Born in Tehran (Iran), Showan Tavakol is a musician and composer of Kurdish descent. His works have been performed in concert in Europe, Asia and North America, and he has also written music for the [...]
They spoke about it
Showan Tavakol and Federico Tarazona, two musicians with deep roots in the rich traditions of Iran and Peru, met in Montreal and formed Duo Perse-Inca. In combining languages, techniques and aesthetics, they create a music that invokes a dialogue between two ancestral peoples, embodied by two of their iconic instruments, the Iranian kamancheh and the Andean charango.
The opening piece, entitled Dialogue Kurde-Andin, is the fruit of Showan and Federico’s very first meeting. In a dialogue-like improvisation, the kamancheh speaks in Kurdish music modes while the charango creates sound textures that are typical to Andean music.
Inspired by the Bāyāt-e Esfahan Persian music mode, Isfahan borrows its rhythm from the technique used to accompany the marinera (formerly known as the zamacueca), a musical style from Peru.
Performing solo on the charango, Federico plays L’aube de Gabriel, a lullaby he wrote to wake his son.
As a tribute to guitarist Alvaro Lagos, who developed the playing technique used by Federico to create his charango accompaniment, Zapateo de los Lagos is based on an Afro-Peruvian dance rhythm known as the zapateo, to which is added the kamancheh, in a rhythm more reminiscent of Iranian dance.
Using the Navā mode of Persian music as a point of departure, Échos des montagnes is an impressionist work evoking the echoes that resonate in the mountainous regions of Peru and Iran.
Čahārgāh is a three-part piece that draws on the Persian dastgāh (mode) of the same name: the kamancheh and charango first engage in an atonal dialogue, and the two instruments together then deliver a more traditional interpretation of the mode before the charango reappropriates it in a final solo phrase.
In Carnaval Ayacupersa, the charango provides the characteristic motifs of carnival music found in the Ayacucho region of Peru, while the kamancheh reproduces a traditional Peruvian dance, which is progressively imbued with the sounds of Persian music.
In the improvisation Épopée de Simorgh, Showan imagined the sound of the gliding flight of the Simorgh, a fabulous bird from Iranian mythology.
An imitation of two instruments typically used in traditional Peruvian music–the harp, recreated by the charango, and the violin, evoked by the kamancheh– the piece Chupuro refers to the village birthplace of the famous Peruvian violinist Zenobio Dagha.
In Maruchaan, the final work, musical influences from Balochistan (a region of Iran) are borne by a rhythm that is suggestive of South American musical genres.
The Centre des musiciens du monde’s Collection
This collection features works created during artistic residencies offered by the Centre des musiciens du monde. In our modern age, when life moves at a frenetic pace, the Centre wanted to offer musicians the luxury of time to experiment, to write, to scrap what they’d done and start again: to fully explore their ideas and imagination. These residencies therefore provide time and space for artists, where they can meet other people, forge lasting musical relationships and nourish their creativity. The Centre is open to a wide range of artistic projects, which are selected on the basis of their quality and musicality.
the Collection’s Artistic Director