Shāh Khoshīn, an 11th century mystic who lived in Iranian Lorestān, inaugurated the tanbur as the choice instrument for expressing spiritual love. It is said that he would gather large numbers of musicians and perform spiritual concerts of extraordinary strength and splendor. This recitative piece relies on a strong rhythmic framework as Ostad’s soft touch creates an intimate atmosphere conducive to reflection and prayer. The rhythm becomes increasingly prominent, the ornamentations more numerous, and the expressions more intensified, as Ostad begins to sing the following verses in a low voice:

Dardam az Dūst, īmānam az Dūst, Ali
Khoshīn batcha nānī āzādeh darvīsh (x2)
Hezārān tīr-e bātenī yā dūst darīm dar tarkīsh
Har kas az kār-e Shāh Khoshīn shak āvarad pīsh
Palangāzī khorad sāfī nabūdīsh

The source of my sorrow stems from the Beloved
The object of my faith is the Beloved
Khoshīn is pure like a child and free like a dervish (repeated)
A thousand mystical arrows have we in our quiver
Whomever doubts Shāh Khoshīn
Will be deprived of His light forever.

Then, in the second part:

Seyyed-e sarvar, Khoshīn batcha nānī
Seyyed-e sarvar, Khoshīn batcha nānī seyyed-e sarvar
Dīn-e pāk mā dārīm mazhab-e Jafar

Lord and Master, Shāh Khoshīn is as pure as a child (repeated)
We are of the pure faith of Jafar.¹