Pejman Akbarzadeh
(originally published in 2013, updated in 2018)
An expanded version of this article is scheduled to be published in 2025 as a book chapter in The Cultural History of Late Pahlavi Iran.
In this article, the term “Persian choral music” refers to:
- Choral arrangements of Persian (Iranian) folk or urban songs
- Western-style choral works composed by Persian composers
- Choral works by non-Persian composers inspired by Persian music or poetry
The Western concept of the “choir,” as an element of Western art music, was introduced to Persians primarily in the early 20th century, when the Tehran Conservatory formed a student choral group. This ensemble later collaborated with the Tehran Symphony Orchestra to perform European classical works and, occasionally, Persian compositions.
1940s : Rubik Gregorian Arrangements
In the early 1920s, Gholam-Reza Minbashian (1861-1935) arranged Persian anthems for SATB choir and performed them with the Conservatory Choir. These early efforts were later continued in a more systematic way by Rubik (Ruben) Gregorian (1915–1991), a Persian-Armenian violinist and composer who served as the director of both the Tehran Conservatory of Music and the Tehran Symphony Orchestra for a few years. Gregorian arranged folk songs from various provinces of Persia for choir. In addition to performing these works with the Tehran Conservatory Choir, he published the arrangements as a book in Tehran. In 1951, he moved to the United States and continued his work, primarily at the Boston Conservatory of Music.
While tempering the microtones, Gregorian aimed to remain faithful to the original atmosphere of the songs, without seeking to alter or develop any part. Since the publication of his arrangements, choral groups in Persia and abroad have performed them regularly.
Gregorian’s use of chromaticism complements the character of Persian folk songs. He was inspired by choral arrangements of Armenian folk music, and since Persian and Armenian musical traditions are related, this approach proved effective. However, some critics argued that Gregorian had “Armenized” Persian folk melodies rather than simply harmonizing them.
From a harmonization perspective, his arrangements feature minimal voice movement; each part typically sustains a single note at a time, creating a predominantly vertical texture. This stylistic choice clearly reflects the composer’s artistic intent and the specific effect he sought to achieve.
Tehran Choir & Farah Chore: Evlin Baghcheban
Since the 1950s, opera singer Evelyn (Evlin) Baghcheban played a key role in advancing choral music in Persia/Iran. She served as the conductor of the Tehran Conservatory Choir for several years, and in early 1967, she founded the “Tehran Choir.” That same year, Evlin Baghcheban conducted choral performances with this group during the coronation ceremonies of Shah Mohammad-Reza Pahlavi.
Tehran Choir, conducted by Evlin Baghcheban, Rudaki Hall, Tehran, ca. 1969.
The “Tehran Choir” was active for nearly four years. In 1973, Evlin Baghcheban founded the Farah Choir, supported by the Farah Pahlavi Charity Foundation. This choir recorded two albums in Austria in 1978 but was disbanded during the 1978–1979 Islamic Revolution in Persia/Iran. (See: First Ever Release of 1978 Farah Choir Recording)
Most members of the Farah Choir were students of the Farah Conservatory in Tehran.
Here is a rare recording of the choir performing a choral arrangement of the folk song “Baboli Koreh,” arranged by Evlin Baghcheban’s husband, Samin.
Samin Baghcheban arranged several other Persian folk songs for the choir, including “To Bio,” which had previously been arranged by Gregorian. Baghcheban’s style differs significantly; he tends to treat folk melodies as themes to be developed further. His arrangements also incorporate techniques such as imitation and drone.
Stephen Ackert, an American musician who worked in Tehran during the 1970s, believes that Baghcheban was inspired by the Orthodox church music tradition, which he may have encountered through Armenian composers. Ackert notes that, compared to Gregorian’s arrangements, Baghcheban’s sound is more modern. He explains that Gregorian’s approach resembles what Western composers like Brahms did with folk music in the 19th century—using four-part SATB choir settings and a wide range of chromatic harmonies.
Here you may listen to Samin Baghtcheban’s arrangment of “To Bio”:
1972 : National Iranian Choir, Conductor: Alfred Mardoyan
In 1972, the National Iranian Choir (Kor-e Melli-e Iran) was founded under the direction of Alfred Mardoyan, who arranged both Persian folk and urban songs for the group.
Below is Mardoyan’s choral arrangement of “Rudaki’s Lyre” (Chang-e Roudaki), originally composed by Rouhollah Khaleghi in the 1950s. The lyrics were written by Rudaki, a 9th-century Persian poet.
This work was originally performed by celebrated vocalists Marzieh and Banan at Radio Tehran (Listen to the original version). Choral version was performed in ca. 1976 in Tehran. The conductor is also Alfred Mardoyan.
1974; Hamavazan (National Iranian Radio and Television / NIRT Choir. Conductor: Golnoush Khaleghi
In 1974, Golnoush Khaleghi was invited by the National Iranian Radio and Television (NIRT) to establish a choral school and ensemble in Tehran. She served as the conductor of Hamavazan until 1979. The group primarily performed Western classical repertoire, but in one concert, they performed a Persian composition accompanied by the NIRT Chamber Orchestra. The piece, composed and conducted by Ruben Gregorian at Golestan Palace in 1977, was based on Persian folk songs.
In the 1990s, Golnoush Khaleghi arranged and recorded three choral works by her father, Rouhollah Khaleghi: “Negah-e Ashegh” (lyrics by Fereydoun Moshiri), “Bahar-e Delneshin,” and the legendary anthem “Ey Iran.”
– Other Choral Works by Persian Composers:
“Niayesh-e Yazdan” / Praise (1963), with poems by Ferdowsi, by Heshmat Sandjari
“Sarbaz” [Soldier] (1966), with poems by Ebrahim Safaei, for choir and orchestra, by Hossein Dehlavi
“Chehreh-ye Gol” [Face of Flower] (1969), on poems by Jamshid Moayed, for Choir & Organ, by Mehran Rouhani
“Three Pieces on Khayyam Rubaiyat” (ca. 1970) for a cappella choir, by Mostafa-Kamal Pourtorab
“Matal” (1973) for Choir, Piano and Percussions, by Samin Baghcheban
“Azadi” [Freedom] (1979), by Golnoush Khaleghi
“Asrar-e Azal” [Mysteries of Eternity] (?), on poems by Khayyam, by Kambiz Roshanravan
“Persian Folklore” (1984), for a cappella choir, by Reza Vali
“We are One” (2011), on Poems by Sa’di, for a cappella choir, by Behzad Ranjbaran
“O! Friend” [Ey Yaar] (?) for a cappella choir, by Ahmad Pejman
“Awaiting Your Advent” (2016), by Amin Honarmand
“We Passed” (2018) for a cappella choir (text: Saeb Tabrizi), by Mohammad-Reza Tafazzoli
“Goli azdast beraft” (2018) for a cappella choir, by Daniel Sabzghabaei
– Persian Choral Pieces by non-Persian Composers:
– “Water of Kharabat“, on Poems by Hafez, for a cappella choir, by Liselotte Sels (Watch)
TAGS: Persische chor musik / Iranian choral music / Musique chorale perse / persane / iranienne / Perzische koor / iranische / coro persa / persisk / persiska