This piece unfolds as a kind of dialogue between two spiritual lovers, interpreted first in the Qatār mode.¹ Qatār is an important Kurdish mode that includes elements from Persian music, rendered here in a profound, meditative, and essentially non-measured way. The tanbur is played like a setār, the strings plucked with the forefinger of the right hand rather than struck with all fingers, as is usually done. Despite these technical restrictions, Ostad manages to perform an extremely rich piece conveying calm, strength, and dignity. The melodic line depends on a delicate balance, and the fingers striking the sounding board give an impression of great determination.

This passage is followed by improvisations in the Saharī mode (see track 4). The dialogue between the lovers continues; they respond to each other like two birds at the break of dawn, “perched” on two octaves at the top and bottom of the tanbur’s neck. They then fly away together, united in the consuming swirl of their love.

The dance themes that conclude this piece are an invitation to allow oneself to be carried away by this impulse of pure love and to discover universes as varied as they are unexpected: in the midst of an exhilarating dance, Ostad suddenly changes the tuning of his instrument from fourths to seconds, casting the atmosphere in a new light.