Though Ostad often played this suite, never did he play it the same way twice.¹ Every rhythm, every melody, every progression evokes the rites, movements, and different stages of an exalted mystical ceremony, from the preliminary preparations to the actual arrival of the long awaited spiritual King. Several images inevitably form in the mind of the listener: the gathering and anticipation of the hosts, the cavaliers approaching on galloping horses, and the glorious spiritual feast itself, which ends with two chants addressed to the Divine:

Āmān sad āmān / Ali wa āmāna kū
Ya das[t]-e mena / Ali wa dāmān-e to

I implore you, forever and always, O Ali
Rescue the souls of your friends
Wholeheartedly we grasp thy robe, O Ali.

Wa fedāy manzelgāt Ali
Pāy sheykhānet bām
Nazr-e tchāwakey Ali
Jām jahānet bām
Dīnem dīna, shām Khoshīna Shād bāy [ke] shādem kardanī
Wa pāy Shender Kū Ali feyzem dādanī

My all I will give when I find You, O Ali
I found You at Sheykhān² all I will give for those eyes, O Ali, which behold the universe
My religion is The Religion, my King is Shāh Khoshīn
Rejoice, O You who have filled me with joy
At the foothill of Mount Shender,³ O Ali, You granted me grace.