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Biography


Farman Moradi was born on May 27, 1947 in Kermanshah, Iran. An intrument maker and a pundit on Iranian musical instruments, Moradi commenced his artistic career officially in 1971 at the Center for Preservation and Promotion of Iranian Music. He later was appointed the center’s supervisor and the instructor. The Center for Preservation and Promotion of Iranian Music is an offshoot of IRIB (Islamic Republic of Iran Broadcasting) and its founder, Dr. Dariush Safat, a man of principle and a maestro in music, serves as its manager and supervisor.
Speaking of Setar and Tar, Moradi has been a student and a close friend of maestro Mohammad Navayi, better known as Eshghi, the famous Tar and Setar maker. It has to be said that Eshghi himself was one of the late Seyyed Jalal’s students and Seyyed Jalal, in turn, had employed the invaluable experiences he had acquired from the legendary Haj Taher.
In addition to making Tar, Eshghi used to make five types of Setar in different forms and his fame in making Setar outweighed that of his in Tar.
As Eshghi’s top tutee, Moradi has followed in his mentor’s footsteps and designed unprecedented templates, adding to Eshghi’s previous works.
The remarkable Setars Moradi has made, based on Eshghi’s templates, are as follows:
Poosti Setar: The peg and the bowl of this instrument are so beautiful and regarded as one of Eshghi’s stroke of creativity. The late maestro Arsalan Dargahi has performed his pieces using this Setar.
Large Tarkeyi Setar
Medium Tarkeyi Setar
Small-bowled Setar
Ketabi or bookish Setar
Eshghi used to make one-piece Setars in addition to the five aforementioned types. As a Tanboor maker, Moradi has benefited from the instructive and scientific guidelines he has received from maestro Elahi, the unrivaled Tanboor player. The Tanboors Mr. Moradi has successfully made are as follows:
Big-bowled Tanboor with seven tarks and foreheads and five or six strings with Setar bund
Small Tanboor in exclusive size, having five tarks and foreheads
These two Tanboors, for the very first time, were made at the request of maestro Elahi and as it has been said, they are regarded as his ‘creative’ pieces of work, being completely compatible with the principles of musical science.
Moreover, one of other Elahi’s creativities in making Tanboor is adding an extra string to it. Tanboor normally has two strings and the added string is famously known as “the maestro string”. This avant-garde act, in terms of sound and “shar”, led to Tanboor’s playing progression and was welcomed greatly by Tanboor players.
Given his great interest in making instruments, his job position in the Center for Preservation and Promotion of Iranian Music, and his strong ties with the greats of music namely Dariush Safat, Ahmad Ebadi, Saied Hormozi, Yusef Forootan, Ali Asghar Bahari, Ali Tajvidi, Farhang Sharif, Jalil Shahnaz, Mahmoud Karimi, Mansour Nariman, Fereydoon Hafezi, Mahmoud Tajbakhsh, Gholam Hossein Bigje Khani, Mohammad Moghaddasi, and some other art luminaries, Moradi has benefited from their methods and ideas in making instruments. Moradi has written a number of books, chief among them is Sooz o Saz e Eshghi, published by Tasnif in 2009. The book is still available in bookstores all over Iran.
After 23 years of service at the Center for Preservation and Promotion of Iranian Music, Moradi retired from IRIB in 1993, ranked fifth in making instruments. Since then, Moradi has been co-operating with the center as a professor and as an expert. His other activities include a close co-operation with the Iranian Center of Music ever since it has been founded. Those are as follows: Membership in the articles of association writers’ committee (instrument making)
Membership in the board of directors for three terms (2 years)
Membership in the Iranian Music Center’s board of directors
A pundit in Iranian Museum of Music (2010 – present)
Moradi has dedicated Eshghi’s templates and working tools that are a symbol of the way predecessor maestros’ works, to the Iranian Museum of Music, for the sake of art history preservation, and for the die-hard fans of Iranian musical instruments to catch a glimpse of them.
Mr. Moradi holds the first-rate Certification of Arts received from the Iranian Association of Artists, Writers and Poets’ Assessment.
Having employed the lessons and methods learned from maestros like Eshghi and other Iranian music greats and pundits, Moradi has devoted himself to music for almost half a century, making instruments like Tar, different types of Setar and a few types of Tanboor and Kamanche with various designs and patterns.
Studying Persian Literature as a university student has been one of Moradi’s greatest wishes, but he sacrificed his wish for his goal in the field of arts. He dedicated all his love to the sublimation of making instruments, eventually turning into a guiding professor for some university students all over Iran, those who have become university managers and professors themselves.
As an instrumentalist, Moradi is fairly familiar with instruments like Tanboor, Tar and Setar and spends his leisure time playing the three of them, especially Tanboor.
Teaching at the Center for Preservation and Promotion of Iranian Music as a professor, Moradi has never refrained from conveying his knowledge and his wealth of experience to the music fans. Having worked with today’s different instrument makers in a variety of ways, Moradi has taught students from every walk of life.
Moradi says, ‘one time maestro Eshghi told me, “Haj Taher had taught my late maestro Seyyed Jalal everything he knew. Then Seyyed Jalal, having added his own experiences to Haj Taher’s, taught me all those he had learned from him just like an affectionate father and with flawless humanity. I have taught you, my dear son, everything I have learned in 70 years, of my own volition and with alacrity. I advise you to teach these skills to others with no expectations, so that Eshghis can live on forever.”
May all the three mentioned maestros, Haj Taher, Seyyed Jalal,and Eshghi rest in peace and may their memory be cherished.
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