Hossein Alizadeh & Djivan Gasparyan Downloads

As anyone who has attempted to play one can attest, the duduk can be notoriously ill-tempered in the wrong hands. It consists of a cylindrical Apricot-wood pipe with nine finger holes and is available in three sizes, each with a range of approximately one octave. Often played in pairs, it has a warmly sensuous, diffused timbre that is equally effective whether playing intricate, diatonic...
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As anyone who has attempted to play one can attest, the duduk can be notoriously ill-tempered in the wrong hands. It consists of a cylindrical Apricot-wood pipe with nine finger holes and is available in three sizes, each with a range of approximately one octave. Often played in pairs, it has a warmly sensuous, diffused timbre that is equally effective whether playing intricate, diatonic traditional melodies or long-breathed, sustained drones. The shurangiz is the latest member of Iran’s noble plucked instrument family. The earliest prototype was a setar with an amplifying membrane inserted under the bridge. It has undergone significant improvements since, some developed by Hossein Alizadeh. The modern version has a skin face, six strings, a longer fingerboard and an increased number of frets. on Endless Vision, both instruments are captured amid a true meeting of giants, under ideal acoustic circumstances at Tehran’s Niavaran Palace. Djivan Gasparyan’s seasoned generosity gleans an inspirational counterpoint from Hossein Alizadeh’s impetuous classicism. Accompanied by the seven-member Hamavayan Ensemble plus Armen Ghazarian and Vazgen Markaryan on duduk and bass duduk, the concert is further enhanced by emotional, overtone-laced singing in Armenian, Azeri (the language of Azerbaijan) and Persian by Afsaneh Rasaei, Hourshid Biabani, and Ali Samadpour.
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