On the final performance of the National Orchestra of Iran in 1402, the audience gathered at Vahdat Hall on the evening of March 15. Led by guest conductor Maziar Zahiraldini, the orchestra performed an Iranian repertoire. The orchestra, consisting of string instruments, presented a program in two parts: the first part featured Nostalgia by Mehran Rouhani, a three-movement piece with variations on famous Iranian themes such as Elahe Naz by Master Akbar Mohseni, Sang Khara by Master Ali Tajvidi, and Bahare Delneshin by the immortal Master Rouhollah Khaleqi. The second part included Divertimento by Ahmad Pejman, a four-movement piece. Although the themes were based on Iranian motifs, the arrangement for string orchestra offered a fresh and engaging experience for the audience.

However, throughout the concert, there were noticeable performance issues. At times, some notes were unclear, and in sections where the cellos performed the Anison theme, there were significant dissonances. Rhythmical inconsistencies in fast tempos were another drawback. On the positive side, the orchestra displayed good control over nuances, and their crescendos and decrescendos were well-coordinated.

As for Zahiraldini’s conducting, we saw a musician taking on the role of a conductor. His hand movements remained relatively consistent throughout the performance. In many cases, the orchestra began playing in a somewhat uncoordinated manner, which can partly be attributed to the conductor. However, Zahiraldini, being a seasoned string player himself, likely understood the challenges and nuances of string instruments and could have provided more precise guidance during rehearsals and performances to help the musicians better interpret the pieces.

This is not the first time a well-known musician has been invited to conduct an important orchestra in the country. Less than a month ago, trombonist Hossein Sharifi was the guest conductor of the IRIB Orchestra at the Fajr Festival.

The main question, however, remains: Why aren’t young, experienced, and specialized orchestra conductors, trained at renowned universities abroad, invited to conduct the National Orchestra of Iran or the Tehran Symphony Orchestra? Instead of relying on musicians-turned-conductors, why not give the opportunity to professional conductors who have spent years studying orchestral leadership?

In conclusion, while the National Orchestra of Iran’s performance could have been more polished, the selection of an interesting repertoire created a delightful evening for music lovers. It is also worth noting that the performance did not attract a large audience, and the hall was not as filled as expected. Hopefully, with better planning in the new year, the orchestra, which has a crucial role in the advancement of Iranian music, will shine more brightly and have a greater impact.