A Great Light in the Sky of Iranian Art Has Faded

In Memory of Hossein Omoumi:

A Distinguished Musician, a talented
Architect and a Compassionate Educator

By: Dr. Ali Kiafar*

Hossein Omoumi, one of the remaining great figures of Iranian music and
vocal art, passed away at the age of eighty-two on November 4, 2026.
The permanent departure of this distinguished Ney player, a true successor
to the great Hassan Kassai; a vocalist blessed with an almost celestial
voice, who, both in solo performances and in collaboration with singers
such as Parisa, left behind a priceless treasure of Iranian vocal music. He
was a devoted, compassionate educator who introduced countless
students from different corners of the world to the art of Iranian instrumental
and vocal music. Omoumi’s passing is an immeasurable loss. This is not a
loss for which condolences can be offered to one person or even a handful
of people. His passing is a loss for Iran and for vast segments of the Iranian
people.

One can only hope that we will find ways to keep the memory of Hossein
Omoumi alive, to take comfort in the privilege of having had him in our lives
for a number of years, and to remain grateful for that precious fortune.
Those who cherish Iran and its artistic heritage, particularly the music of
that land—now so deeply afflicted—will no doubt hold him in their memory
and preserve his art forever in their hearts and minds.
I consider myself fortunate greatly that Hossein Omoumi was like a brother
to me. He was my confidant, advisor, and mentor. Throughout the years of
my life, few people have been as present or played as significant a role as
he did. His absence will leave an immense, immeasurable void in me.
Dr. Hossein Omoumi passed away in Irvine, Southern California, following
a prolonged and painful illness, with his beloved wife, son, and daughter by
his side.
There are many qualities that have been attributed to the caring,
passionate, beloved gentle person that he was. His friends, acquaintances,
students and practically whoever knew him personally or through his
teaching and/or music performances. To me Hossein Omoumi epitomized
knowledge of architecture, art of music, deep passion for educating,
excellence in teaching, modesty, kindness, assistance to others, gentility,
compassion, and patience. For more than half a century that I knew him he
impressed me, practically from the early days of my introduction to him, as
a person of grand status who also impacted others’ lives, and indeed did so
very positively.
Dr. Omoumi was an assistant professor at the school of architecture where
I studied in the 1970s. My acquaintance with him as a student quickly
evolved into close interaction in the early years after I took the course in
industrial architecture, he was helping Dr. Fattaneh Mirfenderski, the first
female full professor of architecture in Iran. The relationship turned into
friendship in the latter years of my master’s degree education in
architecture and city planning.
Ten years later after I had left Iran to further my studies, he came to the US
in 1987 as a member of the prominent Iranian musicians’ group (together

with Maestros M.R. Lotfi and H. Alizadeh) for a series of concerts in
classical Persian music. We met up again before their first performance
began. I cannot forget the sparks in his eyes when he saw me after so
long, as I cannot forget the sense of happiness in his voice when earlier,
two days after his arrival to Los Angeles, I called him, thanks to one of my
Iranian students at the University of Southern California where I was
teaching at the time, who for some reason knew my love for Iranian arts
and music, among other cultural bonds I had with my birthplace. Unknown
to me he had found the phone number of the private home Dr Omoumi was
staying at.
We had a wonderful reunion four nights later at my house, joined by
Architect Shahram Moghbel, a close friend of his and also another valued
faculty member of School of Architecture at the National University of Iran
(NUI). Not surprisingly, the joyful atmosphere was filled with great
memories of the time we all were in Iran. There was no sense of 10 years
of difference in age between them and me as there was no separation
between us as a former student and two professors.
As was the reality of the post-1979 Revolution a massive exodus of
Iranians had resulted in the displacement and scattering of millions of
Iranians around the world— a trend that for at least two decades marked
the becoming diaspora of highly educated professionals, among others.
The three of us were not any exception: After leaving Iran due to his
separation from teaching at NUI in the early 1980s, Omoumi had settled
with his family in Paris, France; Moghbel, after experiencing life in
Vancouver, Canada, for a while had chosen Los Angeles as his new home
after getting married and had his two sons. Originally on the way to the
University of Pennsylvania, a few unplanned circumstances had landed my
wife and I in Los Angeles in 1978 as well.
Both of them, especially Omoumi to whom I was closer, were very upbeat
to see a product of the same school of architecture they both had attended,
graduated from, then continuing their education overseas— Omoumi in
Italy and Moghbel in the US — and having returned to as faculty members,
had followed their footsteps, graduated with honors, received and accepted
the offer to join the faculty, had become recipient of a full scholarship,
obtained a PhD  degree in the US and, like them was teaching at the
university level, although not at the National University of Iran, but at a
prestigious university in the United States.

Following that joyous night in which my wife was an active participant in
discussions, we hosted Dr Omoumi a couple of times before he and his
musician colleagues continued their musical performance journey to other
cities in the US. However, for a combination of reasons, Hossein had
become interested in moving to the US. Because of his excellent talent,
great repertoire and reputation, he first found a temporary position at the
University of Washington in Seattle to teach music. But his journey did not
end there. After a while, and following a couple of stints teaching a course
or two at UCLA, he obtained the position that had opened through the
Jordan Center at the University of California—Irvine (UCI) for courses in
Iranian classical music in the school of the Arts. Later he became chair in
performing arts at UCI.

Dr. Ali Kiafar & Dr, Hossein Omoumi

This permanent position made Southern California his permanent
residence until the end of his life. His wife Sheida and daughter Targol, who
had moved from France when Omoumi was in Seattle, moved to Irvine as
well, while his son, Alireza, a physician accepted a clinical and teaching
position in Lausanne, Switzerland, where he stayed, married Lucrezai, an
Italian physician whom he had met in one of his classrooms, and now has a
boy name Leo. Targol got married a fine Spanish man who had come to the
US from a suburb of Barcelona, Spain. They have a daughter named Alba.
After settling in Irvine, Dr Omoumi and I became close friends, increasingly
deepening our relationship, especially through our long conversations
about poetry, music and here and there architecture. Our spouses became
close friends as well, and the two families became fond of each other. My

two sons became admirers of the Omoumi family, and they showed
affection and love to mine. This mutual good vibe had been demonstrated
in many ways, one of which I always cherish: Dr Omoumi saying about
Ideen, my younger son who is a physician and at the same time a poet: we
don’t know if we should refer to Ideen as a doctor-poet or a poet doctor! He
communicated directly with both of my sons, Omeed and Ideen, as he
wished even seeking medical advice from Ideen.
For me the most rewarding aspect of the close relationship between us was
that Dr Hossein Omoumi became my mentor and advisor. He supported
and when he could, elevated my research, lectures and academic
endeavors. He encouraged me constantly to continue my work and always
commented positively on my articles and books. He always participated as
a good listener in my frequent webinars, always having kind words for me
afterwards. Dr, Omoumi’s support of my work extended to the point that he
even contributed $5000 from his budget allowance at UCR towards the
cost of publication of my latest book by the UCI, a contribution that the
director of the Jordan Center for Persian Studies and Culture had
demanded.
As a token of my appreciation, I summarized Dr Hossein Omoumi’s support
of me and my work in the acknowledgment section of my most recent book:
Enduring Paradigms: An exploration of the distinct architecture and arts in
Iran in the 1960s and 1970.

“In a manner both deeply meaningful and profoundly deserving of
recognition, I wish to express my heartfelt gratitude to Hossein Omoumi—a
creative architect and professor of industrial architecture at the College of
Architecture and Urban Planning, National University of Iran, during the
1970s, and an eminent musician and professor in the Department of Music
and Performing Arts at the University of California, Irvine.
Through more than fifty years of friendship, support, and unfailing
guidance, Dr. Omoumi has occupied a highly special place in my life. It was
through his generous and thoughtful initiative and leadership in navigating
the various stages of the process, helping to overcome the many layers of
administrative procedures and challenges along the way.
Words can never fully express the depth of my gratitude to him.

I now mourn the loss of my dear friend and mentor, Dr. Hossein
Omoumi—an accomplished architect, musician, and educator, and a
remarkable human being.
Words cannot express the depth of my sadness and sense of loss.

* Ali Kiafar is an architect, city planner, researcher, and university professor