Hosseini M. String Quartet No 2. Score

This work of the Iranian composer Mehdi Hosseini combines a number of folk tunes — Tipumey (in the maqam Gahgeriyu or Gahgiri), Huri-Huri, Cheshmeh-ye Kuhrang, Chub bazi, Saharnaz, Pishnavazi, Lachakriyali. Each is, in essence, a Maqam and serves as a musical metaphor in the rich cultural tradition of the Bakhtiari people. Each also acts as a semantic reference that speaks of the multi-millennial history of one of Persia's most ancient peoples. In 2007, while at a festival of the Summer Academy in Austria, M. Hosseini transcribed all of the ancient themes listed above for use in a modern musical composition. 

The Bakhtiari are one of Iran’s native peoples. The nation comprises the Khaftlang and Chaharlang tribes, which live in the provinces of Chaharmahal and Bakhtiari, Isfahan and Loreson. Chaharmahal and Bakhtiari province is located in southwest Iran. The Bakhtiari dialect belongs to the group of Western Iranian languages, and its speakers have a rich and flourishing traditional folk culture.

Music is one of the most important elements of traditional folk culture, as it displays the intellectual values and character of the people. Bakhtiari music is among the richest and most extensive varieties of Persian maqam music.

The traditions and customs of the Bakhtiari are reflected in the names of their magams. In the musical terminology of the Bakhtiari people, ‘magam’ usually means “tune” (not a specific tonality or ‘mode’ as it is typically interpreted, but an entire system of pitches and pitch relationships), since for them the word magam implies an established musical text, which might vary in character, form, and even genre. 

The magams are formed on the basis of traditional Persian system-scales (Dastgah). The most predominant among these are Shur, Avaz-e Dashti, Avaz-e Shushtari, Dastgah-e Chahǎr’gǎh, and Se’gǎh.. 

Although Bakhtiari music has much in common with the musical culture of other regions of Iran, much distinguishes it, as well, including dialect, instrumentation, and the method of transition from one magam into another. 

The instruments most frequently used in Bakhtiari music are the sornǎ; korna; ney; dayereh; dohol; and kamancheh. The kamancheh, apparently was first used at a later period than the others. In the past decade, many toushmali, i.e. Bakhtiari musicians, have played the tǎr and tombak in addition to the instruments listed above.

Like the music of other regions of Persia, that of the Bakhtiari can be classified in various ways and according to a number of parameters. There is distinct music for festive occasions, such as weddings or funerals; there is music to accompany recitation of epic poetry; and there are songs to accompany work, among other genres.  

The present string quartet makes use of popular Bakhtiari folk tunes, each of which belongs to a certain magam.