A series of three hymns devoted to Dāwūd (Dāwed in Kurdish), the manifestation of Raphael, the archangel of divine clemency and one of Soltān’s close companions.¹ Ostad Elahi was especially fond of Dāwūd, about whom he would say: “I rejoice when Dāwūd’s name is invoked, for he is the embodiment of goodness. He has been granted permanent permission to intervene and doesn’t need to make a special request to Soltān for each individual case. Dāwūd has never been observed to become angry with anyone, for he is pure goodness and kindness from head to toe.”² Similarly, Ostad states: “There are a few people whose names bring sheer pleasure to my ears: Christ, for his goodness toward all living beings . . . Dāwūd, the personification of mercy, who is always present, ready to help anyone in need.”³ Ostad sings three songs one after the other, beginning with the slowest and proceeding to the most rapid, as though drawing the participants into this invocation to Dāwūd.

1. Hey Dāwed (slow)

Hey Dāwed, gīān Dāwed
O Dāwūd, life Dāwūd

This first appeal, charged with longing, is very rich harmonically, with numerous variations and modulations. The slow tempo makes it difficult to perform. Ostad rarely played as long as he did on this occasion. Some of those close to him comprise the assembly around him, and spontaneously take up the refrains when moved by the emotions of the supplication. The supplication closes with a passage on the tanbur recalling the introduction.

2. Hey Dāwed (faster)

The piece begins in an almost relaxed manner, but gradually draws the listener along through its uninterrupted, insistent rhythm, offering an identical drone throughout to form an immense symbiosis between the low notes of the chant and the high ones of the chorus.

3. Hey Dāwed (fast)

Hey Dāwed, Haqq gīān Dāwed / Dīn Dāwed, īmān Dāwed
O Dāwūd, Haqq, life, Dāwūd / Religion, Dāwūd, faith, Dāwūd

This very old hymn was recorded informally in the intimate context of a family gathering. No other musician or professional singer was present, simply a few people whose fervor gives the chorus its special quality. In spite of the rather rudimentary conditions of these recordings with a single microphone positioned haphazardly, a natural balance has been achieved between the chanting, the voices, and the instrument.