Biography of Hossein Mehrani & Historical Masters

In 1997, Hossein Mehrani entered the Tehran Art University to pursue academic music studies. There, he studied Tar under the late master Houshang Zarif and simultaneously attended the private advanced masterclasses of Master Hossein Alizadeh.

He achieved first prize in Tar performance and second prize in improvisation at the 1st National Festival of University Students. He also achieved third place in the national competition for complete memorization and performance of the historic Radif of Mirza Abdullah, and was honored as the top performer at the 3rd Student Music Festival.

In 2004, he entered the Master of Arts program at the Art University, majoring in the performance of Iranian traditional musical instruments. His research culminated in the development of the revolutionary "Sorayesh" (Iranian Solfège Method) trilogy, officially published by the prestigious Mahoor Institute and adopted as standard curriculum in conservatories and universities across Iran.

Beyond his extensive publications, Master Mehrani has taught for decades at the Art University, Tehran Conservatory of Music, and Soureh University, contributing monumental transcriptions of Saba (Baharmast), Ebadi (Shahnavaz), Bigjeh-Khani (Khoshnavaz), rhythmic treatises (Mizan ol-Azam), and the 10-CD Setar Tuning Encyclopedia.

Colonel Ali-Naqi Vaziri (1886 – 1979) was a visionary composer, musicologist, and educator who studied Western classical music in Paris and Berlin. He pioneered modern Iranian notation, codified microtonal accidentals (Koron and Sori), founded the High School of Music, and established orchestral aesthetics in Persian music.

Hossein Mehrani's research provides critical analysis of Vaziri's pedagogical etudes, orchestral arrangements, and rhythmic treatises, establishing their importance in 20th-century music education.

Abolhasan Saba (1902 – 1957) was an iconic composer, violinist, setar player, and ethnomusicologist. His profound mastery over regional and classical Iranian music transformed both instrumental technique and the transmission of the Radif.

In his acclaimed book "Baharmast", Hossein Mehrani painstakingly transcribed and arranged Saba's legendary rhythmic pieces and Chahar-Mezrabs for Setar, bringing these violin masterpieces back to Saba's favorite instrument.

Mohammadreza Lotfi (1947 – 2014) was a towering figure in contemporary Persian music, renowned for his intense, resonant Tar and Setar playing. As the founder of the Sheyda Ensemble and Chavosh Cultural Center, his musical vision inspired generations of performers.

Mehrani's transcriptions capture Lotfi's spontaneous improvisations, complex plectrum patterns, and microtonal inflections across classic performances such as Sepideh, Abu-Ata, and Rast-Panjgah.

Ahmad Ebadi (1906 – 1993), son of the grand master Mirza Abdullah, revolutionized the Setar's tone, introducing distinct microphone techniques, isolated string melodies, and expressive rubato pauses that brought the instrument to national prominence.

In "Shahnavaz", Hossein Mehrani documented Ebadi's subtle plectrum strokes, dynamic shading, and improvised suites, providing an indispensable scholarly guide to the Ebadi style.

Gholamhossein Bigjeh-Khani (1918 – 1987) was the premier exemplar of the Tabriz Tar tradition. Celebrated for his lightning-fast left-hand tremolos, crisp plectrum articulation, and seamless blend of Azerbaijani and Persian melodies.

Mehrani's publication "Khoshnavaz" is the first comprehensive score collection dedicated to Bigjeh-Khani's works, meticulously annotating his distinct fingerings and tempo markings.

Naser Farhangfar (1947 – 1997) was a poetic master of the Tombak (goblet drum), transforming traditional accompaniment into an expressive, lyrical dialogue deeply aligned with classical Persian poetic meters.

In "Mizan ol-Azam" and Volume 2 of "Sorayesh", Mehrani formalizes vertical rhythmic reading and cyclical meters heavily influenced by Farhangfar's rhythmic innovations.