Manuchir Sultani

Manuchihr Sultani (1919-2001) was born in Isfahan. His father, Hasan Sultani, was a talented poet who associated with litterateurs and poets, like. Jalal Huma’i, Husayn Masrur (Sukhanyar), and Aqa Ziya’ Janab. During his days in exile, Muhammad Taqi Bahar (Malik al-Shu’ara’) also stayed with Hasan Sultani. Manuchihr’s paternal uncle played the tar and was intimately acquainted with Persian literature. Accordingly, Manuchihr was encouraged to turned his attentions to music and literature in his prime of life. He developed an interest in playing the violin for a while. Deeply in love with the maestro Abu al-Hasan Saba’s performances, he played the latter’s compositions, though later, he studied the music with  Saba and became one of his best students.

His exquisite talents were reflected in those years in his improvisations as well as his musical and poetical compositions. His pishdaramad’s, chahar-mizrab’s, and further compositions, like. Ay Juda’i (Abu ‘Ata); Bih Kirishmi’i ay Pari (Humayun), sung by Dilkash; Partaw-i Umid (Bayat-i Isfahan); Dard-i bi-Darman (Bayat-i Turk), Biriz ay Mahwash (Sih Gah), sung by Nahid Da’i Jawad; Gharqih dar Hirmanam (Bayat-i Turk), sungs by Puran, are all elegant pieces of Persian classical music. Owing to some restrictions imposed on him by his father, he requested that his composition Bih Kirishmiʼi ay Pari be broadcast in the name of Mahdi Khalidi. He collaborated for years with outstanding maestros, like. Jalal Taj Isfahani, Muhammad Tahirpur (Tahirzadih), Jalil Shahnaz, and Hasan Kasa’i. 

Having obtained his PhD in Economics from the University of Tehran and married, he incredibly retired from music and departed for the US to further his studies. There he obtained a PhD in Statistics and Economics from the University of Maryland. 

Manuchihr Sultani was indubitably a shining star in Persian classical music. He had his own style in playing the violin and his original compositions exhibited his genuine musical talents.

In his last years, his love for musical performances was revived. He would sit gravely and played the violin most lovingly. His performances were reminiscent of Saba’s glory, beaconing that the world without music could be a very tiresome world. 

Similar to many other outstanding musicians, he died in his seclusion on 16 November, 2001.

Muhammad Jawad Kasa’i, Music in Isfahan (1), Sharara’i dar Musiqi-yi Iran, Yadi az Manuchihr Sultani, the Hunar-i Musiqi, pp. 16-17.