Hazhir Mehrafrouz
Hazhir Mehrafrouz (هژیر مهرافروز) is an Iranian singer, composer and improviser.
Hazhir was born in 1978 in Kermanshah, Iran in a family appreciative and sorounded of music, culture and mysticism. At a very young age, he started learning Persian traditional music under his father’s supervision and inspirations. At the age of five, he was able to play the Tanbur well to accompany his father. At the age of 11, he studied and learnt Persian teditional radif from Master Mahmud Karimi and simultaneously, he started to learn and play the setar  and tar under the supervision of his parental uncle Seyed Khalil Alinezhad. Later, He attended radif lessons under the tutorship of Master Reza Vohdani.

At the age of 17, he began his research on Kurdish music and due to his love for music, he learnt to play the Divan (Saz) masterfully. Afterwards, he learnt to play the guitar and piano and he established a musical group called Ayaan. He successfully managed to create a new music genre called Talfighi music by using a fusion of traditional Iranian music instruments (tar, setar, tandur) with modern instruments such as guitar, saxophone and drums. He has also given numerous successful concerts in Iran, Turkey and Switzerland. Gome-be-haj-rafte is one of Hazhir’s famous song.

After 32 years of worldwide performance and recording, The Sixteen is recognised as one of the world’s greatest ensembles. Comprising both choir and period-instrument orchestra, The Sixteen’s total commitment to the music it performs is its greatest distinction. A special reputation for performing early English polyphony, masterpieces of the Renaissance, bringing fresh insights into Baroque and early Classical music and a diversity of 20th-century music, is drawn from the passions of conductor and founder Harry Christophers. In 2009 the group was awarded the Classic FM Gramophone “Artist of the Year” award [the only ensemble in the award’s history to ever win this category]. 

Over one hundred recordings reflect The Sixteen’s quality in a range of work spanning the music of five hundred years, winning many awards including Grand Prix du Disque, numerous Schallplattenkritik, the coveted Gramophone Award for “Early Music”, a Classical Brit Award and Classic FM Gramophone Baroque Vocal Award for their recording of Handel’s Coronation Anthems.

Since 2001 The Sixteen has been building its own record label, CORO, which now boasts over 100 titles. Recent recordings include 'The Earth Resounds' featuring music by  Josquin, Brumel and Lassus, the first volume in a new series celebrating Palestrina and the second volume in the Monteverdi Selva morale e spirituale series. Best sellers include Allegri's Miserere, Handel's Messiah and Tallis's Spem in Alium. In 2010 CORO DVD was launched to release the BBC’s groundbreaking Sacred Music programmes on DVD.

For more information on The Sixteen and to purchase CDs visit www.thesixteen.com

La voix, humanisme pluriel.

Le Transcontemporain, c’est une profonde volonté de promouvoir toute la pluralité des musiques du XXème et du XXIème siècles et le désir de défendre aujourd’hui la formation chorale et son répertoire. Pour rassembler toute la richesse des musiques contemporaines, l’ensemble vocal est le représentant idéal, profondément humain, de la réconciliation et de l’union cosmopolite. Polyvalent, il traverse les âges, les genres, les couches sociales, les cultures.

La musique contemporaine : puissance expressive et pluralité.

Le Transcontemporain souhaite donner toujours plus de sens aux musiques contemporaines afin de démocratiser des langages plus souvent incompris qu’élitistes. Mettre en regard ces esthétiques contemporaines, les connecter aux musiques anciennes, les spatialiser et les présenter dans un espace dramatique, sont autant d’outils pédagogiques de vulgarisation, de promotion et de diffusion de ce répertoire. Mieux comprendre la musique du XXème siècle pour mieux défendre celle  du XXIème, voilà une intention centrale du Transcontemporain.
Les « dissonances », caricatures de la « musique contemporaine », ne sont que le prolongement d’une recherche millénaire d’expressivité toujours plus puissante. Schoenberg, père mystifié de cette avant-garde, voyait déjà l’art comme « le cri de détresse de ceux qui vivent à l’intérieur d’eux-mêmes le destin de l’humanité ». Du Darmstadt radical aux néoclassicismes, toutes ces esthétiques ont des choses à transmettre. C’est cette puissance expressive que défend Le Transcontemporain dans toute la diversité semée par les ruptures du XXème siècle que nous récoltons au XXIème.

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