Parisa & Ensemble Darvish - Bayat-e Tork

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Цитата:
BAYĀT-e TORK, a musical system (āvāz, naḡma) and one of the branches of the modal system (dastgāh) of Šūr (q.v.) in traditional classical music. It is also known as Āvāz-e Tork and Bayāt-e Zand for the Zand tribe in the region of Fārs. It is believed that the name Tork refers to the Turkic tribes of southern Iran, where many songs are found composed in this mode (Farhat, I, p. 82). The call to prayer (aḏān) and a number of prayers (monājāt) and poems (maṯnawī) performed on religious occasions are sung in this mode.

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Although it is considered as originating within the dastgāh Šūr, its modal scheme is distinct from Šūr. The basic scale of Tork is F G Ap (koron or half-flat) Bb, C D and Eb. The primary reference pitch, or šāhed, is on the fourth scale degree, Bb, which is retained throughout the dastgāh, giving it, according to many musicians (Farhat, p. 95; Ḵāleqī, p. 156), a uniform or even monotonous character. Each piece (gūša) may end on the first or fourth degree of the scale, the more common one in recent times being the fourth degree, giving Tork the flavor of the Western major mode with a slightly flatted seventh degree. Indeed, some pieces in the current repertoire are believed to be borrowed from the dastgāh Māhūr (q.v.), such as Šekasta.

Important pieces (gūšahā) in Bayāt-e Tork include the Darāmad, Dogāh, Rūḥolarwāh (Rūh al-arwāḥ), Jāmadarān, Mahdī Żar(r)ābī, Šekasta, Qaṭār, Qarāʾī, and Maṯnawī. Rūḥolarwāh and Mahdī Żarrābī conclude on the second degree of the scale (G). Since that is the cadential pitch for Šūr these two pieces provide a link with that mode. Qarāʾī is one of the more important pieces and Qarāʾī represents the high pitch area (awj) at the end of the dastgāh. Qaṭār is very common in the music of the Kurds in Iran (Barkešlī, p. 121). Šekasta is considered to be a modulation, modally resembling Afšārī (Caron and Safvate, p. 73). Although traditionally similar in expressive character to Šūr, the modern performance of Tork is felt to be lighter in mood, due to its closer relationship to the dastgāh Māhūr.

Цитата:
Parisa (or Parissa), born 1950, is one of the foremost female singers of Iran. She studied with the famous Radif master Mahmud Karimi (1927-1984) and with Ostad Dariush Safvat (born 1928). We present here a cassette we bought in the 1980s in an Iranian shop in London. This cassette has better sound quality than other edtions of the same recording circulating in the Iranian community, even better than the CD. This cassette, manufactured in England, contains the mode Bayat-e Tork recorded in Iran before the revolution. See more on the artist on her website: http://www.parissa.org/05_biography/biography.htm
The Ensemble Darvish was directed by Santoor player Reza Shafieian (born 1941). The Tar and Setar player might be Dariush Tala'i.

Цитата:
Bayat-e Tork (both sides joined into one track) (38:02)
1. Tasnif Mehrabani
2. Chaharmezrab Santoor
3. Avaz (singing) & Nay
4. Avaz & Tar (in reality Setar)
5. Avaz & Kemencheh
6. Tasnif Hamchu Farhad Shadeh
7. Chaharmezrab Nay
8. Zarbi Tork
9. Avaz & Tar
10. Tasnif
11. Zarbi Reng

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