The full text of Master Ghavami's oldest son interview with grandson of Master Hossein Ghavami's brotherQavimi to ISNA report
He recited the poems so clearly that awakened emotions and feelings of
listeners and helped them comprehend meaning of the poems.
Ghavami did not enjoy doing business with his art and became a local
singer at Amir Bahador Bridge Avenue, in Tehran with velvety voice that
inspires the heart and will never be forgotten.
Master Hossein Ghavami, the well-known originally Iranian musician who
served the Iranian music for more than half a century, had constantly
enjoyed a high position, his loving voice is heard at any corner and
alley, and his great voice will never be forgotten from the memories.
One of his unique characteristics is that he sings the poems so clearly
that any audience could understand, feel, and get interested in the
poem. People get close to the connotation of Saadi, Hafez, and Molavi's
poems with Master Gahvami. After the extensive interview I had with
Master Ghavami while he was still alive in 1989.
He was born in 1942 in Tehran. He finished my elementary, intermediary,
and high school in Tehran. Then he went to Italy for four years,
completed my academic studies, returned back to Iran, and started to
work. He got married in 1974 and have a son named "Sasha Ghavami". In
1988 Sasha and he migrated to Canada and he have been living and working
here up to now.
Master Ghavami was active in singing classic Iranian music and was well
dominant on all musical keys. He began to study music and practice
singing with Master Abdollah Hejazi in 1924-1925
Q: Would you please talk about the ethical characteristics of Master
Ghavami? Was he very calm or he was used to talk too much?
A: My father was calm and quiet most of the time. However, when he was
asked to answer any questions or express his viewpoints about artistic
subjects, he would reply properly. In the meantime, Master Ghavami was
very concerned about the behavior of an artist in public sessions and
friends' houses; and he strictly emphasized that the behavior and merit
of an artist shall certainly be observed by all artists.
Q: Would you please tell about the basic and private works of the Master?
A: As you know he had a lot of radio programs and a few television
works. Regarding his private works, a number have been performed in
family gatherings and friendly sessions, some of them have been recorded
by friends and relatives, and presented to us as well.
Q: What were the old musical ethics that he had?
A: He believed that a good music shall be initially created for art and
its artistic values and then it shall be preserved for the present and
future generations.
Q: What did each of the Master's children learn from their father?
A: We learned modesty, serenity, generosity, and honesty from our father.
Q: What is the sweetest memory you have from your father and how did you always see your father inside and outside the house?
A: When I was a child he bought me a bicycle that was the latest model
and after I finished my studies he gave his automobile to me. Most of
the time the Master was humble and friendly inside and outside the
house.
Q: In general, how was his mentality?
A: Excessive respect and love to his family and others in any condition, without reciprocal expectation.
Q: How did he entertain himself when he was alone?
A: He listened to some of the works of the artists and reviewed the books of old and contemporary poets
Q: What was the greatest wish of Master Ghavami in his life?
A: To be health yand success in education and life for his children.
Q:Did Master Ghavami encourage you and his other children to learn music?
A: Mainly, he preferred that we initially focus on our education; and then if we were interested follow-up and learn music.
Q: How did Master Ghavami's artistic merit manifest on you and the other children?
A: Certainly, all these impressions that were initiated from the highly
valuable original Iranian music were honorable for all his children and
even the family members.
Q: What was the viewpoint of Master Ghavami regarding teaching Iranian music?
A: He believed music shall be taught by proficient individuals and music shall diversify with time.
Q: What was the reflex to the death of Master Ghavami in 1987 up to now
that 24 years has passed? Were any memorial ceremonies held for Master
Ghavami in Iran or Canada, where you are residing; or in any European
country that were familiar with his voice?
A: Yes, after Master Ghavami passed away in Iran that you and the other
family members were present, you have witnessed what a great ceremony
was held for him from Iran Mehr hospital to Vahdat Hall and from Vahdat
Hall to Imamzadeh Taher cemetery in Karaj, the funeral service, and the
ceremony in Safi Ali Shah Monastery Mosque.
I received the news from Iran that how much our people are interested in
arts and how compassionate they are. I also saw the film about the
ceremony that my father's body was carried on the shoulders of hundreds
of people and good artists of our country. At this point, I feel obliged
to thank all of them, especially Channel One of the Iranian T.V. that
covered and broadcasted the ceremony held for my father. Regarding your
question about holding ceremonies outside Iran, I have to indicate that
the fans of Master Ghavami held ceremonies for him in U.S.A. Canada, and
European countries. A number of his fans held a splendid Memorial
Ceremony for him in California with the participation of a high number
of artists. Still, sometimes, the radio and television outside Iran
broadcast programs for commemoration of Master Ghavami.
Q: With respect to singing, which singers did he honor and how effective
he was with regard the artistic expertise and brilliance of some of the
singers?
A: In the viewpoint of Master Ghavami, each singer has his own special
style as well as fans. However, the Master favoured Master
Banan,Eghbal, Azar.taj, Isfahani, Shajarian, and Ms.
GhamarAlmolookVaziri, and Roohangiz.Healso had special friendship and
sincerity with the music masters i.e., Morteza Khan Mahjoubi, Mehdi
Khaledi, Ali Tajvidi, JalilShahnaz, Master Bahari, HosseinTehrani, and
Arsalan Dargahi (Master of Sitar)Regarding the second part of your
question,I believe any artist is inspired and motivated by the masters
of his era from the beginning up to the end of his artistic life.
Q: Would you please talk a little about the last days of Master
Ghavami's life?Did his fans visit him and do you remember their names?
A: Unfortunately, I was not in Iran during this period.However, I was
told on the phone that lots of people were constantly in contact with my
mother and Master Ghavami and/or visited them in order to assist my
mother, in case she needed anything. As I could remember, Shahram
Nazeri, late Golshan. Ibrahimi, Messrs. Sarkeshik and Hossein Mesbahi
were always very kind to my father;and you and your mother, who used to
visit and stay with my father, mother, and brother on a daily basis.
The three of them liked you very much.
Q: Would you please talk about the short visit you and your sister recently had to Iran, in February 2012?
A: Yes, it was a short and very busy trip.I have to confess that many
changes have occurred; but I hope the crowding, traffic, and air
pollution will be improved in Tehran.
Q: I asked the son of Master Ghavami to talk about his cousin, Mr.
Masoud Ghoreishi, who is the nephew of Master Ghavami; since I had
repeatedly heard from Master Ghavami that his nephew, Mr. Masoud
Ghoreishi has been very influential in encouraging the Master to expose
his artistic talent more and more. How much do you know about this
subject?
A: As you might know, Mr. Masoud Ghoreishi had a big role in encouraging
the Master in his artistic works; since he was also engaged in music
and worked in the international relation services at the Iranian
Radio.Did you know that a program was broadcasted from Channel 4 of the
Iranian Television and Radio named the Iranian Music and a number of
music professors and university instructors such as Mr. Dariush
Pirniakan and Dr. Shahin Farhat were present in this program. They
talked about Master Ghavami and expressed their viewpoints about him.
Mr. Masoud Ghoreishi was also invited to this program and later on he
was asked to talk about Mr. Ghavami in two radio programs. Did you know
anything about this and have you heard the two radio programs and
watched the television program?
Master Ghavami's son stated regarding the first part of your question,
"Yes, it's completely true" and regarding the second part of your
question, "I do not remember anything about the program in channel 4;
maybe I was not in Iran." Nevertheless, my father had a special
interest in his nephew and Mr. Ghoreishi also had the same interest
towards my father.I believe he played the violin very well and I had
witnessed my father performing some pieces with him very easily.
During the period Mr. Ghoreishi was working at the Radio, he knew Mr.
Davood Pirnia, who was the innovator and performer of a special program
called "The Flowers" and they had a friendly relation. Once, when Mr.
Pirnia hears about the familial relationship of my father and Mr.
Ghoreishi, he requests him to formally invite Master Ghavami to the
Radio. Mr. Ghoreishi invites my father, accompanies him to the studio,
and introduces these two reverend characters together. In the meantime,
during the last years, two radio stations,Radio Farhang and Radio Javan
had some telephone interviews about Master Ghavamiwith Mr. Ghoreishi.
With regard to Mr. Ghoreishi's position, I have to indicate that he
worked at the Radio and his job was to assign duties of the employees in
international communication department of Tehran Radio in 1957 and
1958, check messages received from far away or close distance related to
the sounds of the radio, review the requests of the audiences and reply
to their demands. For example, they received messages that
unidentified sounds were heard on the radio waves in the country where
the audience resided. After checking the matter, they usually found out
that these were religious or similar lectures by independent
individuals; and they would respond to the audience and thank them for
their concern. I should indicate that sometimes the audience who were
mainly from European and Asian countries requested variety of Iranian
music and they fulfilled their wish by sending them a tape of the music
with a briefing about the Iranian music.
Q:I asked Master Ghavami's son what type of music do you like as the
Master's son, who are your favorite singers, and whether you listen to
your father's songs or not?
A: I mostly like Iranian songs, classical and pop music and personally
enjoy the voice of Master Banan, Shajarian, and late more than other
singers; and in relation to my father's voice, sometimes I listen to
him.
Q: I asked Master Ghavami's son to talk about the books that have been published about Mr. Ghavami?
A: A book named "Portraits of the Iranian Music" has been written by Mr.
Shapour Behroozi in the past years about the biography of Master
Ghavami and a number of distinguished artists. I think there were some
other publications too; but unfortunately I do not have detailed
information.
Q: I asked Master Ghavami's son whether he remembered the names of two
youngsters who were among the Master's fans and used to visit him.They
were also interested to be trained by the Master.I had met one of them
who had a very strong voice when he was practicing and used to sing the
song "Where are you the Angle?"with full strength.Do you remember their
names?
A: Mr.Alireza Ghavami said yes, one was "Mazda Ansari "and the other
was" Pezhman-Pourzand";and they used to visit my father, enjoy meeting
him, and practice singing a little bit. I asked do you have any news
about them?
The Master's son replied, as I have heard Mazda Ansari is a composer and
plays the piano. I do not know anything about PezhmanPourzand and
whether he has continued artistic work or is doing something else.
Q: I asked Master Ghavami's son do you remember how many singers have sang your father's songs up to now?
A: After a short pause, the Master's son said as I remember Mr.
Hooshamnd Aghili, Late Ms. Ellahe, and Mr. Mohammad Isfahani have sung
the song "Where are you the Angle";and you have also changed the rhythm a
little and sang the song" Where are you the Angle" Mr. Homayoon
Shajarian, the son of Master Shajarian has sung one of the other songs
of my father named "The Night of Separation".
Q: I.asked the Master's son whether he remembered, that as a child, he
had accompanied his father in private gatherings or when he was
recording a program?
A: Yes, I remember, only once when I was six or seven years old I
accompanied my father when a live program was broadcasting from the
Radio at the old radio station close to Seyed Khandan Street. Since at
that time most of the programs were broadcasted directly, my father
asked me to sit in a corner silent and still, breathe calmly, and do not
cough or sneeze. You could imagine how boring it was for me at that
age. When I was a juvenile, he would sometimes take me along with him
to private gatherings.
Q: I asked whether the Master's family has collected his works and/or published an album?
A: Alireza Ghavamisaid although the subject of Copyright did not exist
in its real meaning before 1979 due to the economic conditions;
nevertheless artists were very flexible towards each other; and there
would be no problem if my father wished to reproduce an album; but my
father did not do such a work due to different reasons. The situation
changed after 1979 and the conditions were different. However, the
Master completed a new work at the studio and it was introduced to the
market.After Master Ghavami passed away his children were not able to
reproduce his works since they were residing abroad and engaged in their
own life and work.The reproducing process was a complicated and time
consuming job, the Master had only a share of it, the rights of other
artists involved in it had to be considered, and this was beyond our
capabilities.
Q: Up to now have any memorial ceremonies been held for the Master by his family and/or the authorities?
A: Due to various reasons it was not possible for the family to arrange
any memorial ceremonies for Master Ghavami. Nevertheless, among the
friends, Ms. Dr. Monir Taha, a poet held a ceremony in Vancouver, Canada
and some other friends in Europe and U.S.A. held memorial ceremonies
for him in the past years. Different ceremonies were held for Master
Ghavami before and after his death by the government authorities and
cultural associations in a wide range in Vahdat Hall and other Assembly
Halls. A ceremony was held by Dr. Hossein Ahmadi in the Institute of
Iranian Culture and Art Supporters in November 1999 that a high number
of well-known artists and masters of music and cinema were present. An
appreciation award and bandolier for my father was presented to his
nephew, Mr. Masoud Ghoreishi. A few other ceremonies were held by the
wife of late Siavosh Zendegani for him and my father, by Dr. Reza Fiazi
for Master Homayoon Khorram and my father, by Mr. Dariush Mir Eskandari
the son of late Ms. Elahe, by Ms. Fatemeh Moayerithe nice of Master Rahi
Moayeri at Ms. Pari Zanganeh's house. A memorial ceremony was held by
Dr. Shahin Azari in Tehran in 1990 and in Denmark in 1992. A ceremony
was held by Dr. Abbas YazdiNejat at the Music Foundation in London in
2001 that he and Ms. Fakhri Nikzad, the famous declaimer of our country
talked about my father, and in 1990 a Japanese lady named Ms. Hanshi Yu
who was visiting Iran for the 11th anniversary of the Islamic Revolution
met my father together with you and my father signed and gave a copy of
the cassette named Sargashtehas a gift to her. Later, she talked about
my father in one of the ceremonies that are annually held in Shangel
Hashen Stadium on May 4thin Tokyo, Japan; and artists from most
countries are present in this stadium. Furthermore, Dr.
MazaKooshiVansha, the famous Japanese violinist who is in the same range
as Yehudi Menuhin, played the piece "Where are you the Angle", that all
the guests present at the stadium were inspired. Then the original
music was played. After the music was finished Dr. MazaKooshiVansha and
Ms. Hanshi Yu, "the reporter of Cati Yuji Yu Shinia music magazine"
asked the guests to keep one minute silence to honor Master Ghavami. All
the guests stood up and after an extensive lecture by them, lighting
candles for the first memorandum of Master Ghavamiin 1990,and presenting
the picture of the Master to each of the guests the ceremony was
finished.
Q: In general, what have you children done for appreciation and commemoration of your father's name and voice?
A: During the past years up to present, the Master's children and
especially I have rendered all our efforts in order to keep his name
alive and get the young artists acquainted with his ethical
characteristics that are a significant part of artistic life. I have not
withheld any cooperation with the social media either in form of
presenting a biography, rare pictures, personal viewpoints, and/or any
other useful information; and I hope I would be able to do some work in
this respect in the future too.
Q: Were any of you, mother and children, active in the field of music?
A: All the children were and still are highly interested in music. But,
unfortunately none of us have entered in to the field of music
Q: How well did the family of Master Ghavami support him?
The Master's parents did not show any interest in encouraging my father
due to the condition of music in that era; and only the Master, himself,
due to his great interest in music stepped forward and continued music
earnestly.
A: Who were the distinguished students of the Master?
In the classical concept my father did not have any students. However, I
am sure that he had a great influence on the artistic works of some of
the artists. In general, I believe inspiration is part of the artistic
life of any artist.
Q: How close he was with other music masters such as Master Khorram and
Master Jalil Shahnaz, how friendly and sincere they were, and how often
did they communicate?
A: Master Ghavami had friendship and communication with almost all the
distinguished music masters and had very close relationship with late
Master Khorram and late Master Jalil. God bless the two dears who have
passed away.
Q: Do you know any individuals or institutions that have reproduced
Master Ghavami's works without the Master's or your permission?
A: According to the law that was enforced many years before the
Revolution and was still effective and operational in 1993, which I
succeeded to find it in one of the national libraries; it indicates that
any work that has been presented to the Radio and Television in return
for a wage, shall belong to the producers of that work 30 years after
the date it was disposed. Unfortunately,the Radio and Television was
using my father's works 30 years after it was produced; and although I
had notified them about this subject, they continued to use these works
in the media and even reproduce and sell them through Soroosh Cultural
Institute; and they have not considered any rights in this regard for
the heirs of Master Ghavami. Regarding individuals, I have to indicate
that legal follow-ups and claims are waste of time and there will be no
achievements up to the time the Copy Right Law, in its real concept, is
approved and enforced by the government.
Q: In this part of our interview I wish to ask you to talk a little about your mother, Ms. Heshmat Almollook Moshiri.
A: Mr. Alireza Ghavami said from the time I remember, my mother was a
devoted mother and loved the Master and the children. She did not
hesitate to render any care and love to us up to the last days of her
life. Particularly, during the last days of my father's life, with all
the problems she had, she took good care of him, by herself, and she
passed away in June 2010 in California.
Q: I asked the Master's son about the relation between the song "Where
are you the Angle" and his mother, since this question was always in my
mind. I had heard a number of times from late Ms. Moshiri that Master
Ghavami had composed and sung the song "Where are you the Angle" for her
due to his great love towards her. Furthermore, anytime we used to
talk about this subject with Master Ghavami, he told me that I have sung
this song for my wife, Ms. Heshmat AlmolookMoshiri. Is this correct?
A: The Master's son said you have referred to a very good point. I
shall say this is right and I had heard from my late mother that the
poem "Sargashteh or Where are you the Angle" composed by
Mr.HooshangEbtehaj, Master "Sayeh", was welcomed by my father to perform
it as this song; since it demonstrated the internal feelings of my
father towards my mother. This is the reason why this album is so
beautiful and impressive for me.
Q: I asked the Master's son whether there were other people who made
extensive lectures in different places similar to "Master Roohollah
Khaleghi" who made an extensive lecture about Mr. Ghavami at Kayhan
Newspaper Assembly in Hall in 1961 or not? If yes, please indicate
their names and if you have any memories or notes from the lecture of
Master Khaleghi, please talk about it.
A: Of course, I have notes from Mr. Khaleghi's speeches and writings in
that year; but I think it would take too long for me to repeat for you.
If you are interested, I shall put them at your disposal. Below is the
complete text of the lecture made by Master Roohollah Khaleghi: The late
Master Roohollah Khaleghimade a lecture at Keyhan Newspaper Assembly
Hall in 1961«about the artistic value and position of Master Ghavami
(Fakhtei) and stated: In recent years despite the past era, the terms
art and artist are very common and repeated by the people and it's a
sign of people's interest in art and artists. However, on the other
hand, in most cases using the term artist has been highly exaggerated.
For example, in the field of music whoever has sung a song and/or played
a rhythm or the bow on a string instrument has been named as an artist.
Here is one of the largest press institutions of our country; and I
have to emphasize that the writers of such newspapers and magazines have
resulted in publication of these type of news. Almost every day,
ordinary articles are published about a small number of those who are
interested in arts and/or those who are not well qualified in arts, and
issues that do not have any relations with art. I believe that from now
on, particularly in this era that people show more interest in
arts, it's better for our esteemed writers to use the term art and
artist in specific cases. For example do not name an elementary student
who is signing a song for his same age groups on TV»as an artist; since
it is very difficult to achieve such a real position in arts and
everybody is not able to succeed. This needs talent, effort, hard work,
continuous follow-up, education. Unfortunately, since the living of
artists are not maintained in a perfect manner in our country; the
number of real artists in our country are very few and.limited.
Nevertheless, fortunately today we are having a dialogue about one of
the artists, with its real meaning. This session is held to praise and
honor one of the elite artists of our country, who could not be anybody
else except Master Hossein Ghavami (Fakhtei)He is one of our outstanding
musicians and almost everybody has heard his loving and fascinating
singing. He is really one of the top flowers of the Flowers Program of
National Iranian Radio. With regard to his artistic position, it's
clear that we do not have more than one or two characters similar to him
in this assembly today. The point that I shall emphasize about Master
Ghavami (Fakhteh) is that he is an artist in the real meaning of this
word; since in addition to having an outstanding artistic position he is
among the distinguished artists with regard to his ethical
characteristics. Due to having a good temper, an artist who enjoys such
attributes is respected in the society; and being shy, humble,
well-tempered and caring are the characteristics that have intensified
his art. It has been always stated that art shall make the artist enjoy
nice behavior and excellent attributes; whether not it shall be
useless. There are a number of artists who are dedicated to ethical
rules, spiritual and moral advantages; and as a result they are
distinguished characters among their friends and associates. Now, its
many years that Master Hossein Ghavamiwith the nickname of "Fakhteh" is
fascinating the radio audiences. Of course, most of the people who have
heard his loving songs have not met him closely; and this is because
still our artists are residing in isolation. This is the first time that
he is performing live at the presence of a crowd. Maybe the reason is
that in the past people did not appreciate the position of an artist as
required; and at present people are more acquainted with arts and the
importance of the position of an artist. Therefore the Cuckoo of our era
does not sing in the ruins like the period of Omar Khayyam; rather
appears among the crowd and presents his art to serve the society. I
thank this great Master for accepting my invitation and coming to the
Assembly Hall of Keyhan Newspaper.
At the end Master Roohollah Khaleghi stated: Ghavami will not be
repeated and no one could be a Ghavami."Then he thanked all the artists
and guests who had attended the ceremony including Mr. Hossein
GholiMostaan, the director of Iran Radio - Master Banan - my mother, Ms.
Heshmat Almolook Moshiri – Master Jalil Shahnaz – Ahmad Ebadi – Ali
Tajvidi – Faramarz Payvar – Farhang Sharif Parviz .Yahaghi–Homayoon
Khorram – Ms. Azar Pazhoohesh, Ms. Roshanak, and Ms. Fakhri Nikzad who
were among the best declaimers of our country–Ms. Foroogh Farokhzad, the
poet and Master Ahmad Shamloo, the poet.
Several ceremonies have been held for my father similar to the lecture
of Master Khaleghi at Keyhan Newspaper Assembly Hall in 1961,that you
read it above. But I was very young in those years and strictly
studying for the university entrance examination and entering a
university. Therefore, I did not pay attention to other issues and I
learned about this lecture some years later; and I did not have any
information about the people who attended this ceremony up to present.
You were well informed about the persons who were present at the Keyhan
Newspaper Assembly Hall and I put at your disposal whatever I had about
the lecture of Master Khaleghi. I shall mention that in 1999 at Hafez
Hall of Kish University a memorial ceremony was held for Master Banan,
Master Ebadi, my father, and Master HosseinTehrani. These were all the
information I had with regard to your question.
Q: I asked Master Ghavami's son did you have an interview with any
publications either in Iran or Canada prior to this interview with me?
A: The Master's son said yes, a newspaper in Iran named Bashir had an
interview with me in 2000 about my father; and this is the most recent
and longest interview with me in 2013 by your good self. I think this
interview will be very interesting for the newspapers and magazines.I
told him, I think it is a very good interview. However, let's see what
will be the viewpoints of the publications that would like to publish
this article.
Q: I asked Master Ghavami's son whether or not the press have any
interviews with Master Ghavami during his trips to Afghanistan, France,
or other foreign countries? Did any of the newspapers and magazines in
1946,when the Master had just started his artistic work have any
interviews with him? Did the Master talk to you about this subject?If
you know, please indicate the names of those publications and tell me
whether you have seen or read any of them?
A: As I indicated before, due to the long period of my studies, my job
position, and residing abroad; unfortunately I have missed many of these
artistic events, particularly music, and my knowledge in this regard is
very limited. As my father has told us, at the time he started his
artistic career in 1946, the newspapers and magazines were not in the
same shape as they are at present time. Maybe only one or two pages were
published. Of course, as my father has indicated, some newspapers and
magazines had interviews with him; but I do not remember their names and
do not know where they are.
Regarding the second question about the new newspapers, I am just aware
of a number of interviews with my father in Iran that some were
published when he was alive. One was with Keyhan Newspaper in 1985 and
the other was with EtelaatNewspaper in 1987. Other interviews were
published after he passed away in Jadval Newspaper, and Iran Newspaper
in November or December 1999; and the interview you had with my father
in 1970 that was published in 2011. Another interview, with Javanan
Magazine that I do not remember the date; but the interview you had with
my father was also published in Javanan Magazine.Of course, many
articles, both in Iran and abroad, have been written and published about
Master Ghavami. He had an interview when he visited Afghanistan along
with a delegation upon the invitation of Mohammad Zahir Shah, the king
of«Afghanistan.Maybe he had interviews in other trips that he made to
Europe i.e., his visit to France along with other distinguished artists
in 1969 upon the invitation of«UNESCO;and the lecture by Yehudi Menuhin,
the great French violinist about my father; and also his visit to
Germany.Maybe some local French or German newspapers and magazines had
interviews with my father; since when he returned he just said that
local newspapers and magazines had interviews with me. But, the Master
neither had any publications from those countries, nor he and I saw
these interviews later.I told to the Master's son you referred to Yehudi
Menuhin, the French – Jewish musician and violinist, do you know
anything about his lecture and what he has said in relation to the
Master?
Ali Reza Ghavami said, please wait a few seconds. Then he brought a
text and based on the notes of Yehudi Menuhin he stated the following:
In 1967 Ministry of Culture and Art arranged a seminar about the Eastern
Music. One of the musicians who participated in this seminar was Mr.
Yehudi Menuhin, the famous violinist who was acquainted with the Eastern
Music and had high interest in it;therefore, it was adequate for him to
be the head of this seminar. Because of this event, Tehran
Philharmonic Institute arranged a musical program that was performed at
Tehran University, College of Arts Concert Hall, and the late Master
Ghavami, Bahari, Hossein Tehrani, and Master Farhang Sharif participated
in the program. Mr. Yehudi Menuhin, his wife, and son, and a number of
high class people and art experts were present at this event. After
the concert finished,one the friends of Master Ghavami, named Mr.Edward
Josef who was among the founders and board members of Tehran
Philharmonic Institute, had an effective role in this seminar, and was
present that evening had a conversation with Mr.Yehudi Menuhin before
giving him, his wife, and son a ride to their hotel.Mr. Yehudi Menuhin
told Mr.Edward Josef that I thought Iranian songs do not have any
rhythm; but in the program performed by Master Ghavami I noticed that
this singer is observing the rhythm in the song, does not any pay
attention to the players, is the ruler of the program, and starts the
song exactly when he should.That's why I noticed that the rhythm of
Iranian song is four rhythms and only Master Ghavami is observing this.
He said do you know that I have heard the sound of world's greatest
singers and have accompanied them with my musical instrument. However, I
have to state that Master Ghavami is above all of them; and neither any
other singer has such a delicate voice, nor any other singer could sing
so easily and smoothly. His voice is as soft and warm as velvet. Then
he asked me to call Master Ghavami so that he could express the same to
him.
