By Neda Entezami – Journalist
Interview with Farid Elhami, composer and musician, on the occasion of the “Mystical Music of the East” concert
Farid Elhami will soon hold the concert Mystical Music of the East, a fusion of Sufi lodge music and modal traditions. This concert, featuring Mohammad Ali Delnavaz from Sistan and Baluchestan and Darshan Anand from India, will be performed on December 12 at the Hozeh Honari in Tehran.
Elhami, who has experience performing both in Iran and abroad, defines mystical music under special conditions: “In the lodges, music was played only by individuals of high spiritual character. Most of the musicians and narrators of these traditions have passed away in anonymity.”
The composer of Derafsh Kaviani and Kurdish Shahnameh explains the ensemble’s formation as a blend of Iran’s diverse musical heritage: “The Mystical Music of the East ensemble was formed with Mohammad Ali Delnavaz from Baluchestan, Darshan Anand from Indian music, and myself. This created an important experience combining the Tanbur from Kurdish modal music, the Banjo from Baluchi Qalandari music, and the Tabla from Indian traditions. The ensemble was shaped by ritual instruments of different regions, aiming to present a devotional perspective to the audience.”
Elhami describes the combination as based on spiritual states: “The ensemble is designed around devotional music of the East, based on ‘state’ and ‘moment.’ The Tanbur is the instrument of solitude and prayer among the Yarsan people; the Banjo is used in Baluchestan, Pakistan, and India for worship and zikr in Chishti lodges, as well as by Qawwali musicians; and the Tabla is used in Sikh devotional practices in India. The goal of this music is divine love and compassion for existence, which is also the message of our group.”
The common language of the ensemble is music itself. According to the composer of Ferdowsi’s Shahnameh (Zahhak the Serpent-King), much of the performance is based on improvisation: “Part of this music is improvised, created through companionship with friends, which is a special feature of Eastern music. My compositions are based on Tanbur modal traditions, while Mr. Delnavaz’s compositions are based on Zahirok from Baluchestan.”
Elhami, who learned the ancient and sacred Tanbur modes from his grandfather and master Seyed Amrollah Shah Ebrahimi, interprets mystical music as follows: “Among the elders and narrators of Tanbur modes, Daf players, and musicians of various regions, it was customary to treat the instrument as a means of spiritual journey. The instrument was a path to union with the eternal Beloved. Its sole purpose was meditation, zikr, worship, and spiritual practice. They never viewed the instrument materially or commercially. Even musical form was meaningless to them—their aim was to express zikr through poetry and rhythms, sometimes varied.”
Source: hamshahrionline.ir