● Birthplace: Amol
● Died: 7 September 2016 in Tehran
Biography
He was a distinguished master of persian music and a pioneering Tar musician whose prolific career brought remarkable achievements to Iranian music and the art of the country. He is one of three sons in Dr. Sharif’s family, a prominent Tehran physician. The favorable family atmosphere provided him with the opportunity to grow healthy and learn original music, and in their living environment the pressures and prohibitions seen in many families of musicians and some artists were bitterly remembered. His childhood has coincided with one of the most sensitive times in history, both politically, socially and musically. During this period (1945 – 1933), authentic Iranian music was once rejected in the reign of Reza Shah and European classical music education was delivered at the country’s official music schools and once arose with the reign of Mohammad Reza Shah and social freedoms. Out of the chaos of society and engaging in World War II (1945 – 1939), the same music was excluded, flourished and flourished, and social developments in Iran, or better yet, Tehran, brought new insights and new spaces to music. An Iranian was emerging. As a teenager, he chose Tar as his favorite instrument. Of the great artists of his generation, no one became a vocalist, and this is one of the exclusive features of noble culture. The era of tar in Iranian music ended after the era of Mirza Hosseinqali and Darvish, and after the discovery of their disciples: Nine Davood, famous Musa, Ali Akbar Shahnazi, etc., turned into a musical scene in the mid-1941s. It was a handmade instrumentation, lower than violin, piano and crane.
About a decade later (Decade 1961 – 1951), when young musicians born in the 1936-1926 years were featured on Tehran Radio’s music programs, along with names such as Parviz Yaghhi, Habibollah Badiei, Hassan Kassai, Jahangir Malek, Homayoun Khorram. , Reza Varzandeh and many others, it was only the noble culture that played the tar. The rest of the Tarnavazans, other than those raised at the National Music School, went the other way, such as Houshang Zarif, or from a previous generation, such as Shapur Hatami, Lotfollah Majd and Jalil Shahnaz, or children at the time. They went through elementary education, such as Mohammad Reza Lotfi, Dariush Goldi, and so on, as it was said, it was the age of the violin, and the sound of the bows of the students of the master class of Abolhassan Saba and the master of Hossein Yaghhi was the dominant sound in Tehran music.
Sadly, Sharif’s culture has spoken less about Shahnazy since his education because he was an artist who did not like to talk about himself because of his inherent natural humility and humility. Listening to Abdul Hussein Khan and Sharif’s plays proves the student’s influence on the master. But this influence is not easily apparent, and has happened in the subconscious of our famous musician. Master’s playing posture is much faster, and his sentences, more closely related to the classical class, indicate the kind of nervousness and compactness and the aggressive, fast-paced spirit that derives from his personal personality. While the music of his disciples, according to the music of his time, provided by the radio provided the music player with a much wider timepiece and thus a much quieter tempo, the sentences are relegated to classical order. Moving within the framework of Iranian originals, techniques such as squeeze, longitudinal and transverse vibrations on the wire, long silences, resonance of a wire whistle in the space of silence, unlike the old musicians who tried to fill their space. And stacked up with the sound of tiny, single strings, and finally using some of them It is the long and direct encounter of the musician with the microphone and its sound features. These are the peculiar and inexplicable characteristics of noble music and culture; and the intrinsic and indescribable character of his art, understandable only by sympathetic hearing, is the warmth, intimacy, and long trance that lovers of noble, fascinating, and hospitable culture, The effect for a listener who loves this music is that it will ring in their ears and brains for hours after the end of their musicality, making them happy and sweet.
When Abdol Hussein Shahnazi died, Farhang Sharif’s was fifteen years old and he had to continue learning. Unfortunately, very little is known about his years of education, and one of the sources quoted him as having used the master Ali Akbar Shahnazy and the mastermind of Morteza Ney Davood, two great musicians in years 1941 – 1951. But what his plays show is that the young nobleman – from the very early years of his youth, the beginning of the decade 1951, the golden years of radio music and the era of flowers (Asre Golha Program), gave way to arbitrary playing and expressing his personal feelings to He has found an unpretentious and free form, and his honesty has guaranteed his durability and popularity. He is also one of the few musicians who owes not his fame to composing, singing and accompanying female and male singers, but solely to solo and improvisational art that is the most difficult area for a body to come to terms with. He is an Iranian musician. Noble culture has made many pieces for the web, mostly in the form of creative improvisations. Some of them have been written by a distinguished artist, Mr. Houshang Zarif, and Mr. Mohammad Reza Gargizadeh has published them. His songs are well-liked by the singers, but his recognition is only tarnished by his improvisations. The only true lover of his life.
He participated in various radio, television and art festivals of Shiraz during the years 1977 – 1952. His vocalist was ubiquitous and has maintained lovers among Iranians around the world. One of the most beautiful examples of his playing is the first live Mahmoudi songwriting program ever remembered by Mahmoudi’s lovers. There were also performances in the Flower and Green Leafs program, and in particular at the Rudaki Hall Year 2, along with Hossein and Asadullah Malek, Mohammad Mousavi and Mahmoudi Khansari, and Amir Nasser Ophthalm, whose focus and transparency on the stage was surprising. After the revolution, he also emigrated abroad due to the unfavorable conditions that existed for music in the years before Imam Khomeini’s historic ruling was issued. His life, along with the artistic Iranians who were young and old with his music, enjoyed prosperity, but Sharif could not live without Iran, and would never forget his nationality, music, and language in any part of the world.
Upon returning to Iran, which continued on occasional trips abroad, he established a private teaching class and was invited as a guest musician in university classes. Dr. Simin Daneshvar recalls that during her years of teaching aesthetics at the University of Tehran, during the eighth year, he sometimes invited Farhang Sharif to knit students in aesthetic classes, and he was also very humble and kind. He accepted and came.
He recorded several tapes in the US and Iran. The secret of Farhang Sharif’s in life and music was an inner mystery of his kind nature. The noble and generous human spirit of the nobles of his Farhang Sharif and his heartfelt heart is a jewel that was less unique among Iranian musicians.
Elsewhere he says: From his childhood he had a keen interest in music, so that when his father used to cut pieces of string once, he would come to mind and play the same pieces. One day, when his father was not home, he took the compromise and started playing. When the father suddenly came home and saw his son’s talents, he encouraged him and took him to Master Ali Akbar Khan’s classes. From the age of four, he learned music under the influence of his father’s education of music and the movement of musicians to their homes, especially Abdol Hossein Khan Shahnazi, brother of Haji Ali Akbar Khan Shahnazi, and of his father’s specialty being a pharmacist with art. He also socialized, winning special interest. He taught tar to masters Abdul Hossein Shahnazi and Morteza Neydavood, the great players of tar of the late Qajar and early Pahlavi era, but his style of music was not similar to his teachers. He is known for being a renowned soloist and improviser of Iranian music. At the age of twelve, he successfully performed his first live single on the radio, followed by singers in most flower shows as a singer. One of the most important and pleasing styles of tar is his. He invented a completely different sound from the strings he made in finger-strapping and strapping in different parts of the strings, which many believe is the most beautiful sound produced by the strings. He has also made very delicate and beautiful melodies with his unrivaled talent. The use of blurry capacities in diverse voices, deliberate silence, the creation of sentences without row formats, short and effective answers, the skillful execution of a variety of elongated and transverse stretches and strokes rooted in Iranian violin methods, relying on free imagination and the ability to create positions. During the soloing and creation of various proprietary tunes, he is a prominent feature of the art of Farhang Sharif, in that his style and style of playing is unique to him, and no instrument other than his own has ever been heard.
Farhang Sharif traveled to the United States for several years and had a professorship at prestigious universities there. He had a doctoral degree in art, equivalent to a doctorate, awarded to him during Mohammad Khatami’s presidency. He was invited by the Center for the Preservation of Eastern Cultural Heritage at the Museum of Art in London to hold a research concert as well as to organize a specialty workshop. In addition to performing a research concert, the tour outlined the features of the instrument in two sessions. Students and enthusiasts welcomed the concert. Farhang Sharif has conducted research concerts in Germany and England. He performed with Mohammad Reza Shajarian in various concerts in Iran and different countries.
The Story of His Life
When I was four years old, I found out that my father was a trainer with Ali Akbar Khan Shahnazi, and in those years he was trained in chest-to-chest methods, usually teaching long-awaited lessons to students. One time when my father was playing one of these tracks, he forgot to continue playing while he was playing, and I told my father without a introduction: Sir, this is the continuation of the song you were playing, and then I started to read more. Income. My father asked me to read the sequel from beginning to end. And I did it without any mistake and since then I have been recording my father’s voice recordings and getting help whenever I have trouble. When my father realized my talent, I learned to play the instrument with Abdul Hussein Shahnazi, Ali Akbar Shahnazi’s brother. Not all the sounds coming out of this instrument come from any other instrument, and I managed to get more than thirty kinds of sound out of it.
Mr. Khatami was once contacted by the President’s office and I was given a time to meet with him. During their visit, they asked about my situation, including: Are you getting paid somewhere? I said no. They said, ‘Did you get your first class badge?’ I said no. In the end they said what do you expect from me? And I said, meeting you was the best gift for me and God give me this art that is the highest gift and I don’t see myself in need. And then Mr. Khatami told the then Minister of Guidance: The only person who did not ask for anything during my eight years of service was him and they ordered me to donate a first class art badge
Works
– I want to go to God’s house – Poetry: Leila Kasra (Hedieh)
– Numerous works in the Golha program with the singing of Banan, Akbar Golpayegani, Iraj
– White hair – with the song of Akbar Golpayegani
– Bazm Asheghan – with the songs of Iraj and Akbar Golpayegani
– Homayoun – Golhaha program with Mohammad Reza Shajarian
1984 – Payvand Mehr Album – with the song of Mohammad Reza Shajarian
– Lovers album
– Beloved’s passion album
– Karshmeh album
– Isfahan album
– Mehr Afrooz album
– Saz and Nova album
– Sedreh album
– Nazanin Yar’s album
2003 – Wounded Album
2004 – The Album of Romance
2005 – Emerald Album
2009 – Ah Baran album with the song of Mohammad Reza Shajarian
2012 – Cheng Orang album 1 and 2
– Bahar Bahareh Album – Composing the album and Tar Solo
