Oriental lute makes comeback on Iran music scene

TEHRAN (AFP) – The Oriental lute is making a comeback in Iran after decades in the shadows as musicians reconnect with an instrument integral to Arab and Turkish musical tradition in a fragmented region.

Known as the oud in Arabic, it is commonly called the barbat in Persian, although some would argue the instruments differ slightly.

“The number of (oud) students has increased considerably over the past 15 years or so; before a known teacher would have had a dozen students whereas today they’ll be about 50,” said 35-year-old oud teacher in Tehran Majid Yahyanejad.

Forty-year-old musician in the Iranian capital Noushin Pasdar made the same observation.

She started teaching the stringed instrument “about 23 years ago” after graduating from professional arts school, known as honarestan in Persian.

“At the time, most of my students were old, really old. Now they’re more on the young side,” Pasdar said.

Iranian luthier Fatemeh Moussavi works alongside Sepehr Hasankhani at her oud-making workshop in Tehran. PHOTOS: AFP

“We only knew the oud as played in Egypt and Iraq. We knew nothing of the oud in Turkey. But today we know it’s also played in Syria, Kuwait and Jordan.”

Yahyanejad noticed young Iranian oud players were “taking more interest in Arabic and Turkish culture… and Turkish, Arab and Iranian musicians are becoming friends on the Internet”.

The barbat has been around for centuries and it takes up a whole chapter of the Shahnameh (Book of Kings), written in the 10th Century.

Iran and Syria are lobbying for the manufacture and playing of the oud to be added to United Nations Educational, Scientific and Cultural Organization’s (UNESCO) “intangible heritage” list.

The barbat had fallen out of Iran’s classical and traditional repertoires, with (other) stringed instruments such as the setar, tar, santur and kamancheh given preference.

But in the second half of the 20th Century, a man named Mansour Nariman introduced oud instruction at the honarestan and published the first Persian-language manual on the instrument, Yahyanejad points out.

Nariman, who died in 2015, had been drawn to the “warmth” of its sound, at a time when the Arab oud did not even figure on Iran’s musical periscope.

In the absence of any teachers back then, Nariman taught himself and wrote off letters to Egyptians he had heard playing the instrument on the radio.

He received a reply from one of the biggest names in Arab music, Mohamed Abdelwahab.

Many years later, Mohammad Firouzi, a student of Nariman, recorded several pieces of music with the undisputed maestro of Persian song, Mohammad-Reza Shajarian, who died in October.

Among them were masterpieces such as Aseman-e Eshgh in 1991, Aram-e Jan in 1998, and Ghoghaye Eshghbazan in 2007.