‏Parviz Vakili

Vakili, Parviz (1314-1360/1935-1981)

Poet and lyricist. Little is known of him owing to his keeping distance from the press and artistic circles and also his emigration from Iran which led to his premature death in Paris. He made his debut performances in 1339/1960 and soon made a name for himself. His lyrics were performed on the vocals by vocalists like Vigen, Aminullah Rashidi (b. 1341/1962), and Puran. The artistic triangle of ‘Atta’ullah Khurram, Parviz Vakili, and Vigen composed and performed the most beauteous songs of Persian solemn pop music and their records were best sellers. Although few opportunities were granted to him to make use of his taste in composing a number of classical works, but his works recorded in the Gulha reflect his powerful imagination, rich depictions, eloquence, and mastery in creating emotional moments all of which are fashioned in an often precise and accurate nexus. However, after the passage of thirty years from his demise, he has not received the recognition he deserves and solely eminent personalities like Navvab Safa and Turaj Negahban made mention of his artistic talent and values. A collection of his poetry and lyrics are preserved by his sister, Fariba Vakili, who is also a poet but owing to unbeknownst reasons, it has not been release. His works include the lyrical song titled Darya (“Sea”) composed and performed on the vocals by Aminullah Rashidi (Ava-yi Chang, Tehran 2009).

Sayyid ‘Ali Riza Mir‘alinaqi

Vakili, Parwiz (1932-1981), poet and lyricist born in Tehran. Having obtained his high school diploma, he worked for the Bank-i Milli-yi Iran. He had memorized all the poetical compositions of distinguished poets. Upon taking up the composition of lyrics, he resigned from his job at the bank. His elegant and meaningful poetry won him the consent of the Musical Council and an employment at Radio Iran. He asked Vigen to perform his first lyric, Ruzigar. Before Nasir Rastigarnizhad emigrated to the United States, he introduced a young poet, Parwiz Vakili, to Vigen after half a decade his poetry have remained eternal. In fact, the artistic trio of Parwiz Vakili, Vigen, and ‘Ata’ Allah Khurram led to the everlastingness of these lyrics. Parwiz Vakili mainly asked Vigen to sing his lyrics, though he composed lyrics for other vocalists as well. Vakili’s biographical account is scantily known owing to his remoteness from the circles of musicians, poets, journalists, as well as his migration which led to a premature death in Paris. He embarked upon his career in the 1960s and soon made a name for himself. His compositions have been sung by Amin Allah Rashidi and Puran as well. This trio of of Parwiz Vakili, Vigen, and ‘Ata’ Allah Khurram composed the most appealing of Iranian somber pop music in 1940s and 1960s and their records were bestsellers. Notwithstanding the limited opportunities given to Vakili to compose classical lyrics, but his compositions in the Gulha programs reflect his vigorous imagination, rich imagery, fluent diction, and his mastery of creating emotional moments which all form in a mainly strong and flawless connection to music. He is not accurately known even after thirty years from his death and distinguished lyricists like Isma’il Nawwab Safa and Turaj Nigahban have noted his poetical talents and significance. The publication of the collection of his poetical compositions, including his lyrics, preserved by his sister, Fariba Vakili, a poet in her own right, is still a awaiting publication. Parwiz Vakili is accorded significance among the lyricists flourishing at the outset of cultural blossoming. He was one of the few lyricists interested in composing “chanson” romantic lyrics by which they introduced a novel dimension to the Iranian popular music. ‘Ata Allah Khurram, the distinguished composer, states that Vakili first offered him his collaboration the product of which was the Khab-i Naz (Sweet Dream), performed by Vigen whose success led Vakili to compose further lyrics, some of which beacon his interest in novel imagery; in Sitara (Star), he sees a pallid star fearfully enwrapping itself in a black cloud; in Raqs-i Shikufa (Dance of Blossom) he sees blossoms kissing the eastern wind with their cerise lips. In one of his best compositions, Du Kabutar (Two Doves), he delicately expresses the lovers’ dialogue. Like two doves, they had a nest on a branch wherein they rested every night on feathers. Fearful for their lives, they covered each other by their wings when their nest trembled in the breeze. Now, they have turned their backs to each other and none of them knows why they made friends, nor why they ceased to love each other. ‘Ata Allah Khurram, states that he is not aware of the reason why Vakili retired before the Revolution and traveled to London and reportedly died in London or Paris. One of his passionately romantic lyrics, Qabila-yi Layli (Layli’s Tribe) was arranged and performed by ‘Abbas Mihrpuya. This lyric reflects that had he not retired, his poetical talents would gain further brilliance. The following lines are by him:

The story of our love is that of the spring cloud,

What will I gather, o beloved! By so much sorrows and mourning?

You are from the tribe of smile, I am from the tribe of sorrow.

The distance is as far as saying alas! A hundred times, a hundred mounts.

You are from the tribe of Layli, I am from the tribe of Majnun,

You are from the dawn and light, I am from the poppies brimming over with blood.

You are from the tribe of the sea, I am from the race of the desert,

I am every thirsty and sorrowful, ever a captive without you.

Taranaha wa Ahang-ha-yi Jawdana (720/ 1071-1072, 1075, 1101, 1105); Jawdanaha (2/ (43, 250, 431, 495).