Yasamin Shahhousseini & Oud
Yasamin kommt aus Teheran, wo sie derzeit auch lebt. Sie ist 26 Jahre alt und hat im Kindergartenalter mit dem Klavier begonnen zu musizieren. Wie kam Yasamin zur Oud? “Im Alter von neun Jahren habe ich ein Video von Naseer Shamma gesehen, einem sehr guten Oud-Spieler. Vorher war ich auf der Suche nach einem Instrument, das tiefer klingt als die klassischen persischen Instrumente wie Setar, Santou oder auch der Gitarre. Und als ich diese Aufnahme gesehen habe, da wusste ich: Genau das ist der Sound, nach dem ich gesucht habe!”. Yasamin hat die Oud später sechs Jahre lang an der Teheran Music School gelernt, bis sie ein Studium Traditionelle Musik an der Teheran University begann, das sie auch heute noch studiert. Sie lernte unter anderem bei Mansour Nariman, Mohammad Firouzi, Negar Bouban, Yurdal Tokcan und Nasser Shamma.
Die Oud, so sagt sie, war bis vor 50 Jahren nicht Teil der aktiven Szene der Musik in Persien. Inzwischen hat sich das stark geändert, es gibt viele Oud Spieler und die Zahlen steigen. Außerdem findet das Instrument von den Komponisten wieder Beachtung und sie verfassen Solostücke dafür. In der Verwendung hat sich auch sehr viel getan, was sowohl die Technik als auch die Kultur betrifft. Der mehr oder minder drastische Umbruch ist noch im Gange.
Wie hat Yasamin den Weg in das Projekt gefunden? “Ich bin stets auf der Suche nach spannenden Herausforderungen. Ich will neue Wege finden und neue Kompositionen kreieren.” Über einige Kontakte ist sie zu TRAIECT gekommen. Obwohl sie bereits bei einigen Workshops und Konzerten dieser Art (unter anderem in Südafrika und Amerika) mitgewirkt hat, ist jedes Projekt anders, sagt die Spielerin. Es kommt sehr auf die Leute an, mit denen man arbeitet. Auf die Frage, was bei TRAIECT für sie im speziellen neu und spannend sei, antwortet Yasamin, dass sie neue Klänge erforschen will und insbesondere mit der Elektronik arbeiten möchte. Das Aufeinandertreffen von Elekronik mit der Oud ist für sie etwas Neues.
“Was ist zeitgenössische Musik für Dich?”, haben wir gefragt. Yasamin hat durch ihre Studien bereits viel gelernt und kennt einige Werke aus verschiedenen Ländern. Daran spannend ist für sie vor allem die Arbeit mit Sound Art. “Nach dem Studium der traditionellen persischen Musik möchte ich weiter machen, Komposition studieren. Sound Performances, Sound Installations, all das finde ich sehr interessant. Daher ist das Projekt für mich nicht nur als Instrumentalistin wichtig, sondern auch um zu sehen, wie die Komponisten die Stücke erarbeiten.”
Und auf der anderen Seite, der Tradition, was ist das? “Tradition ist das Gesamtwerk der persischen Musik, der Hintergrund auf dem heutige Musik entsteht”, meint Yasamin. Dieser Hintergrund begleitet einen, egal ob man ihn ausblendet oder aktiv mit einbezieht, wenn man eigene Musik kreiert wird man sie mit dem eigenen Hintergrund schreiben, zu dem auch die Tradition zählt. Yasamin lacht, als sie darauf antwortet ob es schwierig ist, die Welten der Tradition und der Neuen Musik zu verknüpfen. Ihrer Ansicht nach hängt das vom Komponisten ab: Wie er die Tradition sieht (und ob er sie sieht), und wie er sie verknüpfen möchte. Es wird in diesem Projekt spannend, die Schrift des Komponisten umzusetzen. Ob sie bei der Komposition eine Hilfestellung geben wird? “Wenn die Komponisten das wollen, dann ja.” Es ist eine Herausforderung, die Elemente zusammenzubekommen, das betont sie noch einmal. In einem anderen Projekt mit Jazzpiano, Percussion und Oud hat das bereits sehr gut geklappt. In TRAIECT kommt die Elektronik hinzu. Sie möchte aber nicht nur an der Sound-Gestaltung arbeiten sondern auch an der Mischung der sehr unterschiedlichen Stimmungen. Beides, so Yasamin sind zwei zunächst getrennte Bereiche, an denen man feilen kann.
Wir freuen uns in jedem Fall genau wie Yasamin, wie die Elemente im November zusammen kommen werden und wünschen bis dahin viel Erfolg bei der Arbeit und den kniffligen Stellen
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English Version:
TRAIECT brings together a lot of different people, each of them having an other role in the project. Each and every participant carries his or her own perspective. We conducted an interview with Yasamin Shahhousseini, who is going to play the oud in TRAIECT II.
Yasamin comes from and lives in Tehran. She is 26 years old and had her first steps as a musician in her kindergarten years when she learned piano. What was the first contact with the oud, Yasamin? “Well in the age of nine years I watched a video of Naseer Shamma, a very good oud player. At that time I was on the search for an instrument that has a lower sound as the classic persian instruments like setar, santou or the guitar. When I saw that video I knew: This is the sound I was searching for!” Yasamin studied the oud later for six years at Tehran Music School until she started a degree in Traditional Music, in which she is still enrolled. She learned her instrument by masters including Mansour Nariman, Mohammad Firouzi, Negar Bouban, Yurdal Tokcan and Nasser Shamma.
She explains that the oud hasn’t been part of a very active scene of persian music 50 years ago. It changed a lot over the time and nowadays there are many oud players, numbers increasing. Composers write solo pieces and have the instrument more present in their minds. This uprising also led to changes in the usage, in the playing technique as well as in the culture. The big change is still in process.
How did Yasamin come to the project? “I am always searching for interesting challenges. I want to find new ways and create new compositions.” She learned and got in contact with TRAIECT over some friends. Although she has already done some workshops and concerts of this specific type (including some in South Africa and America) she states that every project is different. It depends largely on the people involved. When asked about the very special aspect in TRAIECT for her, Yasamin answers that it’s about discovering new sounds and working with the electronic. The combination of electronic and oud is something very new.
“What is contemporary music for you?” we asked. Yasamin answers that she learned a lot of different pieces from different countries in her studies. The interesting point here is the work with sound art. “After my studies of persian traditional music I want to continue learning composition. Sound performances, sound installations, all of this is really interesting. Thus this project is not only important for me as an instrumentalist but also for watching the composers developing the pieces.”
And what about tradition? “Tradition is the sum of all persian music, the history on which modern music comes into being”, says Yasamin. This background is always with us, no matter if you cut it out or use it actively. If you create your own music you are going to write it with your history. Yasamin laughs when she answers the question if it is difficult to bridge tradition and contemporary music. In her view this depends a lot on the composer: How he sees tradition (also if he sees it) and how he wants to connect it. Concerning this project it is going to be exciting to play the score of the composer. Is Yasamin going to help with composing? She laughs, “if the composers want me to do this, yes”. It is a challenge to bring all the different elements together, she emphasises. In another project in Berlin with jazz piano, percussion and oud it did work fine already. Yasamin does not only want to work with the shaping of sound but also by mixing the different moods. Both aspects are separated from each other and equally important, both need their own fine tuning.
We are looking forward like Yasamin how the elements will come together in November. We wish good luck and a successful work especially with the tricky parts.
English Version:
TRAIECT brings together a lot of different people, each of them having an other role in the project. Each and every participant carries his or her own perspective. We conducted an interview with Yasamin Shahhousseini, who is going to play the oud in TRAIECT II.
Yasamin comes from and lives in Tehran. She is 26 years old and had her first steps as a musician in her kindergarten years when she learned piano. What was the first contact with the oud, Yasamin? “Well in the age of nine years I watched a video of Naseer Shamma, a very good oud player. At that time I was on the search for an instrument that has a lower sound as the classic persian instruments like setar, santou or the guitar. When I saw that video I knew: This is the sound I was searching for!” Yasamin studied the oud later for six years at Tehran Music School until she started a degree in Traditional Music, in which she is still enrolled. She learned her instrument by masters including Mansour Nariman, Mohammad Firouzi, Negar Bouban, Yurdal Tokcan and Nasser Shamma.
She explains that the oud hasn’t been part of a very active scene of persian music 50 years ago. It changed a lot over the time and nowadays there are many oud players, numbers increasing. Composers write solo pieces and have the instrument more present in their minds. This uprising also led to changes in the usage, in the playing technique as well as in the culture. The big change is still in process.
How did Yasamin come to the project? “I am always searching for interesting challenges. I want to find new ways and create new compositions.” She learned and got in contact with TRAIECT over some friends. Although she has already done some workshops and concerts of this specific type (including some in South Africa and America) she states that every project is different. It depends largely on the people involved. When asked about the very special aspect in TRAIECT for her, Yasamin answers that it’s about discovering new sounds and working with the electronic. The combination of electronic and oud is something very new.
“What is contemporary music for you?” we asked. Yasamin answers that she learned a lot of different pieces from different countries in her studies. The interesting point here is the work with sound art. “After my studies of persian traditional music I want to continue learning composition. Sound performances, sound installations, all of this is really interesting. Thus this project is not only important for me as an instrumentalist but also for watching the composers developing the pieces.”
And what about tradition? “Tradition is the sum of all persian music, the history on which modern music comes into being”, says Yasamin. This background is always with us, no matter if you cut it out or use it actively. If you create your own music you are going to write it with your history. Yasamin laughs when she answers the question if it is difficult to bridge tradition and contemporary music. In her view this depends a lot on the composer: How he sees tradition (also if he sees it) and how he wants to connect it. Concerning this project it is going to be exciting to play the score of the composer. Is Yasamin going to help with composing? She laughs, “if the composers want me to do this, yes”. It is a challenge to bring all the different elements together, she emphasises. In another project in Berlin with jazz piano, percussion and oud it did work fine already. Yasamin does not only want to work with the shaping of sound but also by mixing the different moods. Both aspects are separated from each other and equally important, both need their own fine tuning.
We are looking forward like Yasamin how the elements will come together in November. We wish good luck and a successful work especially with the tricky parts.
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