(b Tehran, 1906; d Tehran, 1993). Iranian setār player. He came from a long line of distinguished musicians and was a grandson of Ali Akbar Farahani (d 1858) and a son of Mirza Abdollah (1845–1918). He learned music in the family circle and at the age of 18 appeared for the first time in a public concert. His fame and popularity, however, began with his radio performances which came later, beginning in the mid-1950s.
Musical developments in Iran in the first half of the 20th century tended to sideline the setār. Composed orchestral and vocal music became the main focus of these developments. Having a comparatively gentle and quiet sound, the setār was ill-suited for inclusion in the ensembles which were widely used by the middle of the 20th century; the setār could only shine as a solo instrument. It was largely due to Ebadi’s mastery of this instrument, the elegance of his performance style and his imposing personal dignity that gradually the setār found a renewed life. His solo performances on the radio and television made a great impact and helped to encourage the study of the setār by the younger generation, despite the fact that Ebadi took little interest in teaching and rarely accepted a pupil.
Ebadi left a large number of recordings which were published both in Iran and abroad. His performance style rested on creative improvisation. Each rendition of a dastgāh, as played by Ebadi, was almost a new composition, different from other performances in dramatic and unpredictable ways. He produced highly varied sonorities, made effective use of sudden pauses to heighten tension, and had a unique ability to juxtapose power and pathos.
HORMOZ FARHAT