Sad Sal Setar – A Century Of Setar - Audio CD

18.06.10 | uniqalt

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Sad Sal Setar – A Century Of Setar
An Anthology of Contemporary Performance Styles
Artist: Various
Publication date: 2001
ASIN: B0036WFW98
Format / Quality: Audio CD
Size: 154 Mb
Run Time: 55.54 minutes

Цитата:
Setar : Ali Naqi Vaziri , Abdollah Dadvar , Yusef Foroutan , Saeed Hormozi , Abolhasan Saba ,
Arsalan Dargahi , Moshi Moazzam Afshar , Ahamd Ebadi , Nur Ali Boroumand , Hasan Ali Daftari ,
Mamoud Tajbakhsh , Daryoush Safvat , Jalal Zolfonoun , Mohammad Reza Lotfi , Hoseyn Alizadeh , Daryoush Talai

Setar (i.e. "three strings") is one of the members of the lute family. This large family of chordophones includes numerous instruments with different sizes and shapes that are found in many countries in western Asia and in the Middle East, however, setar as we know in the Persian music is now restricted to the central parts of the Iranian plateau. It seems that its present shape is the result of a long period of evolution both in morphology and in sonority. It was known previously as sesim (i.e. "three strings") but from two and a half centuries age Dervish Moshtaq-Ali Shah from Kerman added a fourth drone string to it and called it sim-e moshtaq (i.e. string of Moshtaq). To be precise, it is the white string between the yellow and the bass strings. Though his contribution contradicted with the nomenclature of the instrument, it improved its sonority further and became finally popular.
In comparison with tar that was proper enough to serve both in classical music and light Motrebi music, setar became restricted to the circles of mystics, people of high class and music connoisseurs. Its thin sonority deprived it from being applied to Motrebi music. Apparent ease in learning and playing setar, especially for those acquainted previously with tar, it was regarded for a while as the second instrument to the majority of tar-players and other instrumentalists. This was the cause of a common negligence of its playing techniques. As it might be expected, the technique of playing any individual instrument is transferred from a generation to the next. Meanwhile the technique is

CD1:


01 Ali Naqi Vaziri – Segah
02 Abdollah Dadvar – Chaharmezrabe Shur
03 Yusef Forutan – Afshari
04 Saied Hormozi – Mahur
05 Abolhasan Saba – Nava
06 Arsalan Dargahi- Mahur
07 Moshir Moazzam Afshar – Afshari
08 Ahmad Ebadi – Shur

CD2:


09 Nur Ali Broomand – Mahur
10 Hasan Ali Daftari – Bayate Esfahan
11 Mahmud Tajbakhsh – Bayate Tork
12 Daryush Safvat – Segah
13 Jalal Zolfonun – Abu Ata
14 Mohammad Reza Lotfi – Bayate Tork
15 Hossein Alizadeh – Bayate Kord
16 Daryush Talai – Chahargah
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