From the Library of Congress in Washington D.C. Male Speaker: For those friends who are not from the Library who are visiting from outside, welcome to the African & Middle Eastern Reading Room. This is a division that has three sections in it, the Hebraic, The Near Eastern and Africa. We are very, very happy to be able to have programs here on and off during the week, during lunchtime. Essentially, if you look at our Website, www.loc.gov/rr/amed, we have our upcoming events where you can see all the programs for the various sections that are held here. This happens to be the place where we hold our programs, in the Reading Room. I have tried to make this a tradition every year around spring, Persian New Year or Nowruz, the age old tradition of Nowryz comes in, is ushered in. It's a tradition that many cultures celebrate in addition to Iran, neighboring countries with Persianate [spelled phonetically] culture, Azarbaijan, central Asia, the Kurds, parts of Iraq and Pakistan and Afghanistan, central Asia and also part of China celebrate the coming of spring, the Nowruz festival. So this year we are very, very glad that we have -- music and culture speaks a lot better than other things for conveying feeling and culture. I'm very, very pleased that Roya Bahrami has taken time out of her very busy schedule to come here and to perform for us. I'll start with reading Roya's bio. It's a very wonderful, distinguished biography. Roya Bahrami was born and raised in Iran and moved to the U.S. in 1977 and worked as a telecommunications engineer for 20 years before dedicating her full-time self to music. With over 22 years of experience performing on her Persian santur, hammered dulcimer, she has studied the Persian classical repertoire, radif, with the leading masters of the art form on santur, setar and tar with Maestros Lotfi, Alizadeh, and Talai. She has studied santur techniques with Shahariar Saleh, Esmail Tehrani and Kazem Davoodian; daf with Esfandiar Shah-Mir; piano and vocal training with Golnoush Khaleghi; flamenco baile, dance, with Lourdes Elias, Jaime Coronado, cante, chant, to sing, with Marija Temo, Jesus Montoya, and palos, harmonies and rhythms, with Richard 'Ricardo' Marlow. Ms. Bahrami has performed at numerous educational and cultural institutions in the Washington D.C. area, including the National Gallery of Art, the Smithsonian Institution's Freer and Sackler Galleries, the Library of Congress, the Arts Club of Washington, Mary Washington University, George Mason University, George Washington University - I apologize -- and the University of Maryland. She has also performed at similar venues in New York, West Virginia, Oregon, and the state of Washington. In 1999 Roya appeared on Spain's national television program Imaginaria broadcast live from Granada, Spain and later that year released her first CD entitled Probe, in which she explored the melding of Persian melodies with other musical traditions. In 2004 Ms. Bahrami composed santur pieces for the celebrated flamenco dancer, Carmela Greco, and accompanied Ms. Greco on her 2004-2005 U.S. tour. Ms. Bahrami regularly offers lecture recitals on classical music of Persia, music and spirituality, understanding multicultural identity through artistic expression, and music of Zaryab, traces of ancient Persian melodies in Andalusia. This album, Roya, released in August 2007, represents her second album with all her original compositions including her continued work in Persian-flamenco fusion and one in which she sings and plays all the instruments. Ms. Bahrami has founded the Roya Ensemble in order to realize the album, Roya, on stage, featuring Washington D.C.'s top talents in flamenco and jazz, Richard Marlow on flamenco guitar, Harry Appelman on keyboard, and Jon Seligman on percussion. The Roya Ensemble made its debut concert at University of Maryland's Clarice Smith Performing Arts Center on August 27, 2007. Ms. Bahrami holds a Bachelor of Science degree in Electrical Engineering from the University of Maryland. So without taking any further time, now that I've given you her background, I will let the artist perform for herself and take over from here. Thank you. Thanks for coming. [applause] Roya Bahrami: Good afternoon. Thank you very much for your kind invitation. It's truly a pleasure to be here in celebration of Nowruz, rebirth of earth, [unintelligible]. Happy Nowruz to all of you. Nuwruz in Farsi, in Persian, is comprised of two words. It's "now," which means "new" and "ruz," which means "day," so it's a new day upon us, and that's why we celebrate it from thousands of years ago, along with many other traditions. I'm going to give you a brief talk about the history of Persian classical music as an art form and how it has come into contact with other traditions over centuries. Now, I myself, being in touch with the Western world with my life in America. Then I will perform -- most of the program will be performing some selections from my new album, Roya. I should also mention why the album is called Roya. It's not just for self-promotion purposes. Roya means dream, and it was really my dream to dedicate my life to music. I'm glad that I had a chance to do this four years ago leaving my other telecommunications world and being able to work on the creative force of music. Persian classical music is the ancient and precious heritage of Iranians, passed on through generations over thousands of years from masters to pupils, primarily in oral tradition. It is the music in which sounds of nature, poetry and mysticism come together to form a mosaic of hundreds of beautiful melodies, and together, these melodies comprise the repertoire, and it's called radif. Radif in Persian means "row," which basically suggests an orderly fashion in which we study the radif, the melodies, the schemes within the radif and so on, and the way we use it also in our compositions and in our conversations alike. The reason that the oral tradition has been primarily used over many, many centuries is because about 70 to 75 percent of these melodies are non-rhythmic. In order for student to really understand the phrasing of this music they need to hear it first-hand from the master. There's incredible ornamentations also embedded in the melody, again, the sounds of nature and so on. The phrasing is very close to the ancient poetry of Persia. So it's very, very important to -- Nowadays we have the technology we can listen to recordings of the masters of music and have the reference, you know, music sheets to look at and try to figure it out. But always, I would highly recommend a teacher at some point to kind of check your studies if you plan to study this music. The traces of this music go back to seventh century B.C., but the most important evidence is from the third century through seventh century A.D. during the course of the [unintelligible]. In fact, the music flourished and reached a peak at this time, the mid-seventh century during the course of [unintelligible], Ibar Ruud [spelled phonetically] was the name of the most illustrious court musician, who was thought to have invented the Persian moral system. Incidentally, at this time, the seventh century is when the Arab empire expands to include the Persian territory. In fact, according to historians, Arabs welcomed the Persian culture. In fact, they moved the seat of the Caliphate, Western dynasty, they moved the seat from Damascus to Baghdad, which was the city within the Persian territory at the same. There were masterful Persian musicians that were hired during the [unintelligible] of Rashid II [spelled phonetically] in the ninth century. For example, the most illustrious Banyo [spelled phonetically], who was a student of Musali [spelled phonetically], a father and son. [unintelligible] were also master Persian musicians. Banyo actually surpassed his teacher in virtuosity. He was a virtuoso on the Persian lute, barbat which later on becomes known at the oud. It becomes one of the parents of the Spanish guitar. Banyo moves to Spain after surpassing the virtuosity of his teacher. They're all kind of legends. They say his teacher recommended him to leave town. The story is that during the Umayyad Dynasty, that ruled in southern Spain at this time, they were very interested in creating a cultural atmosphere that would compete with [unintelligible] at the time, which was had highly civilized and complex structures. So Banyo moves to Spain and he founds the very first musical academy in Cordova, where he taught chant and lute. In fact, he was so respected by the Spaniards that they named him [Spanish], and it means leopard [spelled phonetically], because he had dark features and beautiful voice. He's known, according to many, many historians that I would quote one of them here. The French, German and English have written articles and praised Banyo's influence in bringing, kind of Eastern culture, the Persian culture to meet with the West in that profound manner. Robert Lebling, said, "At its peak, Al Andalus," which is the main southern Spanish region, "experienced the golden age of civilization that was the envy of all of Europe and which set the stage for the European Renaissance that followed. Muslims, Christians and Jew interacted in a comenencia, which means 'a living together,' a tolerance and cooperation unparalleled in its time." We can surely use that in our times times, too. "Influences from Arab Spain spread to France and throughout Europe and from there to the Americas. It was in this context that achievements of Banyo become part of Western culture." So you can imagine 1,200 years ago this amazing exchange of culture happening and after Banyo there's another theorist and scholar and musician, Farabi, who was one of the most celebrated early Persians scholars who worked on all sorts of theory and then settled in Spain. He wrote the Great Book of Music [Persian], and to this day it's the subject of investigation by musicologists who are interested in having access to the ancient Greek music. In this book he describes music theory, scales, arables [spelled phonetically], rhythms, and in great detail, he describes the instruments of the time. After Farabi there's the 11th century Arastinal [spelled phonetically], in Persian, who was a medicine man among all the other things that he was, a philosopher, a musician, a theorist and so forth. He wrote not only about music theory, but the ancient concepts about the therapeutic effects of music, the motion of coincidence and dissonance in harmonies. Then I would like to mention a couple more scholars who were very important in this time, the 13th century Safiodean [spelled phonetically], who was the musician and scholar who introduced the 17-note scale and changed the foundation of Islamic music in the East. Following him was Apadeer Marobi [spelled phonetically], a 15th century scholar who wrote the book, [Persian], which is a compilation of all religious songs for all occasions. It was during this time between the ninth and 15th century that Persian musicians became dominant figures in the formation of Islamic culture in the Middle East. Unfortunately, not many notice because during this time most of these scholars bore Arabic names and spoke Arabic and wrote in Arabic. So most people pretty much this of the contribution as mix of the Arabic, which is, in its own self, very much. It's just that the Persian distinction was not very clear for a while. Also, I should mention, the very amazing cultural exchange that has happened over the centuries. For example, starting from third century B.C. with the ancient Silk Road, where East and West met for the first time probably, as far as current history has been passed on to us, is when the Greeks, the Iranians, the Persians and the Indians met and they had very, very close cultural contact. Then we have the Sufi tradition in the Middle East where the Turkish, the Arabic and Persian traditions come in very close contact especially during the Orthodoxy that was ruling in Iran and also in the Arab world where music really was not permitted to be listened to or played in public unless, of course, it was in a religious context. A lot of musical quiescence was experienced, and that's why we have this pretty much preserved over time. At the same time the Sufi tradition, for example, internalized their own evolutionary path with the musical traditions of the Arab world, Turkish world and Persian world. Of course the [Persian], a very, very important role, they have their own mix of Persian, Arabic and Turkish traditions, and they come into contact with the [Persian], which housed their Western classical, traditional base. So again, East and West meet directly or indirectly through cultural contacts inevitable. I think music is the most powerful proof of showing that we're all one big happy family. We're all related. We can trace it in each other's music, amazing proof. I, actually, got to study flamenco, as you heard in my bio, because I listened to CD by Paca de Lucia [spelled phonetically] named, Vayo, and I couldn't stop listening to it. I realized my natural attraction felt familiar as if it was coming from within me. It was somehow making a connection with me. I started researching and started working and studying it. I understood that indeed, from 1,200 years ago, Persian melodies somehow got into one of the roots of flamenco. In fact, I should mention the journey of gypsies which is another very important cultural exchange that takes place where they start their journey from India going to Persia, Mesopotamia, the Iran and Iraq of today and the northern countries, North Africa, and they settle in Spain. They bring all the folk traditions with them. All of these come together and create a melting pot at the time in Spain. Of course, now, we have something similar happening all over the world, especially in cities like Washington. So fusion, I think, to me is a very important effort. As a musician I really enjoyed working on these types work because it kind of -- To me, music has this amazing power to, beyond words, reach out and create love and compassion and build bridges where, seemingly, cultures feel distant. With that, I'd like to introduce the program. I will be presenting on three santurs. A santur is a non-chromatic variation instrument that dates back to seventh century B.C. in its original form. So for every piece [inaudible]. No, thank you very much, I appreciate it. Okay, in this piece I'm going to play in the mode [Persian]. It's a classical Persian mode. The first piece is inspired by the poetry of Halsers [spelled phonetically] and Rami. The song's flight, the selections of those poems can help you get a feel for the space, and then I'll move into a piece called "Search" and finally, "Caravan." [ music ] Roya Bahrami: The veil that covers my soul casts dust over me. Praise the moment. Praise the moment when I unveil that true face. The bird that can sing so enchantingly doesn't deserve such a praise. [ Music ] Loved one, let go of the seat. Take off your mask, and ride mad with love. Then emerge from the fire as a butterfly. [ Music ] Become a stranger to yourself, and destroy your house. Then come and join the other lovers in this house. [ Music ] We must become also, we must become also intoxicated with love. [ Music ] [applause] Roya Bahrami: Okay, this piece, there are two pieces. Sorry I have some sound effects because I'm going to be singing a little bit later. But it's called "The Calling," el hom [spelled phonetically] followed by "The Beloved," ohr [spelled phonetically]. This is a fusion of Persian flamenco, as I call it. It has elements of [unintelligible] in it in terms of the harmonic space, and that somehow helped inspire the modulations I've used and the Persian modes I use here. I'd like to demonstrate the full, as close as I can get in the absence of my own sound here, the full composition. So I'll be using the sequencer in my sound system here. I'm using, I guess my engineering background helps. I'll be trying to present the full composition. And then also in the very last piece, I'll be playing another fusion piece, which I'll use the same technology here. [ music ] How I loved, the pain of longing for you [unintelligible] And when I missed you, I lost interest in everything else. [ Music ] And then he comes back and tells us, "Look at me. I've come back from a visit with the beloved." I've come with compassion to you, joyfully freed from all earthly needs. [ Music ] It's taken me thousands of years to feel fate. [ Music ] I was dead, and now I'm alive. I was in tears, and now I'm laughing. The power of love swept over my soul, and I've become that eternal power. [ Music ] [ Persian Singing & Music ] [ applause ] Roya Bahrami: So in this piece, it's called "On the Path," followed by "Message." Just as in the last piece, I'll recite the poem in English that I've translated. It's by [Persian], a 20th century poet. He's also famous for being a poet of nature with very humanitarian messages, beautifully depicted. He was also a painter. "Message" is also the same poem. I will sing it in Persian. It's a fusion of, again, Persian flamenco, and there will be -- It's a mix of the tangos and rumba kind of stance in the flamenco rhythms and some harmonies. The mode is the Persian [Persian]. I hope you enjoy it. [music] Someday I shall come, and I shall bring a message. I shall come to pour light into your veins. I shall come and bring a stem of jasmine for the beggar. I shall plant flowers on top of every wall. I shall walk. I shall love. I shall eat lights. Someday I shall come to pour light into your veins. [ Music ] [Persian Music & Singing] [applause] Male Speaker: I would like to thank Roya Bahrami for her wonderful presentation. Thank you all for coming. I hope to hear more and more from Roya and see more wonderful CDs from her in the near future. Thank you. This has been a presentation of the Library of Congress.