This recording dates back to the 1970s and was also made in Ostad Elahi’s home in Tehran. Among these four hymns, repeated in unison by the audience, the first three were composed by Hādj Nematollāh, Ostad Elahi’s father; we do not know the author of the fourth. The first hymn is sung by Ostad, the next three by his eldest son Hādj Amīn.

(1) Intense and full of energy, the first hymn evokes the companions of Hādj Nematollāh who were all dressed in a long white tunic.

Haqq sefīd pūshān / Haqq sefīd pūshān
Kowsar manūshān[benūshān] / Haqq sefīd pūshān
Haqq dressed in white / drink from the water of Kowsar / Haqq, those dressed in white

“Haqq” is one of the divine names that evokes the Truth, while “Kowsar” literally means the source from which all the streams of paradise flow. For mystics, this source lies in the possession of Ali, a manifestation of God, who grants this water to whomever he wants in a quantity that corresponds to each person’s spiritual capacity.

(2) This hymn was composed in honor of Soltān Eshāq,¹ when Hādj Nematollāh received the manifestation of his Essence.

Shām āmā, Shām āmā, Shahanshāy Shāhān āmā
My King has come, my King has come, the King of Kings of all Kings has come.

(3) In this hymn, the responses of the assembly end with some a cappella measures. The collective fervor is clearly perceptible.

Shāh Nematollāh valīyan Haqq / Avval-o ākher Alīyan Haqq
Shāh Nematollāh is the Valī of Truth / The beginning and the end are Ali, who is Truth

(4) This more rhythmic chant has an unusual characteristic: at the end of each melodic phrase, it includes a surprising chord that reverses the melody. The playing of this chord corresponds to the only time when nobody sings, as if to allow everyone to catch their breath before expressing their gratitude.

Shoq-e shādīman Khodā shokor
Dowr-e bāqīman Khodā shokor

This is my joy and enthusiasm, thank you O’ God
This is my spiritual (permanent) era, thank you O’ God