This smooth, rhythmic recitative is a prayer to the Creator, expressing intense emotion in a deeply contemplative atmosphere. In a low voice and confidential tone, Ostad addresses simple and direct words to his Beloved.

The tanbur is heard first, in a melody rising toward Him. Then Ostad begins his song, invoking Ali, a divine name. Voice and instrument mingle in total symbiosis throughout this appeal to divine clemency and mercy. Ostad Elahi plays here in a style entirely his own. One may occasionally recognize a theme from a previous recording, but closer listening will reveal that this is definitely an improvisation with the motifs unfolding in a totally unexpected manner. The passages evoking more familiar modes and themes (such as Hey Dāwed toward the end of the piece)¹ are themselves played in an original way. Even listeners used to Ostad’s compositions can be taken unawares and led from one new experience to another. Ostad’s universe is infused with gentle sweetness, but the pain of separation from the Beloved can be clearly felt. The emotion is even more palpable when Ostad’s voice catches and the appeal becomes more urgent. According to Ostad, “weeping (in a spiritual state) soothes the soul and brings it joy; if music is based on the aspirations of the soul, it will be more attractive both in its technical and spiritual quality.” (Āsār ol-Haqq, vol. 2, 359-360). When the soul is touched, as it is by the awareness of separation from its Beloved, one cannot control one’s tears. Like purifying rain, they finally afford some relief.

Ostad Elahi’s emotion inspires this poem, improvised as he plays:

Ali (x 6)
Ali, agar bogzarī, Ali (x 5)
Ali, gonābāranān, Ali (x 7) djān
Gonābāran yā Ali, Ali, Ali, Ali
Gonām bar gardan, yā Ali, yā Ali, yā Ali
Va gonāy sar va jīr-e bār yā Mowlām, Ali (x 5)
Gonāy wīm bardan yā Mowlām āmān Ali (x 5) djān, Ali, Hū
Sar va jīr-e bār Ali djān Mowlām
Gonāy wīm bardanVa gonā(h) kārān mabū weyardan, ey Khodā-ye man, ey Mowlā-ye man
Bī gonā(h) va kas ey Ali djān mennat nabardan, amān amān amān, amān
Agar bogzarī, yā Mowlā-ye man va gonā(h)kārī
Aw vakht malūman yā Mowlām to karamdārī
Djān Ali, ey Khodā-ye man, Ali (x 4)
karīmī, rahīmī, bozorgavārī
Ey Khodā-ye man (x 3), Khodā-ye man (2 x)
Ey khāleq-e man, ey Khodā-ye man
Ey Ali, amān, Ali (x 6)

Ali
Ali, Forgive me, O Ali
My sins are innumerable, Ali, Ali my life
Forgive me, Ali
Take this weight from me, O Ali
You are my refuge, O Ali
My head bows under the weight of my sins
Yes, I have been so remiss, O God
With this burden on my heart, whom else shall I call upon, O Ali?
I take refuge in Thee
Pardon me, Lord
And thus show Thy generosity
Ali my Beloved, O Lord, You are generous, magnanimous, all-powerful
O my God, my creator, my educator, my God

Like Ali, the terms Mowlā (Lord), Khodā (God), Djān (Beloved), and Hū (Him) are expressions of the divinity, a way of invoking God.

Then, to the slow Hey Dāwed theme:

Yā Dāwed-e dāwedan Ali Hū har Dāwed-e khāsan
Ey Khodā-ye man ey rabb-e man
Yā Hayy yā qayyūm