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The Arsacids - Epic Iranian Music

You can buy this song and the rest of my music here: https://faryafaraji.bandcamp.com/albu... Music and vocals by Farya Faraji. Please keep in mind that this is in no way a reconstruction of Ancient Iranian music, it's modern Iranian music with an ancient thematic. This is a theme I wrote around the idea of the Arsacid dynasty, who would usher in the Parthian Empire, the second of the major Iranian empires of Antiquity, and the only one of the three not to be Persian. The Arsacid or Parthian Empire is often relegated to the status of the middle-child between the older, unanimously known Achaemenid sibling, and the later, highly prestigious Sasanian Empire. The Parthian Empire, however, was no footnote of West Eurasian history, and it played a major part both as an Iranian superpower and as an arch-rival to the Romans for centuries. The Arsacid dynasty first emerged as members of the Parni tribe, likely speakers of a Northeastern Iranian language, and in time, would come to adopt the culture and language of the Parthians, speakers of a Northwestern Iranian language. Arsaces' rise occurred during the Seleucid Empire; one of the Successor Kingdoms of Alexander's empire, founded by Seleukos, one of his generals. The Arsacid rise to power ousted the Hellenic occupiers and brought back native Iranian control over the region for the first time in centuries. The Parthian Empire would prevail for four centuries until the rise of the Persian Sasanian dynasty. The instrumentation is centered around the kamanche, the main bowed instrument of Iranian music, and it’s accompanied by a tanbour, a tar, and daf percussions, as well as the ney flute. Exceptionally, I’ve used a duduk here. I absolutely cannot stand the usage of the duduk in “historical music,” whether on YouTube or in film soundtracks: it’s the go to lazy solution for any composer without knowledge of Middle-Eastern music to evoke a “Middle-Eastern sound,” that is, the Middle-Eastern sound that Western film composers have made up in lieu of actually studying the region’s tradition. The duduk is principally an Armenian instrument, and its use is relegated to the region of Armenia, East Anatolia and Azerbaijan. In this case though, I used the duduk for a specific reason: the Arsacid dynasty had an Armenian branch that ruled over Armenia, and the use of the duduk here is a nod to that. The lyrics are in the Parthian language, an Iranian language related to Persian in the same way that Russian and Polish are both members of a larger linguistic family, Slavic in the case of Russian and Polish, Iranian or Iranic in the case of Parthian and Persian. The lyrics are based on the Parthian language inscription by Shapur I, ironically a king of the dynasty who would centuries later overthrow the Arsacid dynasty--Parthian's cultural relevance was still great enough at the beginning of the Sasanian Empire that most royal inscriptions were written both in Persian and Parthian. I took the Parthian language inscription and switched out Shapur's name for Arsaces'. Note the usage of the term Erān to refer to Iran--it is a commonly held misconception, even among Iranians, that the term Persia is the historical, ancestral name of the land, and that Iran is a more recent intrusion.The opposite is true: variations of the term same term Aryana, Erān, Iran, etc, have always historically been used by Iranians to refer to their own land, and Persia is a Western exonym originating in Ancient Greece, where the name for the province of Pars was erroneously applied to the entirety of the land. Lyrics transliterated: Az mazdezn bag, Arshak Shāh, Shāhān Shāh Erān, Ke chihr as yazdān, Arshak Shāh, Shāhan Shāh Eran Translation: I, the Mazda-worshiping, King Arsaces, King of Kings of Iran, Whose race is of the gods, King Arsaces, King of Kings of Iran,