Firuz Sajedi and the donely
The right-hand flute, known as the "male", has seven holes (producing a more or less chromatic scale); it is used to play the melody, and is supported by the left-hand flute, called the "maidan", which has eight holes and only produces a drone. By plugging up the holes with wax, the sound of the drone may be altered according to the mode or the range of a given piece. The very accurate tuning of the flutes in relationship to one another is obtained by sticking a piece of wax (or date palm fruit) onto the bevelled edge of the mouthpiece.To play the Doneli, the musician places both flutes to his mouth, the left hand one upside down, and blows continuously (circular blowing). But blowing regularly is not enough. Particular accents, which distinguish the Doneli from other instruments played with circular blowing, enable the flautist to ornate the melody with appogiatur as which sound like a supplementary part added to the drone, Any sorud piece or song can be played on the doneli, but with its own style, and,
sometimes, intervals. For reasons of testier and tuning, these two instruments, sorud and doneli, are rarely heard together. The doneli is a essentially played solo. It can even be played without tanburag accompaniment. Firuz Sajedi is one of the few masters of this instrument. He does not belong to a lineage of great musicians, but dedicated himself to music, probably, because he lost his sight. He was born in Kulwa (North - Eastern Makran), where he lives with his wife and five children. He learned to play the doneli with Bayan,who himself had learnt with Esma'il. He has no pupils, but his son usually accompanies him on the tanburag. He travelled out of Pakistan for the first time for this recording session. He mostly plays alone, with accompaniment on the tanburag, at wedding as well as trance rituals (guati - damali). He has played a few times on Torbat radio, and as recorded four cassette tapes, which can be, found in any bazaar in Pakistan. His repertoire is typically heterogeneous, and includes pieces from the centre and the north (for example "Sasuli" of the Baluchi Brahu'is), secular melodies as well as melodies from trance rituals, instrumental as well as vocal music. He plays the pieces one after another, as he feels best.
Abdul Rehman Surizai
The main string of the Benju is double. On either side of it accompaniment string have been placed as follows: (C-D) / C-C / (G-C) in relative pitches. Its tessitura spans over two octaves and one tone; the chromic scale ic obtained from keyboard with twenty6 five to thirty two round keys. Best used as a solo instrument, the Benju also suit singing, but is rarely used in epic pieces.Abdur Rehman was born in 1960 into a craftsman's family belonging to the Osta social group. His father a skilled musician contributed to perfecting
and spreading in the use of the Benju. His four sons are all gifted instrumentalists and skilled instrument makers, but no Benju player equals Abdur Rehman his virtuosity, creativity, knowledge of the tradition and wide repertoire. He is also able to play the double headed drum Dolak and the Tanburag as well as the Tabla; he can play both Indian Raag and his own repertoire on a piano keyboard, in any tonality. He has acquired these skills through extensive effort, perseverance and passion as though he were a researcher, he would pay systematic visit to all masters in Baluchistan and Pakistan ha would methodically record them, ask them questions, play with them and give them financial support. He could have sold his soul to one of the "fashionable" orchestras, which are always in need of virtuoso of his kind, but his priority has always been to cultivate his own culture tradition with both intellectual and artistic dedication. Although he has been living in Norway for some years now his prestige and fame are constantly growing among connoisseurs in his country, who are waiting patiently for his return.
Jean DURING
Paris, December 1996
Translated by Martine Desbureaux.
The pieces
There are about twenty zahirig modal type, similar to the Indian Raag
or the maqam, on which the musician improvise on a free rhythm. The Zahirig
(Zahiruk) express a feeling of deep longing for beloved one who is far
away. Musician simply says that the Zahirig conjures up the presence or
remembrance of the loved one. Zhirig pieces are often played one after
another, or before a song (sowt, noqta or epic song), which is the case
here.
Rasulbaksh Zangeshahi's Sorud
1. Suite of Zahirig and melodies (Zimol). Zahirig Mianag and Shehrvandi
melody; zhirig Bia ke and Shervandi melody; Zahirig Salat and Shervandi
melody.
2. Zhirig Rudbar and Sowt "Maba to".
3. .Two sowt: "Delpa madoka bandent" and "Manlene taraga
bandant".
Abdur Rehman Surizehi's Benju
4. Two Zahirig: Baho and Ballok: Shervandi melody "Baluch" and
Zhirig Kurdi.
5. Sasuli Khorasani (Trance music).
Firuz Sajedi's Donely
6. Sowt "Leiko kaman bian tara nud biara", followed by three
guati melodies (Trance music).
7. Bag-e saaz, Simorgh and Sasuli Khorasani (Trance music).