Abstract of Prof. Lawergren's Illustrated Lecture on the History of Harp in Iran

In Iran, music has existed for a lot longer than given in conventional histories, but few – if any – tunes have survived. For example, the sweet-voiced lutenists Barbad is known from the Shahnameh, but we don’t know his tunes. However, archaeology has brought out musical material that goes back millennia. It does not bring us any closer to ancient tunes, but we see the contours of history: there is continuity and change as well as interaction with musical cultures near and far. It allows the reconstruction of instruments and the study of social contexts.

Shortly after 3000 BC a small round harp emerged but a millennium later it gave way to the L-shaped harp (the “chang”). The latter diffused to distant places like Egypt, China, and Japan, but all eventually died out. The latest survival was in Istanbul, ca. 1700 AD. The chang was the favorite instrument of Bahram Gur (king Varahran V [421-39]). His exploits were often illustrated in Persian books, and the drawings facilitate modern reproductions of the chang; this effort is also helped by two surviving chang-harps from 752 in Japan (called “kugo” there). Ms. Tomoko Sugawara will play a reproduction of a harp painted on a reliquary box found in Central Asia. The harpist wears Parthian-style trousers and a magnificent coat similar to those worn by Sasanian nobles.

One tune survives from the golden period of the chang: Qawl by Qutb al-Din al-Shirazi (1236–1311). It will be performed. Chinese pieces from the ninth century have also survived, and these add to the repertoire of ancient pieces. In addition, Ms. Sugawara will play modern pieces specially written for the chang (or kugo).