Each meeting with Iranian classical music is an exciting and unforgettable event for the heart and mind. Probably, reliance on the sound experience of the powerful priestly culture of the Indo-Aryan antiquity allowed the Iranian musicians of many generations to put together the richest melodic material and to develop a universal code of laws and rules for creating sound messages. This music is multilayered in its symbolism and semantic content: in some mysterious way it is intertwined with archaic formulas of man's sound communication with the world and the musical experience of a refined court tradition, bright elements of diverse folk traditions and subtle calculations of musical theorists of different eras. At the same time, Iranian classical music at all times remains a living modern tradition, not only popular in Iran itself, but also exciting more and more field in the world cultural space.
With the mystery of the unfading vital force of Iranian music, the Moscow audience will have to touch June 29 in the Small Hall of the Moscow Conservatory. Here in the main music college of Russia, Iranian music has long been a welcome guest, and the creators of the new program "The Secret", singer Hossein Nursharg and the band "Gamar" are already familiar to Muscovites for the brilliant programs "Bring the Wine of Eternity" (2011), "More" ( 2012), "The Legend of the Moon" (2014).
After the concerts mentioned, grateful listeners expressed many enthusiastic responses, calling Iranian music "captivating" and "bewitching", "passionate" and "languishing heart", "desirable" and "exciting." Sincere and generous to the epithets of praise were addressed to the musicians themselves, their marvelous instruments and, of course, the singer Hossein Nursharg, the owner of a unique warm, captivating voice.
"Words are empty," one of the listeners wrote, "before such a power of music's living, everything external that accompanies the life of a person is lost forever." The only thing that survives is (understandable?) The sense, sharply felt at the moment of sounding and leaving after the sound goes to the unknown only snapping a sense of defenselessness before the no-sounding and light sadness of the desire to live and breathe in this sound. "