● Birthplace: Tehran
● Died: 31 August 2002 in Paris
Biography
He was an Iranian musician, composer and famous singer in iranaian Rock, who released his first English Rock and Roll album in Iran. When he was three years old, his special interest in music surprised many around him, as he spent hours in the back of his brother’s room listening to his violin and his friends’ exercises, which he said: Although he didn’t know what those sounds were, In the same way, his ear became familiar with music from an early age. What sets his apart from other singers of his generation is the singing of social songs that have been crystallized in his music. This element is very catchy in the context of all his songs. He is also known as one of Iran’s first political singers. In the early 1980s, he sang songs with political, critical and winter themes – the revolutionary song of unity (sublime messenger; Muhammad …). His father was the Iranian Foreign Ministry official in the Arab countries. Farhad, the smallest member of the family, his behavioral traits were so different from those of his peers that he was compared to adult imitators in friends and acquaintances and family. After his interest in music was justified by his brother’s friend, she encouraged his family to provide for his. In any case, a cello is prepared for him, and a beginning for him to learn his music. But his learning time lasts no more than three sessions, and the machine breaks down, which he later says of the incident: It is made anyway and then broken by the same ones, in which a hundred pieces of soul and momentum are broken. I also got a thousand pieces with it, and it could be said that my interest in music went down because it made me learn music by ear and ear. After that event, his only pleasure is to listen to the same big brother music exercises and to have an instrument. During his school years, he pursued his interest in and ability in the fields of Persian literature and English, and, along with his music, devoted himself to his other interests and made him want to continue his studies in literature, but with great uncle’s opposition. , Who was in charge of the family in the absence of the father, and was forced to pursue a natural education. As a result of not being interested in the subject and its courses, there is a reason for his leaving school in the eleventh grade.
After leaving school, Farhad Mehrad went on to pursue a childhood interest in music and work, and due to his father’s inability to play the instrument, he went to his friends ‘and neighbors’ home to learn instruments at home. They were of no use. Because, according to him, Armenians were freer than other families at that time, listening to all kinds of music in the world, as well as having instruments in their homes. In this way, he learns to play the instrument and, later, by the same Armenian locals, forms the group of four jinns (in English: The four imps), where he performs and performs in various clubs. . Soon after, the group headed to Ahwaz to implement a plan arranged by the Sunshine Hotel management for the Oil Club staff. During the first night of the program, the orchestra leader, due to the absence of the singer of the band, asks him to accompany the band as a singer in addition to playing the song, and he also performs the song once the song and the song are played. . (He was sensitive to the correct vocabulary and phrases, as well as comprehensive information about the music of the world. This made him less vocal when singing a song in a different language from English, French, Italian and … Believe he speaks another language). Such an obsession is useful to a group performing in Armenian and English, welcoming them to perform well, and extending the duration of the program to several consecutive nights. Also, according to trumpet player and former Black Kats member Manouchehr Islami: Since he was a child in his Armenian friends’ home, he had been fluent in Armenian, using his instruments.
After a long break from that band, he began his independent career in music, and in the first year, he went to a television program called Variety Studio B where he also performed non-Persian songs. Finds fans. Hence, after appearing in the program and receiving attention from the audience, shortly thereafter he was invited to perform at a grand concert on the occasion of the anniversary of Mohammad Reza Pahlavi, who was managing the youth information magazine at the Amjadiyah Stadium. And he plays and sings some non-Persian songs with the guitar at that concert and is welcomed by people and audiences. Ironically, the actress Vida Ghahramani, who also owned a Kochini café with his husband, also introduced his to the Black Kats band, which they had planned for Kuchini every night. Beginning in Year 2, he began collaborating with Black Cats, where he performed better than the original, because of his English performances, which his friends and audiences had suggested, so that Americans living in Iran would reserve seats in front of him. Famous for: Farhad Black Cats, famous and even popular by the time and by people in Kochini for his audiences, is nicknamed: Ray Charles of Iran. In this band, she sings songs from popular bands of the time, including Beatles, Animals, Bayes, Fortunes and notable singers such as Elvis Presley, Ray Charles, Tom Jones, Nina Simon, Frank Sinatra and many more. Manouchehr Islami, a former trumpet player in the Black Kats band, cites him as the mainstay of the band, saying: “Although he did not know and learned music by ear, he did not need much practice and once The whispering of English songs coordinated the sound and concord with the members of the band, actually practicing the sessions with the respect of the other members. Also, another pop singer, Abbey, who had not yet started his professional career seriously, worked with the Black Cats for two years, always reminding his of being good to Farhad Mehrad, and Describing two years as a training course, he says: “Everything I learned in singing is owed to Farhad. People were also cut short by other pop singer Fereydoon Foroughi for his early artistic activity because of his influence on Farhad Mehrad.
At the same time, it was at the height of Black Katz’s activity that Master Ali Cosmai, the director of dubbing and dubbed the father of Iranian dubbing, was looking for a song for “With a little bit of luck” It was me, and given Farhad Mehrad’s fame in Kuchini’s club and his introduction by Toraj the Guardian, he chose his as the dubbing voice of the song; in fact, it was the first song he sang in Persian. Shortly thereafter, he leaves the Black Cats and goes to England to visit his sister, but the two-month trip will take more than a year. During his journey to make money, he pays a visit to a London club where a prominent English producer hears an offer to release an album in English, but due to illness and personal problems, the release After returning to Iran, he first performed his music at the Rimbo Hotel on Tehran’s Iranshahr Street and then continued to perform at the Kochi restaurant for a short time.
In year 1969, he was chosen by Esfandiar Monfaredzadeh, who was then seeking a new voice for the single man, with a song by himself and a poem by Shahriar Ghanbari, for the film Reza Motouri, directed by Massoud Kimiai, and pioneered by other singers. , The beginning of a new, socially themed song in the first soundtrack. Initially because he was unhappy with his first Persian performance in My Pretty Lady, he wished to remove and release the song if he was not satisfied with the outcome. But after the work is completed, he is satisfied with the result, and this song is released in the form of a music page at the same time as the film’s release, becoming one of the best-selling music pages. Because, in his own words, he only wanted to play songs that could feel them, be in his current language or have a message and express a sense of community.
After the song, in Year 1971: Friday, Monfaredzadeh and Ghanbari sing for the film Farewell Comedy, directed by Amir Naderi, and are again noted and recognized as the voice of protest. Later that year, in the same year, The Mirrors Song, performed by Shamazadeh and Ardalan Sarfaraz, again with a different song text from that era, featuring a distinctive style of music with its signature and signature work, as well as encouraging other readers She performs such songs. After the successful performance of this song, the popularity of this type of pop music with a different song, the reason for the re-collaboration of this trio of singers and songwriters and composers, to another song close to the theme song Mirrors: He made and practiced with his voice. Khosrow Lovey in charge of the release of this artist’s pre-revolutionary work, documented in Farhad Fridays, says: “This song was originally composed and rehearsed for Farhad’s voice, and I was present at the last rehearsal of the work, and witnessed the rehearsal of the song. I was by Farhad and I have to say that when Farhad sits down to the piano and starts playing this song, the beauty of the hair effect on my body comes to fruition and I say that this could be one of Farhad’s best works, which unfortunately after this Performing for reasons never known The composer decides to perform the song himself He is silenced by Farhad’s voice.
Manouchehr Islami, says: The people around Farhad were not benevolent, except for the leader of the group Farhad had started working with in Kuchini because he knew Farhad’s talent and ability. Farhad was also mentally vulnerable and could not tolerate much. Thereafter, in Year 1972, Tired of Turing, he sang a song by Chandra and Mohammad Oshal, songs: Captive of the Night, Night 1 and 2, The Gray Week, Ashy Ash, Roof, Rubble, It carried on childhood, unity and whisperings until before the Islamic Revolution of the year 1978. Also because of his selection, his work in a nine-year active period, from the first song: The Lonely Man, in year 1970 until his last performance until the triumph of the Islamic Revolution, The Whispering in year 1979; Thirteen works because he did not do what he considered to be content appropriate, and he did not always believe in being an artist on the scene under any circumstances and providing any kind of work, and because of the many celebrities of that time in the field. Poetry and music worked; but overall, there is a unity in the content of his works, which is why Was. He also married Puran Golph in the late 1970s, who lived with him for the rest of his life.
He held concerts at home and abroad until year 1978, and the victory of the revolution, and the following day, on 23 bahman 1978, Siavash Kasrai sends the song of Unity to Esfandiar Monfaredzadeh, and on the same day Farhad’s voice praised freedom and Freedom resonates on national television, in fact Farhad Mehrad was the first singer to be heard after the revolution. But after the Revolution, she was banned from work until finally, in year 1994, his album Sleeping Awakened was released, which included several Persian and English songs. In this album, he had just compiled his Persian and English songs by playing only one instrument, the piano he himself played, for the first time in such a way that it was possible to sing a musical in its simplest form, playing only one instrument. , Such as playing the piano or guitar, was done by him, which remained consistent in his concerts. In the same year, he performed his first post-revolution concert in Cologne in year 1995, Germany, the first Pope concert to be allowed abroad after the revolution. In year 1997, his album Vahdat was also released by an anonymous person, including songs from his 1970s. He also performed a concert at the East Tehran Hotel in 1998 and released his album Snow.
After the publication of his latest album, called Snow, he sought to create an album with the name of the amine, which made songs from different countries and languages. However, since 1999, his illness was very intensively. He was infected with hepatitis C disease and in the consequences of its liver complications in June 2002, he went to the French Lille and died in the same year after a coma in the hospital, at 1 a.m. on Saturday, at the age of 59, and on September 4 in the graveyard of the (110 piece, Row 7, Stone 23) was buried in Paris. After his death, his collection of works and documentary films such as: Amen, the Snow, and the Fridays of Farhad, were published from him.
The Music Center of Ministry of Culture and Islamic Guidance on September 2, 2002 He died in a memo’s note. The text of the notes was as follows:
Farhad, a music artist of Iran, who tolerance to farewell to a period of mortal disease, is one of the artists that the history of Iranian music will place his name in the number of social roshangran of Iran. His voice with hymn: Unity is immortal for the people of Iran, when people seek to enlisted a savior for their spirit and body toward wisdom with fascination, he introduced Muhammad for his people Oalamgham. Name and forgot. The lesion passed him to the Iranian Art society, especially the music community of condolences, and called on the Lord the joy of his soul and the survival of the survivors of life.
A group of professional pop producers also issued a condolence statement to the public, especially the artists. The statement read:
Death is not the end of pigeons
The lonely man closed his luggage and sang; he traveled far and wide. She embraced his childhood to experience immortality, and in this great way, his companion for many years became his Ashi Monsie sparrow. The whisperer of the unity and messenger of the pride of a nation, finally found a ceiling without a dream and dreamed, and under the debris of the soil, he prevailed. Farhad, the lonely, lazy, lonely man in the endless alley, drew snow on white and masked mirror light in the dirt, and walked away. Goodbye comrades gray days and weeks, goodbye.
The Iranian publishers ‘and publishers’ assembly released a statement on the pretext of his 40th birthday
Farhad, the screamer for freedom, faith and consciousness, breathless and lustful, eventually led the shock of death to visit his friend. It was an exemplary freedom, an exemplary symbol of humanity, idealism, and artistic commitment that, at the very moment of its artistic life, one did not look down on the pride of despair and let the larynx of reading speak for the beauty, consciousness and emancipation of the people. He has never fought for fame and fortune from the height of thought and awareness of the level of box office and stereotypes and deceptive elements, and many who, at the beginning of their filthy dawn in the art world, regard themselves as slogans with the culture of thought, They hunt for opportunities and steal the hearts and minds of executives and peoples, and when they are named and gained market prosperity, they are kicked off with dignity and overturned by the nobility, never masking their filthy face. Necessity and opportunity, along with popularity, did not go down the need to fight the reputation of artistic poverty and contentment, and the banner of serious art He thoughtfully kept contemporary Iranian contemporary music alive until his death at the height of his unmatched ambition.
In the year 2012, with the efforts of the artist’s wife, a museum of his personal belongings was opened: The Farhad House at the Cinema Museum in Tehran, Valiasr Ave, Ferdows Garden, to host the artist’s lovers. The artist’s home in Hall Three is a cozy corner where his voice is heard more than anywhere else, and in this cozy corner, some of his works, including: Chocolate, The black neck scarf he wore in many of his performances was part of his personal library. Glasses, watches, pianos, guitars, and handwritten manuscripts as well as his personal Quran are another part of the museum’s exhibit. Behind this house is an old and beautiful courtyard with tiles and a blue pond that blends this artist’s sound with water music and geranium flowers and white lilacs that fill the space.
The singer’s wife says about remembrance of Farhad’s house in the Cinema Museum: Here is Farhad’s real home. I feel Farhad here and I hope that someday or not I will stay at Farhad’s house and his lovers come here and renew their memories. It should be noted that the design and implementation of Farhad House was done by Behrouz Gharibpour, director of theater and cinema.
The singer’s wife says about remembrance of Farhad’s house in the Cinema Museum: Here is Farhad’s real home. I feel Farhad here and I hope that someday or not I will stay at Farhad’s house and his lovers come here and renew their memories. It should be noted that the design and implementation of Farhad House was done by Behrouz Gharibpour, director of theater and cinema.
All of the songs that he came up with were in their present language and somehow in the language of people and society. He was loyal to Aref Qazvini and regarded him as the first poet to speak social poetry. He was also interested in other poets of poetry and literature. Long storyline: I love you and I love you, Mehdi Akhavan Saleh’s song by making changes to himself and the violinist movement; Dr. Mohammad Reza Shafi’i’s song was selected as a song to perform with his own changes. He was also interested in the works of classical western literature, including the performance of Richard II by William Shakespeare, translated by Dr. Hussein Elahi Gomshai. His devoted and responsible look at poetry and song made his vision of music a professional and, in fact, the sanctity of music. Music was sacred to him, and he reached God through humility. Music, in his view, was mystical, not kind, and thus sought music for the transformation and crystallization of the soul. He needed his Lord’s secret music. A deep sense of Buddhism and mysticism, rooted in his love for religious music in the classical western style of the earth. He believed in good melodies and music, but not in a way that diverted the listener’s attention from the word. His voice expressed his grief and protest, and, as Dr. Elahi Qomshai said, he did not close his eyes, and that scream was a cry from his whole being. His scream was a scream of love and humanity, and finally, as he wished, he would go on forever in the summer and say good-bye to the sands of summer. If the dominant songs of that day could be summed up in anger and sadness, his voice would, moreover, evoke a diverse set of emotions: from horror to doubt to epic. His obsession with selecting poems and his clever reading of those songs was his departure point for equality and separation from his peers. More importantly, the unity and homogeneity of the unique meaning that can be traced back to his work, from the original English songs to the Snow album. This homogeneity and consistency in his co-authored work is hardly noticeable at times, and at times we find surprising astonishing heterogeneity. His varied and thoughtful approach to literature can be found in his songs based on works by Khayyam, Nima, Shamloo, Khoi, Akhavan Saleh, Shafi’i Kodakani and Western and Eastern literary texts, from Shakespeare to Russian texts. In addition to reflecting social upheaval and social criticism, his songs have a philosophical and ontological look, apart from formalism and dominant centrism of pop music of the fifties. He was well aware of what he was reading, and his work had a clear relation to a distinct and thrilling thought. The secret to the sustainability of all his work is nothing but a heartbreaking blend of youth: youth without youth.
It takes years to get a proper definition of his singing style. He was not only good at picking poems, but also very good and contemplative in choosing the right music to suit the mood of his own voice, and in declamation he uttered every word of his poetry and every word he read. In a way, the meaning of its composition would have been different. His performances have to be listened to several times to find the appeal of his voice and his reading. His ability to perform concerts, which included playing the piano at the same time, should also be considered. This can be seen in the performance of another singer, such as Elton John. He was also very keen on singing foreign songs and doing whatever he wanted, changing his taste, composing and singing style, and in fact applying his taste to the work better than that. Whatever it was. He has read many songs in various languages and also has songs in Persian. However, when he reads in other languages, including English, French, Italian, Armenian, etc., and when he reads in Persian, he had his own way of dealing with words. “I always insist on knowing the song in a different language first, translating it first, and if I find some words unfamiliar to me, I will find out what the meaning of the song is and second,” he says. Being very sensitive when I read a song in Farsi, which is my native language, the way I like my audience to hear it only once and be able to understand what I’m saying. ”So one of the important ways of the song is His reading in his Persian and non-Persian works is the correct way of pronouncing words so that he reads Apart from his music and words in his songs the listener sits respectful of his larynx and Nmyfshard them to join up with songs they kill.
In the words of others
Dr. Hossein Elahi Ghomshei says of this artist: “He can be considered a member of the Daud school because he has no lids. Someone who whispers Romanian memories twenty years ago and still travels with us seven hundred years ago and in Maulana, also loves the story of the deacon and reads Goethe’s poems, expanding his perception and emotion. Shows that the scream that you were making calls out of his whole being. It should also be noted that the works he presented were all Unique.
Manouchehr Islami, a trumpet player and a former member of the Black Kats band, says of the artist: “He was very well educated and educated. And while we were there, at least ten, twelve prominent poets, as well as well-known poets like Nosrat Rahmani, Yadollah Raii, and songwriters like Iraj Janati Atai, etc., came to poetry and literature with He sat down for a discussion and he responded to each and every one of the so-called Yankee was all littered with information about his literature and interpretations of various poems. Farhad was not a jerk at all, but if he did, he would say interesting things. Also Sa’adi’s Golestan was almost out of preservation, so he used to exemplify Golestan in his words and there was no poem he could not come up with and could not interpret, especially Hafez’s poems. He was a genius who can no longer be found in Iran. Of course, most people recognize him for his minimalistic features and musical style, but he had characteristics in his work style and behavior that, if revealed to the public, would have a higher status than what he is in public, and this was a great cruelty to him. He was right. He was also never proud of his work, which has many fans today, and even wished to avoid it if he could, but he was satisfied in a way that he should not be vulgarized in his work.
Actor, playwright and director of the theater, Mahmoud Ostad Mohammed, wrote in his memoir of his relationship with Farhad Mehrad: “The news of his death separated me from me and said that I could not write to him, and that it was not from Ada and Attar. I no longer have the patience to speak, and I take my wisdom from whatever is silent. Farhad was a musician and a music theorist. He played the piano and guitar well. He knew classical music from the Renaissance to the twentieth century, but in the field of modern music he had a profound knowledge, a keen sense of direction and a keen eye for western music as well as traditional music, and of course he was a singer, but I was a musician and I had nothing to do with his singing style, though it was less common day to day to remember each other. I was still a teenager when I heard the voice of his. A young man who reads but does not read like others. It doesn’t make a sound. Like many hairstyles and hairstyles, she does not show off his look. She does not regret the memories of moonlit nights and crazy willows and delusional kisses. He respects people’s ears, nerves and intelligence. He sings lively and lively, plays live and present, and with his eloquent stretches of music screams out of stitches and bones. He cries out from under the rubble of the drowning, and a little later whimsical than Coco Saray. On the same day, I heard his on the radio for a minute. There was talk or no other program, but he was talking. He was talking about the Brotherhood’s blind owl and the Brotherhood’s winter, and I kept waiting: “He? Singer singing the songs of Ray Charles and Sadness alone? Kuchini and winter hopeful singer? Surprisingly, I had never heard a pop singer talk about Iranian literature and also about Iranian political history. The question became obsolete until I saw him for the first time in the Firouz café at the table of Muhammad Astim four years later. At the time, we were attracted to Austin and it wasn’t easy to get along and talk to him. In vain, he would not break his loneliness, and he would not sit with anyone, and he would not enjoy the pleasure of free speech; Their friendship is outdated and Farhadi along with Austam is not a singer at all. He is intellectual, he is ill, he is literate. He talks about Baihaqi prose, gifted me with the English text of Samuel Beckett, and reads a sura of the Quran from memorization. The next day, I was surprised to hear about Akbar Meshkin. Mashkin said, old father! Farhad is much more than you know. From that night onwards the years of sympathy, compassion, and spending began, and I saw, as it were, no matter what the mundane, the unmistakable name and ambition of the common beast, it didn’t break the need. In all those years he could have easily, not just sold his intellectual history, only made a fortune with a little mortgage, but he could not. He didn’t want, he didn’t sell, he wasn’t a salesman, not even a curtain of his voice, a pang of compromise. One time he said, I can’t read and sing a love song under the spearhead, never read it. He was a singer but did not use singing privileges. He sang social songs that were considered political but were not hereditary. Like many bragging boats, he would not open a political shop and would not expect any hat from himself to laugh at, even for the hat that was worn by others. If you find the Friday tape of that time, not the Friday after the Revolution, the print of the fifties, you will find that the songwriter has dedicated his song with a political awe to Dr. Ismail Khoi, the composer, who has bravely dedicated his song to Gholamhossein Sa’adi and he offered his voice to Dr. Salihizadeh, who was the most famous physician for quitting addiction in those days, in order not to lose his doctorate. Mocking string! Which he founded on those baseless beliefs. I have said before that in all the fifties, I have witnessed only moments of the essence of his being. In our midst, his astonishment was greater than his patience, why? Why doesn’t anyone know him? can not hear? Doesn’t fit? Why do past listeners, admitters and endorsers insist on not hearing him? For example, Unity became the song of the year. Could his voice resonate in the nightstands of street trenches? But it was. This was impossible and he could not get a license to sing for the Unity Anthem.
In a recent interview with ISNA, Babak Bayat, in shahrivar 2002, the composer, said: “People’s pain is a community and a poet or songwriter should talk about their people’s pain, but it’s easy to say no to people’s pain.” Unless he was among the people and did not speak of the sadness of the people. In another part of his speech, he also highlighted Farhad Mehrad’s place in Iranian music over the past few decades and said: “I have spoken about him wherever I have lectured. He was an introvert, but he had his place. Some have made the point in the horn that when Fardin died, all the people would mourn his death, but no one was affected by the artist’s death to diminish his importance. The reason for this is quite clear. Now that you can find at least a few Ferdinand movies everywhere you go, Ferdinand was popular with the general public. But Farhad belonged to a specific group of people. He belongs to the educated and intellectual community of our day and today. Fardin was owned by 95% of the population, but he was owned by 5%.
Veteran poet Alireza Tabaei, at the unveiling of the song collection: A Pain in My Name, referring to Farhad Mehrad on the type of song Yian Kasd:
It seems to me that the song was divided into three branches: the first of these kinds of vulgarities, which became known as tulips. The second type occupied the majority of the songwriting space, but was more of a stereotypical type of soul hadith, and phrases such as ma’am, ma’am, dying, and similar combinations. Alongside the second branch, a third type also emerged, with Parviz Vakili the most common. Nouzar Parang also has some nice things to do. But overall, the latter had a larger share and made up the body of the songwriting stream, whose songs had more repetitive meanings. But for example, the songs that Farhad Mehrad sang were different.
About this artist, composer Toraj Sha’ban Khani, says of him:
I liked Farhad’s ideas a lot, Farhad was a fun artist, and if anyone was sitting and talking to him five minutes ago, you would know he didn’t belong in this world. He was a special person, he would pick up the guitar at four in the middle of the night and sing. After Farhad’s death, I felt it was our turn. Farhad was a role model for our generation. After that, it was no longer possible to go back to the old ways. He drove us for many years and raised the expectations of the arts from music. From then on, we had to weigh ourselves with his intellectual and committed standards. He brought protest music into the community and allowed us to discover and apply new perspectives on Iran’s modern music horizon. He was also very unique, and not only in his music but also in his moral qualities. For example, at that time, even if the rich people invited him to a party and paid a good wage, he would not accept the invitation and would not go. I also have to say about the songs that were made for him because he was a musician and theorist of music; he must have had his say in his music, especially the songs made by Monadzadeh because he had the most songs with him and somehow There was an agreement on what the song should look like.
Khosrow Lavi, publisher of his songs in the years before the revolution, says:
I was very much a reading person and a book reader, and I had never seen such a thing among the readers of that time, and always had a plate full of books, and the whole time we were working together never talked about money. If I was working with other readers first, a contract would have to be specified. Also, although he was not a religious person, he went to solitary confinement and prayed while we were working until the morning and approaching the morning of Azan.
Dr. Ismail Khoi says about this artist:
It was an aura of social thought that formed in his personality and singing. We all know him as a social singer, not someone who’s just read to entertain people and make more money. Farhad’s voice is one of those kinds of sounds that you can never confuse with another.
Composer Esfandiar Monfaredzadeh, also congratulated the artist on a birthday anniversary.
Happy Faraday Day, the day of human love.
(Honest human body to John Admitt / Not this nice dress, Adam’s badge) We know some have treated this bit as follows ((Honest human body to John Admitt / No! This is beautiful Adam’s bad dress)) Farhad Tan. If Farhad gained the fame of love, he would try to ignore the pillar of ignorance. Farhad was in love. Love, if it is in your life, you will not go after others. It is the flow of love that can make the world free and prosper. A world worthy of humanity. It is tame, after all, love to make the world beautiful, so happy Faraday Day, the day of human love.
Shahriar Ghanbari, a songwriter, also wrote a memorial in his memory after his death:
The man is the only man! To become a person, to become a myth, to reach a peak, to blur the spectacle of a story, one must die. The man became only a man and a myth. Guilty mourners again point one finger at each other to say, “I am innocent, it was you who did not take his hand, you were the one who was let go, and they went to bed quietly. Our national memory is pure, artistic memory. Nobody remembers anything. What you did is not important, what you did not matter. One goes again and we throw a bunch of rotten flowers at his feet. On the waves of the Internet we picture it, we write poetry, we tear, we cry, we become light. Not all energy is used late. But if he were alive, he would be in pain. I loved you so much and went home with a song. When I was sixteen, I was standing on a radio station. Tehran Radio Friday Morning, Music Voice Program, Produced by: Houshang Qanei. I was its author and announcer. He was standing facing me and scribbling black and white paper. In a quiet voice … like a short sleep … There was a man and a man. He gave me a smile and the next day he stared at the sky. Farhad was clean, he was clear, he was thin, he was calm and he was wise. Farhad was the best, he was the best. Then it was Friday. New Victory Friday. Amna Aghasi turned down and Esfandiar went to jail, and I arrived at Gray’s Alley in Twenty-Five Alley of Mohseni in the alert and well-mannered backyard. Evin interrogators thought that the song was written by Esfandiar! So did the last whispers. A poem that floats by the sea. Esfandiar wrote the music. But he didn’t go to the studio. Esfandiar Monfaredzadeh went to America and I stayed in England and Farhad. Passing by and then I was sitting in front of the camera once again when news came that Farhad was gone; and then all of a sudden I didn’t catch up and still don’t know what to do with this Baktay passion. Farhad was a love that will never be repeated, so simply – and now our greatest – these scandals shed tears on his shoulders, read a sermon, preach and take pictures for the press and Farhad laughs up or down. Just like the moment when man’s poetry was being read alone. Sohrab knew that death was not the end of the pigeon, and Farhad knew that he would be born again. It is uninterrupted by the gray weeks of the now full-fledged Phoenix whose spacious shade spells us wisdom, and I write myself, Farhad goes, others go away and every day there are artists who are erased from memory. The word artist is big enough to be understood, but unfortunately it has never been and never will be or is there hope for change? There are days and nights when my voice is repeated in my ears and there is a scream in my ears. The scream that came from the depths of his being. I loved and loved Farhad, and all the artists of this border and canvas who once blazed beside me and now the flame is gone. Farhad went on and on in the tomb that is really the tomb, he still has a pleasant smile on his face, where he is no longer known by his name but by his grave number. This is the end of us all. How do we feel when we forget? Farhad was forgotten, just like the others. Forgetting is sad. Tears flow from my eyes. I am afraid that when we are buried, no one will be forgotten. To be alone, as Farhad was alone, as I am today. I look up in the mirror. Farhad’s voice fills the room. The door opens; Farhad comes; his usual smile hangs on the wall of my room, and it’s him who screams. I see my face in the mirror / Tired of lobbying myself / Who is this stranger asking for me / He staring at me or I staring at him, locked in my room. he has gone. It is me who is still looking in the mirror and tomorrow we will be looking in the mirror. I finish my note with Farhad’s usual word, which was all he said at the end: In the hope of rain and peace.
The songwriter also says in another interview about the characteristics of the singers he has worked with:
I was the only serious person I knew from work with past readers on Farhad. He was a very serious man, very hard working. Don’t be afraid of a serious word. That is, we do not think he is a brute and I do not know that he is brutal and just wants to punish no, he is not quick to complain about what he has done and says I should do a better job. He was also in no hurry to present his work, and we just had to get him in trouble because he was often unavailable and offered something. For example, I remember going to Avar’s house for a song and suggested this song to his and she liked it a lot and even decided to make his own song. I love this work too because it is Farhad’s first experience in composing on a difficult poem that I found difficult to compose. It was going to be recorded soon, and I wanted it to be done as soon as possible. But he was so cold about giving it a go and it was not in a hurry that one day I and Andranik, the regulator, came to him in the bath and forced him to do it. He was not a materialist either. I remember we were looking for an investor for a song on Friday, and no one found it, so one day we went to a company where the manager offered us a very significant amount and agreed to publish our work, but all at once Farhad He was furious and said why would you give us such a sum if it was not clear whether the sale would go away and whatever we insisted we would not accept the offer and left the place. I also have to say that he was exactly like what we all have in mind today because many people are unfortunately not like their image, like many love sounds that are not themselves like these slogans. But Farhad was precisely himself, and the years I spent with him and the songs I had with him were very valuable to me. He was a very professional singer who did the job right when he got into the studio until the work was done, and most of the work he read in English was far better than its original performance, an exception and an accident that is repeated. It won’t. I have always loved and loved him.
“I never think we’ll ever see someone like him in music again,” says Shahbal Shabpareh, drummer and co-founder of the Black Cats band. He was not just a voice, a character and a knowledge, a phenomenon that came and went. One day, Ms. Ghahramani, the owner of a Kuchini club, came to me and said that I was there a few nights ago where I saw a boy playing guitar and singing beautifully and asked him to come here today. That guy came over and asked him to play a song with Ray Charles, and he was a fan of Ray Charles, too, so he sat down at the piano and I played the drum to play that song. When he started playing the piano and reading, I had trouble believing it because he played the piano just like Ray Charles did, and without interruption, he would play the piano just like Ray Charles did, and I said to him, you sound like Where did you bring Ray Charles, and then we put together a quiet Georgia song, and no one would believe that somebody was singing this way in Iran some fifty years ago. Members of the Black Cats also referred to him as a glossary on the go because we asked him anything we wanted.
In a press conference, Fereydoun Shahbazian, a composer and musician who was once scheduled to attend the Farhad Music Festival, revives Farhad’s memory after years of saying:
It takes years to get a sense of his singing style. Apart from his good taste, he was adept at selecting very good and contemplative poems and thinking about choosing the right music that would suit the mood of his voice. It may be said that his performance was such that no other singer could perform such songs as he did. From the point of view of declamation it was really unique, and when you heard it, you would realize that every word of his poetry and every word he read was utterly meaningful, in a way that was not ineffective. It may be years before we can define his style, but if you ask me, she says she was a romantic. Do not forget that his brilliant performances have to be heard several times to attain the charm of his voice. With all its beauty and charm, one must commend his ability to perform concerts in which he also played the piano. His work can be found in other singers such as Elton John and others. He was a singer who never came to life, who even performed foreign songs in a very thoughtful and unique way and left memories for me and others. It’s good to say about his brilliant performances, which have to be heard many times, and they had some really appealing performances. He was manipulating everything he wanted to do, in terms of composing and melody, and actually applying his own taste to doing it better than it was, and it was great to say that we We lost a dramatic and magnificent tenor singer.
Alireza Miralinkhi, a journalist, says about the artist:
Interestingly, the pre-revolutionary artistic life of Farhad was perhaps no more than seven years old. Seven years of hard work, it became a wave among the people that did not subside even after his death. This wave was initiated by someone who had not been in a wave of controversy and wave in any period of his life. He was more arrogant than anyone else. Farhad’s tide arose not from the controversy and the whirlwind, but from his oneness in music. Reading was an excuse for him. An examination of his work shows that reading was never his profession. He was an explorer, and he pursued a quest for dignity and purity. Silent in his life, his tide is high and steady today. Farhad is alive and still among us.
Mehran Zinatbakhsh, producer of the snow documentary Farhad Mehrad says:
He was a singer and songwriter of truth. Flag of the new season of protest song in Iran. I found his in the movie Reza Motouri with the single Man’s Song. He was one step ahead of his community. He saw the suffering of the community and suffered from it. The snow movie is made for him and for him and his lovers. This film is a love story about Farhad Mehrad. Sharing emotions with him, things like loneliness, isolationism and protesting tone brought me closer to him. I found myself in this character and it happened very unconsciously and spontaneously making this documentary.
Works
Production Year/Works/Poet/Musicians/Explanations
1969 – Single man-Shahyar Ghanbari/Esfandiar Monfaredzadeh-Movie: Reza Motori
1970 – Fri-Shahyar Ghanbari/Esfandiar Monfaredzadeh-Movie: Goodbye Pal
1971 – Mirrors-Ardalan Sarfaraz/Hassan Shambzadeh
1972 – weary-Touraj Negahban/Mohammad Aushal-chain
1973 – Captured by the night of Abbas Saffari Mohammad Oushal
1973 – Monfaredzadeh Ahmad Shamlou Esfandiar
1974 – week grey Shahyar Ghanbari Varjean
1976 – The small sparrow-Ashashi-Metelli remains from old – Esfandiar Monfaredzadeh
1976 – Childish-Shahyar Ghanbari/Esfandiar Monfaredzadeh
1977 – Shamlou 2-Ahmad Shamloo-Esfandiar Monfaredzadeh
1977 – Friday for Friday (2)-Shahyar Ghanbari/Esfandiar Monfaredzadeh
1977 – Ceiling-Iraj Jannati Ataei-Esfandiar Monfaredzadeh-Film: Fish die in the soil
1977 – Rubble-Shahyar Ghanbari/Farhad Mehrad
1978 – Vahdat-Siavash Kasraie/Esfandiar Monfaredzadeh
1979 – Bassar-Shahyar Ghanbari/Farhad Mehrad
1993 – Sleep on awakening-Juan Ramon Jimenez/Farhad Mehrad
1993 – B. Banafsheh-Mohammad Reza Shafiee Kadkani (with Farhad’s changes) -Farhad Mehrad
1993 – Imagination-William Shakespeare-Farhad Mehrad
1993 – Love You-Mahdi Akhavan sales (with changes from Farhad)-Farhad Mehrad
1997 – Snow-Nima yooshij (with Farhad’s changes)-Farhad Mehrad
1997 – Gandhi-Gandhi/Farhad Mehrad
1997 – Robaiat Abu Sa ‘ id Abu ‘ L-Khayr-Farhad Mehrad
1997 – When I was a child-Esmail Khoei (with changes from Farhad)-Farhad Mehrad
1997 – Inscription-Fereydoon Rahnama/Farhad Mehrad
1997 – Dark Night-Vladimir Agadand-Farhad Mehrad
1997 – Sahar Morgh-Malek Malekoshoaraye Bahar-Farhad Mehrad
1997 – Lady Tress Hanan, Nazem Hekmat (with changes from Farhad)-Farhad Mehrad
1997 – Ice Flower-Oscar Hemit II-Farhad Mehrad
He was also a home record of a Kark song and a poem by Mehdi Akhavan Sales as well as a house recorder, who was released for his passion after his death.
English Works
Late Farhad Mehrad has recalled many songs in non-Persian languages, which are only available as recorded.
– Live performances in Kunchinese five-minute catch
Take Five
– Live performances in my Chinese
I put a spell on you
– Single-track studio before Iranian revolution Romance Love
Romance of Love
– Live performances in the colorful TV show 50
If You go away
– Home record of the 70 decades come down
Come down Jesus
– Homemade recording naturally again only
Alone Again naturally
– Snow album release Year 2000 Ice flower
Edelweiss
– The implementation of video in national television of 40 days holiday
Holiday
– Live performance in concert outside Iran’s 70 my Heart
Unchain My Heart
– Visual performances in national television of 40 seven rooms of nostalgia
7rooms of Gloom
– Home recording in the decade 60 song of Master
Master Song
– From the Sleep album in awakening release year 1993 those days when I was young
Yesterday when I was young
– Single-track studio before the Argentine revolution Don’t Cry Me
Don’t cry for me Argentina
– Visual performances on national TV of the 40 world that we are known
The World We knew
– Single-track studio before the Sunrise Revolution and sunset
Sunrise / Sunset
– Live performances in Kunchinese again
Together Again
– Homemade recording in the 60 single male decade
Solitary Man
– Live performances in the decade 70 and from the Sleep album in awakening release year 1993 yesterday
Yesterday
– From Sleep albums on awakening release year 1993 Wind Mills Mind
Windmills of Your Mind
– Live performances at Kuchinese Love was good for me
Love’s been a good to me
– Homemade record of the decade 60 Linay Sad
Sad Lisa
– Single-track studio before the California Dream Revolution
California Dreamin
– The implementation of a video on the national TV of the 40 in the House of Sunrise
The House of the rising Sun
– Live performances in the 70-decade concert
Let it be
– Single-track studio before the revolution you were a friend
You have got a friend
– Home recording of the 40 decade I will be in the album from Rahbani
I’ll Be There (Damita Jo)
– From Sleep albums on awakening of release year 1993 not let me misunderstand
Don’t let me Be Misunderstood
– The homemade record of the 70 decade like a sad song
Like a sad Song
– Decade 60 Burning home recording
Suzanne
– Soul I believe in the national television of the Decade 40
I believe to my soul
– The home recording of the 40 decade in the album of Rahbani You
I Call You
– From the Sleep album in awakening release year 1993 Hey, that’s not what you say goodbye.
Hey, that’s no way to say goodbye
– Homemade record of the 60 working decade
Handyman
– The implementation of video on national television of 40 with no where can I go
Where can I go without you
– Home recording of the 40 decade in the album of Pain Rahbani
Hurt
– Homemade record of the Decade 40 on the album of Rahbani only Stroll
Walking alone
– Visual performances in the national television of the 40 decade
You’re just about to lose your clown
– Homemade record of the decade 60 all About me speak
Everybody’s Talking at me
– Live performance in the sympathy Chinese
Sympathy
– The album of the Sleep in awakening with the Persian word 1993 release Jamboree
Good Fantasies
– Live performances in Kunchinese moment to moment
Moment to Moment
– Live performances in Kunchinese when the sun comes down
When the Sun comes down
– Home recording of the 40 decade in the album of the Rahbani of Rigby/familial English name
Eleanor Rigby
– From Sleep albums on awakening release year 1993 melody from the abandoned paragraph
Unchained Melody
– Live performance in Komchinese U. System
You won’t love Me
– To French, single-track studio before the revolution Yes
Qui
– In Spanish, home recording in the 40 decade and from the album of Rahbani Nobody Likes me
Nadie me Quiere
– To German, live performances at the Cologne German concert in 70 joy for all
An die Freude
– In Armenian, home record in 60 years without a comrade
Ոչ Ընկեր
– Russian and Farsi spoken, homemade record in 60 dark night
Темная ночь
– Romanian song No word, just run goofs difficult Romanian song
Romanian Song
– French, home recording in the 40 decade and I live from the album of I live here here
Ci JE vivrai
