This piece is a modern version of a ‘qawwali’ which, in its original form, was a type of devotional singing designed to induce a state of ecstasy and closeness to God. Qawwalis are a branch of Sufi music, Sufism being the strand of Islam which focuses on its mystical aspects; qawwalis therefore operate within this context. However, qawwalis have not only been greatly influential in islamic communities but also in non-islamic ones.
Poems were frequently used for the vocal content of qawwalis and the musical element would often contain repeated chants interspersed with different sections – themselves often containing repeated melodies and/or rhythms – all leading to the ultimate climax.
This particular piece was originally written by the Indian poet and composer, Amir Khusrow, who was born in the 13th century, and the words of the poem to which the music is set are a celebration of the 4th Caliph of Islam, Ali ibn Abi Talib, one of Mohammed’s cousins. Qawwalis were originally performed with a limited musical accompaniment, often just a tabla and harmonium, the emphasis being on the singing. However, this version, arranged by the talented composer and musician, Rushil Ranjan, for the Orchestral Qawwali Project, greatly expands the accompaniment by adding guitars, violins and a cello. This creates a rich, harmonious sound to complement the animated and expressive vocals of the solo singer, Abi Sampa. It has been described as a fusion of eastern and western music, which it undoubtedly is, but with the eastern influence predominating such that the essence of the work is not lost.
The form of the piece consists of various melodies interspersed with refrains building to two powerful climaxes. It begins with an unaccompanied melody sung solo by Abi Sampa and ending with an extended motif which reappears throughout the piece. This leads to the buildup to the first climax which, at its height, contains the main refrain or chorus complemented by a four note motif played on the strings. The refrain is repeated with ornamented solo passages sung by Abi Sampa before coming to rest with the repeat of the extended motif. The second build-up then begins leading to a climax featuring a new refrain using particular words (know as ‘Ali mola’) praising Ali. The piece then ends quietly with a final rendition of the extended motif.
All in all I find this a very satisfying piece musically and the overall impact is enhanced considerably by the vibrant dancer (unfortunately not credited) and, of course, the setting, which is a church. Herein lies another interesting point – according to the comments section of the YouTube video, the musicians come from christian, muslim and sikh backgrounds and it is also worth pointing out that the solo singer, Abi Sampa, is a hindu. So, there is a clear intention here to engage in interfaith dialogue.
Although the piece is of course a religious one, I think that those of us, such as myself, who are not at all religious, can nonetheless appreciate the passion, vitality and quality of the performance.
