Gregory H. Aslani
Persian Classical Arrangements:
Fusion of Comtemporary Music and Persian Classical Music
Contemporary Style Musicians:
Persian Classical Modes:
Avaz-e Dashti, Dastgah-e Shur, and Dastgah-e Chahargah
The second version of Beyond Solitude is an evolution of the
version which was written and performed in early 2010, with a later
rendition of different version, Beyond Solitude II, peroformed in May of 2011.
In this latest
version, the composer, Gregory H. Aslani, has added much more harmony and a far smoother
fusion of contemporary (tonal/atonal) sounds with
a specific style of microtonal Persian Classical Music. The performance
draws upon from two groups of musicians: Western Contemporary and
Persian Classical, who begin a two way communication. Compared to the
Beyond Solitude II portrayed a much closer collaboration and polyphony
between the two elements of the fusion. The current version is a modified
version of Beyond Solitude II with yet more polyphonic interaction between
the two groups.
The first movement of the piece, although written in contemporary spirit, has
been immensely influenced by Persian classical melodies. It symbolizes the
onset of a dialogue in the contemporary musical language with a Persian
inclination to speak to the Persian Quartet. In response, the Quartet will
debut its 24-division well-tempered interpretation of the Deilaman Gousheh of
the Persian Classical Avaz of Dashti. This is followed by a dialogue back and
forth in the two dialects inspired to communicate with slight variations in
style. The contemporary musicians take note from the rhythmic piece portrayed
by their Persian counterpart, in the mother Dastgah of Shur to transit, in
form, into tonality, which is in turn more compatible with the Dastgah of
Chahargah. At this point, when Persian music responds with its interpretation
of the opening of Chahargah (Daramad), in the contemporary style an expression
is conveyed with its gained insight of the dialogue, only to cut short at
times to listen and gain more insight.
By the end of the piece, the comfort level increases to a level of confidence
that there is no hindrance in speaking each side's dialect. In fact the
conclusion proves that the two styles, with a slight flexibility, can coexist
in harmony and provide a positive level of dialogue without having to set aside
their respective originalities.
Synopsis (by Davood Rahni):
Inspired by his life-long integration of Eastern and Western
cultural experiences, Greg Aslani has composed this musical piece
as played through the dialogue of the two groups of performers.
Persian sound (Iranian traditional microtonal scale) and Western
contemporary sound are synergistically intertwined to create a
peaceful ambiance of Persian music and the message of peace.
During the first interlude, about four minutes in duration,
flute, the harp, and the guitar create a bridge between the East and
the West. Persian music is then progressively played by
Daf, percussion and
vocal performance of the Noavaran Ensemble
(www.NoavaranEnsemble.com) in conjunction with
the recital of a poem by Davood Rahni. The latter
performance is interspersed with flute, harp, and guitar. The finale is a true convergence of both ensembles.