The Enchanting Name
Tilāwah: Sūrah Maryam, 1 – 10
Riwāyah: Ḥafṣ ʿan ʿĀṣim
Archive: Houston, 1437
“What’s in a name?” they ask. “A lot more than you can ever imagine,” says the Qurʾān. Today’s recitation of Sūrah Maryam was as enchanting as its underlying themes. The intriguing letters Kāf Hā Yā ʿAin Ṣād that continue to dazzle the intellects of those who claim to be the legitimate interpreters of the Qurʾān; the story of the inheritor prophet Yaḥyā AS whose name “We have not assigned to any before” and the detailed chronology of Nabī ʿĪsā AS and Maulātunā Maryam AS that follows the course of this Sūrah has made it a favorite amongst the reciters of the Qurʾān-e-Majeed.
Today’s recitation was a pleasing melody of another compact and sustained demonstration of maqām rast coupled with a definitive pursuit of bayāti at the beginning and towards the end of the tilāwah. The subtle transition from bayāti into rast is one of the many remarkable features of these exclusive recitations. Another distinctive feature of these recitations is the tonal modalities followed while proceeding from one syllable to the next. They give a sense of a certain velvety smoothness only found in this particular voice.
This recitation was in the riwāyah of Ḥafṣ ʿan ʿĀsim, the standard register for most Muslims across the world.
Transitions of Sheikh Mustafa Ismail – Chapter 2
This article discusses how Sheikh Mustafa Ismail prepares the ground to transition into nahāwand from the other maqāms.
As mentioned before, the Sheikh has a unique style when dealing with nahāwand. He has special ways to transition into rast from nahāwand – a transition that is commonly found in his recitations. Similarly, when the Sheikh transitions into nahāwand from either ṣabā or ḥijāz, he is conscious about the contrasting essences of these maqāms. Therefore, he prepares his ground before transitioning into nahāwand from these maqāms so that the audience is able to appreciate this essential difference and tune its ears to match the maqām.
Preparing the Ground
When the Sheikh decides to make this transition, he gradually descends from the jawāb of ṣabā/ḥijāz to a sober qarār. Alternately, he uses the secondary maqām hijāz kār because it forces the reciter to descend from its jawāb into the qarār. Thereafter, he uses this qarār to delicately launch into the maqām nahāwand.
We will use five examples from the recordings of the Sheikh to illustrate this point. Each example will demonstrate how the Sheikh prepares the ground after ṣabā/ḥijāz to launch into nahāwand.
This brings us to the end of this article. The next article will discuss how the Sheikh uses nahāwand with the maqām ʿajam.