Tanbur Panj Sīmī (Five-stringed Tanbur)

Choghūr

Setār-e Ketābī (Flat-Bodied Setār)

Tār

Setār

Violin (A superb Violin (Persian Violin))

Ney (Persian reed flute without a tip)

Zemāre (Dozaleh) (An Iranian kurdish double reed clarinet)

Daf (Frame drum)

Reverence (CD 2)

Jelo Shāhī (“before the King”) evokes the imperial rites of ancient Persia, transposing them on a spiritual level. The piece reaches its climax upon the announcement of the King’s arrival: “Shāh āmad, Shāh āmad!” (“The King has arrived, the King has arrived!”). Galvanized, the soul finds the energy to confront its most formidable enemies by virtue of the King’s presence.

Jelo Shāhī Suite

The title of this piece means “O King, may You be with me.” Ostad was very fond of this supplication. The lyrics are attributed to one of spiritual companions of Shāh Khoshīn, a great Kurdish saint of the eleventh century. In this entreaty, the poet expresses his pure love for the Divine:<blockquote>You are my beginning, You are my end You molded me from a drop of water Your heaven or Your hell I care not for My hope is for You to always be with me.</blockquote>

Yā Shāh To Bā Man Bāshī

Despite the interruption of a crying child, this piece presents a short sample of the manner in which Ostad Elahi played the tār.

Depending on the context, the term qatār can signify a caravan, a convoy, a chain, or a link. Qatār is a profound and intimate mode with little rhythm that evokes prayer and secrets. Each piece appears as a link in a chain whose various elements fit together to form a continuous and perfectly balanced rhythmic and harmonic movement.

Qatār Suite

Bālā dastān means the lower register on the neck of the tanbur, and it is in this register (the seven lowest frets of the instrument) that this ancient melody is usually played. Ostad Elahi, however, extended the melody to the entire tanbur.

Bālā Dastān

Tarz is a generic term that means style, genre, or manner. In Ostad's repertoire, it refers to a category of ancient mystical melodies. Filled with nostalgia, this air invites introspection and a return to oneself.

Tarz

Shekaste means “broken.” This piece belongs to the repertoire of Āzerbāījānī music that Ostad Elahi interpreted on the Turkish choghūr. He was quite fond of this melody, which he would sometimes set to various poems.

Shekaste

Bābā Sarhang is the name of a saint who lived in the ninth century and was a predecessor to Shāh Khoshīn. Similarly, Bābā Nāūs is the name of a saint who lived in the tenth and eleventh centuries.

Bābā Sarhangī va Bābā Nāūsī (Nāvūsī)

Bālā (the top or higher part of the neck) refers to the lower register. There are some who believe that this air can also serve as the backdrop for a dance in which the arms are extended like two (do) wings (bāl). The origin of the ensuing melody, Karīm Khānī (the air of Karīm Khān), is unknown.

Do Bālā va Karīm Khānī

Entitled “The rose and the thorn,” this piece evokes states of spiritual joy and sadness. According to Ostad Elahi, “Iranian melodies, especially the ancient ones, always come in pairs: an impassioned melody is followed by a sweet melody; a jubilant melody is followed by a nostalgic air, etc.”

Gol va Khār Suite

Reflection (CD 1)

The Saharī suite evokes dawn, that particular moment when nature awakens to address her song of praise to the Creator. Both the rhythm and the melody are in constant flux. At first, they recall the song of a nightingale and other birds before shifting to the sounds and echoes of nature: Dawn has arrived, and the universe is awakening.

Saharī Suite

The name of this piece literally evokes the song (khānī) of a starling (sār); it may also be a reference to the saint (Sārū Khān) who composed it. Here, Ostad accompanies the melody with a supplication:<blockquote>Praise to You, benevolent and glorious Lord You who knows all that is hidden and revealed My Creator, my Refuge, my Support It is You that I implore, in hardship and in fortune No matter how great my failings, Your forgiveness is greater still I have succumbed to temptation, now I am plagued by remorse O God, hear my plea For You know how miserable and destitute I am</blockquote>

Sārū Khānī Suite

Ostad had classified this suite among the antique modes, but its title and content, at once tragic and majestic, are also reminiscent of the story of the martyrdom of Imam Hoseyn, the grandson of the prophet Muhammad. From this standpoint, it appears as an invitation to self-abnegation in the soul’s journey toward perfection.

Shāh Hoseynī Suite

The terms Tchapī and Tchūpī mean ecstasy and enthusiasm, and designate a dance expressing spiritual exaltation. This piece, rendered on his five-string tanbur, is introduced as follows: “Tchapī intended for myself.” Later, Ostad would explain that at that moment it was as though he were inhabited by the Divine, a well-known motif in the mystical tradition.

Tchapī (Tchūpī)

In its original form, this melody is attributable to Sheykh Amīr, an 18th century Kurdish mystic. The Sheykh Amīrī suite subsequently became a generic term designating a melodic type or family of airs, of which there are seventeen variants in Ostad’s repertoire, from the simplest (that of Sheykh Amīr himself) to the most elaborate (that of Ostad).

Sheykh Amīrī Suite

Zīr-e Dastān means the higher register on the neck of the tanbur. According to Ostad: “The angels who sing with the tanbur are divided into two groups: those who sing in the upper ranges and those who sing in the lower ranges.” The mode is joyful and resembles the Major mode in the western tradition.

Zīr-e Dastān

Farangī (“Frank” or “European”) is a chord introduced to the tanbur’s repertoire by Ostad Elahi. Among the notable pieces in this mode is the Zang-e Shotorī-e Hazrat-e Mowlā. It is said that Hazrat-e Mowlā would adjust the sound of the small bells on his camels (Zang-e Shotor) such that their tinkling would produce a melody that spurred the camels’ pace.

Farangī Suite

The Sacred Lute: The Art of Ostad Elahi

Samā,1 whose various meanings include “audition,” refers both to the mystical concert and the cosmic dance induced by this audition, a meaning that gained prominence in the 13th century under the influence of Mowlānā Rūmī. According to this great Persian poet and mystic, “The Samā constitutes but a small part of the eternal dance the soul is destined to join one day. Every being partakes in this cosmic dance. . . .”2Samā expresses a melody that comes “from the firmament” (samāvāt: heavens) to resonate in the soul and sweep the listener away in a dance that Ostad has described as celestial. This improvisation was recorded in the 50s by Ostad’s eldest daughter while he played alone in his room. Rendered on a five-stringed tanbur (panj sīmī),3 it provides a good example of Ostad’s unique technique, notably his singular style of combining playing techniques from the tanbur with those of the setār (see also track 4).The suite opens with a series of themes, often composed of simple notes that convey a heightened sensitivity. Recurring tremolos impart an intimate character to the melody, which conveys the profound nostalgia of a fettered soul unable to rejoin its Creator. The melody gradually strengthens, supported by an accompaniment of chords that slowly replace the tremolos. The atmosphere shifts, with alternating dissonances and free-flowing solos. Following a rubato cycle of rhythm variations (slowing down then returning to tempo), the sound becomes fuller and the movement of the cosmic dance sweeps the soul away in an increasingly powerful flux, accompanied by the following chant:4<blockquote>Āmān sad āmān wa āmāna kū Ya das[t]-e mena / Ali wa dāmān-e toYour help I implore a hundred times over, but where is Your help? Here is my hand that grasps the hem of thy robe</blockquote><ol class="number"><li value=1>See Ostad Elahi, Celestial Dances, compact disc (Paris: Le Chant du Monde, 2005).</li><li value=2>Jean During, Musique et extase (Paris: Albin Michel, 1988), 200.</li><li value=3>Panj sīmī: A special five-stringed tanbur (two double-strings for trebles and mediums, and a single string for the bass) invented by Ostad Elahi. See Celestial Harmonies, compact disc (Paris: Le Chant du Monde, 1994/2004).</li><li value=4>It is difficult to convey the full meaning of this song, expressed in Kurdish in a simple but powerful way. As Jean During states: “The language of these songs is admirably adapted to the expression of mystical love, with its poetic turns of phrase that are audacious, concise, and striking while exhibiting great freedom.” The Spirit of Sounds: The Unique Art of Ostad Elahi (Cranbury, NJ: Cornwall Books, 2003), 75-6.</li></ol>

Samā

Recorded in the intimacy of his family circle with equipment from the 60s, this melody is conveyed through a pared-down style on the tanbur. From the outset, the chant is quite intimate and high-pitched, unfolding with subtle cantillation-like variations. The voice and the instrument are in complete unity.During the principal chant, the accompaniment of the tanbur is based on a slow and sober rhythm, whereas it becomes filled with ornamentations when the assembly answers. The first verses of this zekr1:<blockquote>Haqq Haqq-e hū hū / Ey āqāy jāfem Ghonaray sar tāfem / Yār bī gazāfem</blockquote>are an invocation to Soltān,2 who in this context represents the divine essence; “Haqq” and “Hū” are divine names that refer to the Truth, God, and the One.“Ghonaray” (the river) “sar tāfem” (the foam on the crest of the wave) represents both the turbulence of the impetuous river’s currents and the flashes of light emerging from the swirling waters, while “yār bī gazāfem” means my Beloved (Yār), Soltān, who is devoid of lies. Thus, these verses can be translated as follows:<blockquote>The world, like a river, is all sparkle and turbulence But You, my Beloved, are devoid of ostentation, pure Truth</blockquote><ol class="number"><li value=1>Zekr literally means remembrance of God. These zekrs are prayers that are chanted or sung aloud, with the repetition of divine names and attributes.</li><li value=2>Soltān Eshāq (or Sahāk), a great theophanic figure of the fourteenth century, is considered the founder of the mystical order of the Ahl-e Haqq.</li></ol>

Haqq Haqq-e Hū Hū

This piece was recorded in Ostad’s home. After he begins to play, a microphone is gently placed in front of his tanbur; he continues playing, absorbed by the intimacy of his dialogue with his Creator.An excerpt of this piece titled Wālā wītāna was released on the CD Celestial Harmonies (track 2) and on the double CD (“Reverence,” track 2) accompanying the commemorative book marking The Sacred Lute: The Art of Ostad Elahi exhibition at the MET. Here, the entire piece has been made available to restore its complete spiritual significance. Rendered on the five-stringed tanbur, the melody develops in a subtle manner, alternating between high-pitched and low-pitched responses that produce a veritable conversation, a musical dialogue. The playing of the left hand is powerful, while the index finger of the right hand, which Ostad uses as if he were playing the setār,1 strikes the strings in a way that greatly amplifies the sound of the instrument2. Though the rhythm frequently varies during the piece, no hiatus is heard throughout.The melody of the next passage was arranged by Ostad Elahi based on verses by Pīr Razbār. The only woman with the spiritual rank of an archangel in the Kurdish Ahl-e Haqq tradition, Pīr Razbār is a highly revered saint who lived in the 14th century. The mother of Soltān Eshāq, her spiritual pole, she was entirely devoted to him.The first verse of the poem, “ Wa[Cha] manzelgātān kām djā djītāna,” can be translated as “where and in what standing do you wish your abode?” Ostad has interpreted this verse as follows: Along your journey, at what point do you wish to stop? At the opulence of this world? At the abundant blessings of Paradise? The purpose of this path (which is revealed to you) is for you to reach the Truth/God. Once you arrive at the Truth, everything will be resolved; you will have knowledge of everything.As for the second verse, “Eshq-e Haqq wa sar sheet-e wītāna,” which can be translated as “Carry the madness of love of Truth in your heart and in your heart be enamored with God!” Ostad has said the following: It is after a person has gone through all of the spiritual stages that the love of the Truth/God blossoms in one’s heart. When one reaches a state where all the pleasures in this world are no longer a pleasure, one becomes boundlessly enamored with the Truth, such as Mansūr,3 who uttered, “I am the Truth!” or Zachary,4 who laughed as they tortured him, or Hoseyn,5 who wore a smile on his face when they decapitated him. In this state, the body and the world no longer mean anything. From there, one reaches a state of rapture, a state in which wherever one looks, it is God/the Truth that one sees, and one is ready to be launched by God into the realm of Perfection.<blockquote>Wa[Cha] manzelgātān kām djā djītāna Eshq-e Haqq wa sar sheet-e wītāna Wa[Cha] manzelgātān kām djā djītāna Rāy Haqq rāsīan rāsī rītāna Ya shart-e eqrār shart-e shātāna Bāqī ākherat manzelgātāna Ya dām-e balā ya balātāna Eshq-e Haqq wa sar sheet-e wītāna Dīn-e āshekār bar malātāna Eshq-e Haqq wa sar sheet-e wītāna Wa[Cha] manzelgātān kām djā djitānaWhere and in what place do you wish your abode? Carry the madness of love of Truth in your heart and in your heart be enamored with God! Where and in what place do you wish your abode? The path of Truth is righteousness, righteousness is the path This is the pact of acceptance, this is the pact Spiritual (permanent) era is your abode This trap of pain is the necessary evil Carry the madness of love of Truth in your heart and in your heart be enamored with God! It is the apparent path that is now revealed to you Carry the madness of love of Truth in your heart and in your heart be enamored with God! Where and in what standing do you wish your abode? Carry the madness of love of Truth in your heart and in your heart be enamored with God!</blockquote>This chant is followed by a supplication that Ostad Elahi was quite fond of. Its melody was inspired by Mansūrī, an archetypal learned Persian melody (gūshe). The chanted text is a poem written in honor of Shāh Khoshīn6 by one of his spiritual companions, who conveys his boundless love for the Divine:<blockquote>Az avval to būdī yā dīn yā dīn Ali Ali Ali Hū Hū Ākheram to bāshī Az qatre-ye āb-e, Az qatre-ye āb-e manī ey dīn Ali Ali Manat kardī naqqāshī yā Mowlām yā Mowlām Bā behesht o dūzakhat hey Mowlām kārī nadāram Omīdvāram yā Ali to bā man bāshī AliFrom the beginning, there was You In the end, it will be just you You, O Almighty, my Faith, my Breath! You, O Almighty, my Faith, my Breath! You molded me from a drop O my Lord! I have no need for Your paradise or Your hell What I hope, O Almighty Is that You are always with me, You!</blockquote>This passage is followed by Mobārak Bādā (second version, Celestial Harmonies, tracks 1 and 2). Both the color and the mood shift, giving way to a more nostalgic tone. A series of themes coalesce, offering an array of rich polyphony and harmonies, nuances and rhythmic changes. The suite is a sort of Zang-e shotorī7—a melodious, soft, and serene piece whose moderate swaying evokes the tingling bells of a moving caravan.<ol class="number"><li value=1>The Persian setār is a classical three-stringed instrument belonging to the family of long-necked lutes.</li><li value=2>Ostad used to play the Persian setār in his own personal way, at times plucking the strings “in reverse”—that is, from top to bottom in order to mark the accents. For more information, see Jean During, The Spirit of Sounds: The Unique Art of Ostad Elahi (Cranbury, NJ: Cornwall Books, 2003).</li><li value=3>Mansūr Hallāj (d. 922), a martyr celebrated in the East, was put to death after having declared in a moment of ecstasy and mystical union: “I am the Truth.”</li><li value=4>Zachary, who was the father of Saint John the Baptist, was wrongly accused of a crime and sawn in half.</li><li value=5>Hoseyn (626-680), the grandson of the prophet Muhammad and the third imam in Twelver Shiism, was martyred in Karbalā.</li><li value=6>Shāh Khoshīn, a prominent eleventh century Kurdish saint, formalized the tanbur as a sacred instrument.</li><li value=7>Zang-e Shotorī (“camel bells”) is a melody inspired by the movement of a caravan of camels. It is said that Ali (a prominent saint of the Shia tradition and son-in-law of the prophet Muhammad) adjusted the sound of the bells of his camels (Zang-e Shotor) so that the ensuing melody would stimulate their pace.</li></ol>

Yā Shāh to Bā Man Bāshī

Saharī is usually played to announce dawn and the awakening of nature. It can also be perceived as a call for the soul to awaken and experience more intensely the effect of the One, which is present everywhere and in everything, and to not be negligent or sluggish while all of creation sings and praises the Divine.This piece originates from recordings made in the early 60s. It represents both a technical and artistic challenge: it is performed on a small Persian setâr that Ostad had named “Bolbol” (nightingale).1 He had modified this setâr into a smaller replica of his five-stringed tanbur. Ostad played this instrument in a manner that upended established rules: he combined tanbur playing techniques (five fingers hitting all the strings or playing rolls) with those of the setâr (plucking the strings with the index). Above all, he played this melody in the Farangī chord (in thirds) on a five-stringed tanbur, an almost insurmountable challenge; both the technical and physical means are lacking to achieve the desired sound. Only Ostad's virtuosity is able to produce this astonishing impression of ease and simplicity.The suite is incomplete, as the very beginning of the recording was unusable. The piece thus opens on a major key, an A-F third, that also constitutes its foundation. As the melody develops, the initial rhythm changes, with the playing of ornamentations and several shors (five-finger rolls) during short silences. The melody then returns, played in solo, in the simplest and purest manner possible, on a string with a single finger. The melody is then played anew, with all the previous characteristics (melodic, rhythmic) but with a fresh intensity. The piece as a whole is akin to an overture featuring expansive and energetic playing, a combination of subtle fluidity and great power.<ol class="number"><li value=1>A flat-bodied travel instrument with which he almost always traveled. Ostad Elahi’s family has donated this instrument to the Musée de la musique de la Philharmonie in Paris.</li></ol>

“Yā Soltān Āmān” is a zekr composed by Ostad during his youth, probably in the 1930s, during one of his journeys to the shrine of Soltān. This version is performed on a tār (a long-necked lute from the learned Persian tradition) and is accompanied by a daf (a frame drum struck with the hand).The original lyrics of this zekr are:<blockquote>Yā Soltān Āmān Āgerem Dāy Dasht-e awrāmān wāvarem dāyO Soltān, mercy, you have set me aflame You have laid the plain of Awrāmān1 at my feet</blockquote>On this recording, however, Ostad does not sing these words but introduces subtle variations invoking the Divine (“Yā Ali Jān,” “Haqq Ali Jān,” “Mowlām Ali,” “Yā Ali Āmān”). The piece enables us to appreciate the power of Ostad’s right hand, which is never overshadowed by the beats of the daf and the collective hand-clapping.Although played with variants, the main motif has the specificity of always ending on a countercurrent chord that coincides with the last strike on the daf, imparting each time a rhythmic impulse and energy that revives the dynamics of the piece. A festive feeling and joy predominate, as the melody is light and the rhythm lively.<ol class="number"><li value=1>Awrāmān is a region in Kurdestān that occupies a symbolic role in the Ahl-e Haqq tradition.</li></ol>

Variations on the Yā Soltān Āmān Āgerem Dāy Melody

Ostad often played this suite, but rarely on the five-stringed tanbur; this is the only recording of its kind. In a calm and peaceful atmosphere, he introduces the piece with these words:<blockquote>Ey Khodāvand-e tabārak va taālā rūh-e mān va tavajoh-e mān be sūy-e Tost Ey Khodāyā Īnak barāy-e meymanat-e shab-e emshab ke shab-e mobārakī be nazar mīresad, īnak shurū mīkonīm be yek Jelo Shāhī Omīdvāram ke pasand-e maqām-e Manavī beshavad. Hū yā AliO God, the Almighty and Great, our soul and our attention are turned toward You, O Lord! Now, in order to receive grace on this night, which appears to be a blessed night, we will begin by playing Jelo Shāhī. I hope it will meet with the approval of the spiritual Rank.</blockquote>The piece opens with several chords struck vigorously in a major key. The deep, majestic sounds reverberate to fill the entire audible spectrum. Throughout the piece, the energy and intensity of the playing increase, with moments of lively staccato. During a more solemn passage at about 10’20 in the recording, the main melody seems to divide itself, leading to several distinct melodic phrases, all different yet complementing each other, as if additional instrumentalists had joined in, rendering a true polyphony.Almost of a pictorial nature, this piece offers a series of musical canvasses that impart a sense of grandeur, dignity, and nobility, unfolding like scenes from a film. At first, one can sense a feeling of joy, but a feeling that is somewhat contained. The melodies relate a sense of anticipation up until the final passage, which corresponds to the arrival of the spiritual king.Although the typical melodies of the Jelo Shāhī suite are all discernable,1 they are played here with complete freedom of improvisation. At times they are played faster, and at times they can only be heard between two cavalcades: the rhythms are races, gallops, and rushing whirlwinds. Each melody appears to want to displace the prior one. The lush and orchestral sound that Ostad Elahi produces with the five-stringed tanbur endows this interpretation with a masterful dimension, yet another account of the freedom that was among the hallmarks of his playing.<ol class="number"><li value=1>See The Celestial Music of Ostad Elahi, compact disc (Paris: Le Chant du Monde, 1996/2004), track 1.</li></ol>

Jelo Shāhī Suite on the Five-Stringed Tanbur

My Beginning and My End

The tār is a long-necked lute stemming from the learned Iranian tradition. Although it originally had five strings, a sixth string was added around 1910. Ostad owned a tār made by the renowned luthier Farajollāh that he would play daily. In Tehran, he interacted with some of the great musicians of the time, notably Darvīsh Khān and Abolhasan Sabā.

The tār is a long-necked lute stemming from the learned Iranian tradition. Although it originally had five strings, a sixth string was added around 1910. Ostad owned a tār made by the renowned luthier Farajollāh that he would play daily. In Tehran, he interacted with some of the great musicians of the time, notably Darvīsh Khān and Abolhasan Sabā.