After his arrest in Sūs and a lengthy period of confinement (c. 911-922) in Baghdad, Manṣūr al-Ḥallāj 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-Ḥallāj 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-Ḥallāj has been a subject seldom ignored. I have been studying Sūfi texts and trying to incorporate ethnomusicological approaches while composing selected Sûfi works for almost ten years. Al-Ḥallāj 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 Sūfism has penetrated throughout the years, the tools of ritualistic- expression that Sûfi 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. 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 maqām 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-Ḥallāj's surroundings, and bridging the outcome with current dilemmas. Depending on Maqām 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 tradition of the Islamic Empire as a whole 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 of the technical and interpretational aspects of the work are well thought out and contain well-furnished fine details.
 
To listen to excerpts from al-Ḥallāj, click here. Click here for the insert in Arabic and English.
 
This recording features various artists, including BaselZayed, voice; Samer Totah, 'ud; Yousef Zayed, percussion; Ibrahim 'Atari, qanun; and Issa Boulos on 'ud and supporting vocals.

Music by Issa Boulos, poems by Manṣūr al-Ḥallāj.