
Ruhollah Khaleqi, master Iranian musician, writes "Homayun is an avaz full of panache, glory and pageantry, affecting as well as gallant. It is a mixture of broad emotional and spiritual range." And in nowhere but in the legendary performance of Ostad Faramarz Payvar one can witness the above description has come true and finds its real example. Ostad Payvar in his rendering of Homayun has attained the ultimate degree of musicianship as well as virtuosity using cascade-like plucking, through his high apprehension of Persian radif. When here were few instruction methods Ostad Payvar by raising high standards of musical tuition and publishing numerous useful books and giving concerts, paved the way for the elevation of the general consciousness of the Iranian so-called "National Music". Here I have embarked to give a very brief analysis of his playing. His early cassette of Homayun was originally published by Kanun to posit a basic example of Persian classical music. Considering the fact that because of cassette format there is a time limitation, some slight modifications as regards technique, modulation, cadences have been applied to accomodate the situation.
Published [26/01/2007]