Al-Hallaj

Abu al-Mughith al-Husain Ibn Mansur al-Hallaj (Iran 858 - Baghdad 922)

After his arrest in Sus and a lengthy period of confinement (c. 911-922) in Baghdad, Mansur al-Hallaj was crucified and brutally tortured to death. A large crowd witnessed his execution. He is remembered to have endured gruesome torture calmly and courageously and to have uttered words of forgiveness for his accusers. Al-Hallaj left behind revered writings and supporters who bravely affirmed his teachings and his experience. In subsequent Islamic history, therefore, the life and thought of al-Hallaj have been subjects seldom ignored. I have been studying Sufi texts and trying to incorporate ethnomusicological approaches while composing selected Sufi works for almost ten years. Al-Hallaj was one of the ones that I admired.

Therefore, the preparation process for this work was exhausting. While keeping in mind the alternative musical tradition that Sufism has penetrated throughout the years, the tools of ritualistic- expression that Sufi fraternities used, and the significant role in the establishment of varied alternative musical experiences that seek ecstasy, I faced substantial problematic matters that eventually had to be overcome. Musically speaking, the so-called "classical" musical tradition developed dramatically in the courts of the Islamic Empire(s). In contrast, the alternative Sufi musical tradition developed in a different direction, away from the courts, and gradually applied more local musical elements. This relative separation between the two traditions and the limited and careful musical interaction between the two traditions was the essence of the problem that I meditated on while composing al-Hallaj's poetry. So, in order for this work to reflect the musicality of the maqam system and the philosophical aspect of the text and its drama, a high level of artistic application of the expressed "matters" became necessary for the process of emphasizing the standard and unique perception of al-Hallaj's surroundings, and bridging the outcome with current dilemmas. Depending on maqam tradition on the one hand and text on the other, the result was merely a composed text congenial with both its philosophical content and the development of Islamic Court Music. The significance of this work is its use of the musical traditions within the Islamic Empire(s) while selecting specific tools of expression to enhance the outcome. The ethnomusicological approach used in the composition eliminated any prejudicial technique and forms from being excluded. Therefore, understanding the dynamics of this diverse tradition and developing a greater sense of respect for distinct and unique cultural characteristics that determined much of the musical character of each era, this work is opening doors to other aspects of our musical identity and exploring the artistic core of one of the most outstanding establishments. The challenges that this work has generated for performers and listeners are fascinating and conceptual. All the technical and interpretational aspects of the work are well thought out and contain well-furnished fine details.

Click here to listen to al-Hallaj. Follow these links for the insert in Arabic and English. Click here to purchase the physical album signed by the artist.

Issa Boulos, 2001.