Persepolis, the symbol of Achaemenid grandeur and one of humanity’s greatest historical legacies, once again becomes a stage for the resonance of music—this time with the presence of the Armenian National Philharmonic Orchestra. This event not only recalls the deep cultural and historical bonds between Iran and Armenia but, after decades of silence, revives art at the heart of this world heritage site.
According to news released last month, the Armenian National Philharmonic Orchestra is scheduled to travel to Iran and perform at the historic site of Persepolis. Beyond its political and diplomatic dimensions, this event holds special cultural and historical significance. Official announcements state that during the visit of Zhanna Andreasyan, Minister of Education, Science, Culture, and Sports of the Republic of Armenia to Iran, an outdoor concert will be held at Persepolis. The performance is organized to mark the centennial of the Armenian National Philharmonic Orchestra. In this unprecedented ceremony, alongside the Armenian Minister, Seyyed Reza Salehi Amiri, Minister of Cultural Heritage, Tourism, and Handicrafts of the Islamic Republic of Iran, as well as other high-ranking officials, will be in attendance.
The staging of this unique event is the result of close and effective collaboration between the Armenian Ministry of Education, Science, Culture, and Sports, the Embassy of the Republic of Armenia in Iran, the Armenian National Philharmonic Orchestra, the Iranian Ministry of Cultural Heritage, Tourism, and Handicrafts, the Ministry of Culture and Islamic Guidance, and the Governorate of Fars Province.
In this note, we intend to explore the many dimensions of this performance and highlight the factors that make this concert a rare and historic occasion. On this path, we will take a closer look at Persepolis—a structure that not only stands as a symbol of Persian civilization’s magnificence but also endures as an eternal legacy of humanity. We will also revisit the longstanding ties between Iranians and Armenians—a bond rooted in history and culture, still alive today in art and music.
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The Persian civilization, one of the brightest in human history, was founded through the efforts of Cyrus the Great, a ruler who not only united a vast empire but also left humanity with the Cyrus Cylinder, regarded as the first charter of human rights. This clay artifact, echoing justice and humanism across history, demonstrated that governance could be founded on wisdom, tolerance, and respect for human dignity. In it, Cyrus spoke of religious freedom, respect for individual rights, the liberation of slaves, and the return of displaced peoples, while allowing the citizens of Babylon to preserve their customs and beliefs.
Photo from the archives of the British Museum
Discovered in 1879 in the temple of Marduk in Babylon, the Cylinder is today housed in the British Museum in London. It has become a symbol of tolerance, justice, and freedom in Iranian culture and has served as a human rights model for later governments and societies. In 1971, the United Nations translated the text into its six official languages and displayed it at its headquarters as a universal declaration.
Later, during the reign of Darius I, the fourth king after Cyrus, Persepolis was constructed near Shiraz as a monumental emblem of Achaemenid power and a strategic seat of the empire (518–515 BCE). This grand complex was executed with the extraordinary skill of its architects and workers—workers who were paid wages regularly and meticulously. Records from Persepolis’ fortification tablets show that wages were distributed as rations of grain, livestock, fruit, and occasionally cash. The basic wage for a man was at least 30 liters of barley per month—the staple food of the time—with additional supplements such as wine, fruit, goat or sheep meat granted periodically. There was no distinction in wages between men and women for the same tasks, and even groups of female workers were compensated.
Photo by Masih Shahbazi
Persepolis, this unmatched manifestation of Achaemenid glory and power, lay buried under layers of soil and centuries of silence, concealing the mysteries of its grandeur. Finally, in 1930, the site was excavated scientifically for the first time, under the direction of Ernst Herzfeld and Erich Schmidt of the Oriental Institute of the University of Chicago, unveiling once more the magnificence and artistry of the Achaemenids to the world.
These excavations were carried out in 1930 during the Pahlavi era, under the rule of Reza Shah Pahlavi, the first monarch of the Pahlavi dynasty. The Pahlavi government paid special attention to Iran’s history and ancient heritage and sought to reflect the country’s historical stature. This reverence for the past became even more prominent during the reign of Mohammad Reza Pahlavi, the second Pahlavi king who ascended the throne in 1941. He took pride in the Achaemenid era and prioritized the recognition and preservation of historical monuments such as Persepolis. These efforts allowed the splendor and grandeur of Iran’s ancient empires to be vividly conveyed to future generations, reviving Iranian culture at the heart of history.
Photo by Masih Shahbazi
The 2,500-Year Celebration of the Persian Empire was a series of magnificent ceremonies held in October 1971 to commemorate the 2,500th anniversary of the founding of the Persian Empire by Cyrus the Great at Persepolis. Organized during the reign of Mohammad Reza Shah Pahlavi, this event was recorded in the 1980 Guinness World Records as one of the most expensive celebrations in human history due to its unprecedented extravagance and high costs. Heads of state and royalty from 40 countries attended, and Persepolis once again became a symbol of Iran’s historical glory.
Photo: anonymous
The Pahlavi attention to art and culture was also evident in the Shiraz Arts Festival, where Persepolis played a central role as one of the main venues. The Shiraz Arts Festival was an international festival of performing arts and music held annually at the end of summer from 1967 to 1977 in the city of Shiraz and surrounding historical sites, including Persepolis. This festival became one of the most prominent—and at the same time, most controversial—cultural events in modern Iranian history. Due to its innovative approach and fusion of various arts and cultures, it was recognized globally as one of the most radical festivals of its time.
Photo: Courtesy Stockhausen-Stiftung für Musik
Persepolis, as a symbol of Achaemenid splendor and ancient Iranian power and civilization, was not only a venue but also part of the Pahlavi modernization project. This initiative aimed to present a modern image of Iran to the world while linking ancient heritage with contemporary art. In this historic site, diverse performances of theater, dance, and music took place. For instance, during the sixth Shiraz Arts Festival in 1972, the Merce Cunningham Ballet Company staged its world premiere at Persepolis, and that same year, the avant-garde German composer Karlheinz Stockhausen also held a concert at the site. In the fifth festival in 1971, a performance titled “Orghast”, directed by Peter Brook, was staged near the historical sites of the Persepolis.
These performances transformed Persepolis into a space for artistic experimentation and innovative presentations, demonstrating how contemporary art could connect with ancient heritage and achieve a transcultural, timeless expression.
With the Iranian Revolution in 1979, festivals and similar artistic activities were halted. Due to the transition from monarchy to republic, many symbols and activities associated with the former regime were banned. Early in the revolution, strict Islamic laws severely restricted musical activities, and public performances were almost entirely suspended. These limitations persisted more or less for about 20 years until the political period known as the Reform Era gradually reopened cultural spaces, allowing music to flourish once again. Concerts and artistic performances resumed in halls, reviving the country’s cultural atmosphere.
However, despite the reopening of musical spaces and public performances, historical sites such as Persepolis had never again hosted musical events, and experiences similar to the Shiraz Arts Festival were not repeated. This long hiatus ended in July 2024, when Iranian singer Alireza Ghorbani performed at Persepolis, marking the return of music to this historic site after nearly half a century. Nevertheless, following last year’s performance by Ghorbani, Persepolis did not host any concerts until this year, when the Armenian National Philharmonic Orchestra once again brings music to this iconic location.
For the first time in the history of the Islamic Republic of Iran, a foreign orchestra will perform at Persepolis after 47 years. This event represents a significant step in Iran’s historical and cultural journey, showcasing ancient heritage alongside contemporary art in a spectacular manner and promising a new chapter in Iran’s cultural exchanges with the world.
This occasion not only revives the historical grandeur of Persepolis but also brings Iran and Armenia closer through culture and art. Music, as a universal language beyond political borders, serves as a bridge connecting two nations that once shared a common history. Armenians have historically contributed significantly to Iran’s cultural and artistic development, especially in music. Even after Armenia was separated from Iran in 1828, this cultural bond has endured, and the sound of music continues to transcend borders. The presence of the Armenian National Philharmonic Orchestra at this historic site symbolizes this long-standing friendship and cultural connection, keeping shared heritage alive.
In the history of Iranian art, the presence of Armenians is ever evident—people who, over time, laid the foundation for many of the country’s major cultural and artistic achievements, particularly in the field of music. Armenians, due to political circumstances and wars, migrated to Iran at various points in history, with border cities—especially Tabriz—becoming their primary refuge. From this environment, extensive cultural interaction emerged between Armenians and Iranians, the fruits of which can still be seen today in the fabric of Iranian art and music.
Importantly, Armenians were among the first instructors in the early development of classical music in Iran and played a crucial role in establishing academic music education in the country—a role whose influence continues across subsequent generations.
At the end of 1934, Gholamhossein Minbashian succeeded Ali-Naqi Vaziri as the head of the Music Conservatory. Having studied at the Higher School of Music in Germany and holding a degree in violin performance, Minbashian had developed a deep familiarity with classical music during his long residence in Europe and aimed to establish a conservatory in Tehran modeled after European institutions. He restructured the conservatory’s curriculum, initiating the formal teaching of classical musical instruments in Iran.
Among the first instructors of this period was Suren Arakelian, who taught cello. Starting in 1939, Tatiana Kharatian taught piano, and from 194, Lucy Pilosian also began teaching piano at the conservatory. Additionally, Rubik Grigorian, who initially served as the conservatory’s deputy, assumed its leadership in 1949. He collected a valuable anthology of Iranian folk songs, arranged them for a four-voice choir, and published them in two volumes.
During this period, Suren Arakelian, the cello professor, established a class for violin making, and Hovik Adkarian, a violinist educated in Italy and the UK, began building pianos. From the inception of the Tehran Opera, many Armenian artists joined, including Hakint Vartanian, Shake Makarian, Rouben Aghabekian, Aida Hovnanian, Sarkis Ghukasian, Alec Melkonian, Vahik Adamian, Alenoush Melkonian, and Hila Gharakhanian. Some of them also collaborated with various European opera houses alongside their work in Iran.
Alongside these efforts, Armenian musicians contributed to the dissemination of classical music in Iran by organizing recitals and quartets in various halls across Tehran.
In the contemporary history of Iranian music, the names of distinguished Armenian musicians shine brightly—figures who each left a lasting contribution to the advancement of classical music in the country. Among them is Emanuel Melik-Aslanian, a virtuoso pianist and one of the most influential teachers of this instrument in Iran. He studied piano performance, composition, orchestral conducting and philosophy in Germany, and his brilliant performances during World War II—concerts that were even held under Allied bombardments in Germany and Austria—won him widespread acclaim. It is said that Adolf Hitler, after attending one of his performances, bestowed upon him the title “Beethoven of the East” in recognition of his unparalleled mastery and artistry.
Melik-Aslanian returned to Iran in 1952, where through his performances and teaching he trained a new generation of Iranian musicians and artists. Among his outstanding students was Linda Makarian, a renowned pianist.
Another figure is Valodia Tarkhanian, a professional violinist and a student of the Russian master Serj Khoutsiev. Although born in Tbilisi, he migrated with his family to Iran, where he continued his artistic career. The Tarkhanian family had a long-standing musical reputation; his father and uncle were renowned in Armenia for their extraordinary skill on the tar, from which the family name “Tarkhanian” originated.
Alongside them, Rouben Tomassian, a violist, and Ludwig Bazil, a distinguished composer and violinist, played prominent roles in the development of classical music in Iran. Among Ludwig Bazil’s notable students was Varoujan, the renowned composer and arranger of Iranian pop music, who later became one of the most influential figures in shaping the course of the country’s contemporary music.
Also noteworthy is Tania Achot Haroutounian, one of the most outstanding pianists, who had won top prizes in numerous international competitions and gained recognition in Iran as a virtuoso pianist. Her worldwide fame for interpreting Chopin’s works was so great that she was poetically nicknamed “the Daughter of Chopin.”
Additional notable names include Raphael Mnatsakanian, pianist, and Khachik Babaian, an accomplished violinist and his brother Gagik Babaian professional Piano Player, each of whom played a fundamental role in advancing classical music education and performance in Iran.
Armenian singers also played a significant role in the history of contemporary Iranian music. Among them were Shake Makarian, Aida Hovnanian, Aida Hovhannesian, Hakint Vartanian, and Armen Aghabekian (baritone), all of whom were active in classical singing and opera and contributed meaningfully to the development and expansion of classical vocal art in Iran.
In addition to performers, Armenian conductors and composers have held prominent positions in Iranian music history. Examples include Nigol Galanderian, composer and conductor of the Hamsorayan Choir, and Hambartsum Grigorian, another distinguished leader of the same group. Gourgen Movsisian, a highly influential conductor and educator, played a crucial role in training a new generation of orchestra leaders, including Nasir Heidarian, the current conductor of the Tehran Symphony Orchestra, who studied under him in his youth.
Among them, names such as Rubik Grigorian and Vahe Khojaian are recognized as orchestra conductors; Khojaian was also the founder and conductor of the Chamber Orchestra of the National Radio and Television of Iran, which played an important role in introducing and performing classical music during its time. Alongside him, Alfred Mardoian, as the founder and conductor of the National Choir of Iran, earned a distinguished place in the country’s musical history.
On a broader scale, Loris Tjeknavorian, the renowned composer and conductor, holds a special position—a figure who, in addition to his extensive work in Iran, also served as the conductor of the Armenian National Philharmonic Orchestra. Likewise, Hrachouhi Makarian is remembered as the conductor of the first youth choir in Iran.
Among other distinguished figures is Loris Hovian; he was the founder of the student orchestra at the Faculty of Fine Arts, University of Tehran, and later became the conductor of the orchestra of the Faculty of Radio and Television (IRIB) of the Islamic Republic of Iran. Having received his initial training under Gourgen Movsisian, Hovian earned an advanced degree in symphonic and opera conducting from the Komitas Conservatory of Armenia and is recognized as one of the prominent conductors of classical music in Iran.
This historical overview demonstrates that Persepolis is not only a monument to the grandeur and justice of the Achaemenid Empire but has also long served as a symbol of the union of culture and art—a place that once hosted the grand imperial celebrations and the Shiraz Arts Festival, and today once again resonates with music. In this context, the Armenian community in Iran has played an irreplaceable role: from the first conservatory instructors and prominent musicians and singers to conductors and composers who laid the foundation of classical and academic music in the country.
Now, with the presence of the Armenian National Philharmonic Orchestra at Persepolis, this historical and cultural bond between the two nations is revived once more. This event not only restores the sound of music to this magnificent monument after half a century of silence but also recalls the role of Armenians in the development of Iranian music, reflecting the continuity of friendship and cultural closeness between the two lands. Such an occasion reminds us that music, beyond borders and politics, remains a universal language for dialogue between nations and an expression of shared human heritage.
Farid Parish
Sources:
https://armenpress.am/en/article/1228141
https://escs.am/en/news/30772?utm_source=perplexity
https://www.britannica.com/place/Persepolis
https://smarthistory.org/persepolis-the-audience-hall-of-darius-and-xerxes/
https://www.sharghdaily.com/fa/tiny/news-851409
https://www.kojaro.com/history-art-culture/194163-achaemenid-cyrus-cylinder/
https://isac.uchicago.edu/research/projects/persepolis-fortification-archive
https://www.ilna.ir/fa/tiny/news-1475220
https://somethingcurated.com/2023/05/31/remembering-the-shiraz-arts-festival-1967-1977/
The source for all the influential Armenian musicians in Iran’s history is the book Armenian Artists of Iran by Andranik Hovian.
