In Memory of Shir-Mohammad Espandar: The Breath Behind Baluch in Three Movements

The passing of Shir-Mohammad Espandar, the legendary master of Baluchi music and the world’s foremost virtuoso of the donali, a traditional instrument of the ney family, marks the loss of an irreplaceable musical voice. Through his artistry, he introduced the rich musical traditions of Baluchistan to audiences far beyond Iran.

For me, however, Shir-Mohammad Espandar was far more than an extraordinary performer. He became an essential part of my own musical imagination.

Between 2007 and 2009, while composing my work Baluch in Three Movements, I immersed myself in his recordings. The composition grew directly out of years of listening to his performances. Many of its sonic ideas, the expressive character of its melodies, the continuous flow and repetition of musical phrases, and even my perception of musical time were profoundly shaped by the sound of his donali.

As composers, we are often indebted to artists who may never realize how deeply they have influenced our work. Shir-Mohammad Espandar was one of those rare figures. Although we came from different musical worlds, the breath of his instrument became part of my own artistic language, and it will continue to resonate throughout my music.

His legacy extends far beyond an extraordinary body of performances. He preserved a living musical tradition while demonstrating that a deeply rooted local culture can speak with universal power without sacrificing its authenticity. For many listeners around the world, he became the voice of Baluchistan itself.

Today, I remember him with profound gratitude—for the inspiration he gave, for the beauty he preserved, and for the enduring artistic legacy that will continue to inspire generations of musicians and composers.

May he rest in peace, and may the timeless voice of his donali continue to resonate for generations to come.

– Mehdi Hosseini
Composer

23 July 2026