Persian
Recorded in Tehran and in neighbouring cultural centres, 1900s–1930s
Persian sides have been published from a larger holding of vault rows tagged to this hearth. The dated discs belong to a single year, 1928; most fall in the 1923–46 gray band and one remains unmarked as to rights era.
Iran Sadeghi is credited on two of them. Those sides carry Āvāz-e Abu ʿAṭā and Āvāz-e Hejāz, both from 1928 and issued here in remastered form.
The third side is Dastgāh-e Abu ʿAṭā. No performer is named on the entry as it stands.
About this hearth
Commercial sessions in Iran began in the early twentieth century, often connected to visiting engineers and to regional label networks. Classical performance follows modal systems (dastgah) with measured improvised development and settings of classical verse. Voice and solo instrumental sides are common; small ensembles add bowed and percussion colours. Popular and regional songs broaden the picture beyond the courtly radif. The discs are foundational documents of Iranian art music in the gramophone era.
Recorded in: Tehran
Tehran, in their time
Tehran before the motor car: the Maydan, the bazaar, and the horse trams that ran through it. Library of Congress and Wikimedia Commons.
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The music-makers and the dress
4 period photographs of this hearth's own music-makers and dress, every one dated from its source's own records. Pictures are shown as documentary record, credited to the holding collection; anything here is removed on request. Sources: Wikimedia Commons (4).
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Restored Recordings
Every track below is a remaster. Press play on the full sequence, or pick a single recording.
Iran Sadeghi, Avazé Abu Atta
Iran Sadeghi, Avazé Hejaz
About the restoration
Every recording here is a historical track sourced from a public archive and remastered through a purpose-built chain — the same fixed chain for every file, no machine-learning enhancement. The aim is simple: sound better, and meet YouTube's audio standards. Rights status differs per recording and sources are credited where known; anything still in copyright is published with attribution and removed on request. The surface noise of the original transfer is still audible, because removing it completely would mean removing the recording too. How the restoration works →