Rooted in a tradition that has remained secret for several centuries, Ostad Elahi’s music is truly remarkable and unique. Eluding classification in any of the conventional categories, this music has historically been reserved for devotional contexts. For Ostad, music was above all a means of contemplation and prayer, and he would therefore only play alone or in small gatherings of family and close friends. The recordings that currently remain of his work were made towards the end of his life under simple and nonprofessional conditions, often without his knowledge. While these recordings (totaling some 40 hours) have mostly been edited and made available after his passing, those who actually had the opportunity to hear him play were profoundly affected by his music, including several renowned artists and musicians (see testimonials).

The Tanbour

The sound of the tanbour and certain instruments is similar to celestial sounds […] Where does this sound come from? It comes from the Beloved. If the soul’s ear has awakened, one can hear secrets that are hidden from those who are only preoccupied with the material world. (Words of Truth, Vol. II, page 258)

In the East, the term tanbour refers to a category of popular lutes of various sizes, proportions, and tones, with the common characteristic that the necks of these lutes are longer than their bodies. The sober tones of the instrument, ranging from dry to mellow, have something immaterial, abstract, and almost ascetic about them, destining the tanbour to a serious and celestial kind of music.

In Iran, the tanbour was among the instruments played at the Court of the Sassanides in the 5th and 6th centuries. Later, some Kurdish religious groups would adopt this sacred instrument to accompany the chants and dances of their spiritual gatherings.

The Musical Art of Ostad Elahi

Born into a family and environment steeped in mystical tradition, the spiritual gatherings of that time revolved around sacred music, which encompassed invocations, chants, dances, and rhythms that were accompanied by melodies of the tanbour. A child prodigy, Ostad rapidly assimilated this sacred repertoire, as well as those of the surrounding regions. In order to fully develop the potential of the tanbour, he developed a complex and subtle playing technique that included all five fingers of each hand, notably the rolling motion of the right hand. Moreover, he doubled the higher string of the tanbour to increase its expressiveness, enhancing not only its potential for ornamentation, but also its overall range and richness. It would only be a matter of time before these innovations were adopted by the next generation of tanbour players. Today, it is widely acknowledged that his instrumental technique and art of ornamentation mark the pinnacle of middle-eastern lutes of the tanbour family.

There are two things on which my time was truly well spent: the tanbour and spirituality. (Words of Truth, Vol. I, Saying 2034)

Among Ostad's major contributions to the art of tanbour is an original repertoire of over one hundred pieces. Considering the richness of these compositions and their intricate ornamentation, this repertoire clearly transcends the one that preceded it. Moreover, Ostad used this repertoire as a basis for improvisation, an art form in itself which highlighted Ostad’s musical genius and enabled him to play with a freedom never heard before in this type of musical tradition.

Through all these innovations, Ostad not only revived, but also transcended the ancient musical tradition he had inherited as a child. When we consider his significant contributions to the art of tanbour (including the physical modifications he made to the instrument itself), it would not be an exaggeration to state that Ostad Elahi was indeed the true creator of this art. Through his efforts, a popular tradition with a scattered and limited repertoire was transformed into a learned music.

The Role of Music According to Ostad Elahi

Parallel to the practice of music, Ostad Elahi reflected on the role of music and its relation to the soul and the Divine. On the path that must lead it back to its origin, the soul finds nourishment in music, which strengthens its fervor and serves as a means of communication with the Creator.

One should not limit music to a purely esthetic use, nor solely take into account its technical aspects; the important thing is to hear those true celestial harmonies. Music should be considered as a means of spiritual communication, not as a goal in itself. (Words of Truth, Vol. II, page 296)

If music has an esthetical and technical dimension that can be reached through effort and perseverance, it also has a spiritual dimension from which it draws its deepest effect. According to Ostad Elahi, among all the factors that contribute to the impact of music on the soul, the most determining is the personality of the artist. If he is able to free himself from technical constraints, delve deep within, and focus on the Divine, he will be able to capture and convey something of the Creator’s beauty.

If played with a divine intention, spiritual music is the link that will connect us to the Source. (Words of Truth, Vol. II, page 215)

For more information, please see: The Music of Ostad Elahi by Jean During