|
Article in the „Neue
Aargauer Zeitung“by Daniel Rüegg
Iranian guests
The Kurdish Persian group Kamkar
performed in an interesting concert in „Moods” in Zurich.
In the world of Islam, we find
also beautiful things. Last Sunday the most famous Kurdish Persian group
from Iran was visiting Zurich. The Kamkar family was not only announced by
the producer‚ „Hugo Faas’’ but also was part of an exhibition called
„Islamic daily life in Zurich. “
Seven family members in Zurich
Seven members of the Kamkar family
were here. Among them was the talented player of the Setar, Ghashang. They
performed the normal program with some new pieces, which consisted of a
Persian, more classical part and a Kurdish, more traditional part. Mostly
the second part excited the audience more because the mild and more Persian
melodies were mixed with beloved dance music. The Kurdish people in the
audience followed the rhythm of the music with finger snipping and dancing.
They used a favorite style most of the second part of the concert. The first
part of the concert was most likely more important for the Kamkar family and
was called „Nava’’ which is a Persian style. They played a suite of several
parts but they did not play it all in the suite style. This is a very common
way of interpreting Persian style music. Also recognizable were elements
from „Shour.’’
Making the music „watery“?
Enough of technical terms. What is
more interesting for Europeans is the fact that the young generation of the
Kamkar family has a multi cultural approach to tradition? They use
traditional as well as new elements in their playing. This is to be felt the
strongest as you hear the young Santour player Ardavan K., he sometimes
plays far from the classical origin. It may happen that he uses a way of
playing „around’’ the melodies that might convince a European and also a
Persian „connoisseur’’ but it could be criticized by purists that the melody
is becoming ’’watery’’.
In addition, other members of the
group used new techniques of playing, for example Arsalan K. who played the
Oud. It was him who was master in letting his instrument sound like another,
for example as a harpsichord or as a mandolin.
Playing techniques and
interpretation
The technique is one thing,
musical interpretation is another. For Persian ears, the music of the Kamkar
family is something new. You could describe it as music with old thoughts
mixed with new feelings and which is touched by newly religious (since
Khomeini) as well as by modern techniques (like western intonations). The
question to be asked is now as follows: does the Kamkar family move away
from tradition or do they continue it?
Translation from German to
English by Regula and Kayhan Tajeddini. |
