صحبت های استاد از دقیقه ۲۱ شروع می شود، خواننده: محمد منتشری، تار: اسماعیل مهرتاش
شهیدی: پیرنیا در گلها، از تابلوموزیکال های مهرتاش الگو گرفت
📌محل تدریس استاد محمد منتشری (تدریس ردیف آواز ایرانی)
🔖 یکشنبه ها: آموزشگاه دلشدگان، تهران، میدان رسالت
📞شماره تماس: ۰۲۱۷۷۲۲۰۰۸۸ – ۰۲۱۷۷۲۰۹۶۵۷
🔖دوشنبه ها: آموزشگاه مهرتاش، تهران، خیابان دولت
🔖سه شنبه ها: آموزشگاه هنر پارسه، تهران، خیابان مفتح شمالی
📞شماره تماس: ۰۲۱۸۸۳۰۲۹۶۹
🔖چهارشنبه ها: آموزشگاه سایه سار، تهران، خیابان هفت تیر
📞شماره تماس: ۰۲۱۸۸۳۴۳۷۵۷ – ۰۲۱۸۸۸۳۹۸۷۸
📣قابل توجه دوستان
▫️برای تهیه پک ردیف آوازی استاد محمد منتشری، هر گونه سوالی در مورد قیمت، نحوه خرید و ارسال پک دارید، با شماره تلفن، انتشارات ماهور، تماس بگیرید.
شماره تماس انتشارات ماهور: ۰۲۱۷۷۶۰۱۰۲۰
▫️هرگونه سوالی در مورد مقدار شهریه، روز و ساعات کلاس دارید، با یکی از آموزشگاه هایی که استاد تدریس دارند تماس بگیرید.
▫️هر عزیزی که با استاد محمد منتشری عکس داره و دلش می خواد در کانال گذاشته بشه، برامون بفرسته تا با اسم خودشون در کانال به اشتراک بزاریم
حتی اگر اون عکس یادآور خاطره ای هم برای شما هست می تونید خاطره رو هم بگید تا همراه عکستون در کانال بزاریم. آی دی بنده جهت ارتباط
He was born in langerud iran in 1942 and when he was eleven he came to tehran and grew up in a traditional southern area of tehran, where he is proud of and owes the authenticity of his qazal khani or his bayate tehran to it. He was fourteen or fifteen when he began the courses for acting at barbad society. Because he had not reached the legal age, mehrtash asked for his fathers agreement. But his father s and specially his mothers disagreement made him cheat innocently and make up a letter of consent. Mehrtash found out its fake, but ignored it and admitted him.
When he was 18, he had been trained for acting for three years, but destiny had marked somthing else for him, and he had the chance to test himself in singing. It happened that he was more successful and more reputable in this field.
Mehrtash eas looking for a vocalist in barbad society for a lever de rideau named “Walnut Seller”, so he referred to the acting class and its students. Six students nominated themselves and montasheri was one of them. He used to sing the songs which his father used to sing for himself- especially the songs of badizade- in his private. This encouraged him to nominate himself for the lever de rideau toghether with the other five nominess and it so happened that he drew his masters attention more than the others. As a result, he was chosen by mehrtash, both for the play and for his singing classes, which were held in his house, until 1976 when the society during winter time.
Montasheri, who still calls mehrtash “aqa” (sir), by putting the two kinds of abilities, singing and action, toghether, became someone who profoundly pleased “aqa” . after shahidi, he appeared in all musical plays of barbad society playing the chief roles, and after 1971, he turned to the national television as a professional singer in a program called haft shahre eshgh. Then he turned to the radio and continued his singing activities until 1979 constantly. After the revolution he stopped doing his artistic activities for a while, but later he was invited to teach singing in center for preservation and promotion of persian music and lately he endeavored to perform and record master mehrtashs works, especially his radif.
Montasheri was one of the most favorite students of mehrtash and there is one surprise if he is considered the main inheritance of the masters aesthetics. The abundance of tahrir has ffered a kind of exuberance to his voice, which can hardly be found in the songs of his contemporary singers. He says: “ the tahrirs are an inseparable part of our music. Our music, because of its tahrirs is closer to the nature than the other kinds of music. Nobody is to touch its arrangement. Unfortunately, after the revolution, it has become popular to sing 20 lines of a poem one after another and utter short tahrirs. The tahrir ned powerful larynx and breath. Aqas opinion was the same. If you listen to the old vocalists, like zeli, taj, adib and taherzade, they used to sing the same way. If you dont utter tahrirs, you dont sing avaz, you sing maddahi (eulogy). Once in a interview i was asked: “why is there a kind of joy in your voice?” I said: “this is what is called “avaz”, what the others sing is not “avaz”.
Shor afarin in the year 1993 and Repeat the publication in the year 2013
Fekre bolbol in the year1995
Haft sin in the year 2004
Gheble amal in the year 2011
Vocal radif of esmail mehrtash according to the version of mohammad montasheri in the year 2011
Chahar shanbeh sury in the year 2011
Some spring songs in the year 2013
Norozaneh in the year 2016
Title film vocalist
TV series The First Man in the year ۱۹۷۶
Cooperation with Radio and Television after the Revolution
Delnazan TV program for Channel Four in the year ۲۰۱۰
Naghmeha TV program for Channel five in the year ۲۰۱۰
۲۰۱۴ Neyestan radio program for radio culture From 2011 to year
Deldhodegan TV program for Channel Four in the year 2013
Delafrozan TV program for Channel Four in the year ۲۰۱۶
Cooperation with Radio and Television before the Revolution
Seven Cities Of Love TV program in the year 1971
Iranian National Radio Orchestra in the year ۱۹۷۳
Sources: booklet vocal radif of esmail mehrtash according to the version of mohammad montasheri, Sound and Sites