Kayhan Kalhor: The Soul of the Kamancheh and the Sound of a World Without Borders

Isabelle Karamooz
Oct 28
4 min read

Updated: Oct 29

Blending the mysticism of Persian classical music with the universality of global collaboration, maestro Kayhan Kalhor transcends geography and language—inviting audiences into a timeless conversation between cultures.

There are few musicians who can make an ancient instrument sing with such intimacy, mystery, and universality as Kayhan Kalhor, the Iranian master of the kamancheh—a bowed string instrument that has echoed through Persian courts and villages for centuries. A four-time Grammy nominee and a founding member of Yo-Yo Ma’s Silkroad Ensemble, Kalhor has built bridges between musical worlds, carrying the soul of Persian classical music to concert halls from Tehran to Tokyo, from Bamako to New York City.

Kalhor’s artistry transcends geography. “I love to listen to and discover music from all over the world,” he says. “Sometimes I seek out musicians with whom I share a connection musically, culturally, or artistically. The bridge comes naturally when I experience a music, tradition, or artist that shares some of my own culture’s musical modes or sensitivities.” This philosophy has guided his collaborations with artists as diverse as Yo-Yo Ma, Toumani Diabaté, Kronos Quartet, and Shujaat Khan. His musical curiosity is boundless, and his collaborations reveal an enduring fascination with the hidden threads connecting musical traditions.

“It’s fascinating how so much is shared across cultures when you listen closely, and I love to seek this out,” Kalhor explains. “With Toumani Diabaté, I learned a lot about West African music and that so many modes are shared with my own. And with Shujaat Khan, I learned so much about North Indian classical music and how to create layers and textures of sound.” Each partnership becomes a form of dialogue—part study, part spiritual encounter—through which Kalhor rediscovers both his own tradition and its place in the wider world.

At the heart of Kalhor’s music lies a profound connection to Iran’s spiritual and poetic heritage. Persian classical music, like the verses of Rumi and Hafez, seeks to transcend the ordinary and touch the divine. “This comes naturally because of the ancient and beautiful culture that I come from,” he says. “Iranian culture continues to be deeply tied to our spiritual past, and our music and poetry is profound and relatable at the same time.” Yet, for Kalhor, the purpose of music is not to instruct but to connect. “I do not try to convey a specific message but rather to connect to people. I hope my music will move them and take them to a special and magical place.”

This autumn, on November 30th, Kalhor returns to New York City’s Town Hall, marking his first major Persian classical concert in the city in over a decade. For him, it is more than a performance—it is a homecoming. “Performing back in NYC and at Town Hall is very exciting for me,” he shares. “I perform around the world all the time, but I rarely perform in NYC, where I lived for many years. I have played at Town Hall many times and I love its warm sound. I especially love New York audiences who are so responsive to music.”

Tickets to Nov 30 concert in New York City:

https://www.thetownhall.org/event/an-evening-of-persian-classical-music-kayhan-kalhor

At a time of global uncertainty, Kalhor believes that music remains one of the last pure languages of unity. “It’s so important, given the complicated times we are living in, to bring music lovers together for an evening of Persian classical music,” he reflects. The performance will feature two longtime collaborators: Kiya Tabassian on setar and Behrouz Jamali on tombak. “Kiya was my student for many years, and he knows me so very well. He is an excellent and intuitive artist. Behrouz is a wonderful and sensitive tombak player with whom I have performed for many years. We all understand each other very well and look forward to playing together, which we don’t get to do very often, so this makes the Town Hall show even more special.”

Kalhor’s kamancheh is both his voice and his compass. “My instrument has a striking, breathy quality that can be thought of as akin to the human voice, and because of its unique tonality it has the ability to connect to listeners,” he notes. Its timbre seems to speak directly to the heart—sometimes whispering, sometimes crying—carrying centuries of Persian longing, exile, and resilience in its vibrating strings.

While Kalhor remains firmly rooted in tradition, he is unafraid to innovate. “I am deeply rooted in Persian classical music as well as music from different regions in Iran, and I have a degree in Western composition,” he explains. “But I am also a citizen of the world who has been exposed to so much music. For me, it is exciting to work in new ways and create new music that has its roots in Iran but travels outside as well.” This openness defines his approach to both composition and performance—a creative dialogue between homeland and horizon.

In an age of borders and division, Kayhan Kalhor’s music offers something elemental and enduring: a reminder that beauty and truth can flow freely between cultures. Through the kamancheh’s voice, he invites us to listen—not only to sound, but to each other.