Mehrdad Nasehi, a graduate of Soreh Music Conservatory and the University of Music, trained under distinguished masters such as Saeed Farajpouri, Ali Akbar Shekarchi, Ardeshir Kamkar, and Mohammad Reza Lotfi. Since 2001, he has performed as a bass singer with the Tehran Symphony Choir and has been recognized for his virtuosity on the kamancheh at national festivals. Nasehi collaborated with Maestro Mohammad Reza Shajarian in the Shahnaz Ensemble under Majid Derakhshani, touring extensively across Europe, North America, Australia, and the Middle East, and contributing to acclaimed albums such as Rendan-e Mast and Morgh-e Khoshkhan. He has also been a member of the Khorshid Ensemble, performing internationally at venues including the UNESCO Hall in Paris and the Tchaikovsky Conservatory in Moscow. As both a vocalist and kamancheh soloist, his collaborations span groups such as Tehran Vocal Ensemble, Tehran Opera Ensemble, and ensembles led by Majid Derakhshani, while his recordings include works with leading composers like Farhad Fakhreddini, Hossein Alizadeh, and Fereydoun Shahbazian.
1. What made you choose the kamancheh and select it as your medium of artistic expression?
In truth, my choice of the kamancheh was entirely coincidental and without prior intention. When I entered the conservatory, I had only two options before me: the santur and the kamancheh. Since I did not have much interest in the santur, I chose the kamancheh—although at the time I had no particular knowledge of it. Gradually, however, a deep attachment developed between myself and this instrument. The kamancheh is such that, much like language, one can express one’s inner emotions and thoughts through it. Furthermore, its unique and distinctive character has always held a strong attraction for me.
2. In your opinion, what distinguishes the kamancheh from other Iranian instruments? Do you have a particular style of playing that sets you apart from other musicians?
I believe the most remarkable feature of the kamancheh is its extraordinary capacity to convey emotion. Playing it closely resembles human speech; if the performer employs it properly, the instrument can communicate the deepest inner states. Another defining quality is the inherent poignancy and expressiveness of its sound, which invariably moves the listener. In addition, the timbral quality of the kamancheh is highly authentic and unique, setting it apart from other Iranian instruments.
3. How central is improvisation in your performances, and how do you usually prepare for it?
Improvisation is fundamental for me, and I would say it constitutes the core of my musicianship. From the very beginning of my training, I studied the basics and subsequently the radif under Master Mohammad-Reza Lotfi, to whom I owe my analytical approach to the radifs. My method is to outline a general structure mentally before each performance. For instance, if I am to improvise in the dastgah of Homayoun, I form a mental map of the main gushehs and determine the path from one gusheh to another. If I plan to engage in morakkab-navazi (modulating across dastgahs), I expand this framework accordingly before beginning the performance.
4. How do you view your collaborations with the great masters of Iranian music, and what role have they played in your artistic and intellectual development? What has your experience been with non-Iranian musicians or fusing traditional Persian music with modern styles?
Without doubt, working with the great masters of Iranian music has been the most formative aspect of my artistic life. From the outset, I was fortunate to study under some of the most distinguished teachers, each of whom left a profound impact on me. Master Majid Derakhshani, through the formation of the “Khorshid” and “Shahnaz” ensembles, not only imparted invaluable musical instruction but also inspired me with his character and demeanor. Master Mohammad-Reza Shajarian, with his unparalleled artistic presence and dignity, played a decisive role in my career. Master Hossein Alizadeh, with his tireless spirit and unceasing dedication, has been a great role model. Likewise, Master Mohammad-Reza Lotfi, with his vast and unparalleled knowledge of Iranian music, was a priceless treasure whose companionship was an incomparable privilege.
As for international collaborations, these experiences have been both fascinating and enriching for me, since the encounter between different cultures and musical traditions opens new horizons. For example, my collaboration with Master Göksel Baktagir in Istanbul was unforgettable; the fusion of two distinct musical languages revealed both their commonalities and differences, ultimately resulting in works that were fresh and inspiring.
5. What project or album are you currently working on, and what are your future plans?
My primary project at present is the formation and leadership of a vocal ensemble in Istanbul, which has been active for about a year. This endeavor is particularly exciting for me, as I am working with a group of mostly beginner students on tasnif-singing and choral performance, preparing them for future concerts. Alongside this, I also have several solo projects underway that I am finalizing for upcoming performances in Europe.
6. From your perspective, what unique sonic or performative features does the kamancheh possess that make it a prominent instrument in Persian music?
The kamancheh possesses an extraordinary ability to articulate human emotion. Its sound, much like human speech, allows for a precise reflection of the performer’s inner states. Moreover, its distinctive timbre and the intrinsic poignancy of its melodies render it a deeply moving and unparalleled instrument.
7. How is the role of the kamancheh defined in the regional music traditions of Iran, and how has it interacted with the system of dastgah music?
The kamancheh plays a prominent role in many regional musical traditions of Iran, including those of Lorestan, Azerbaijan, Mazandaran, and Khorasan. In fact, one could argue that even before the codification of the dastgah system, the instrument held a significant place in local music. With the systematization of Persian classical music by the Farahani family, performers such as Hossein Khan Esmailzadeh and Baqer Khan Rameshgar integrated the kamancheh into this framework. Although at one point its presence diminished due to the popularity of the violin, Master Ali-Asghar Bahari revived it, restoring the kamancheh to prominence in ensembles such as “Chavosh,” “Aref,” and “Sheyda,” a position it continues to hold today.
8. Based on your international experiences, what strategies would you suggest for introducing the kamancheh more effectively to global audiences? Has it been able to establish an independent voice in dialogue with non-Persian music?
The kamancheh has undoubtedly managed to establish its own independent identity on the global stage. While relatively few works have been produced in this regard, the existing ones clearly demonstrate its unique character and distinctive sound. From a technical standpoint as well, the kamancheh possesses capabilities comparable to the violin, with a wide sonic range.
To further promote this instrument, collaboration between Iranian musicians and international artists is crucial. Fortunately, in recent years, meaningful steps have been taken in this direction, and the kamancheh has received considerable attention in international forums.
9. Many leading universities and conservatories around the world are beginning to incorporate Persian music into their curricula. In your view, how is the kamancheh situated within international music education systems, and what potential does it hold for growth?
To my knowledge, the kamancheh has found a place within certain academic contexts, particularly in ethnomusicology and studies of Eastern music, though it has not yet achieved widespread independent recognition. Given its structural similarities to the violin—a globally recognized instrument—its integration into international music education should not be overly complicated. Nevertheless, this requires careful planning and broader exposure in order to secure an established position within universities and conservatories worldwide. Personally, I hope this will happen in the near future, though I recognize that the process will take time.
10. Instruments such as the rebab in West Asian music or the erhu in Chinese music share certain structural similarities with the kamancheh. In your opinion, what are the differences and similarities among these instruments, and how might the kamancheh play an active role in this intercultural dialogue?
Although instruments like the erhu or the rebab share some superficial similarities with the kamancheh, they differ fundamentally in structure and tonal range. For example, the erhu has only two strings, with a relatively limited range, and is more closely aligned with Chinese musical culture. By contrast, the Iranian kamancheh, in terms of its technical potential, is far closer to the violin and possesses a broad sonic spectrum.
In countries such as Turkey and Azerbaijan, variants of the kamancheh exist with slight structural differences, each with its own unique role. Overall, however, the Iranian kamancheh, owing to its wide expressive capabilities, enjoys greater potential than many other Iranian instruments for establishing a strong international presence and playing an active role in intercultural dialogue.
Connect with Mehrdad Nasehi:
Instagram: @mehrdadnasehi
YouTube: MehrdadNasehi Official
