Lorestân is in south-west Iran. Until quite recently, it was divided naturally into two parts: the Pish-Kouh (literally, the front of the mountain) and the Posht-Kouh (literally, the back of the mountain). Today, only the Pish-Kouh forms the province of Lorestân, the centre of which is the town of Khorramâbâd; the Posht-Kouh now forms the province of Ilâm.No document about the birth and development of Lorestân music exists. The original instruments used (the sornâ, the dohol and the kemenche) are amongst the oldest in Persia. Reliefs sculpted on stone representing musicians playing the sornâ have been found in Lorestân and the surrounding area. Other clues point to the historically rich past of this music and the central place it holds in the life of the Lor people. For example, the repeated use of Mâhour, one of the oldest modes of traditional Iranian music, or the practice of singing the verses of the poet Nezâmi (12th century). Shahmirza Morâdi was born in 1924 and lives in the town of Doroud in Lorestân. In this country, a musician's craft is usually passed down through the family. Morâdi very quickly took his place amongst the best sornâ players and acquired great renown throughout Lorestân. In 1971, he began radio work; he then performed at the major cultural festivals in Iran, including those in Shiraz and Tehran. Thanks to the efforts of the Lor musician Ali Akbar Shekârchi, his first recordings were distributed in 1981; they enyojed great success throughout Iran. In 1991, Morâdi performed at the Avignon festival and in the autumn of the same year, his two succcessive concerts in the Châtelet Auditorium in Paris stunned the public and the press, who described him as the "Master of Breath".His son, Rezâ Morâdi has accompanied him on the dohol for approximately fifteen years. Rezâ is also an excellent kemenche player, an instrument he learnt from his father. Tracklist: " 1. Sangin Se-pâ (10:12) (literally, three slow steps), also known as sangin samâ (literally, song with the slow rhythm): this is a three-time "adagio" rhythm which suits a calm series of notes and accompanies the movements of the dancers' hands. Due to its slow pace, this dance is appreciated by older dancers.2. Se-pâ (11:40) (literally, three steps): also three-time, this dance is performed by taking three steps forward and one back.3. Do-pâ (11:49) (literally, two steps) is performed to a faster time than "Sangin Se-pâ"; the name of this dance comes from the fact that each foot plays an equally important role. This dance is often performed by those in middle age.4. 'Ashâyeri (19:40) (literally, nomadic). The movement of the arms is vital in this dance, which resembles a Kurdish dance. The two-time rhythm is executed by taking one step forward then one step back.5. Shâne-Shaki (10:25) (literally, shoulder shake). The rhythm of this dance resembles a "se-pâ", but is much faster. The exceptional beauty of the trembling of the dancers' shoulders is a typical feature.6. Savâr-Bâzi (13:56 (literally, the knight's game): this dance, described earlier, is usually played by two instruments: the sornâ and the dohol, or the kemenche and the tombak.