The reference for traditional and authentic Iranian music
The reference for traditional and authentic Iranian music
Lotfollah Majd, (born in Sari, Mazandaran 1296, died in Tehran 1357) Tar player.
Majd was fascinated by music since childhood and mostly wandered around with a broken Tar that he had received as a gift from the house warehouse in exchange for doing his homework. This constant playing caused his father to take the broken Tar back from him, but he occasionally returned the Tar to him in exchange for a commitment to focus on his studies in his spare time, and more importantly, he never went to music class and did not learn music from any teacher. Over time, Lotfollah doubled his efforts in creating musical sounds to gain skill and mastery by working on the strings of the Tar. Whenever he heard the sound of a song being played on the gramophone, he memorized it and tried to perform it with the Tar, and gradually improved his abilities and skills, and soon became skilled at playing the Tar.
In 1919, he joined the National Music Association, which was founded by Ruhollah Khaleghi to preserve, promote, and teach Iranian music. There, he gained a new understanding of the basics of notes, the language of music, and as a result of his daily contact with music professors, his ability to play the Tar became more mature and conscious, so that soon he created his own distinct style. He was known as a master Tar player with a unique and brilliant style, although he never had a mentor and never received formal education.
In 1323, Majd joined the Tehran Radio music program and was one of the first musicians to participate in the program called Golha, which was founded by Davood Pirnia. This program started in 1335 to show the thematic relationship between music and poetry in Iranian culture. His performances in various parts of this program are considered among the most enduring works of Tar playing.
Majd did not involve himself much in composing. Among his works in this genre, we can mention the composition “Far from his radiant face” and another “Hope of the Heart” with a poem by Ali Moayed Sabeti, which is well known. He focused on playing the Tar. He has left behind several Chaharmezrabs, such as special dance music and several other melodic pieces, most of which are considered among the most beautiful in Iranian music art among the existing works.
The works collected from this artist are in Khosousi website as below:
