Franco-iranian artist recently installed in Moncton, his new home, Dariush has become one of the most prominent personas in Persian Music today as a poet, musician, composer and musicologist. By spending time playing and studying with some of Iran's masters; namely , Mohamed Esmaili (appointed successor of Master Teherani), Morteza Ayan and Bahman Radjabi, Dariush has become an outstanding Tombak (a Persian percussion instrument also known as a zarb) player. His research on Hussein Teherani's (founder of the modern school of the tombak) music as well as his own knowledge of ancient rhythms has allowed him to compose for this instrument in a renewed language. He has been able to keep the characteristics and genuineness of the ancient rhythms while freeing it of some of its more traditional components.

His particular approach on the tombak redefines its role and influence that spreads way beyond Persian music to reach a more universal language; that of the heart. Dariush brings skillfulness, sensitivity and a depth to each performance on the tombak as well as on the santur; (a Persian stringed instrument) an instrument in which he is completely self-taught. As a connoisseur of the ancient traditions and enriched with his own compositions, Dariush suggests a re-rereading of the Persian repertoire, known as the radif. To date, Dariush has produced a great number of works for the tombak as well as the santur incorporating both traditional methods and his own inspirations.These works make him one of the more prominent figures in Persian music today.

THE MUSIC INSTRUMENTS (STRINGS)

TAR
Cordophone of the family of the rabâbs, characterized by the membrane of the skin which holds place of sounding board, the târ is known in Iran and in the Caucasus. The Persan târ comprises 6 cords; its case is broad and in the form of eight. Is played with a plectre almost always carried out with a wood slat surrounded by two slats in bone of camel.

SANTUR
Instrument with 9 groups of 4 strings each, stricken by two very light sticks (mezrab). Santur is well known in Iran, but in India too, in the Middle-East and in south Russia where it has different names (tsimbalu, chang, sintu)

SETAR
Coming from a 3 strings lute, it was already known in the third century AC. A string was added at the beginning of the XXth century. Setâr is composed of a long handle fixed to a pear-shaped box with a spheric bottom. It might be defined as a kind of Tanbur the strings of which are pinched wih the rignt hand’s second finger’s nail.

THE MUSIC INSTRUMENTS (PERCUSSIONS)

TOMBAC
A drum in a chalice shape, with a glued skin, played with fingers of both hands. Initially, an instrument for accompagniment, it has acquired a more noble status in the fifties thanks too Ostak Hossein Teherani who developped a technique allowing solo playing. D. Zarbafian took on the work to develop even more the expressiveness of this instrument.

DAF
Very large drum on a wood frame used in the kurdistani ceremonies and rituals. Its specificity is to have small chains of little rings fixed to the frame that are used by the player to emphasize the dramatisation of the piece.

DAYEREH
A kind of drum on framework with rings of metal to the turns. This instrument is smaller than the Daf.

DOHOL
A gross-case which is often carried in order to be able to be struck on the two sides with a wood mailloche. It is an Iranian folk instrument.