Bidad Mokhalef Album

An Analytical Overview of “Bidād” and “Mokhālef”

Improvised Masterpieces in Classical Persian Music

The pieces Bidād and Mokhālef originate from the deep-rooted tradition of improvisation in Persian classical music. In both compositions, form, mode, and rhythm are shaped by the artists’ emotional states in the moment created and performed spontaneously, in real time.

These extended works defy the solitary, rigid forms often associated with traditional Persian music, offering instead dynamic and innovative musical landscapes. The intuitive connection between the two performers in perceiving each musical moment and translating it into sound is clearly reflected in the phrasing and the seamless exchange of motifs between the melodic and rhythmic instruments. At times, a melodic idea flows into the rhythmic instrument, and at others, it moves in the opposite direction.

This shared musical language often leads to a unified expression, demonstrating the artists’ deep understanding not only of musical ideas but also of each other’s artistic personalities. The texture of phrases, the dynamic intensity, and articulation patterns all point to a high level of musical synergy.

Each piece incorporates a blend of instrumental forms commonly found in Persian music, unified within a single cohesive composition. Especially in Mokhālef, we hear the integration of a prelude (Pishdaramad), a rhythmic solo (Chahārmezrāb), a metered section (Zarbi), and a closing dance-like piece (Reng), all forming a fluid structural narrative. While these transitions appear to be led by the melodic instrument (in this case, the tār), we also witness moments where the tombak anticipates a forthcoming motif and cues the tār accordingly.

In my view, the performers’ shared sensitivity guides them toward fresh, unified musical discoveries like Euclidean circles, distinct in direction and radius yet aligned on a common axis.

Equally significant is the conceptual direction and semantic unity of each piece. Despite their extended durations, especially compared to the more concise classical forms of Persian music, these compositions maintain their internal logic and emotional trajectory. To put it plainly, Mokhālef, even after 15 minutes, remains true to its original expressive intent.

Beyond the performers’ refined techniques and the intricate modal and formal shifts, this artistic coherence enables listeners to experience Bidād and Mokhālef as continuous, organic wholes inviting them to forget time, form, and mode altogether.

The choice of secondary modes such as Bidād-e Homāyoun and Mokhālef-e Chahārgāh for the opening and closing of each piece, as made by Mehdi Haghighi, highlights his sharp vision and vibrant musical imagination. This is especially evident in Bidād, which evokes the spirit of maestro Parviz Meshkatian’s celebrated work of the same name.

In conclusion, Bidād and Mokhālef stand as noteworthy contributions to the art of Persian classical improvisation. Distinguished by many subtle characteristics, they represent some of the most refined and memorable examples of contemporary performance in this genre.

Tracks of Bidad-Mokhalef:

1. Bidad

2. Mokhalef