Well, some musicians are able to take listeners to different worlds through music, and Omid Shabani is one of them. The artist has come up with the latest composition ‘A Quintet in the Forest’ which offers a magnificent musical experience to the listeners. The song was also released with an official music video which further emphasized its theme of finding music in nature. We are glad to catch a few words with Omid Shabani.
DMR: Congratulations on the release of ‘A Quintet in the Forest’. What kind of responses are you getting?
Omid: As I speak about this, not much time has passed since the release of the video. However, the feedback I’ve received so far has been positive, whether about the music, the music video, or the story. Of course, it may take more time to gather more feedback and encounter different perspectives.
DMR: How did you come up with the composition?
Omid: When it comes to the creation of this piece, the music and the story emerged almost simultaneously. To be more precise, the music served the narrative, while the narrative, in turn, enriched the music. As for the instrumentation, my choices were driven not only by musical considerations but also by the essence and character of the story. On the other hand, I would like to introduce the Handpan in combinations that move beyond the trendy contexts it is often associated with today. I believe that the extra-musical aspects of the Handpan have garnered more attention than its acoustic qualities.
DMR: The official music video truly justifies the story of the song. Would you like to elaborate for the readers?
Omid: I think it’s important to discuss briefly a particular aspect that came to my mind during the creation of this project. In Persian classical music, we have a specific concept known as “Tahrir”, which is said to be inspired by the singing of birds such as a nightingale. This technique is employed as an ornament, or sometimes even within the verses and phrases, or at the end of a musical phrases, and has an important role in this music. Birdsong has a musical quality for humans. we derive pleasure from listening to these enchanting melodies. Regardless of the fact that, for birds, it serves as a language for communication and we cannot fully grasp what goes on in their minds, it is as enjoyable to us as a piece of music. This musical aspect of birdsong led me to consider giving a human dimension to this avian melody, serving as a metaphor for the human approach to perceiving birdsong as music. In the end, within the music video, the bird’s song fulfills the same purpose it does in nature, where it sings for its own reasons. In selecting the instrument to represent the bird, I considered its vocal range and other characteristics, choosing an instrument that harmonizes with the story’s nature and the music’s essence.
DMR: Did you use natural elements to bring out the essence of the forest?
Omid: Firstly, the forest serves as the natural habitat for our character in this video. Another option we considered was a garden; however, a garden is inherently a space defined by human boundaries. In contrast, In the forest, due to its mysterious qualities and vastness, this exploration takes on a different meaning and essence. Many of the stories I cherished in my childhood unfolded in forests. The narrative of the music video evokes a children’s tale, in which a group of people embark on a quest to find someone for a specific purpose. The story unfolds as they discover and encourage this person throughout their journey.
DMR: How does it feel working with fellow musicians?
Omid: I had a genuinely rewarding experience collaborating with the musicians on this project. Despite the challenges we encountered during production, the support from each musician greatly facilitated the process of creating the video, for which I am truly grateful. Alongside their musical skills, the character of the musicians was equally important to me, which imposed certain limitations on my selection. However, I was fortunate to find the right musicians fairly quickly. Their enthusiastic response to the work and the music video was a pleasant surprise, and we quickly found a great rapport.
DMR: How did your knack for handpan grow? Have you been a musician since childhood?
Omid: I began my musical journey at the age of 11 when I started studying in the Tehran Music School and my primary instrument was the Tar. Initially, I was concentrated on Persian classical music, but as time passed, my musical interests evolved, leading me to explore other genres. One of those areas is now Handpan performance. Currently, in addition to the Handpan, I also play the Robab and am developing another musical line in that domain. I am also pursuing Piano as a separate path and do not confine myself to just one instrument. My introduction to the Handpan stems from a video I stumbled upon, although I can’t recall where I saw it or who the musician was. What I do remember is being utterly captivated by both the sound and the physicality of the instrument. With the assistance of a friend of mine, I eventually purchased an eight-note Handpan from Bunnik, a village in the Netherlands. It was a Handpan in D minor, without the G note, which, as a musician, was quite bothersome to me. Nevertheless, I recorded my album “Blossoming in the Valley” despite this limitation, compensating for the missing G note by incorporating other sounds such as vocals, instruments, and electronic elements. Eventually, I was able to acquire a more complete instrument.
DMR: How would you like to define your style of music?
Omid: In my view, there is no specific framework that confines my musical identity or mindset. I feel no need to categorize myself in any particular way. Instead, I embrace whatever resonates with me. At times, my interests may draw from Middle Eastern culture, while in other instances, they may reflect a neoclassical approach in my piano compositions. I am also influenced by many other elements, often only realizing their impact as I immerse myself in the creative process.
DMR: Do you think audiences are inclined towards lyrics rather than instrumental compositions?
Omid: Indeed, there is a general tendency towards vocal music, but many people appreciate both instrumental and vocal forms. Ultimately, lyrics are an important part of every musical culture. For instance, audiences of Western classical music enjoy both Bach’s cantatas and his Piano works. Similarly, Persian classical music encompasses both instrumental pieces and “Tasnif”s (songs) featuring lyrics with instrumental accompaniment. The same happens in Indian, Turkish, and Afghan music, as well as in genres like rock and jazz, where both elements coexist. Listeners from any genre may have a preference for one or both of these aspects.
However, in the realm of what we define as pop music, lyrics hold a paramount importance. In this genre, they serve as the guiding force. For fans of vocal pop, instrumental music can often seem dull. Nonetheless, it’s crucial to distinguish between different types of lyrics. A pop music enthusiast might find Chopin’s nocturnes more appealing than an opera, where lyrics drive the narrative. That said, I believe the appeal of instrumental music has grown significantly. A composer has the power to shape audience perceptions and cultivate a new group of listeners through their work. Take Olafur Arnalds, for example; he has successfully attracted an audience that extends beyond the traditional confines of classical music, including those who may have previously had little interest in instrumental genres.
DMR: What tips would you like to give to your fellow music artists for progress?
Omid: I don’t see myself in a position to offer advice to other artists.
DMR: Is there anything you want to tell the listeners?
Omid: I would like to take a moment to acknowledge a crucial figure who is missing in this interview: Mohammad Tabrizi, our director and director of photography. Mohammad has dedicated as much effort as I have to bring this project to life. The music video is truly a collaborative effort, with Mohammad playing a vital role in transforming our vision into reality. We are also both immensely grateful to the friends who stood by us and made significant contributions to the creation of the music video. This experience marks our first collaboration, and we’ve gained invaluable insights into effective teamwork and communication, which we hope to build upon in future projects. Lastly, I sincerely thank you for providing me with the opportunity to share my thoughts.
Watch this music video here: https://www.youtube.com/watch?v=dGDBbw9h3tY
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