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Profile:
Contemporary musician and composer
Tar1 and Setar2 instrumentalist and author
We are all familiar with the classical debate between musicians on the matter of
t echnique and p assion.
Who's the greater musician? The technical one capable of playing the most difficult
pieces with extra ordinary speed or the one whose passionate play always amuses the
audience yet he is neither the master of technique nor speed.
Among these musicians, Keyvan Saket is known as a genius in technique. While his
vast musical knowledge and brilliance helped him achieve a distinctive sentiment in
his works, his is originally famous for his speed, and is celebrated as the “Fastest Tar
and Setar” player in Iran. He invented a new method of finger placement which
revolutionized the speed and way of playing Tar and Setar. With this new methodology
a Tar player can perform considerably faster and presto pieces.
1
Tar- a long-necked, waisted lute with six stings- is one of the most important Iranian Instruments
2
Setar is a four stringed lute
3
Alinaghi Vaziri (1887-1979)
Keyvan Saket has expanded Colonel Vaziri’s style. As a Tar instrumentalist, he makes
the most of all of Tar potentials . For instance, he puts a great emphasis on the second
and third string’s finger placement, and that’s what makes him capable of playing fast
tempo songs. In addition to his finger placement techniques, he uses extraordinary
hand movements and jumps which is unique to his style. In sum, it is his exceptional
technique that brings out the entire sounding capabilities of Tar which was not
discovered before.
Many believe that his concentration on technique takes away the emotion and passion
in his performances, however, Saket’s last two albums revealed to be amazing
sensations . Besides, no one has ever been able to play Colonel Vaziri’s Dok h ta ra k e
Joulideh like him except Saket.
Keyvan Saket has always believed in introducing Iranian traditional music to the
world. One of his ways of doing so was to show the world what Iranian instruments
were capable of playing.
The other problem was converting Violin’s music notations, finger placements, and
t uning to suit Tar. Even after the alteration, the Tar player had to move his hand up
and down the fret board extremely quick in order to be able to perform these pieces.
All and all this seemed to be a complicated and impractical transition.
Finally, a fter 8 years of hard work and research, Keyvan Saket released his
astonishing album “East meets West” in 2001. For the first time in history, he
performed Turkish March by Mozart, Four Seasons by Vivaldi , Caprice 24 by
Paganini, Czardac by Monti, Hungarian dance No. 1, 4, and 5 by Brahms, and t hemes
from Symphony No. 40 by Mozart with Tar (and Piano).
This was how Keyvan Saket introduced Iranian Tar to the world. In fact it was because
of his amazing finger placement and outstanding technical execution (where he could
jump up and down the fret board thousand times without missing or misplaying a
note) that he could play world renowned music pieces with Tar. Later on, Keyvan
Saket published an educational book with the same name containing the notations of
his album which was arranged for Tar.
Keyvan Saket’s novel methodology had various reactions inside Iran. Traditionalists
started attacking on him for misleading Tar and Setar from their original path and
destroying the old ways. They believed no foreign melody should have been played
with traditional instruments like Tar and Setar. But Keyvan Saket disagrees and
believes that playing western music with Iranian instruments would only reveal their
capabilities. Never the less, Saket is a Persian music master and a phenomenal Tar
player in the first place, and it is his educational books for Tar and Setar that are
being taught to the young Iranian musical generation.
In the last few years, along with his traditional albums Keyvan Saket released two
modern albums that once again stunned everyone. This time he performed extremely
fast and complex pieces like The Flight of the Bumblebee. Despite of all the critics on
him and what he stood for, his astonishing performance at the International Music
E xposition in France in 2006, signified Tar and Setar globally.
3 - Practice Books
4 - Musical Compositions
4
Collection of many old Persian melodic figures preserved through many generations by oral tradition which are
organized into 7 tonal spaces
5
Fast rhythmic piece lasting between 3 to 5 minutes and melodically following the general mood of the
performance
5 - Persona and Artistic perspective
Keyvan Saket has been an active musician in recent years. Even his critics can’t deny
it. According to Saket himself when critics are busy criticizing this work, he is
recording his next album. He has always kept the smaller provinces in mind and has
held many concerts and educational classes in places like Esfahan, Shiraz and
Hamedan. He perused his goal and ignored the destructive critic by expanding this
methodology, and only if the opponents could do the same.
Saket has used various channels to reach the people and educate them about his
style. He has published more than dozen books and albums in the past few years,
traveled to many cities, established a music institution and created a strong bond with
the young musicians in Iran to encourage them to learn and expand his style. His
other major act was establishing Vaziri Orchestra which is led by him and performs
excellent concerts all over Iran.
Saket has an open and free spirited vision; He believes in liberation in music styles
and methodologies. Without supporting a particular style or musician, he encourages
instrumentalists towards peacefully spreading their styles and thinking together
rather than destroying one another.
Keyvan Saket, much like his contender Hossien Alizadeh, sees music as a discipline
and science; unlike other Tar masters like MohammdReza Lotfi who believes in
traditional ways of passing music to the new generation and disagrees with academic
music classes. Saket has taken a new and academic approach toward Iranian music,
and it is his extensive knowledge of western music (like his master Colonel Vaziri) that
has formed his open-minded principles.
In conclusion, I would say that I have never seen Mr. Keyvan Saket destroying or
disapproving of a person or his style, or criticizing them in his interviews. What he
really wants is for everyone to peruse their musical endeavors peacefully.
Musical
usical Records (Albums):
East Meets
Meet West
Side A: Morghe Sahar arranged for orchestra by Keyvan Saket
Illuminations
This
is album is one of Keyvan Saket’s most beautiful creations
which is based on Iranian Dastgah6 . Saket’s mesmerizing and
polyphonic compositions for Tar and Piano made Illuminations
one stunning record
record.
Side A: Sorrow & Delight, Regard, Solo Tar & Piano Esfahan-
Esfahan
Shour,
r, Breeze & Leaflets, Voyage in the Leaflets of water-lily,
water lily, Solo
Tar & Piano Dashti
6
Each different tonal space in Iranian Radif music which are seven in total.
Ghasedak (Dandelion)
This album is one of Keyvan Saket’s phenomenal Setar
playing records. In a beautiful duet with Mrs. Jale
Sadeghiyan, they perform poets from Iran contemporary
poets like: Simin Behbahani, Fereydoon Mou shiri, Mehdi
Akhavan-Saless , Ahmad Shamlou, Hushang Ebtehaj, and
Sohrab Sepehri.
Jameh Daran
Jameh Daran is the proof to Keyvan Saket’s novel compositions
and technique. He plays a few of his own Chaharmezrabs such
as Esfahan, Oshag, Baharan, Raghs Parvane, and Pishdaramad
Esfahan. He also marvelously performs Dok h tarake Joulideh one
of Colonel Vaziri’s most complex creations.
Fasaneh
Fasaneh is the result of a successful collaboration between Keyvan
Saket and noted Iranian Singer Iraj Bastami which was
tremendously embraced by Iranian population.
Side A: Darya, Vocal & Tar, Chaharmezrab Shoushtari, Vocal & Tar &
Oud and Ney, Baharan
Sabokbaal
Saket performances many of his famous Chaharmezrabs, a nd pieces from
his book named Eigh teen Piece s for Tar an d S e ta r.
7
Persian goblet drum
Published Work:
A Modern System of Playing Tar & Setar:
A collection of five academic books published by Keyvan Saket , and used by the
majority of music institutes in Iran.
Perpetual Movement
Along with duet pieces for Piano and Tar, few of the songs from the
umination Illuminations album were published in this book as well.
During 1996 and 1997, Keyvan Saket recorded ten (25-30 minutes) sessions in
Golhaye Javidan style for Iranian Television and Radio.
He is currently teaching music at Tehran’s Islamic Azad University and is the resident
of University of Hawaii.
8
One of the leading ensembles in Persian classical music of 20th century directed by Mr. Parviz Meshkatian
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