Uploaded July 2024 | Updated September 2026, 3 weeks ago
Vocals and arrangement by Farya Faraji. This is a reworking of the original I uploaded in 2021 to correct historical inacurracies and technical errors.
This is a song which likely dates to the 1600's, and seems to be about Saint-Louis, the Crusader king of France who lived in the 13th century. It depicts the fictional love story between his daughter and the dashing knight Déon—the song is an example of the romanticized view of the Middle-Ages as seen through the eyes of Louis XIV's France. The melody has nowadays been popularised with the song "Le Roi Louis," which repurposes the melody and changes the lyrics to a call for Crusade during the Middle-Ages, that version however is a very modern one, and the lyrics heard here are the original.
With the arrangement, I tried my best to emulate the style of Late Renaissance to Early Baroque music. Music in the era from the Late Middle Ages to the Baroque period saw the Western European rise of polyphony—the simultaneous presence of two or more melodic lines playing at once, which emerged out of early, simple harmonisations of religious chant; said harmonisation called the Organum. The Organum eventually gave way to complex polyphony, which became the obsession of European music from the 1300's up to Mozart's era, where the complexity of polyphony died down and emphasis was put more on individual melodic lines accompanied by harmonic support; in other words, most of today's Western music, which tends to be a melody accompanied with chords.
The 1600's however were the era of Baroque and polyphonic music, and this piece is perfect to exemplify the use of polyphony at the time: the simple melody is repeated throughout all nine minutes of the piece, but other, parallel melodic lines, either vocal or instrumental, run concurrently with it at different times in the music, giving that repeated melodic line a distinct sound and flavour as the piece progresses.
Vocals and arrangement by Farya Faraji. This is a reworking of the original I uploaded in 2021 to correct historical inacurracies and technical errors.
This is a song which likely dates to the 1600's, and seems to be about Saint-Louis, the Crusader king of France who lived in the 13th century. It depicts the fictional love story between his daughter and the dashing knight Déon—the song is an example of the romanticized view of the Middle-Ages as seen through the eyes of Louis XIV's France. The melody has nowadays been popularised with the song "Le Roi Louis," which repurposes the melody and changes the lyrics to a call for Crusade during the Middle-Ages, that version however is a very modern one, and the lyrics heard here are the original.
With the arrangement, I tried my best to emulate the style of Late Renaissance to Early Baroque music. Music in the era from the Late Middle Ages to the Baroque period saw the Western European rise of polyphony—the simultaneous presence of two or more melodic lines playing at once, which emerged out of early, simple harmonisations of religious chant; said harmonisation called the Organum. The Organum eventually gave way to complex polyphony, which became the obsession of European music from the 1300's up to Mozart's era, where the complexity of polyphony died down and emphasis was put more on individual melodic lines accompanied by harmonic support; in other words, most of today's Western music, which tends to be a melody accompanied with chords.
The 1600's however were the era of Baroque and polyphonic music, and this piece is perfect to exemplify the use of polyphony at the time: the simple melody is repeated throughout all nine minutes of the piece, but other, parallel melodic lines, either vocal or instrumental, run concurrently with it at different times in the music, giving that repeated melodic line a distinct sound and flavour as the piece progresses.





![Peroz of China - Epic Chinese Iranian Music
Music & vocals by Farya Faraji, guzheng by Yiang Ling, erhu by Amanda Toh, artwork by J.F Oliveras: https://jfoliveras.artstation.com/projects/NGd80J
This is me having some fun mixing together the modern Iranian and Chinese musical traditions as a thematic way to represent Peroz III, the son of the last Sasanian Emperor who went to exile in China. Promoted as a high ranking military officer of the Tang-era Chinese realm, he would, alongside his son Narsieh, try to reconquer Iran with the military aid of China from the hands of the Arab Muslims, but would ultimately fail to do so. Despite this, a Zoroastrian, Iranian diaspora would continue to exist in China for many centuries afterwards as refugees from the Islamic invasion of Iran.
The main melody at the beginning was created from first writing a typical Iranian melody in the mode of Shur, and then subtracting notes from it in order to create a pentatonic effect; the principal melodic form of Chinese music. I also added my Sasanian leitmotif, played in the manner of modern Persian Classical music using the setar, tar and oud, with the tombak as the drum accompaniment. The Iranian daf provides the main percussions throughout most of the piece, and theyre accompanied by the guzheng, erhu, yangqin, a Chinese dulcimer, the santour, a closely related Iranian dulcimer, and the Iranian ney flute.
More interestingly, the melody that starts at 02:48 is a historical melody from circa the period of Peroz III, played on modern Chinese instruments. Called Jiu Huzi, or the Wine Puppet, this melody comes to us from Tang-era China, and was transcribed in the 70s by Laurence Picken, who found it surviving in 12th century Japanese manuscripts, where it was called Shukoshi. The reason I featured this melody goes beyond its era-appropriate nature, as its a piece of music that is inherently linked to the Iranian world. The piece of music seems to be in reference to a tradition of puppetry that portrayed Sogdians, an Iranic people related to the Persians, whose wine seemed to have been prized by the local Chinese. An important Sogdian diaspora seemed to exist there, and these puppets would portray the exotically dressed, red-haired and blue eyed Sogdian character getting drunk and falling over. In The Golden Peaches of Samarkand: A Study of Tang Exotics (1963), Edward H. Schafer, paraphrasing the Japanese scholar Ishida Mikinosuke, writes: The same young poets who languished over the pretty Iranian waitresses in the metropolitan wineshops laughed at the little puppets representing drunken Sogdians, with their peaked caps, blue eyes, and high noses, with which they played in houses of prostitution when the ridiculous puppet fell over, the guest at whom it pointed had to empty his cup... These puppets were called chiu hu-tzu [i.e., jiu huzi, 酒胡子] or pu tsui hsien [i.e., bu zui xian, 捕醉仙].
The lyrics come from the Ballad of King Vahram, part of which I sang in my song of the same name from 2021. A piece of Middle-Persian Zoroastrian text from after the Islamic invasion (some scholars argue very soon after the invasion), it represent the hopes of the Zoroastrian Iranians for the return of a messianic figure from India who will drive away the Muslims and restore the native religion to the land.
Middle-Persian lyrics:
Be niger ka čand wad abgand ān druz pad ēn gēhān ka nēst wattar az ōy andar gēhān.
Mazgitīhā frōd hilēm, be nišānēm ātaxšān uzdēszārīhā be kanēm ud pāk kunēm az gēhān, tā wany šawēnd druz-wišūdagān az ēn gēhān.
Frazaft pad drōd šādīh
English translation:
Behold how much evil that demon has cast upon the world,
There is no more evil than they in the world,
We will destroy the mosques, establish fires,
We will raze the idol temples and blot them from the world,
Til evil gets destroyed, the daevic creature from the world,
Finished with salutations and happiness. Peroz of China - Epic Chinese Iranian Music](https://i.ytimg.com/vi/jeJ2YeOUO84/mqdefault.jpg)




