The Kamancha, the Ancient Spiked Fiddle of Persia and Central Asia

(headline image: Anatolia Azeri Kamancha AAK-304 by Arslan)

The kamancha is a bowed stringed musical instrument that has garnered widespread use in diverse regions of the world, such as Iran, Azerbaijan, Turkey, Armenia, and Central Asia. It holds the distinction of being one of the most ancient bowed stringed instruments, with its origins dating back to the Middle Ages. The instrument features four metal strings and is bowed, like the cello. However, unlike the latter, the kamancha is nearly the size of a violin and is held upright while being played. It has gained immense popularity in traditional Persian music.

The kamancha is typically composed of a pear-shaped wooden body, a long fingerboard, and four strings. The instrument has a long neck with a fingerboard shaped like a truncated inverse cone that aids in easy bow movement in the downward section. It also includes a peg box, with four pegs placed on both sides, and a finial, which serves as a unique ornament at the top of the instrument. The body of the kamancha contains a lower spheroid chamber made from materials such as gourd, coconut shell, or wooden staves, such as blackberry, blackberry root, walnut, pear, maple, cherry, or sour cherry, depending on the geographic location of the kamancha maker. The sound box of the instrument is usually covered on the playing side with skin from a lamb, goat, deer, or fish.

The kamancha is played while seated and is held like a viol. The end-pin may rest on the knee or thigh of the player while seated in a chair.

Kamancha Strings

The kamanchas depicted in antique Persian paintings traditionally featured three strings. The fourth string may have been incorporated during the early twentieth century due to the introduction of the European violin to Persia.

Originally, strings for the kamancha were fashioned from gut or silk. However, contemporary strings may consist of gut, solid steel, stranded steel, or a range of synthetic materials that are wrapped with various metals. While kamancha strings are manufactured in countries where the instrument is played, some kamancha players seek to utilize strings designed for violins or violas instead.

When played, the kamancha strings are set in motion by a bow that is made from horsehair. Vibrations are produced by pressing the strings against the fingerboard with the bow.

The kamancha is renowned for its distinct sound, which is often described as warm and mellow. This instrument is especially capable of generating intricate melodies and embellishments, making it a versatile addition to a broad range of musical genres, including classical, folk, contemporary, and experimental styles.

The term “kamancha” translates to “little bow” in Persian, while the instrument is typically tuned in the same manner as a conventional violin (G, D, A, E).

The Art of crafting and playing with Kamantcheh/Kamancha in Azerbaijan and Iran.

In 2017, the kamantcheh/kamancha was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity, acknowledging its significance as an art form with deep historical roots that has endured through the generations. This recognition highlights the importance of preserving and promoting this intangible cultural heritage to ensure its continuation for future generations.

The art of crafting and playing with kamantcheh/kamancha, has a rich history, spanning over a millennium. This craft holds great significance in the classical and folkloric music of the Islamic Republic of Iran and Azerbaijan, with performances often serving as a focal point in diverse social and cultural gatherings.

The contemporary rendition of kamantcheh/kamancha features a four-stringed instrument fashioned with horsehair for both the body and bow, which is employed by solo performers or as part of orchestral arrangements. The bearers and practitioners of this cultural element are comprised of craftspeople, amateur and professional musicians, teachers, and students alike. Kamantcheh/kamancha is an essential facet of the musical culture in both countries, with crafting the instrument serving as a direct source of income for some artisans, who also view it as a vital component of their communities’ intangible cultural heritage.

Musicians who play the kamantcheh/kamancha use it to convey a range of themes, from the mythological and gnostic to the humorous. Today, knowledge of both playing and crafting this instrument is passed down through families, as well as State-sponsored musical institutions and schools. This knowledge, in turn, reinforces the importance of music in promoting cultural identity and is transmitted through all social strata in both countries.

The kamantcheh/kamancha is also known by several other names, such as kamancheh, kemancha, Kamanche, Kamanjah, qyamancha, and kemenche. In English, the instrument is sometimes referred to as the spiked fiddle.

Prominent Kamancha Players

Ardeshir Kamkar

Kurdish musician from Iran, born in 1962. He learned music from his father and continued his studies in Tehran with Mohammad Reza Lotfi and his brother Pashang. Kamkar is known for exploring the range and capabilities of the kamancha, and has written several pieces and books on it. He has played with famous ensembles like Dastan, Aref, and Sheyda, and has collaborated internationally on albums like “From Pontos to Persia“.

Babak Yadegari

Accomplished musician who has dedicated nearly a decade and a half to honing his skills in the art of kamancha and traditional Persian music. He has received instruction from esteemed kamancha virtuosos such as Reza Parviz Zadeh and Abbas Jafari, both of whom are highly regarded figures in the Persian music community. In addition to his rigorous training, Babak has also gained extensive performance experience throughout his career. He has shared the stage with the esteemed Gouran Tanbour Ensemble in Shiraz, and has been an integral member of the Bay Area Persian Music Ensemble for over two years, contributing his talents to their acclaimed performances.

Elshan Mansurov

Talented kemancha player from Azerbaijan who completed his studies at the Hajibeyov Azerbaijan State Conservatory. He has won several contests in Azerbaijan and has been promoting Azerbaijan Mugams globally by participating in international projects and national festivities. He established the children’s Mugam group Araz and has recorded two solo disks. Furthermore, he is also a Project Coordinator for the promotional Mugam concerts held by UNESCO in Azerbaijan and was awarded the title of Honored Artist of Azerbaijan Republic in 2007.

Farzin Dehghan Manshadi

Instrumentalist based in the United States of America, specializing in the kamancha, a Persian string instrument, and the Ud/Oud, an Arabic and Islamic lute. He is a recording artist with expertise in music improvisation. Farzin’s artistic path in music and life is guided by the artist-teacher-scholar framework, with teaching and learning forming the core of his artistic endeavors. He has expanded his musical knowledge by studying broader Middle Eastern music traditions and instruments such as Daf, Setar, and Chanting. Farzin is an emerging kamancha player, composer, and educator with degrees in contemporary improvisation and strings performance from the New England Conservatory and Berklee College of Music. His music is inspired by a wide range of musical traditions from folk musics of Iran and Western Asia to free improvisation traditions of America and Europe to conceptual, minimal, and microtonal composition practices.

Gaguik Mouradian

Musician born in Yerevan, Armenia in 1954. He became fascinated with the kamancha after seeing a film about the 18th century troubadour Sayat Nova, and studied music at the Komitas Conservatory of Armenia under Hratchik Avedikian. He later became a kamancha teacher at the Conservatory and taught several traditional music ensembles, including the Goussan Ensemble, which consists of various traditional instruments such as the kamancha, tar, kanun, santur, duduk, dhol, and a vocalist.

Gelareh Pour

Iranian-born musician and ethnomusicologist who currently resides in Ballarat, Australia. She is known for her proficiency in playing the kamancha and Qeychak, as well as her skills in singing and songwriting. Pour has performed in various countries and collaborated with several innovative musicians and organizations in Australia, including the Australian Art Orchestra and Multicultural Arts Victoria. She has released several albums that feature a blend of post-rock, Persian, and improvised music. Pour’s current projects include JIVIR, Gelareh Pour’s Garden, and ZÖJ, a transparent improvised experimental duet.

Imamyar Hasanov

Azerbaijani American kamancha master who is highly acclaimed for his versatility as an arranger, performer, and instructor, and for bridging the gap between traditional Azerbaijani music and that of other cultures. He has contributed greatly to the preservation of Azerbaijani music and has created works that have brought this music to the forefront of both classical and world music.

Kayhan Kalhor

Internationally acclaimed kamancha player from Tehran who has popularized Persian music around the world through his collaborations and performances. He has studied the music of different regions of Iran and has toured the world as a soloist with various orchestras. Kalhor has composed works for renowned vocalists and instrumentalists in Iran, and has also composed music for television and film.

He is a co-founder of Dastan and Masters of Persian Music, and an original member of Yo-Yo Ma’s Silk Road Project. Kalhor has been nominated for three Grammys and has won one in 2017 with the Silk Road Ensemble. He began his musical studies at the age of seven and was invited to work in the Iranian National Radio and Television Orchestra at thirteen. Kalhor continued his studies in Western classical music in Rome and Ottawa, Canada, where he received a degree in music.

Kourosh Babaei

Iranian musician, kamancha player, composer, music instructor and performer of classical & traditional music. He started playing music at the age of 12 and has collaborated with famous traditional musicians. He is known for his techniques and specific taste, and has pioneered a fusion style of music. Recently, he has moved to Toronto to expand his music career. He has worked on various albums and projects, including the Borderless Band and The Garden of Silents project. He invites followers to connect with him on various music platforms.

Mark Eliyahu

Israeli musician, who was born in Soviet Dagestan in 1982 and immigrated to Israel with his parents in 1989. He plays the kamancha, and at the age of 16, he moved to Baku, Azerbaijan to learn kamancha under the guidance of renowned player Adalat Vazirov. Eliyahu’s father was a composer, and his mother played the violin. He recorded his first solo album in 2004, and in 2020, he composed and played the theme music for the Emmy award-winning Israeli political espionage series Tehran. His work has gained some popularity among Iranian listeners, especially those who attend his concerts in Turkey.

Melisa Yıldırım

Turkish musician who specializes in playing the kemane (kamancha). She began developing her skills in high school and eventually earned a degree in music from the state Conservatory of Turkish Music at Istanbul Technical University. Melisa has won awards and performed in various musical projects, including a residency and tour in the UK, a solo performance at the EFG London Jazz Festival, and participation in the OneBeat 9 musical residency program in Florida, USA. Her music draws on a range of influences, including Sufi music, Anatolian folk, and contemporary world music. In 2021, she released an instrumental album called ‘Taluş’ with Gilad Weiss, featuring the Anatolian kamancha and fretless guitar.

Mehrnam Rastegari

Accomplished Iranian composer, singer, violinist, and kamancha player who has performed at prestigious music festivals in countries like Germany, Switzerland, France, Finland, Iran, and Kazakhstan. She has composed scores for films, including the award-winning “Dispirited” and “Rotten.”

Mirnazim Asadullayev

Well-known kamancha player from Baku, Azerbaijan. He studied at the State Music Institute and the Music Conservatory named after Uzeyir Hajibeyov. He performed as the first-chair kamancha player for the folk musical instruments orchestra of the Azerbaijan State Television and Radio Broadcasting Company and traveled to many countries to represent Azerbaijani folk music in concerts. Likewise, he played in the folk instrumental ensemble named after Baba Salahov for over 35 years and regularly participates in special events and concerts.

Asadullayev also teaches at the Azerbaijan State University of Culture and Fine Arts and has authored textbooks in kamancha, the history of mugham, and mugham performance. He has received several awards for his performing activities, including the title of Honored Artist of the Azerbaijan Republic and the “Ughur-2009” award of the Azerbaijan Republic Cultural Center.

Munis Sharifov

Well-known kamancha and chagan performer who has made significant contributions to Azerbaijani musical culture. He has served as the artistic director and accompanist of the State Ensemble of Ancient Musical Instruments for many years, and he is also the only chagan performer in Azerbaijan.

Negar Kharkan

Musician and educator from Iran who started playing music at the age of 11. She received her B. Mus from Music college in 2003 and later on her Master in the Tehran Art university in 2006. She is a renowned musician both within Iran and among the diaspora for her expertise in Persian classical music and her experience working with acclaimed Persian classical Maestros and ensembles. She has released a significant amount of music and has also taught kamancha at the Music conservatory in Tehran.

Niloufar Shiri

Iranian kamancha player and composer who combines traditional Iranian music with noise and electronics to create music that reflects the contemporary soundscape of a displaced Iran. She has performed and collaborated with various ensembles and festivals, including Long Beach Opera, Mostly Mozart, and Tehran Contemporary Music Festival. She has also worked with musicians such as Jessika Kenney and Antonin Fajt. Niloufar holds a B.A. in composition from UC San Diego and an M.A. in Integrated Composition, Improvisation, and Technology from UC Irvine, where she conducted research on Iranian classical music. She is currently a visiting artist at Pomona College.

Rasa-Lila Buniatyan

Talented kamancha player, born in India in 1993 to Armenian parents. Her family moved to the USA in 1998 before returning to Armenia in 2003. Rasa-Lila began playing the kamancha at age 13 and excelled quickly, earning enrollment in the Ashugh Djivani Folk Music School, where she studied under Ashugh Hover and Merited Artist of Armenia Professor Tovmas Poghosyan. She also took master-classes from Hakob Khalatyan. She was recommended by the school board to participate in the YerazArt 2010 concert tour program and is considered one of the most promising kamancha players of her generation. Additionally, Rasa-Lila is also a talented water-colorist.

Reza Parvizade

Kamancha player from Lorestan, Iran who has studied both the Lori tradition and Persian classical dastgah system. He has collaborated with several master musicians, released CDs, and given concerts in Iran and France. He specializes in long solo performances accompanied by percussion and combines Persian classical style with Lori melodic modes. Not only that, but he has also restored the essence of the old style of playing kamancha from the Qajar school. As a teacher and member of the committee of the Institute of Musicology of the University of Tehran, he aims to preserve the musical legacy of the kamancha and develop its technique and repertoire.

Saeed Farajpouri

Iranian composer, performer, and instructor of the kamancha, a classical Iranian instrument. He learned music from several renowned maestros and has performed with various ensembles, including collaborations with Maestro Mohammad Reza Shajarian. Saeed has also produced various solo recordings and written two books for kamancha students.

Samer Habibi

Iranian kamancha player and instrument maker who started learning music at 15 in the National Music Conservatory of Iran. He has played in around 50 music albums and worked with many groups in live projects. Habibi also founded a kamancha manufacturing company called “Changi” in 2008 to improve the acoustic and morphological qualities of the instrument.

Sohrab Pournazeri

Highly talented Iranian musician who specializes in playing the tanbur, kamancha, and setar. His music has become popular across the world, with influences from various cultures, including China and the United States. He comes from a musical family, with his father, Kaykhosro Pournazeri, being a renowned musicologist, and his brother, Tahmoures, having created a new movement in Iranian music.

This list is not comprehensive, and there exist numerous other skilled kamancha players from these areas.