● Birthplace: Gorgan
● Died: 2 May 2014 in Tehran
Biography
He was a composer, musician, composer, prominent tar and string player, as well as a researcher and teacher of Iranian traditional music. He was one of the most influential figures in Iranian music, and after the victory of the revolution, he created works such as: Iran Ey Saraye Omid (House of Hope), The Caravan of the Martyr, the Brother of Restlessness and Love; It had a profound and unforgettable effect. He was the founder of the Chavosh Cultural and Artistic Center, the Sheida Group, and the Mirza Abdullah School, and trained many artists, including the Kamkar family, Majid Derakhshani, Sedigh Ta’rif, Hamid Motebassem, and Hossein Behroozinia. He also played the harp, the fiddle, the daf, the reed, and the santur. Master Mohammad Reza Lotfi was born into a cultural family whose parents were both teachers. His mother was from Gorgan and his father was born in Khalkhal, and since he lost all his family to cholera due to the spread of cholera, he was sent to Rudsar with a relative. His parents married Reza Shah at a young age, when they were engaged in teaching, and all married single teachers were required to marry within three months, and taught for 15 years in Turkmenistan. Lotfi’s mother pursued and continued her teaching career, and according to Lotfi, she also taught the Qur’an. But after a while, his father quit his job as a teacher and started a business. Lotfi introduces his parents to music lovers, and adds that his father was also a singer and musician. He believes that his father’s voice was similar to Mirza Zallali’s, but with a louder ring. In addition to Lotfi’s father, his brother was also a tar player, both of whom became acquainted with the instrument through a friend of Lotfi’s father. Master Lotfi has said: “He grew up with his brother’s string and was more influenced by his brother’s string playing than his father’s cultural life.”
The late Lotfi completed his general education in the same city of Gorgan and moved to Tehran at the beginning of his youth to learn the instrument. He first enrolled in the night classes of the Conservatory of Music, and then went on to the daily classes. His acquaintance with Hossein Alizadeh and Dariush Talaei is also related to this time, that is, the first year of his presence in the Conservatory of Music. He studied music for five years in the open classrooms of the Conservatory of Music, with people such as Ali Akbar Shahnazi and Habibollah Salehi. During his high school years, he went to the Saba Orchestra at the invitation of Hossein Dehlavi and worked as a string player. In 1343, he won the first prize for young musicians. After graduating from university, in the academic year 1973 – 1974, under the supervision of Mohammad Taghi Massoudieh, and with his dissertation on Iranian vocal music – Isfahan and Tabriz schools, he received a bachelor’s degree from the Faculty of Fine Arts in Tehran and began teaching there. In 1974, he became a member of the music department of the Faculty of Music, and for a year and a half he was the director of the music department of the Faculty of Music of the Fine Arts of Tehran, until he finally resigned from this position. After entering the university, he went to the Center for the Preservation and Dissemination of Music, and at that time he also used people such as Noor Ali Boroumand, Abdollah Davami, and Saeed Hormozi to learn vocal and instrumental lines. However, he soon left the Center for Preservation and Dissemination, which is said to have been due to problems between him and Dariush Safvat, the center’s director at the time, over Lotfi’s beliefs. Arshad Tahmasebi’s believes that Lotfi left the center because he had deviated from his original path and left. Lotfi, however, maintained his relationship with Noor Ali Boroumand and remained loyal to him.
Lotfi, also played the classical violin with Tar at the same time, and according to him, at the age of 23, after leaving all the teachings of the row, the colors, the beats, and the…, he left Iranian music to go to Western classical music. Go and study in the United States. So for a long time he only worked in the field of Western classical music, and playing the violin. He himself narrates that after a while, one day his eyes fell on his set, which was hanging on the wall of the room, and out of nostalgia with this instrument, he took the setar and started playing. He adds: As soon as I applied two nails to it, tears welled up in my eyes. I have seen that Western music never gives me such a state. He said that after this incident, since he needed Iranian music, he decided to focus only on Iranian music, and to bring classical music only as a support in his mind.
Master Mohammad Reza Lotfi, had gone to Sanandaj with his Danesh Corps during his military service, and at the same time he became acquainted with the Kamkar family and married Kamkar. That Omid Lotfi is the result of this marriage. Of course, Lotfi and Kamkar’s beauty eventually separated. Lotfi’s official career began in 1971, although he had performed on stage in Sanandaj and Gorgan several times before. After leaving the Center for the Preservation and Dissemination of Music, he went to the radio and, with the support of Houshang Ebtehaj, was recruited by the organization. And take it to the radio. Lotfi took to the radio, Houshang Ebtehaj, who was in charge of the radio’s music at the time, a composition he composed years ago on one of Rumi’s poems. The song was eventually approved by the radio, and arranged by Javad Maroufi for the big radio orchestra. This was Lotfi’s first work and it was broadcast on the radio in 1975 and 1975 under the title: Fresh Flowers No. 126. In this program, Lotfi himself was in charge of the string solo, and Nasser Farhangfar performed the ensemble. Prior to this program, artists who even fully memorized one of the rows of Iranian music were very rare, and performing the program based on row sentences was unusual. Lotfi, however, based his monologues on the program on a series of sentences, which were considered a new move at the time. From then on, there was a deep division among music lovers over Lotfi’s style of work, some who were deeply fascinated by his work, and some who denied the beauty of his work.
After Lotfi joined the radio, Houshang Ebtehaj, who had received a separate budget from the then director of the Radio to promote Iranian music, asked Lotfi to form a group and produce works on Iranian music. The first members of Lotfi’s group were the Kamkar family, Zaydullah Toloui, Hadi Montazeri, and the dervishes, Reza Manzami. At the request of Ebtehaj, the group recreated the compositions of the past, and since the first work produced by this group was composed by Ali Akbar Sheida, they named the group Sheida at the suggestion of Ebtehaj. Of course, the foundations for the Sheida Group were laid in 1972 by Mohammad Reza Lotfi and in collaboration with Ali Akbar Shekarchi, Hossein Jamei, and Nasser Farhangifar at the University of Tehran, but the group’s official activity began in 1974 with Houshang Ebtehaj on Radio Iran. Master Houshang Ebtehaj, in order to better introduce the work of this group, founded a program on the radio called: Anthology of the Week, which aired every Friday morning. This program had a great impact on introducing Iranian music to young people, and attracting them to Iranian music. The enthusiasm that was created among the people for learning and playing the strings at that time increased the price of the strings from two tomans at that time to fifty tomans; In other words, according to Ebtehaj, Lotfi made Tar more expensive.
In 1975, in the music festival of Shiraz Art Festival, together with Mohammad Reza Shajarian and Nasser Farhangifar, he performed the right of Panjgah, which received a lot of attention. The right instrument of Panjgah was known to the ancients as the last technique, and in fact it was the last instrument used by masters to teach a musician or singer. Prior to the performance of this work at the Shiraz Art Festival, it had been many years since any piece had been performed on this instrument, and in fact, this device had been abandoned. The reason for not running on this device was that it was difficult to learn; Because on the right side of Panjgah, the supply is much higher than other devices, and for this reason, great care is needed in learning and implementing it. This performance, according to Arshad Tahmasebi’s, is still the best benchmark for measuring the works of other artists in instrumental and vocal performance. Tahmasebi says this was the first time that listeners listened to the instrument until the end, without feeling tired. In addition to special audiences for traditional music, the performance also attracted the attention of a wide range of audiences. Arshad Tahmasebi attributes this attraction to Lotfi’s regular performance, and believes that Lotfi, by removing the usual superficial ornaments of those days, manifested the inherent depth and essence of Iranian music.
In addition to Golchin Hafteh’s radio program of Sheida’s work, the band also performed concerts in Gorgan, Tus, and Shiraz. At the Shiraz Art Festival, where the band Sheida performed with Nova’s instrument, sung by Mohammad Reza Shajarian, Lotfi first used the Daf instrument in Iranian traditional music, played by Bijan Kamkar. The instrument had previously been played only in Kurdistan and Khaneghah, and was unknown to most Iranians because they believed it should not be played for the unmarried. Daf has a special place in Iranian music right now, but he was practically unemployed before Lotfi introduced it to Iranian music. Lotfi was introduced to this instrument during his stay in Kurdistan. Since he couldn’t bring Daf to Tehran with himself, he says, he learned to play the instrument himself, and decided to incorporate Daf’s sound and rhythm into various forms of traditional music such as pre-dance, ballad and even some pieces. Enter a row.
Members of the Sheida band were preparing for a concert in Year 1978: Aref’s memory was in Moscow on September 9th of the same year that the 8 September 1978 (17th shahrivar in persian date) events took place. Lotfi says that he himself witnessed the events. The day after the incident, he said, when he arrived at the radio building to practice, he encountered guards stationed in the radio building to hide from the public eye. Lotfi said he was shocked to see the scene, and after announcing Nebajaj’s concern, that he could not work as a musician on the radio station of the Armed Forces, and intended to protest. 17th shahrivar, resign from the radio. Lotfi notifies the group of the decision he made, but urges them to continue their work. But ultimately, with the proposal of Ebtehaj, who believed that if Lotfi resigned alone, it could be dangerous for him and could arrest him, all members of the Shida group resigned together. The letter of resignation of the Sheida Group was written by the handwriting of Mohammad Reza Shajarian, and was sent to the radio and television chief executive a day later. Houshang Ebtehaj also resigned a day later independent of radio and television.
After the resignation of the members of the Sheida group, Aref Group, which was formed shortly after the formation of the Sheida group, with the same goal of re-reading the works of the past with the support of Ebtehaj and composing by Hossein Alizadeh and Parviz Meshkatian on the radio; He resigned from radio and television in protest of the September 8 incident. Since then, the Sheida group and the Aref group, which joined them after their resignation, have continued to operate independently. Lotfi’s basement was a place where the two groups would gather and perform revolutionary songs against the Pahlavi dynasty. These performances were sold by the band members themselves after being recorded and reproduced in the same basement. The songs were recorded in three stages. In the first stage, these anthems were recorded without instruments and in chorus so that the members of the group would not be identified. Then, Hossein Alizadeh re-recorded the same performances with a mandolin and choir, and finally when the bases of the Pahlavi dynasty were weakened, the same performances. It was recorded and reproduced as a group play in the studio, the first product of which was the anthems: Nightingale and Freedom, which was later renamed Chavosh 2.
Some time later, with the addition of other musicians to the group, Lotfi’s basement no longer had enough space. To solve this problem, Houshang Ebtehaj provided the group with a large three-story building, which he named after the Chavosh Center. According to Zaydullah Toloui, since Hussein Alizadeh had just joined them, Lotfi had asked him to get permission from the center in the name of Hussein Alizadeh, so that he could keep him in the center; Finally, a license was registered in the name of Hossein Alizadeh. Houshang Ebtehaj took over the management of the center, Lotfi became the chairman of the board of trustees, and the management of the school was handed over to Hossein Alizadeh. In addition to playing classes, the Kanoon School section had three singing classes, each run by Mohammad Reza Shajarian, Shahram Nazeri, and Nasrollah Nasehpour.
The works of Chavosh Center have an important socio-political position and have created an important change and progress in the field of traditional Iranian music from a musical point of view, which has an important impact on both style and performance: playing and singing, and the type of approach to a piece. As a whole, music has contributed to the way the orchestra is painted and sounded, and in particular to the effort to use the polyphonic technique in traditional Iranian music. Hossein Alizadeh says: “These works were new experiences in Iranian music, which had no precedent before, and we were not taught anywhere that Iranian music can be a service to society in addition to the music of the circle;” And that’s what society itself taught us. Lotfi, in Chavosh 2, which was the first work of the Chavosh Center with the influence of the political atmosphere of that day in the Iranian society, used the same instrumental music and instrumentation and song by making changes. For example, in addition to choosing revolutionary lyrics, he used the declamation tool at the beginning of the work, and also by making changes in Shajarian’s singing, contrary to the usual custom in traditional singing, instead of starting the performance from the income, the song from The peak began. Lotfi also used a small drum in the Azadi anthem, and in repetition of the poem, he replaced the voice of Shahram Nazeri with the chorus of a group. In addition, during Nazeri’s singing, instead of answering the song according to custom, the group performed a percussion song in the background of the song, which later became his own trick, and has been repeated many times in other people’s works to this day.
Then 12 albums of Chavosh; Officially, 10 albums have been released, including: Chavosh 1, Chavosh 2, Chavosh 3, Chavosh 4, Chavosh 5, Chavosh 6, Chavosh 7, Chavosh 8, Chavosh 9, Chavosh 10, Chavosh 11, and Chavosh 12; Among these albums, series 2 to 8; Influenced by the political atmosphere of that time in Iran, they were made with clear references and metaphors to the events, individuals and political groups of that period. In addition to these activities, on Thursdays every week at the Chavosh Center, solo or symphony concerts with Tombak, called educational concerts, were held and recorded in front of a limited crowd. The purpose of these concerts was to create a space for a solo experience, and Lotfi himself played in these gatherings; One of his solo performances in these gatherings was released on the Bayat Isfahan song, on Chavosh 8 album. Tahmasebi’s master considers this monologue to be the most beautiful monologue in the history of Tar, and Keyvan Saket introduces it as a unique piece. Houshang Ebtehaj says about this solo play: No musician has done this before him, not during his time, and probably not after him, and he can’t do it. Officials at the time eventually blocked the release of music tapes at the Chavosh Center and closed the reproduction room. But Lotfi circumvented the law with a certain delicacy and published a cassette in memory of Darvish Khan. Lotfi wrote on the head of this cassette: Private tape for music lovers (non-reproducible), price 150 Tomans. He also released the album in memory of Taherzadeh in the same way; In this way, others such as Ataollah Janguk and Zaydullah Toloui also released their music albums in the same way.
Mohammad Reza Lotfi, who played the strings all the time while playing the strings; But the first time that Lotfi’s three songs were officially heard was in 1983, at the same time as the release of the album in memory of Darvish Khan. Ebtehaj had asked him eight years earlier to publish a work with three plays. The release of this album sparked a lot of enthusiasm among young people to learn the three; To the extent that the three teachers of the Chavosh Center, which included only Lotfi and Mohammad Firoozi, could not afford to train this number of applicants, the teachers of the Center’s Tar team also eventually began teaching the three students.
Before the revolution, the Sethtar instrument was an abandoned instrument, which for years was played by only one prominent musician: Ahmad Ebadi. In the first performance he released with Sehtar, Lotfi followed the same path as before with Tar. He had laid the groundwork for his playing, combining it with the chamber music, in a normative way. He was more influenced by Abolhassan Saba in playing the setar than anyone else, and he had little inclination to play Ahmad Ebadi. The album, in memory of Darvish Khan, was the result of Lotfi’s eight years of hard work on the Sethtar instrument, which had extraordinary results. Lotfi later used the same method of playing setar in his performances with the setar instrument outside of Iran. Another noteworthy feature of Darvishkhan’s album was that Lotfi sang for the first time on the album.
In 1984, most schools and music centers, one after another; They were closed and sealed. At the time, Lotfi was unable to perform a concert, release an album, or even give classes. In those years, according to Arshad Tahmasebi’s, no one could even carry an instrument with them. Thus, Mohammad Reza Lotfi could no longer bear to stay in Iran; And he, who had once vehemently opposed Majid Derakhshani’s departure from Iran, was forced to leave Iran himself. Lotfi first traveled to Italy to give a concert, which some believe settled in Europe after the trip. But Arshad Tahmasebi believes that Lotfi spent a few months in Iran after his trip to Iran, given the activities he had with Mohammad Reza Lotfi that year, and the dates recorded by Lotfi in his office. Italy traveled, and this was the second trip that led to his stay in Europe. The Chavosh Center continued its activities some time after the visit of Mohammad Reza Lotfi and Hossein Alizadeh, who had gone to Europe before him, but finally during the visit of government officials to this center, due to the absence of its director and privileged Hossein Alizadeh. , This place is sealed; And the Chavosh Center was practically closed in 1984. Lotfi went to the United States in 1986 after the dissolution of Chavosh after many trips to Italy, France and Germany for concerts. In addition to numerous concerts across the United States, he founded the Sheida Art Cultural Center in Washington.
Mohammad Reza Lotfi, returned to Iran in 2006 and continued his artistic activity by training students in the school of Mirza Abdullah’s house and registering works in Avae Sheida Institute. During these years, by taking and preparing programs for recognizing music and the history of music and broadcasting them on Radio Farhang, he took another step towards acquainting people with Iranian music. The soundtrack of Haji Washington’s film is directed by Ali Hatami and directed by Mohammad Reza Lotfi. This film was made in 1982. He co-authored a novel with the improvisation of Tar, along with the improvisation of the novel The Great Key, by Mahmoud Dolatabadi. According to Mahmoud Dolatabadi, the revised text of the novel had been submitted to the Ministry of Guidance for a license by a third-party publication in early 2004, but in the end, according to Mahmoud Dolatabadi, the work was not licensed for publication.
Lotfi, had the experience of collaborating with singers such as Taj Esfahani, Gholam Hossein Banan and Shajarian, as well as singers such as Shahram Nazeri, Hengameh Akhavan, Sediq Tareef, Mohammad Golriz and Mohammad Motamedi, who were introduced to the music community for the first time by Mohammad Reza Lotfi.
Sheyda Year Book
From the early decade Seventy, a book entitled The Book of the Year was published in the efforts of Mohammad Reza Lotfi. Until decade Ninety of this book entered the book market, the subject and contents of the book contained the articles collected by Iranian musicians as well as articles translated in the music. Mr. Lotfi gave music a research paper in every number of books. The book at any time was sometimes published by different publishers. The book cover plan of Morteza Momayez.
Sheyda Art and Culture Institute
With the return of Mohammad Reza Lotfi to Iran in 2006, the cultural and Artistic Institute of the new era began its activities. The cultural policy of this institute was designed by Mr. Lotfi, the artistic and executive Director, and its purpose was to produce artistic music from any kind. Apart from the works of Lotfi, a randy song had the artistic productions of other artists in his agenda.
Sheyda Women Group
After returning to Iran, Mohammad Reza Lotfi launched the group of Randy Women and performed concerts with the group. Some members of this group were: Nazanin Bazargani, Pouya Laei, Katayoun Malek Motiee, Tina Pirhadi, Elmira Nasiri, Azadeh Shams, Farima Movafaghi, Hengameh Mashhadi ALASL, Sanaz sattarzadih, Sepideh Meshki.
Mirza Abdollah House School
The free School of music or the school of Mirza Abdollah, a pedagogical institute, was founded in 1993 and under the supervision of Mohammad Reza Lotfi. The school of the House teaches Iranian vocal training with its historical method i.e. breast to breast (oral). The content of the courses on the based of Mirza Abdollah Farahani has been identified under the name: Text and row margins, and in addition to the training of the row to the technological progress and students ‘ playing technique, it is also considered as a method derived from the row. Mr. Lotfi was trained by many disciples and taught him as one of the greatest instructors in music. Among his disciples can be called such as: Ardeshir Kamkar, Hamid Motebassem, Majid Derakhshani, Sedigh definition, Bijan Kamkar, Arshad Tahmasebi, Maziar Shahi, Hadi Montazeri, and Zeydollah Toloui.
Mr. Lotfi, was married with Ghashang Kamkar and was separated from him in the year 1978. The result of this marriage is Omid Lotfi. Soroud Lotfi is the son of Lotfi, who is the result of his second marriage. Mr. Lotfi was died on Friday, 12 Ordibehesht, 2014 on the effect of prostate cancer at 67 years old in Tehran’s Pars hospital.
Works
– Among the Rigas and Diamonds – Mohammad Reza Lotfi (Improvisation of Tar) – Ehsan Tabari (Poetry Reading)
1976 – Jan Jan – Mohammad Reza Shajarian – Avae Sheida – The ninth album of music from the collection of 12 albums of Chavosh, performance of Sheida group in Sehgah machine, poems by Attar and Houshang Ebtehaj, related to Tus Art Festival
1977 – Sheida Concert – Hengameh Akhavan Roy (A): Commemoration of Qamar – Hengameh Akhavan and Lotfi
1978 – In Memory of Aref – Mohammad Reza Shajarian – Jahan Music – Performed by Sheida Group, the first album from Chavosh series, performed in Bayat Turk (1977), first with the name of Chavosh 1 (in memory of Aref) Jahan Music and today with the name of Beh The memory of Aref has been corrected and released by Avae Sheida. Considering that at that time Iranian traditional music was in isolation and Western music was more popular in Iran, this work is one of the first works that revived traditional music. .
1979 – Sepideh – Mohammad Reza Shajarian – Performed on Mahour, including the famous Iranian song “O Sarai Omid” (a poem by A. A. Shadow, song by Mohammad Reza Lotfi, voiced by Mohammad Reza Shajarian) It was recorded by one of the concerts of Sheida group
1980 – Love Knows – Mohammad Reza Shajarian – The Heart of Singing – Abu Atta Concert
Chavosh 1–12 Album Collection – Mohammad Reza Shajarian, Shahram Nazeri includes 12 music albums that have played a very important social role in accompanying the most important socio-political event of the last fifty years in Iran.
1982 – Lyrics of Haji Washington Film – Haji Washington – Director: Zande Yade, Ali Hatami
1984 – In memory of Taherzadeh – Siddiq Tareef – Avae Sheida – Maktab Esfahan, in memory of Hossein Taherzadeh, in Sehgah device, Sheida group and Aref group under the direction of Mohammad Reza Lotfi
1985 – Bidad – Parviz Meshkatian – Mohammad Reza Shajarian – Del Avaz – The first part in Homayoun’s instrument composed by Parviz Meshkatian, the second part in Homayoun and Shoor with playing by Gholam Hossein Bigjehkhani
1993 – Cheshmeh Noosh – Mohammad Reza Shajarian – Del Avaz – Performed on the right device of Panjgah, (compound reading)
1993 – Chahargah – Avaye Sheida – Improvisation – String and Singing: Mohammad Reza Lotfi, Tonbak: Hooman Pourmehdi – Performed in Washington, 1989
1993 – In Memory of Darvish Khan – Nasrollah Nasehpour – Avaye Sheida – Softari Software: Lotfi, Tonbak: Nasser Farhangfar, Performed by Nasrollah Nasehpour
1993 – The Cry of the Willow – The Voice of Sheida – Mohammad Reza Lotfi: Tar, Setar, Mohammad Gholami Halm: Daf, Tonbak – Sehgah – Isfahan, 1995 Paris
1997 – The Riddle of Existence – Mohammad Reza Shajarian – Del Avaz – Performed in the device of Shoor device
1997 – Abdullah Davami’s vocal line – Abdullah Davami – Narrated and performed by Abdullah Davami, Mohammad Reza Lotfi: Tar
1998 – Face to Face – Mohammad Reza Shajarian – Del Avaz – Performed in 1977: Hafezieh Shirazi, Art Festival – Nova Instrument
1998 – Direct Panjgah – Mohammad Reza Lotfi, Ali Akbar Sheida – Mohammad Reza Shajarian – Del Avaz – Performed in 1975 (in Shiraz Memorial, Art Festival), 1998
1998 – The Mystery of Love – Avae Sheida – This album is the result of a live recording of a concert by Mohammad Reza Lotfi and Mohammad Ghovi Halam in April 1994 in Copenhagen. In Mahour machine and Dashti singing
Unexpectedly – Mohammad Reza Lotfi, Mohammad Gholami, Abdolnaghi Afsharnia, Omid Lotfi – 1997 Zurich Concert
– Packographer – Mohammad Reza Lotfi: Tar, Majid Kiani: Santour
2001 – One Hundred Years of Tar – Mahour – Excerpts from Modern String Playing
2003 – Commemoration of Master Mehdi Kamalian – Rajabali Amiri Fallah, Mehdi Kamalian Avaye Barbad Avaz and Settar Mehdi Kamalian accompanied by Saeed Hormozi, Rajabali Amiri Fallah and Mohammad Reza Lotfi in 1972, 73, 74 and 1983
2004 – Empty Cup – Mohammad Reza Lotfi, Abolhassan Saba, Mohammad Reza Shajarian – Narrators of Eastern Art – This work was made and arranged in the early 50’s and was broadcast from the program of fresh flowers with the number 77 called: Fill the cup – order Author: Fereydoun Shahbazian, poems by Fereydoun Moshiri and Houshang Ebtehaj
2005 – Salar Qafleh – Avaye Sheida – Nova – Rast Panjgah
2005 – Flight of Love – Avaye Sheida Lotfi: Tar, Naser Farhangfar: Tonbak, Private Performance Summer 1984 – Naser Farhangfar Memorial – Sehgah – Song: Bayat Isfahan
2006 – Silent – Avae Sheida – Improvisation of Setar and Kamancheh in Abu Atta – Bayat Turk, Lotfi, Tonbak: Mohammad Ghoi-Halm – French Radio Concert Fall 2000 – Basel Switzerland Concert 1998
2007 – Memorial of Master Noor Ali Boroumand – Nasrollah Nasehpour – Avaye Sheida – Sheida Symphony Ensemble, Shoor Instrument
2007 – Always in the middle – Avaye Sheida – Improvisation of Tar and Setar in Shoor and Dashti – Cologne Concert, February 1987 – Private Performance of Iran 1983 – Lotfi: Tar, Setar – Mohammad Hashemi, Nasser Farhangfar: Tonbak
2007 – Only One Memory – Avaye Sheida – The result of playing and rehearsing: Mohammad Reza Lotfi and Faramarz Payvar at Houshang Ebtehaj’s house, in 1976
2007 – One Hundred Years of Setar – Mahour – Excerpts from Three Ways of Modern Setting
2007 – Niavaran Palace Concert – Avae Sheida – Performed by Mohammad Reza Lotfi and Mohammad Ghovi Halam on July 6-17, 2007 in the open air of Niavaran Palace
2008 – Mirza Abdullah – Darvish Khan – Alireza Shah Mohammadi, Avaye Sheida – Sheida Women’s Group – Works by Darvish Khan
2008 – Vatanam Iran – Mohammad Motamedi – Avaye Sheida – Performed by Sheida Symphony Orchestra
2008 – Aref Qazvini Memorial – Mohammad Motamedi – Avaye Sheida – Sheida Symphony Orchestra, works: Aref Qazvini, Darvish Khan, Morteza Mahjoubi
2009 – Wings in the Wings – Words: Houshang Ebtehaj – Avae Sheida Tar: Lotfi, Words of Poetry: Shadow, Tonbak: Mohammad Ghoi-Halm – Published on the occasion of the 80th anniversary of his birth. a. Shadow
2009 – O Asheghan – Mohammad Motamedi – Avae Sheida – This album has been performed in Bayat, Isfahan by Sheida Women’s Group, in which Mohammad Reza Lotfi has sung the solo solo and the answer to the song.
2009 – Concert of Sheida Women’s Group – Alireza Shah Mohammadi – Avaye Sheida – December 16, 2008
2010 – An excuse from you – Avae Sheida Mohammad Reza Lotfi: Tar, Mohammad Gholami Halam: Tonbak – American Concert 1996
2010 – Sayeh Jan – Mohammad Motamedi – Avaye Sheida – Sheida Symphony Ensemble – Milad Tower Concert May 2010
2011 – Hazar Mzrab-Nam Nam Baran – Avae Sheida Part 1: Improvisation and Performance Tar: Lotfi, Tonbak: Mohammad Ghovi Halam – Part 2:
2011 – Shabruvan – Avae Sheida – Mohammad Reza Lotfi: Tar, Ahmad Mustanbat: Tonbak, Mehrzad Hoveida: Daf
2012 – Gam Zaman Art – Alireza Fereydoonpour – Avae Sheida – Sheida Symphony Ensemble, the songs are recorded in the studio of a concert called Gam Zaman Art Concert.
2012 – Gam Zaman Art Concert – Alireza Fereydoonpour Avaye Sheida – Video Album, Performance of Sheida Symphony Orchestra, Poems by Maulana, Saadi Shirazi and others. a. Shadow, Live Performance of Art Albums by Gam Zaman, in addition to improvisation by Master Mohammad Reza Lotfi with Ahmad Mustanbat: Tombak and Mehrzad Hoveida: Daf
2012 – Reza Ghali Memorial Mirza Zoli – Sajjad Mehrabani – Avae Sheida – Reconstruction Group of Sheida and Mohammad Reza Lotfi: Kamancheh, Mohammad Gholami Halam: Tonbak – Composers: Morteza Neydavood, Ali Akbar Shahnazi, Habib Samaei, Mohammad Reza Lotfi – Niavaran Concert, July 2007
2012 – The Magic of Silence – Hamidreza Mortazavi – Alireza Fereydoonpour – Avae Sheida – The great group of Sheida’s accompanists, with technical and artistic supervision and fiddle solo: Mohammad Reza Lotfi – Fereydoun Moshiri Memorial
2013 – Wounded Man – Alireza Fereydoonpour – Avae Sheida – Sheida Women’s Group
2013 – Isfahan City Concert – Avaye Sheida – Mohammad Reza Lotfi: Tar, Setar, Nabil Yousef Sharidavi: Daf, Sajjad Mansouri: Tonbak – July 6 and 7, 2012 – Dedicated to Hassan Kasaei
2013 – Sarbadaran – Farhad Fakhreddini – Bijan Kamkar – Saba Studio – The soundtrack of Sarbadaran TV series
