Kayhan Kalhor - Music and Musical Partners

Music and Musical Partners

Kayhan Kalhor has a wide range of musical influences, he uses several musical instruments, and crosses cultural borders with his work, but at his center he is an intense player of the Persian violin. In his playing Kalhor often pins Persian classical music structures to the rich folk modes and melodies of the Kurdish tradition of Iran.

Kalhor has composed works for, and played alongside, the famous Iranian vocalists Mohammad Reza Shajarian (see Masters of Persian Music) and Shahram Nazeri. He has also composed and performed with the Indian sitar player Shujaat Husain Khan and Indian tabla player Swapan Chaudhuri, the three forming the group Ghazal, and producing several albums. Kalhor's 2004 album Mirror of the Sky was a joint venture with the Kurdish Iranian lute player Ali Akbar Moradi. Kalhor's most recent album The Wind (2006) is a collaboration with the Turkish baglama virtuoso Erdal Erzincan, with both Turkish and Persian pieces performed. At other times Kalhor has collaborated with Yo-Yo Ma's Silk Road Project Ensemble in the USA and the Kronos Quartet.

Kalhor now resides in USA and has been commercially successful in USA over the past decade (two of his works were nominated for Grammy Awards in 2004).

Read more about this topic:  Kayhan Kalhor

Famous quotes containing the words music, musical and/or partners:

    Where should this music be? I’ th’ air, or th’ earth?
    It sounds no more.
    William Shakespeare (1564–1616)

    Syncopations are no indication of light or trashy music, and to shy bricks at “hateful ragtime” no longer passes for musical culture.
    Scott Joplin (1868–1917)

    What exacerbates the strain in the working class is the absence of money to pay for services they need, economic insecurity, poor daycare, and lack of dignity and boredom in each partner’s job. What exacerbates it in upper-middle class is the instability of paid help and the enormous demands of the career system in which both partners become willing believers. But the tug between traditional and egalitarian models of marriage runs from top to bottom of the class ladder.
    Arlie Hochschild (20th century)