TEHRAN -- A gathering of 
Iranian musicians and scholars has celebrated the legacy of master kamancheh player Ali-Asghar Bahari, recognizing the instrument maker Maziyar Karbalai for carrying forward the traditional craftsmanship and distinctive sound of his mentor.
The musical legacy of one of Iran’s most influential traditional instrumentalists took center stage in Tehran at an evening dedicated to the kamancheh and the artistic school of Ali-Asghar Bahari (1905–1995).
The 988th edition of Shab-e Bukhara (Bukhara Night), titled ‘The Kamancheh School of Master Ali-Asghar Bahari’, was held at the Jalil Shahnaz Hall of the Iranian Artists Forum. The event also honored Maziyar Karbalai, an instrument maker closely associated with Bahari’s artistic tradition.
Organized under the direction of Ali Dehbashi, editor of Bukhara magazine, the gathering brought together prominent Iranian musicians, researchers and performers, including Ali-Akbar Shekarchi, Mehdi Azarsina, Hosam Inanlou and Aria Tabibzadeh.
At the heart of the discussions was Bahari’s remarkable contribution to the survival and revival of the kamancheh, the traditional Iranian spike fiddle. During the early decades of the twentieth century, the instrument had gradually lost its prominence in Iran’s urban classical music, with the violin increasingly occupying its place in radio broadcasts, performances and formal musical settings.
Bahari played a decisive role in reversing this decline. Drawing on a family tradition of kamancheh playing extending back to the Qajar period, he combined an intimate understanding of the instrument’s historical techniques with an individual musical language. Through performances, recordings and teaching, he helped restore the kamancheh to the center of Iranian classical music.
Musician and researcher Aria Tabibzadeh described Bahari as a pivotal figure who bridged a gap of approximately three decades in the instrument’s development. He also highlighted the master’s distinctive bowing technique and ornamentation, which gave his performances a recognizable musical identity.
Composer and kamancheh player Mehdi Azarsina similarly praised the clarity and refinement of Bahari’s playing, particularly his subtle use of ornaments and melodic embellishments.
The evening also focused on the relationship between traditional performance and instrument making. Karbalai, who learned the principles of kamancheh construction from Bahari, was recognized for developing a traditional approach to craftsmanship over four decades of professional work.
Recalling his years in Bahari’s household, Karbalai described an environment in which leading musicians regularly gathered, providing him with an extraordinary introduction to Iranian musical culture. He explained that his decision to pursue instrument making emerged from this early exposure and his deep attachment to the kamancheh’s distinctive voice.
He also remembered Bahari’s advice to pursue art for love rather than money, fame or livelihood, emphasizing that artistic integrity should remain the primary motivation.
Veteran musician Ali-Akbar Shekarchi recalled Bahari as a modest, thoughtful teacher who rarely criticised others and preferred to communicate through performance rather than lengthy explanations. His teaching was largely transmitted directly from master to student, preserving musical knowledge through listening, observation and practice.
Perhaps the evening’s most memorable reflection came through Karbalai’s description of Bahari’s philosophy: “He was not among those who cursed the darkness; he lit a candle and brought light.”
The tribute concluded with a performance by kamancheh player Hosam Inanlou, who performed an Esfahan pishdaramad on an instrument made by Karbalai.