This work of the Iranian composer Mehdi Hosseini combines a number of folk tunes - Tipumey (in the maqam Gahgeriyu or Gahgiri), Huri-Huri, Cheshmeh-ye Kuhrang, Chub bazi, Saharnaz, Pishnavazi, Lachakriyali. Each is, in essence, a Maqam and serves as a musical metaphor in the rich cultural tradition of the Bachtiari people. Each also acts as a semantic reference that speaks of the multi-millennial history of one of Persia's most ancient peoples. In 2007, while at a festival of the Summer Academy in Austria, M. Hosseini transcribed all of the ancient themes listed above for use in a modern musical composition.
The Bachtiari are one of Iran’s native peoples. The nation comprises the Khaftlang and Chaharlang tribes, which live in the provinces of Chaharmahal and Bachtiari, Isfahan and Loresan. Chaharmahal and Bachtiari province is located in southwest Iran. The Bachtiari dialect belongs to the group of Western Iranian languages, and its speakers have a rich and flourishing traditiona l folk culture.
Music is one of the most important elements of traditional folk culture, as it displays the intellectual values and character of the people. Bachtiari music is among the richest and most extensive varieties of Persian maqam music.
The traditions and customs of the Bachtiari are reflected in the names of their magams. In the musical terminology of the Bachtiari people, ‚magam’ usually means ''tune'' (not a specific tonality or ‚mode’ as it is typically interpreted, but an entire system of pitches and pitch relationships), since for them the word magam implies an established musical text, which might vary in character, form, and even genre.
The magams are formed on the basis of traditional Persian system-scales (Dastgah). The most predominant among these are Shur, Avaz-e Dashti, Avaz-e Shushtari, Dastgah-e Chaharlang, and Se’gah.
Although Bachtiari music has much in common with the musical culture of other regions of Iran, much distinguishes it, as wel