Rahim Hoseinzade is a gifted Mazandarani singer who carries forward the rich vocal traditions of his homeland, deeply influenced by his master, Abolhasan Khoshroo. His voice, shaped by the land and its people, breathes life into ancient melodies of love, longing, and devotion.
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Mazandaran, a land of mist-laden forests and rolling green hills along the Caspian Sea, carries within its heart a musical tradition as ancient as its mountains. The voices of its people echo through time, preserving stories of love, loss, and longing. Among those who bear this legacy is Rahim Hosseinzadeh, a young but deeply rooted singer whose voice seems to rise from the very soil of his ancestors. He is one of the most talented disciples of the legendary Abolhasan Khoshroo, whose influence on Mazandarani music remains unparalleled.
The Living Echo of Tradition: Rahim Hosseinzadeh
It was a midday sun that found us in the vicinity of Shirgah, led by Ahmad Bavand to meet a man who, in his very presence, seemed to summon the spirit of Abolhasan Khoshroo. When the camera was set, he introduced himself in a way that revealed his deep connection to his land: “With great respect, I am Rahim Hosseinzadeh of Tabarestan, the thorn-blood of the paddy fields.” His words alone carried the weight of history, signaling that he was not merely a singer, but a vessel of ancestral memory.
Hosseinzadeh’s music is not learned through written notation or formal instruction. He has walked the highlands with his herd, listening to the voices of elders whose songs belong to a world untouched by time. When he speaks of music, he speaks of the old masters. The image of Abolhasan Khoshroo is not merely one he admires—it adorns the wooden walls of his shepherd’s cottage.
With remarkable humility, Hosseinzadeh speaks of the traditions he upholds: Charvadari, Katuli, Amiri, Shah-Baji, and Taleba. But he does not merely name them. He sings them. As he utters the first words of Charvadari, he lifts the Lalehva (a traditional Mazandarani wind instrument) to his lips, attuning his mind to its ancient scales, and then, without hesitation, he sings:
“Charbidari nakon, meh ra bad ene…
(Do not set out on the road, the wind is rising…)
This is the song of the caravan men, the Charvadars, who once carried trade goods on horseback through the vast forests and treacherous passes of the Alborz mountains. It is a song of toil and endurance, a lament for those who never returned. Some winters were too cruel, some journeys too long, and behind them, mothers and lovers waited, their songs carried by the wind:
“Hemend suze gheva bayeh nemuyi,
Vanoosheh chesh be rah bayeh nemuyi…
(The plains have turned green, but you have not come back;
The violets wait for you, but you have not come back…)
When Hosseinzadeh sings these words, he does not merely perform; he communes with the past. His eyes close, and he is no longer in front of our camera. He sings to time itself.
The Master of Mazandarani Music: Abolhasan Khoshroo
No discussion of Mazandarani music is complete without paying homage to Abolhasan Khoshroo. Born in 1944 in Sari, Khoshroo devoted his life to reviving and preserving the musical traditions of his homeland. His voice, a bridge between past and present, brought the songs of the Mazandarani people to the broader world.
Khoshroo’s mastery lay in his ability to interpret and refine traditional melodies without severing them from their origins. He was particularly known for his renditions of Amiri and Katuli songs, forms that date back centuries. His collaboration with the Mazandarani music group “Shahnaz” cemented his role as the region’s most influential folk singer.
His interpretations of classical texts gave new life to old verses, his voice carrying the weight of both sorrow and celebration. Khoshroo’s influence is deeply embedded in Rahim Hosseinzadeh, who, despite his youth, carries forward his master’s legacy with devotion and authenticity.
The Vocal Traditions of Mazandaran
Mazandaran’s musical heritage is rooted in its geography. The mountains, the forests, and the sea have all shaped its soundscape. The principal vocal traditions include:
Amiri: A soulful and melancholic form associated with the poetry of Amir Pazevari, it is characterized by slow, deliberate melodies that evoke longing and nostalgia.
Katuli: Known for its lyrical beauty, Katuli songs often tell of love and separation, carried in soft, flowing cadences.
Taleba: A devotional form, deeply tied to the region’s spiritual and mystical traditions.
Charvadari: Songs of the caravan traders, narrating the hardships of long journeys through the mountains.
Shah-Baji: A celebratory style, often performed at festive gatherings and rural ceremonies.
Each of these styles reflects the lived experiences of the Mazandarani people. Whether mourning the absence of a loved one, celebrating the harvest, or singing the praises of nature, their music is inseparable from the rhythms of their land.
A Voice That Echoes Through Time
As we left the forest, the echoes of Hosseinzadeh’s voice still lingered in the canopy of ancient oaks. His music, like that of his master before him, is more than just song. It is history, it is longing, it is the voice of a people whose stories are carried on the wind.
In Rahim Hosseinzadeh, we see a young man who does not merely inherit a tradition—he embodies it. Through him, the melodies of Mazandaran will not fade. They will continue to rise, as they always have, from the forests and valleys of this ancient land, forever carried forward by the voices of its people.
