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GOLHAÚ,
BARNAÚMA-YE
(lit.
"Flowers
Program"),
a
series
of
radio
programs
which
was
on
the
air
for
almost
twenty-three
years
(Farvardin
1335-Esfand
1357
ˆ./March
1956
to
February
1979)
and
which
aimed
at
illustrating
the
perennial
thematic
and
aesthetic
relationships
between
poetry
and
traditional
music
(musiqi-e
sonnati
or
asáil)
in
Persian
culture
and
enhancing
their
appreciation
by
the
general
public.
The
program
underwent
considerable
changes
in
style
and
management,
and
its
long
history
can
broadly
be
divided
into
three
periods:
1956-67,
when
Da@wud
Pirnia@
initiated
and
directed
the
program;
1967-73,
with
Moháammad
Mirnaqibi
as
music
director
and
Rahi
Mo¿ayyeri
as
literary
director
(Pe‘ma@n
Bakòtia@ri
succeeded
Rahi
after
his
death);
and
1973-78,
when
Huæang
Ebteha@j
as
literary
director
and
Fereydun
ˆahba@zia@n
as
music
director
directed
the
program.
The
inclusion
of
the
plural
of
the
word
gol
(flower)
in
the
title
Golha@
was
effectively
redolent
with
the
symbolism
of
perfection
attributed
to
a
judicious
combination
of
Persian
poetry
and
music
which
the
programs
sought
to
evoke.
To
achieve
this
aim,
they
combined
music
and
poetry
in
a
variety
of
patterns
and
combinations.
They
included
declamations,
recitals,
and
vocalizations
of
poetry;
brief
biographical
accounts
of
Persian
classical
poets;
and
poetic
commentaries
accompanied
by
solo
instruments,
ensembles,
or
orchestral
arrangements
based
on
Persian
traditional
music.
An
earlier
radio
program
called
the
"Festival
of
Songs
and
Melodies"
(Festiva@l-e
a@hangha@
wa
tasáa@nif,
1332
ˆ./1953)
has
been
mentioned
as
a
possible
prototype
for
this
broadcast
(Behruzi,
p.
431).
However,
the
idea
and
practice
of
a
radio
program
and
its
possible
format
with
a
mixed
content
of
poetry
and
music
can
be
traced
to
the
private
sessions
held
in
the
early
1950s
at
the
homes
of
some
of
the
leading
members
of
the
Anjoman-e
Okòowwat
(q.v.),
including
¿Abd-Alla@h
Entezáa@m
(q.v.)
and
Da@wud
Pirnia@
(1279-1350
ˆ.
/1900-1971).
The
founder
of
the
program,
Pirnia@,
served
as
its
director
for
over
a
decade
(1956-67).
He
was
educated
at
the
French
École
St.
Louis
in
Tehran
before
studying
law
at
the
University
of
Lausanne
in
Switzerland,
but
he
was
always
passionately
interested
in
Persian
poetry
and
music
and
acquired
a
deep
knowledge
of
both.
Pirnia@
was
fully
cognizant
of
the
long
history
of
shared
aesthetic
values
and
reciprocal
relationships
between
literature
and
music
in
the
long
history
of
Persian
culture
and
was
further
aware
of
the
perceived
mystical
(¿erfa@ni)
aspect
of
classical
Persian
lyric
poetry
(Nasáirifar,
1991,
p.
27).
By
regular
radio
broadcasts
of
Barnama@-ye
Golha@,
Pirnia@
intended
to
preserve,
to
celebrate,
and
to
disseminate
these
values
and
relationships.
The
availability
of
new
recording
technology
enabled
him
to
edit
musical
performances
and
improve
upon
previous
live
radio
performances
(Nasáirifar,
1998,
II,
p.
529).
To
achieve
his
goal,
he
drew
on
the
expertise
of
some
of
the
most
famous
mid-20th
century
master
vocalists,
instrumentalists,
songwriters,
and
literary
commentators
in
Persia.
The
musicians
and
the
commentators,
representing
a
variety
of
musical
styles,
and
critics
and
poets
belonging
to
differing
schools
of
Persian
poetics,
brought
to
the
program
an
artistic
depth
and
expanse
hitherto
unknown.
Under
the
informed
guidance
of
Pirnia@,
the
Golha@
programs
were
unique
in
featuring
and
appropriately
dramatizing
the
long
chain
of
antecedents
of
Persian
poetry
and
music
in
a
new,
effective,
and
enduring
way.
The
programs
were
subsequently
known
collectively
under
the
generic
title
of
Golha@,
but
they
included
six
separate
programs,
each
of
which,
save
one,
retained
in
its
title
the
richly
symbolic
word
gol:
Golha@-ye
ja@vida@n
(Eternal
Flowers),
Golha@-ye
ranga@rang
(Flowers
of
Many
Colors),
Barg-e
sabz
(The
Green
Leaf),
Yak
æa@kòa
gol
(A
Flowering
Branch),
Golha@-ye
sáahra@÷i
(Flowers
of
the
Field),
and
Golha@-ye
ta@za
(Fresh
Flowers).
1.
Golha@-ye
ja@vida@n.
Among
the
programs
celebrating
the
Persian
New
Year
(Nowruz)
in
1335
ˆ./1956
there
appeared
a
new
one,
Golha@-ye
ja@vida@n,
deliberately
combining
poetry
and
music
(Behruzi,
p.
431).
The
first
program
was
recorded
by
Asad-Alla@h
Peyma@n
in
the
studio
of
the
Directorate
General
of
Culture
and
Art
(Eda@ra-ye
koll-e
honarha@-ye
ziba@-ye
keævar)
with
a
clarinet
performance
by
Moháammad
ˆirkòoda@÷i,
which
became
the
signature
tune
of
the
program.
Golha@-ye
ja@vida@n
was
presented
under
the
artistic
direction
of
Da@wud
Pirnia@,
with
the
cooperation
of
the
master
seta@r
player
Ahámad
¿Eba@di
(q.v.)
and
the
vocalist
and
ta@r
player
¿Abd-al-¿Ali
Waziri
(the
seta@r
being
a
traditional
four-stringed
instrument
with
a
wooden
sound-box
and
the
ta@r
a
six-stringed
lute
with
a
skin-covered
sound
box
played
with
a
metal
plectrum).
The
ten-minute
program
included
a
brief
commentary
on
the
celebrated
14th-century
lyric
poet
H®a@fezá,
a
recitative
of
one
of
his
g@azals
beginning
with
the
appropriate
line,
"Greetings
to
you,
greetings
fragrant
as
the
scent
of
friendship"
(sala@m-i
±o
bu-ye
kòúoæ-e
a@æna@÷i.
.
.),
and
¿Eba@di's
lyrical
solo
performance.
The
second
program
featured
master
vocalist
GÚola@m-Háosayn
Bana@n
who
sang
verses
from
the
13th-century
mystical
poet
Rumi.
They
were
well
received
by
poets,
musicians,
intellectuals,
and
the
general
public
and
formed
the
basic
model
for
other
Golha@-ye
j@a@vida@n
programs
that
followed
(Behruzi,
p.
436).
The
initial
success
of
Golha@-ye
ja@vida@n
made
it
possible
for
its
subsequent
sessions
to
be
longer
(thirty
to
forty-five
minutes)
and
its
offerings
more
varied
and
extensive.
They
would
consist
essentially
of
four
basic
components:
(1)
an
introductory
melodic
segment
in
the
mode
(dastga@h,
q.v.)
of
Sega@h
performed
with
qaraney
by
Moháammad
ˆirkòoda@÷i;
(2)
a
recitative
of
verses
from
a
particular
poem
from
Sa¿di's
Golesta@n
(q.v.),
emphasizing
the
metaphorical
and
associative
connections
between
poems
and
flowers
and
contrasting
the
eternal
life
granted
poetry's
flowers
with
the
transient
life
of
natural
flowers:
be±e
ka@r
a@yad-at
ze
gol
táabaqi
/
az
golesta@n-e
man
bebar
waraq-i
/
gol
hamin
panj
ruz
o
æaæ
ba@æad
/
w'in
golesta@n
hamiæa
kòúoæ
ba@æad,
imparting
the
idea
that
"the
freshness
of
nature's
flower
is
passing
and
mortal;
take
a
leaf
from
my
Golesta@n
which
shall
remain
fresh
forever";
(3)
commentaries
on
the
life
and
works
of
a
Persian
classical
poet
such
as
Ha@fezá,
Sa¿di,
¿Era@qi,
¿AttÂa@r,
or
Nezáa@mi,
and
Persian
traditional
instrumental
and
vocal
music
(Behruzi,
p.
431);
and
(4)
a
conclusion
of
each
session
with
the
remark:
"This
was
another
flower
from
the
unique
flower-garden
of
Persian
literature,
an
eternal
flower"
(in
ham
gol-i
bud
ja@vida@n
az
golza@r-e
bihamta@-ye
adab-e
Ira@n—gol-i
ka
hargez
namirad)."
Although
the
production
of
this
program
was
terminated
after
Pirnia@'s
resignation
in
1967,
repeat
broadcasts
of
its
recorded
sessions
continued
until
halted
by
the
February
1979
revolution.
Devoted
to
the
propagation
of
classical
Persian
poetry
and
poetics
to
a
wide
audience,
the
recitatives
and
commentaries
on
poetry
were
important
components
of
Golha-ye
ja@vida@n.
The
proper
declamatory
style
and
poetic
resonance
were
primary
concerns
of
the
recitatives.
For
many
years,
S®adiqa
Rasuli,
known
as
Rowæanak,
became
well
known
and
appreciated
for
her
vibrant
poetry
declamations
on
the
program.
Later,
Firuza
Amir-Mo¿ez,
ˆamsi
Fazµl-Alla@hi,
AÚzòar
Pa‘uheæ,
Asad-Alla@h
Peyma@n,
Taqi
Rowha@ni,
and,
from
time
to
time,
a
singer
fulfilled
this
function.
The
commentators
included
literary
scholars,
music
theorists,
and
poets
such
as
¿Ali
Daæti,
Badi¿-al-Zama@n
Foruza@nfar,
Jala@l-al-Din
Homa@÷i,
Da@wud
Pirnia@,
LotÂf-¿Ali
S®uratgar,
Zia@÷-al-Din
Sajja@di,
and
Ra@hi
Mo¿ayyeri
(Nawwa@b-e
S®afa@,
p.
584).
Among
the
masters
of
traditional
instruments
who
contributed
to
the
157
Golha-ye
ja@vida@n
broadcasts
and
recordings
were:
the
virtuoso
ney
(Persian
flute)
player
H®asan
Kasa@÷i;
the
violinists
and
composers
Mahdi
K¨a@ledi,
¿Ali
Tajwidi,
and
Háosayn
Ya@haqqi;
the
pianist
and
composer
Mortazµa@
Mahájubi;
the
ta@r
players
LotÂf-Alla@h
Majd
and
Jalil
ˆahna@z;
and
master
tombak
(single-headed
drum)
players
Na@sáer
Efteta@há
and
Háosayn
Tehra@ni.
Acknowledged
master
vocalists
of
Persian
traditional
singing
also
participated,
such
as
(in
alphabetical
order):
the
inimitable
GÚola@m-Háosayn
Bana@n;
Jala@l
Ta@j
Esfaha@ni;
Akbar
Golpa@yaga@ni;
Esma@¿il
(Adib)
Kúòa@nsa@ri;
Mahámud
Mahámudi
K¨úa@nsari;
and
Háosayn
Qawa@mi,
known
as
Fa@kòta÷i.
These
vocalists
all
possessed
lyrical
and
elegiac
styles
which
well
suited
the
longing,
nostalgic,
and
often
melancholy
character
of
classical
a@va@z
(unmeasured
singing
part
of
a
dastga@h)
and
Persian
classical
lyrics,
and
were
all
devoted
to
the
ideal
of
safeguarding
Persian
traditional
music
in
its
genuine
received
form.
2.
Golha-ye
ranga@rang.
This
program
was
a
natural
outgrowth
of
Golha@-ye
ja@vida@n.
It
closely
followed
Golha@-ye
ja@vida@n's
artistic
rationale
and
aims.
However,
it
replaced
the
emphasis
of
Golha@-ye
ja@vida@n
on
instrumental
solos
with
orchestral
arrangements
of
compositions
in
modal
traditional
Persian
music.
The
orchestral
arrangements
were
written
for
traditional
instruments
(ta@r,
santur,
ney,
kaman±a,
tombak,
etc.)
as
well
as
non-traditional
musical
instruments
(violin,
piano,
cello,
clarinet,
etc.).
The
composer
and
music
theorist
Ruhá-Alla@h
Kòa@leqi;
the
pianist
and
composer
Jawa@d
Ma¿rufi;
and
the
master
violinist,
music
theorist,
and
teacher
Abu'l-Háasan
Sáaba@
conducted
Golha@-ye
ranga@rang's
orchestra.
Among
the
thirty
composers
and
songwriters,
both
past
and
contemporary,
whose
works
were
performed
for
581
recordings
and
broadcasts
of
Golha@-ye
ranga@rang
were
(in
alphabetical
order):
Háabib-Alla@h
Badi¿i,
GÚola@m-Háosayn
Darviæ,
Mahámud
D¨u'l-Fonun,
Farha@d
Fakòr-al-Dini,
Mahdi
K¨a@ledi,
Ruhá-Alla@h
K¨a@leqi,
Homa@yun
Kòorram,
Mortazµa@
Mahájubi,
Jaha@ngir
Mora@d
H®osa@m-al-SaltÂana,
Mortazµa@
Ney-Da@wud,
Fara@marz
Pa@yvar,
¿AÚref
Qazvini,
Anuæirava@n
Ruh@áa@ni,
Abu'l-Háasan
Sáaba@,
¿Ali-Akbar
ˆeyda@,
¿Ali
Tajwidi,
¿Ali-Naqi
Waziri,
and
Parviz
Ya@háaqqi
(Behruzi,
pp.
433,
438,
439).
In
addition
to
the
singers
who
had
participated
in
Golha@-ye
ja@vida@n
by
performing
the
a@va@z,
other
singers
performed
both
the
a@va@z
and
metered
compositions
(tasánif)
for
Golha@-ye
ranga@rang.
Notable
among
them
were
(in
alphabetical
order):
¿Abba@s
¿Afifi,
Darviæ
Amir-H®aya@ti,
Eqba@l
AÚzòar
(Eqba@l-al-Solta@n),
¿Ahdiya
Badi¿i,
Sima@
Bina@,
Vigen
Derderia@n,
Ela@ha
(Baha@ra
GÚola@m-Háosayni),
Na@der
Gol±in,
Maleka
Háekmat-æe¿a@r,
Háosayn
K¨úa@ja-amiri
(Iraj),
Marzµiya
(Aæraf-al-Sa@da@t
Mortazµa@÷ia@n),
Na@sáer
Mas¿udi,
Parvin
(Zahra@÷
Monfared),
Pura@n
(Farahá-dokòt
¿Abba@s-T®a@leqa@ni),
¿Ezzat
Ruhábakòæ
(Razµi),
¿Abd-al-Wahha@b
ˆahidi,
Moháammad-Rezµa@
ˆajaria@n
(Sia@voæ),
and
Kuros
Sarhangza@da.
Attracted
by
Golha@-ye
ranga@rang,
contemporary
lyricists
wrote
songs
for
the
program.
Those
who
contributed
included
(in
alphabetical
order):
Jamæid
Arjomand,
¿Ali
Aætari,
Moháammad-Taqi
Baha@r
(Malek-al-ˆo¿ara@),
Huæang
Ebteha@j,
Parviz
Na@tel-Ka@nlari,
Rahi
Mo¿ayyeri,
Manu±ehr
Mo¿in-Afæa@r,
Raháim
Mo¿ini-Kermanæahi,
¿Ema@d
K¨o@ra@sa@ni,
Esma@¿il
Nawwa@b-e
Sáafa@,
Moháammad-Háosayn
ˆahria@r,
Monira
T®a@ha@,
Bi‘an
Taraqqi,
Abu'l-Háasan
Varzi,
Kayumarsò
Wot¯uqi,
Baha@dor
Yaga@na,
and
Zohra
(Mansáura
Ata@baki).
Later,
Golha@-ye
ranga@rang
produced
as
its
offshoots
the
following
programs:
3.
Barg-e
sabz.
This
program
offered
312
broadcasts
and
their
recordings,
each
consisting
of
a
poetry
recital
accompanied
by
music
and
followed
by
an
a@va@z
section
in
one
of
the
seven
traditional
modes
but
without
a
tasánif
(Behruzi,
pp.
438,
432).
4.
Yak
æa@ka-ye
gol.
This
program
produced
465
broadcasts
and
their
recordings.
A
biographical
sketch
of
a
poet
accompanied
by
music
and
followed
by
a
song
without
an
a@va@z
section
constituted
each
program
(Behruzi,
pp.
438,
432).
5.
Golha@-ye
sáahára@÷i.
This
program
offered
62
programs
of
regional
and
folk
songs
(Behruzi,
pp.
438,
432).
The
program
debuted
with
the
young
singer
Sima@
Bina@.
Born
in
Birjand
in
Khorasan
province,
she
sang
the
regional
music
of
her
native
region.
In
time,
other
folk-singers,
such
as
Na@sáer
Mas¿udi,
who
sang
songs
from
Gila@n
in
the
Gilaki
language,
followed
her.
6.
Golha@-ye
ta@za.
This
program
was
initiated
under
Ebtehaj
as
literary
director
and
Fereydun
ˆahba@zia@n
as
music
director
and
offered,
between
1973
and
1978,
some
201
poetry
recitals
and
a@va@z
sections,
mostly
without
a
measured
song
(Behruzi,
pp.
432,
438,).
THE
INFLUENCE
OF
THE
GOLHAÚ
PROGRAMS
The
Golha@
programs
exerted
a
tremendous
influence
in
Persia
and,
to
some
extent,
also
in
other
Persian-speaking
countries.
First,
they
popularized
Persian
classical
poetry
and
made
a
vogue
of
it,
particularly
among
the
middle
class
and
the
affluent
social
elite.
They
boosted
appreciation
of
Persian
poetry
at
a
popular
level
to
a
degree
never
before
achieved.
Second,
they
brought
masters
of
traditional
music
to
public
notice
and
bestowed
on
them
the
dignity
that
they
deserved
as
artists.
This
should
be
seen
against
the
background
of
earlier
times,
when
musical
performers
were
considered
mere
"entertainers"
with
a
lowly
rank
in
the
social
hierarchy
(they
were
referred
to
as
motárebs,
often
with
a
pejorative
connotation).
The
Golha@
programs
not
only
made
most
of
them
household
names,
but
also
provided
them
with
a
fairly
secure
basis
of
income
through
remuneration
or
regular
appointment.
Third,
they
drew
wide
attention
to
and
popularized
the
traditional
corpus
(radif)
of
Persian
music.
Fourth,
they
introduced
variations
in
the
hitherto
somewhat
rigid
arrangement
of
the
different
sections
of
musical
performances.
A
convention
had
been
established
according
to
which
a
full
performance
of
a
dastga@h
would
begin
with
an
instrumental
introductory
section
(piæ-dara@mad),
which
would
briefly
go
through
the
major
guæas
(melodic
types)
of
a
given
mode.
It
would
be
followed
by
the
a@va@z,
that
is,
the
unmeasured
vocal
part,
accompanied
by
a
solo
instrument,
using
a
g@azal
for
its
lyrics.
It
normally
began
with
the
first
guæa
of
the
mode
(dara@mad,
lit.
"entrance")
and
would
go
through
different
guæas,
reaching
an
emotional
pitch
and
ending
with
a
descending
guæa
(forud).
The
solo
instrumentalist
would
occasionally
introduce
a
virtuoso
four-beat
section
called
±ahar
mezµra@b
in
between
guæas.
The
a@va@z
would
be
followed
by
a
measured
song
(tasánif),
and
the
performance
would
end
by
a
fast
tempo
piece
(reng),
normally
of
a
joyous
mood,
suitable
for
dancing.
The
Golha@
programs
often
broke
with
this
arrangement
by
introducing
declamatory
sections,
alternating
a@va@z
with
tasánif,
omitting
some
sections
altogether
while
lengthening
or
abbreviating
others,
etc.
Thus
musical
performances
became
more
varied
and
more
flexible
in
arrangements
and
broke
free
of
their
rigid
conventional
frame.
The
Golha@
programs
also
popularized
local
folkloric
music,
many
themes
of
which
were
used
as
compositional
elements
for
orchestra.
An
indirect
influence
of
the
Golha@
programs
was
the
encouragement
they
afforded
many
people
to
learn
to
play
musical
instruments,
now
that
the
profession's
stigma
had
been
removed.
More
importantly,
the
programs
revived
and
revitalized
the
long-standing
fusion
of
Persian
poetry
and
music.
Earlier
attempts
by
F
orsáat-al-Dawla
of
Shiraz
(q.v.;
see
also
BOH®UÚR
AL-ALH®AÚN)
and
Mokòber-al-SaltÂana
Heda@yat
(see
his
Majma¿
al-adwa@r)
had
been
of
limited
effect.
The
affinity
between
Persian
poetry
and
music
can
be
traced
back
to
the
most
ancient
times.
We
find
the
oldest
example
in
the
very
hymns
of
Zoroaster,
the
Gathas.
In
Sasanian
times,
poetry
and
music
were
so
intertwined
that
apparently
poetry
was
composed
only
within
a
musical
framework
(Baha@r;
Christensen;
and
Yarshater,
pp.
62-63,
who
speaks
of
the
"marriage"
of
Persian
music
and
poetry
in
the
Sasanian
period
and
describes
them
as
"Siamese
twins";
cf.
Ta@rikò-e
Sista@n,
p.
210;
ˆams-e
Qays,
p.
166).
The
tradition
continued
in
Islamic
times,
and
it
has
been
argued
that
the
Persian
g@azal
was
essentially
meant
to
be
sung
and
that
this
explained
a
number
of
the
features
of
the
g@azal
such
as
varied
themes
in
a
single
g@azal
and
their
apparent
incoherence
(Lewis,
pp.
89-95).
Bibliography:
This
article
is
based
in
part
on
interviews
with
a
number
of
the
poets
and
musicians
involved
in
the
production
of
the
Golha@
programs.
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1977,
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1987,
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125,
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(Daryush
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