(Memory of the not-so-old qanat)
This piece was composed for the Kariz Project (second-round jury: Prof. Susanne Blumenthal, Prof. Dr. Rainer Nonnenmann, and Prof. Dieter Mack), a call for scores that invited composers to create new works inspired by the concept of qanat—the ancient Persian underground water channels symbolizing flow, connection, and hidden life. The call required writing for the Quater Ensemble, featuring oboe, piano, percussion, and double bass. Hāfeze-ye qanāt-e na chandān qadimī was selected for performance in the festival,
The qanat, memory and worker are the three main conceptual elements of this piece.
The Memory of a Not-So-Old Qanat is composed in four parts 1. Resonance, 2. Kārgar (Worker), 3. Chāy (Tea), and 4. Āb (Water). Through personification, the qanat is depicted as a being that awakens its buried echoes, piecing together fragments of sounds and memories from its depths. The piece reflects the qanat’s fluid and imperfect process of recalling, much like how humans remember sometimes clearly, other times distorted or blurred .
The structure of the piece is based on the strophic form. This form was chosen because of its ancient roots and its similarity to how memories are revisited. The strophic form is reflected in the repeating harmony, which continues throughout the piece like this:
Thematic Elements and Connections to Persian Music :
- One of the central themes is derived from the Kereshmeh and Neyshâburak sections of the Dastgâh-e Navâ, inspired by both instrumental and vocal radif traditions. For instance, in bars 38-51, the double bass performs a melody adapted from the vocal radif of Karimi (with some modifications). Additionally, the double bass tuning was altered to evoking the Vâkhân (Drone) resonance in Persian music.
- The melodic rhythm is based on the Kereshmeh section in Navâ.
- A plastic bucket is used as a percussion instrument, reflecting its use as a rhythmic accompaniment for local songs, especially during workers’ rest periods. Techniques and notation similar to the Tombak were applied to this instrument.
- Alongside Persian elements, the piece incorporates a local melody and rhythm from Afghan music, particularly evident in the third section (Tea).
The folk song Shakokujan and its rhythm, known as Mongolian rhythm in Afghan music:
Here is a performance by the Quarter Ensemble:
- Double Bass: Carlota Ramos
- Piano: Liga Korne
- Oboe: Shaghayegh Shahrabi
- Percussion: Rita Couto Soares
However, this piece is primarily planned to be performed as part of the Kariz Project in 2026, alongside six other selected works, with the performance scheduled for 28 March 2026 at Alte Feuerwache Köln.