Sheykh Amīrī-e Gūrān-e Qadīm (bālā daste)

Sheykh Amīrī-e Gūrān-e Qadīm (pāīn daste)

Sheykh Amīrī-e Jadīd

Sheykh Amīrī Garmsīrī 1

Sheykh Amīrī Garmsīrī 2

Sheykh Amīrī Garmsīrī 3

Sheykh Amīrī Mīrzā Khodākaram

 Sheykh Amīrī Shāh Hayāsī

Sheykh Amīrī-e Atrāf-e Sahne 1

Sheykh Amīrī-e Atrāf-e Sahne 2

Sheykh Amīrī-e Atrāf-e Sahne 3

Sheykh Amīrī Hādj Nemat 1

Sheykh Amīrī Hādj Nemat 2

Sheykh Amīrī Ātesh Begī 1

Sheykh Amīrī Ātesh Begī 2

Sheykh Amīrī of Ostad Elahi

Sheykh Amīrī Khod-e Sheykh Amīr

Hey Dāwed Sangīn

Hey Dāwed Tond

The theme of this melody belongs to Hādj Nemat, Ostad’s father. Ostad has enriched it to such an extent that it is now considered one of the jewels of the tanbur repertoire.

The theme of this melody belongs to Hādj Nemat, Ostad’s father. Ostad has enriched it to such an extent that it is now considered one of the jewels of the tanbur repertoire.

CD 2

This suite, the pure expression of a profound quest wherein material preoccupations have no role, is the supplication of one who aspires solely to meeting and reuniting with the Beloved. The piece has moments of pure imploration calling upon the intercession of Bābā Yādegār, Soltān’s companion and the manifestation of one of the seven archangels. His indifference to base worldly matters makes him a symbol of the esoteric aspects of the relationship with God.The story of Ābedīn is one of the accounts passed on orally in the Ahl-e Haqq tradition; it is included in The Book of the Kings of Truth, a mystical epic written around 1912 by Ostad Elahi’s father, Hādj Nematollāh. Ostad himself has written a detailed commentary on this work entitled Hāshīye bar Haqq ol-Haqāyeq. The story of Ābedīn is as follows: A devout man at the time of Soltān had four sons, three of whom embraced the mystical faith of their father and believed in Soltān as the earthly manifestation of the divine essence. But the fourth son, Ābedīn, denounced this mystical approach as heresy, placing his enthusiasm and faith in Islamic theology and jurisprudence instead. According to Ābedīn, the salvation of the soul lay in the literal study of the holy texts and the rigorous application of exoteric rules. He felt such animosity toward Soltān and his followers that he even strewed thorns along the path leading to Soltān’s abode to lacerate the feet of pilgrims going to see him.When Ābedīn’s father sought Soltān’s counsel, the latter replied, “Leave your son alone. Though he doesn’t possess the same faith as your other children, his soul is even purer than theirs. The day he reaches illumination, he will become as my own son.”A few days later, Ābedīn, engrossed in his theological studies, felt a wave of mystical exaltation rising within him, something he had never experienced till that day. Suddenly lifted outside of himself, he found himself projected into another dimension where the secrets of creation were revealed to him and his previous lives were disclosed to him.When he came to, he was no longer the same man. Whatever he gazed upon, even the tiniest thing, he could feel the presence of Soltān’s essence. As though inebriated with this essence, he threw all his books and lessons into the water; they were no longer of any use to him. While all this was happening, a few beautiful young women were sitting at the water’s edge. Ābedīn’s teacher (a holy man) had witnessed the whole event, but thought Ābedīn’s wild gestures were a reaction to seeing the beautiful young women and designed merely to attract their attention; he rebuked him, invoking punishment and divine wrath. But Ābedīn’s feelings were elsewhere. His newly enlightened heart longed for different shores. In a state of exaltation, oscillating between passion and remorse, he rushed off toward the abode of his Beloved and henceforth became one of Soltān’s close companions.In this suite, Ostad Elahi sings some lines from the long poem recounting the story of Ābedīn. The instrument is tuned in fifths (Tarz). From the very start, we are plunged into the heart of a deep meditation. In spite of the reduced range of the melody in the early part of the work, it is extremely intense. The notes of the motif never follow one another in the same manner. Through ornamentation, rhythm, and phrasing and their different combinations, the whole piece is constantly renewed and recreated. The play of chromatic fifths between the lower and higher registers gives dramatic fullness to the piece, expressing the noble quality of the quest. A counter-melody played in chromatic notes on the low string imbues the work with a mood of deep longing and nostalgia, a sign of the heartrending suffered due to separation from the Beloved.A few lyrical passages at the higher end of the scale reinforce these feelings, which are then aroused again by their seemingly obvious musical treatment in the form of the most delicate intervals (a succession of fifths, augmented fourths, a major seventh). Finally, the voice joins the instrument in its expression of this quest.

Suite Ābedīnī, with a Yādegārī Introduction

<blockquote>Yār dīdagīānī, Benyāmīn pīra Pīr Mūsī vazīr / Dāwed dasgīraO Friends, / Benyāmīn is the leader Pīr Mūsī oversees the register / Dāwūd is the intercessor (the succor, the savior).</blockquote>Three more of Soltān’s companions are invoked with regards to their mission. In fact, in the spiritual hierarchy of the Ahl-e Haqq, several individuals guide those who are making their way toward the spiritual Ruler, the manifestation of spiritual enlightenment and divine Truth. These include the Dalīl, who guides the soul, and the Pīr, who intercedes and establishes a link between the soul and the Divine.<blockquote>Dowr-e yārāna Haqq o Haqq / Rahmat wārāna Haqq o HaqqThis is the reign of God’s friends / The rain of goodness showers upon God’s friends.</blockquote>The “reign of God’s friends” can have several meanings, including a period in which divine grace showers down upon God’s friends—those who genuinely love Him—like a gentle, restorative rain shower (wārān).

Hymns

Kākā Redā was one of the close companions of Shāh Khoshīn, who was among the 11th century theophanies according to the Ahl-e Haqq. It is due to Shāh Khoshīn that the tanbur became the choice instrument for expressing spiritual love. The spare structure and slow tempo of the mode make it difficult to perform. There is immense delicacy in Ostad’s highly-individualized ornamentation. The language of his music is transcendent, a supplication addressed to the Beloved, an intimate conversation tinged with sweet gentleness and closeness, yet containing within it strong energy and high tension.Seyd Khāmūsh, who occupied the rank of an archangel, lived around the 15th century. His name has been attributed to a mode presenting certain analogies to Kākā Redāī, but the mystery as to its precise author remains. In general, it’s difficult to know the extent to which tunes named after holy figures were actually part of their personal creation or a tribute to them. Whatever the case may be, their music is present in the history of the Ahl-e Haqq, with nostalgia, lamentations, and the never-ending quest for the Beloved as recurring themes throughout.

Kākā Redāī followed by the Saharī Suite of Seyd Khāmūsh

The literal meaning of shān jonbān[ak] is “to move one’s shoulders.” Ostad Elahi used to say that if one could not move one’s shoulders according to the movements suggested by this dance, then one would never be able to play it properly. What’s more, he was the only person able to reproduce the rhythm to perfection on his instrument, thereby imparting momentum to a whole assembly.The scansion of the rhythm here carries listeners to new heights. The dance-like quality of the music is present throughout the work in spite of certain more nostalgic passages and those that are simply played more slowly. Ostad takes passages from several other themes, reshaping them as he likes on new rhythms. He even goes so far as to strip down the theme with a pizzicato by the left hand, before the twirl and the dance resume more beautifully.

Shān Jonbān[ak]

This ancient tune from pre-Islamic times enables us to understand the amazing powers of expression reached in a tessitura as concise as a tone and a half. Indeed, the suite of three sustained semitones acting as an ostinato that this short piece gradually builds generates a tension that is truly unheard of. The apparent lack of movement is the pretext for Ostad to install the dynamics of his music, using changing rhythms and a profusion of subtle embellishments that endow each note with unusual depth and relief. The listener is not accustomed to this, but anyone who is willing to let oneself be guided by the sounds will find they touch both mind and soul alike. It is as though a mere few notes hold both a time and a place immemorial condensed within them. The tension is somewhat relieved when a diminished fourth is reached, then right at the end of the piece, when the perfect fourth bursts through to introduce the following key, the space opens up as though suddenly filled with light.

Tarz

Nakīsā and Bārbad are two characters from Ancient Persia, both famous court musicians for the Sassanid King Khosrow Parvīz in the early years of the 7th century. In Kurdish gnosis, they are thought to be linked by an absolute, unfailing spiritual love, similar to the one that united Joseph and Jacob or Jesus Christ and John the Baptist. In spite of having to undergo the trials of separation, they overcame all the obstacles before them and were finally reunited. Ostad Elahi was fond of honoring their memory and would often say their names aloud when he included their melody in the middle of an improvised passage.As with all the melodies in the Tarz mode, the Nakīsā and Bārbad suite is weighted with nostalgic longing, for these ancient tunes are charged with the feelings and emotions of entire generations of mystics who sacrificed themselves along the path to God. In spite of its apparent simplicity, this composition is quite difficult to play, for if everything is not absolutely right (such as the harmony and rhythm), the desired effect will not be obtained. The Tarz mode requires subtlety and interiority; if performed as such, it will touch the innermost core of the listener.

Nakīsā and Bārbad Suite

CD 1

Sheykh Amīrī is a generic term designating a type of melody and a specific way of tuning the tanbur in fourths, known as kūk-e Sheykh Amīrī. The basic melody dates back to the time of Sheykh Amīr, an 18th century Kurdish mystic who was a simple, illiterate shepherd. As a result of a sudden illumination and spiritual awakening, he was inspired with numerous symbolic poems replete with mystical and philosophical teachings.Ever since Sheykh Amīr, this melody has become the archetypal musical appeal to the Beloved in the context of this mystical tradition. It is often sung at the beginning of a religious meeting to prepare the adherents to detach themselves from their worldly preoccupations and to meditate on their true origins and the homeland from which they’ve been separated. It is usually followed by other more lively pieces with a stronger rhythm.Ostad Elahi’s repertoire contains seventeen variations of the melody, some of which go under the title of Sheykh Amīrī followed by a person’s name, for each one is attributed to its composer; others are designed to pay tribute to a spiritual personality (e.g., Sheykh Amīrī-e Hādj Nemat, Sheykh Amīrī-e Shāh Hayāsī); still others go under the title of Sheykh Amīrī followed by the name of the region where they’re traditionally played (e.g., Sheykh Amīrī-e Gūrān (from the Gūrān area), Sheykh Amīrī-e atrāf-e Sahne (from the Sahne area, with its three variants)). The least complex of these different versions is that of Sheykh Amīr himself, and the most elaborate that of Ostad Elahi.The suite featured on the present CD comprises all the versions of Sheykh Amīrī, one of the most captivating and meditativepiecesin the Ostad Elahi’s whole Ostad Elahi’s repertoire. Each of the seventeen melodies expresses a close personal relationship with the Beloved, embellished, ornamented, and integrated into a varied yet homogenous whole. The introduction, soft but dense, immediately demonstrates the exceptional talent and finesse of Ostad.The Sheykh Amīrī piece is inherently simple but difficult to execute. In general, the song provides the matrix that enables the basic structure of the melody to be preserved while offering infinite possibilities for variation. In the case of Sheykh Amīrī, however, the two do not coincide and matching song to the tanbur is indeed a perilous exercise. To add to this difficulty, Ostad Elahi’s personal style consists of rich and subtle ornamentation, using shors1, vibrations, vibratos, and the plucking of strings, all of which require a technique that demands extreme dexterity.It should not be forgotten that the tanbur uses a regular chromatic scale, and dividing the octave into twelve semitones of equal value means any melody can be played on any basic note, thereby offering an infinite number of combinations. The numerous passages occur in what seems like a random order, though it is in fact predetermined, always producing a feeling of meditation even in passages where the rhythm is tenser and less stable, especially toward the end of the piece with the passage of a perfect fifth to an augmented fifth. But calm returns with Ostad’s version. In spite of its density, this part gives a profound impression of deep peace; from an uninterrupted flow of music and a cascade of notes somehow emerges a feeling of serenity and gentle melancholy tinged with sweetness, one of the paradoxes of Ostad’s style.<ol class="number"><li value=1>The shor is a roll, a tremolo typical of the Kurdish tanbur style. Ostad Elahi perfected a technique in which each finger was used autonomously, quite distinct from the others. The most frequently occurring shor consists of striking the string with the fleshy part of the fingertips of the right hand, one finger after the other, at a constant speed so as to produce a continuo.</li></ol>

Sheykh Amīrī Suite

A series of three hymns devoted to Dāwūd (Dāwed in Kurdish), the manifestation of Raphael, the archangel of divine clemency and one of Soltān’s close companions.1 Ostad Elahi was especially fond of Dāwūd, about whom he would say: “I rejoice when Dāwūd’s name is invoked, for he is the embodiment of goodness. He has been granted permanent permission to intervene and doesn’t need to make a special request to Soltān for each individual case. Dāwūd has never been observed to become angry with anyone, for he is pure goodness and kindness from head to toe.”2 Similarly, Ostad states: “There are a few people whose names bring sheer pleasure to my ears: Christ, for his goodness toward all living beings . . . Dāwūd, the personification of mercy, who is always present, ready to help anyone in need.”3 Ostad sings three songs one after the other, beginning with the slowest and proceeding to the most rapid, as though drawing the participants into this invocation to Dāwūd.1. Hey Dāwed (slow)<blockquote>Hey Dāwed, gīān Dāwed O Dāwūd, life Dāwūd</blockquote>This first appeal, charged with longing, is very rich harmonically, with numerous variations and modulations. The slow tempo makes it difficult to perform. Ostad rarely played as long as he did on this occasion. Some of those close to him comprise the assembly around him, and spontaneously take up the refrains when moved by the emotions of the supplication. The supplication closes with a passage on the tanbur recalling the introduction.2. Hey Dāwed (faster)The piece begins in an almost relaxed manner, but gradually draws the listener along through its uninterrupted, insistent rhythm, offering an identical drone throughout to form an immense symbiosis between the low notes of the chant and the high ones of the chorus.3. Hey Dāwed (fast)<blockquote>Hey Dāwed, Haqq gīān Dāwed / Dīn Dāwed, īmān Dāwed O Dāwūd, Haqq, life, Dāwūd / Religion, Dāwūd, faith, Dāwūd</blockquote>This very old hymn was recorded informally in the intimate context of a family gathering. No other musician or professional singer was present, simply a few people whose fervor gives the chorus its special quality. In spite of the rather rudimentary conditions of these recordings with a single microphone positioned haphazardly, a natural balance has been achieved between the chanting, the voices, and the instrument.<ol class="number"><li value=1>Soltān Sahāk (or Eshāq), founder of the mystical order of the Ahl-e Haqq, lived in the 14th century.</li><li value=2>Āsār ol-Haqq, vol. 1, sayings 1442, 1441.</li><li value=3>Ibid., saying 1355.</li></ol>

Hey Dāwed Hymns

This track marks a pinnacle in the art of improvisation, a kind of journey of initiation where several tunes are evoked, refreshed, placed alongside each other, ornamented, and rendered more complex, both through changes of rhythm and the counter-melody on the low register string. Ostad enjoys making them talk, sing, and laugh all at once in the most disconcertingly natural way. He seems to be setting out on an adventure without any predetermined musical schema; he plucks whatever comes his way and uses it each time as the starting point for a new creation, only more complex and more finely wrought. He shapes the melodies at will, like clay softened in his hands, much like his instrument, which also becomes wax under his touch. Technical difficulties vanish, as in the two-chord passage using the Farangī chord, where improvisation is notoriously hard. Whereas each melody he alludes to is normally presented in a single block, with any omission likely to cause the whole thing to collapse, Ostad takes the liberty of moving things around, taking things out here and there and putting them elsewhere, perhaps even a second time, without ever altering the inner cohesion and harmony of the whole.Throughout the piece, the binary and tertiary rhythms alternate smoothly. A melody usually expressed in binary rhythm makes a foray into a ternary section before completing its transformation into a new motif altogether. Most unusually, a daf (frame drum) accompanies the tanbur here. In fact, in spite of its simplicity, the tanbur is a complete instrument in itself; the right hand marks the rhythm very clearly as well as all the desired variants, such that no other instrument is needed. This is the first recording among all the releases of Ostad Elahi on the tanbur where he has a percussion accompaniment, but its support is extremely sober and does not seek the limelight. The percussionist here is Hādj Amīn, Ostad Elahi’s eldest son. As well as being an outstanding daf player, Hādj Amīn was also an exceptional tanbur player and a connoisseur of the Kurdish dance repertoire.

Improvisation in Bābā Jalīlī in Fourths Followed by the Suite Zang-e Shotorī in Seconds

Destinations

Tanbur

Instrumental

Fourths (Sheykh Amīrī)

In its basic form, this melody is attributed to Sheykh Amīr, an eighteenth-century Kurdish mystic. Following a sudden spiritual awakening, this illiterate shepherd composed numerous poems with deep spiritual meaning and rich symbolic imagery.Sheykh Amīr played the tanbur in a simple yet captivating manner. This melody became widely known and was often sung as an invitation to heartfelt communication with God. “Sheykh Amīrī” has since become a generic term describing a mode in which numerous melodies have been composed. Each of these melodies is called “Sheykh Amīrī,” followed by the name of the composer or arranger, or the name of the region where it is played. There are seventeen variations of this melody, from the simplest, that of Sheykh Amīr himself, to the most elaborate, that of Ostad Elahi.The melody revolves around a mysterious scale of alternating tones and semitones, creating a dissonant counterpoint with the lower strings. The ebb and flow of the melody produced by the instrument are similar to waves dying on the shore, one after another, converging toward the final note where all dissonance is resolved and all tensions fade away.This melody, one of the most moving in Ostad Elahi’s repertoire, reminds the soul of its origin, awakening it and uncovering memories deeply buried, inducing a sense of longing for its original abode. The melodic pattern is often accompanied by chanted verses from Sheykh Amīr in the form of an intimate dialogue, the last verse of which addresses the Creator:<blockquote>Delay gonāhkār, delay zabūnbakht, cha azal gonāhkār Ar cha rūy azal mowyāī borda-bār, pey chīsh makaftī, dūr tcha qāpī yār Sobh-o shām sajdat āw bashar maward, salwātet wa dīn hazerāt makard  Weyarday sālān ablay nāshenākht, majnūn-e kam fām nābīnāy kajbakht Awan sang-e sakht dāy wa dīdey weyt, yak yak namāyān gesht āmā nareyt Ozr-e mazurīt wa kī nakīshā, cha [wa] bordabārī pīshat na īshā To narāy khedmat darset kam wānā, tārīkī pāy sham wa to namānā  Marham cha qāpī yār-e māyadār, bebakhshū gonāh kalb-e gonāhkār</blockquote><blockquote>O sinner heart, how weak and destitute Sinner since the dawn of creation If only you had shown more patience in the beginning How you have lacked respect and patience What have you done to distance yourself from the divine abode? From morning till night, you prostrated yourself before men Adoring their idols So many years on, you who still fail to understand You who are drowning in ignorance O mindless creature, blind and miserable! All for this heavy stone to strike your eyes! One by one, you have suffered the consequences [of your faults] Is there anyone you have not humiliated yourself before? The suffering you have endured has reached the depths of your being You have not drawn enough lessons along the Path Instead you have become the shadow at the base of the candle The remedy to relieve my pain Must be sought from that supreme Sage Won’t you have mercy and absolve this humble servant of his sins?</blockquote>Ostad Elahi played exclusively in the presence of his family and close friends. As can be heard on this recording, at the conclusion of the piece he recounts the date as the night before Sunday, March 21, 1965, which marked the beginning of Nowruz, the Persian New Year. He expresses his hope that the piece has been helpful in drawing the attention of his listeners toward the realm of truth.

Ostad Elahi's Sheykh Amīrī

a. Ostad Elahi's Sheykh Amīrī (return) b. Hādj Nemat’s Sheykh AmīrīThe theme of this melody belongs to Hādj Nemat, Ostad’s father. Ostad has enriched it to such an extent that it is now considered one of the jewels of the tanbur repertoire.

a. "Wa Fedāy Manzelgāt"One summer as Ostad was completing the 40th day of his ascetic fasting in the mountains of Sheykhān, a dervish nearby, seized by a state of spiritual rapture, began supplicating his Lord. Overwhelmed by the dervish's sincerity, Ostad was inspired with this prayer and melody:<blockquote>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 dādanīMy all I will give when I find You, O Ali I found You at Sheykhān1 My 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,2 O Ali, You granted me grace.</blockquote>Ostad Elahi used to say: “True prayer consists in praising God: worshipping Him, supplicating Him, submitting to His will, regardless of the words used, the names given, or the manner in which He is invoked.”The melody begins with a typically Kurdish rhythm consisting of three notes, which can be interpreted as 2 x 5 beats (3 2 2 3). The musical architecture then becomes increasingly complex as other themes come into play, echoing one another, interacting, melting, and giving rise to an entirely new melody. The performer plays with the elements and constantly rearranges them, yet the overall impression is one of deep unity.b. Improvisation on Tchapī Tchapī ("alternating steps") is a Kurdish dance tune in which the steps alternate between forward and backward. Tchapī’s theme arises in a natural way from the developments of the preceding melody, alternating with other tunes on slower beats and other patterns reappearing throughout the whole improvisation. The transition from a slow rhythm to a faster one is revived and guided to its peak through passages of great virtuosity, consisting of a progression of chords in the high register. The piece concludes with a return to the original rhythm. This tune is suggestive of communicating with God, which for some may take the form of a dance. As Ostad has said, “Each individual enters into an intimate dialogue with his Creator according to his or her own particular mood. . . .”<ol class="number"><li value=1>The shrine of Soltān Eshāq, where Ostad would often travel on pilgrimage.</li><li value=2>Mount Shender is located near the shrine of Soltān Eshāq.</li></ol>

Mystical Hymns and Dances

a. Shāh Hoseynī (Tune of Shāh Hoseyn) The origin of this melody is unknown. The first notes sound a call, with a counterpoint in the low register. Sometimes Ostad lingers on one or two notes, or keeps the beat in a more persistent way, as if wishing to give weight to a request. Then a very strange harmony arises and the link is established: one wanders about in marvelous musical landscapes in a higher register. After returning to the initial theme, a more joyful polyphonic passage is rendered in a lower pitch.b. Bālā Dastān (Lower register of the tanbur’s neck) The name of this traditional tune suggests that it is played in a low pitch, but Ostad Elahi develops it by utilizing the full register of the tanbur.c. Zīr-e Dastān (Higher register of the tanbur’s neck) This piece suggests a free play of questions and answers between the high (zīr) register and the low (bālā) register, corresponding to the last seven frets and the first seven frets, respectively. The mode is joyful, resembling the major mode; certain passages give the impression that two tanburs are playing at the same time.d. Do Bālā Bālā refers to a particular segment of the scale. Some believe that this is also the melody of a dance where one stretches out the arms like two (do) wings (bāl).e. Karīm Khānī (Tune of Karīm Khān) The enthusiasm is sustained until a change in the rhythm generates a gradual appeasement.f. Chūpānī (Tune of the Shepherd) The atmosphere is more serene now, the melody recited on the instrument. There are only a few reminders of the previous agitation, like an inner murmur.g. Bārīya Bārīya (Royal Court) The title of this piece alludes to the Court of the Lord, the Divine Threshold. This melody was a song before being conveyed in its instrumental form. The title also refers to a chapter of the Kurdish sacred scriptures (15th century, Ahl-e Haqq) in which one of Soltān Sahāk's seven companions is said to have discovered his own divine essence and recalled all of his successive manifestations in the course of sacred history. The chromatic theme is at once strange and fascinating. The intervals formed with the lower voice, as well as the rhythm, produce an air of majesty.

Shāh Hoseynī Suite (Part One)

Dialogue With The Beloved

sheykh-amiri

Sheykh Amīrī

The story of Bābā Faqīh is one of the stories belonging to the Ahl-e Haqq tradition. Ostad Elahi was particularly fond of this piece and played it often, each time improvising a new variation, which required great virtuosity and mastery. The playing is light at first, in major tonalities, leading to a more poignant expression with the introduction of the Sheykh Amīrī piece. This precedes the vocals that slowly lead the piece into the developments of Bābā Faqīhī. Throughout the piece, there are allusions to many other suites and there is a smooth and continuous succession of different modes, revealing total freedom in the rendering of the piece.The transitions eventually lead to the Jang Ārā piece, a part of the Jelo Shāhī suite. The theme of this piece depicts the preparations for, and feverish anticipation of, a great event: the coming of the theophany—the height of the spiritual quest for seekers of Truth—expressed by the words “Shām āmā” (“My King has come”). Combined with a quick and light melody, the lively rhythm and persistent bass of the tanbur gradually contribute to creating an intense spiritual emotion among the listeners.

Supplication in the Bābā Faqīhī Suite

The term Samā can have two meanings: either “audition” in the sense of spiritual audition, or “cosmic dance.” According to the great Persian mystic and poet Mowlānā Rūmī, “The Samā is only a part of the eternal dance that the soul is destined to join someday. Every creature partakes in this cosmic dance. . . .” Based on Ostad’s description of the universal process of perfection that animates all of creation, this piece is inspired by a beautiful choreography: from the initial descent from the Source to the ascending movement of return that lifts beings to their perfection, every level of creation is involved in this celestial dance.Translated literally, Qara chūpī (qara: black, chūpī: dance), means “dance in black clothes.” This dance is performed by some Iranian Kurds when a close relative passes away. The apparent mortuary symbolism of this piece is strangely in contrast with its lively tempo, and one may wonder why Ostad has linked a mourning dance to the celestial dance of Samā, which is an exultation of life in all its forms, a life that is endless and eternally in motion.

Qara Chūpī Suite, and its Samā introduction

This recording dates back to the early 50s and is one of the most ancient recordings of Ostad’s music. Slow and meditative at first, almost an incantation, the suite gradually becomes more animated. Ostad plays on three registers simultaneously (low, medium, and sharp) and superimposes “layers” of overlapping melodies, with persistent sounds that create a universe of harmonies utterly foreign to any established rules. The radical and unpredictable changes of rhythm do not, however, alter the cohesion of the piece. This musical language is both quite puzzling and strangely familiar. It seems that one is always hearing it for the first time, recognizing elements of a structure that is undoubtedly solid and fully mastered, but nevertheless difficult to completely grasp and comprehend.

Samā Suite

In Ostad Elahi’s repertoire, the Tchapī suite is often played, in a developed form or as a passing reference within another suite. Like for every other piece, it is never played in the same way. The five-string tanbur produces a multitude of different tones: sometimes dry and metallic, sometimes soft and velvety; sometimes round and full and other times snappy like percussions. All the technical possibilities of the instrument are being used here. The "bourdon", often played with two notes, underlies a steady rhythm. In the medium register, the master combines chords in a way that would be improbable in any western or even eastern structure. He produces unknown tones and harmonies with a totally novel instrument, created by him. And he is the only one to know its secrets. It is about this piece that Ostad once said, that everything that exists has an ever-lasting effect.

Tchapī Suite II

Celestial Dances

This piece was recorded in the 1970s at Ostad Elahi’s home in Tehran. It highlights the virtuosity, power, and speed of his playing, both with his right and left hands. The main theme evokes the story of Nakīsā and Bārbad, two characters of ancient Persia who were famous musicians at the court of King Sassanid Khosrow Parvīz in the early seventh century. According to Kurdish gnosis, they are bound by a deep and unwavering spiritual love, comparable to that of Joseph and Jacob, or of Jesus Christ and John the Baptist. Having undergone the trial of separation, they were finally reunited after overcoming many obstacles. Ostad liked to honor their memory and often mentioned their names when he played their melody in the midst of an improvisation.As was the case for classical music of Persian masters,1 Ostad’s music is based on the different states and needs of the soul. Thus, this heartbreaking suite vividly depicts the states experienced by true spiritual lovers, including profound nostalgia, the pain of separation from the Beloved, and the soul’s resilience in overcoming this pain. This improvisation is not based on and cannot be linked to any ancient, pre-Islamic foundation. It contains passages of Ostad’s repertoire, but they are played differently and in a new sequence. At first, the piece is meditative, but it then invites the listener into a dense and intense soundscape in which the most surprising resonances echo one another.Although the tempo increases, driven by a brilliant shor,2 the piece remains quite nostalgic at first. Successive waves are unleashed as so many cries for help. The repetitions are increasingly virtuosic, calmed by pauses from which dissonances still emerge, like a sorrow that has not yet been alleviated. Amid these cascades of notes, unexpected chords arise that gradually bring about a change in the atmosphere. Toward the end, Ostad plays a joyous air, a kind of catharsis, of plenitude, before returning briefly to the main theme pursuant to a pattern that is frequently found in his improvisations.<ol class="number"><li value=1>According to Ostad Elahi, “It is for the soul that the Iranian masters created their music, looking each time for the air that was the most suitable, the melody that would make the soul joyful and buoyant at that moment. This even includes music tinged with nostalgia, for weeping calms the soul and procures joy.” Āsār ol-Haqq, vol. 2 (Tehran: Jeyhūn, 1991), 359-360.</li><li value=2>A type of roll played with the right hand.</li></ol>

Shīn-e Tarz in the Nakīsā and Bārbad Suite

With this piece, also recorded in the 1970s in Tehran, the listener is transported directly into an intimate and personal atmosphere. The tanbur precedes the singing and guides it in the melody. The cantor here is a visitor who was quite fond of Ostad. In a way, this supplication was “his” piece and Ostad appreciated the simplicity, humility, and sincerity with which he addressed God. Ostad affectionately affords the cantor the opportunity to join his voice to that of the tanbur, to express his love of the divine through this sensitive and profound declaration. The voice and the instrument respond to each other with strong emotional tension, each silence complementing this emotion and seemingly even strengthening it. This entanglement of sounds is punctuated by Ostad’s appeals to Ali.1 This poem was originally written in Kurdish Kurmānjī (close to Turkish) by Hazrat-e Qosh tchī Oghlī, a great spiritual figure of the Turkish Ahl-e Haqq tradition:2<blockquote>I am no more than a sinner, but You, a reservoir of generosity, Forgive us in the name of the Friend Forgive us in the name of the pact with Benyāmīn,3 the guide Our Lord, light of divine power Pearl of the Ocean without a shore, You who take Your friends by the hand Forgive us, in the name of Dāwūd, the intercessor Do not immerse us in earthly attachments and worries Do not throw us into the circle of the unjust Forgive us, in the name of Pīr Mūsī, the scribe with the golden pen And in the name of the devotion of Razbār It is in You that I seek refuge, O peerless Friend You, above whom there is no one In the name of Khān Almās, the masterful (proficient), the greatest among the humble, forgive us! It is in You that I seek refuge, Seigniorial Essence I am intoxicated, inebriated Forgive us in the name of Mostafā Dāwdān Who bears Your wrath as half of his name4 Preserve us from the glittering tinsel of the world Do not cast us among unjust men Forgive us, in the name of Pīr Razbār, from the crucible where she bakes bread From the King who commands all that there is The true friend is one who has crossed the mountains and meanders of the way And who has reached the destination The fire that burns the deniers, Forgive us in the name of this fire that burns the deniers The master, the true sage, is one who knows Whoever has renounced his head, his life Forgive us, in the name of King Jamshīd, Who drank from the chalice,5 with intoxicated eyes Qosh tchī Oghlī says: O Unique Friend, Peerless, the Efficient in everything You who have 70,000 [spiritual] servants Forgive us, for the sake of all of these servants!</blockquote><ol class="number"><li value=1>In this context, Ali’s name is a way of invoking the divinity, similar to Haqq (Truth) and Hū (Him).</li><li value=2>The Ahl-e Haqq constitute a religious community numbering about one million among the Kurds of Iran and Iraq, as well as the Lors and Turks of Northwestern Iran.</li><li value=3>In the tradition of the Ahl-e Haqq of Kurdestān, Benyāmīn, and later in the poem, Dāwūd, Pīr Mūsī, Razbār, and Mostafā Dāwdān, are archangelic essences who, in the fourteenth century, were companions of Soltān Eshāq (or Sahāk), the founder of the Order who served as their spiritual pole and was himself deemed a theophany. Each of these essences had a specific spiritual function.</li><li value=4>Mostafā is the agent of divine wrath.</li><li value=5>The chalice in which the pure wine of mystic initiation is poured.</li></ol>

Turkish Sheykh Amīrī

Drawn from the dance repertoire, the Tchapī suite often appears in Ostad Elahi’s interpretations, both in a developed form or as a reference within another suite. As with all his other pieces, it is rendered in an innovative way.Here, it is played on the five-stringed tanbur (two trebles and mediums, one bass), a special tanbur invented by Ostad Elahi. Played in a major key, the melody is joyful and harmonious, giving an impression of sweetness. The slow and soothing tempo invites the listener on a distant musical journey, one where landscapes can be envisioned passing by. The listening induces a feeling of protection and benevolence that reassures the traveler about the road ahead.

Improvisation in the Tchapī Suite

Once again, this version of Sheykh Amīrī, played in the intimate setting of his family, provides a good illustration of Ostad Elahi’s sayings about music as a language of the soul, independent of any considerations of technique, aesthetics, time, or place: “Music is connected to the soul, and the soul is connected to God. . . if we play in this spirit, we will establish a connection to the Source.”1 The important thing is to have constant attention to the divine, to which Ostad adds: “Regardless of the time and place, whenever a state of attention is realized, do not let it slip away; time and place are of no consequence.”2 The act of worshipping God requires neither a special framework nor a particular form; only the connection of the heart matters. “We should seek to hear those true sounds of music. Music should be used as a means of establishing a spiritual connection, not as an end unto itself.”3There are multiple versions of Sheykh Amīrī, but the most complex and elaborate, which is played here, is that of Ostad Elahi himself. The melody, though highly ornamented, is devoid of any superfluity or artifice, marked instead by a kind of purity and original simplicity. Musical phrases are linked together, punctuated by dissonances that underscore a deep nostalgia. Despite its richness and its harmonic and rhythmic complexity, this air is imbued with great sweetness and seems to comfort a babbling child that can be heard not far from the musician.<ol class="number"><li value=1>Ostad Elahi, Āsār ol-Haqq, vol. 2 (Tehran: Jeyhūn, 1991), p. 215.</li><li value=2>Ostad Elahi, Paroles de Vérité (Paris: Albin Michel, 2014), saying 148.</li><li value=3>Ibid., saying 226.</li></ol>

Sheykh Amīrī II of Ostad Elahi

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.<blockquote>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</blockquote>“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.<blockquote>Shām āmā, Shām āmā, Shahanshāy Shāhān āmā My King has come, my King has come, the King of Kings of all Kings has come.</blockquote>(3) In this hymn, the responses of the assembly end with some a cappella measures. The collective fervor is clearly perceptible.<blockquote>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</blockquote>(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.<blockquote>Shoq-e shādīman Khodā shokor Dowr-e bāqīman Khodā shokorThis is my joy and enthusiasm, thank you O’ God This is my spiritual (permanent) era, thank you O’ God</blockquote><ol class="number"><li value=1>Soltān Eshāq (or Sahāk), a great theophanic figure of the fourteenth century, is deemed the founder of the mystical order of the Ahl-e Haqq, to which Hādj Nematollāh belonged.</li></ol>

Suite of Zekrs II

Joy predominates here: the festive and joyous melodies sweep the listener away to another realm. Along with a basso continuo, Ostad makes this melody dance, with a few harmonic variations, as if to play along with the children’s voice that is heard in the background. The developed rhythm reinforces the invitation to dance.When the singing begins, the soft and fluid voice blends with the melodies and rhythms played on the tanbur. The song is addressed to the “Papū Soleymānī,” a mythical bird that resembles the hoopoe. Each verse is repeated twice.<blockquote>Papū soleymāna danūk zarrīna O Papū Soleymānī with a yellow beakBālakat vāka bechū va mūyna Spread your wings and travel over thereBechū va awrāmān Go to Awrāmān (the site of Soltān’s tomb)Soltān gīān būyna And visit our beloved Soltān SahākKhavar-e bāra Bring back some newsVao sarzamīna From that country there</blockquote>

Khān Amīrī in the Jelo Shāhī Suite

This improvisation is based on the theme and rhythmic matrix of a particular Kurdish dance, of which there are about ten different versions. It is named “Pāykūbī” (literally “tapping one’s foot against the floor”) in reference to the dance steps performed. The opening of this piece is quite particular: both fluid and irregular, it gives the impression of a mechanism that starts up in order to set itself in motion.Once the theme has been presented, Ostad Elahi introduces variations and sketches other melodies that then dissolve back into the main theme. He does not merely play each piece one after the other; he also melds and coordinates them, sustained by an invariable bass that is the counterpoint to the execution of the masterfully sequenced airs.Most of these melodies are usually played on the zurnā (oboe) or the dozaleh (double clarinet), accompanied by a powerful dohol (two-sided drum). Prior to Ostad, it seems that these pieces had never been played on a tanbur. The adaptation of these melodies to this lute and their ornamentations, typical of wind instruments, was another of his innovations. While playing these melodies requires an exceptional technique, perhaps even more remarkable are the host of innovative techniques that enable him to reach a barely conceivable level of musical intensity on this three-stringed lute.

Sheykh Amīrī Hādj Nemat 2

Details

Renditions of Sheykh Amīrī Hādj Nemat 2

More of Sheykh Amīrī on same Album