This recording is perhaps the first recording of the new language of Hossein Alizadeh in improvization,
where he is going beyond the usual. While connected to the roots of Persian music, he creates a phantasy
of the future in a free spirit. Recorded during a live concert at the J. Paul Getty Museum as part of the
1993 Los Angeles Festival, Hossein Alizadeh demonstrates his mastery of improvisation in an electrifying
performance on setar. Alizadeh draw upon the rich heritage of Persian melodies in his creation of this
colorful and highly energetic music.
Excerpts from the liner notes of the CD:
Alizadeh writes:
The rhythmical patterns, just like the dastgahs in the Radif, are usually categorized by name and not by
their time signature. Their complexity cannot simply be put in a time signature. Various elements act as
general models for rhythm; for example, the collection of the various cyclical melodies in the Radif. One
can create fairly complex patterns by developing these models. Melodies such as Kereshmeh, Hazin,
Basteh Negar, and Zange Shotor define certain rhythmical periods and their foundation can be found in
our ancient music.
Free improvisation has lost its major role in today's Persian classical music, while it is still rather common
in other eastern countries. Although the form of the performance at the J. Paul Getty Museum may differ
from that of the common performances in today's Persian classical music, I believe that it is closer to how
our ancient music used to be played.
