Author, composer, performer, and internationally renowned musician, Sami Yusuf places the meeting of musical traditions at the heart of his creation.

Inspired by nature, the wisdom of diverse peoples, and the music of the world, he masterfully brings together classical, Celtic, Andalusian, Middle Eastern, West African, Central Asian, and Indian musical traditions. The artist gathers musicians from around the globe to take us on a journey celebrating universal beauty. His latest concert series, When Paths Meet, was presented at the Philharmonie de Paris in December 2023.

Your compositions combine diverse musical influences (Western, Middle Eastern, Asian...). Is this the result of your multicultural origins and/or a desire to highlight the beauty of diversity? I am thinking, for example, of one of your emblematic tracks, The Meeting.

Several sources influence my compositions. You mentioned two. First, I was born into two musical worlds: the Western classical music tradition of the United Kingdom, where I grew up, and the traditional music of the Middle East and Central Asia, which I inherited from my Azerbaijani ancestors. I found profound meaning in these two traditions, which helped me make sense of the world.

Second, as you mentioned, is a desire to showcase the beauty of diversity. When I compose a piece like The Meeting, I do so knowing that my audience may be familiar with one of the musical traditions it embodies, but they may also encounter unfamiliar sounds. Diversity is beautiful, like light passing through a prism, taking on many hues.

This leads us to the third motivation for my compositions. Through diversity, it is possible to reach unity. Moving from the beautiful colors created by the prism, we return to the source of its light, which is singular. Since music is a universal language, I find that as the different voices in my compositions tell their stories, what was once unfamiliar becomes familiar. I always strive to create music that resonates deeply with the heart, allowing listeners to recognize something of essential humanity within the works, regardless of their cultural origins.

You are a composer, singer, multi-instrumentalist, and you sing in several languages. What does this versatility mean to you?

To compose works like those performed in the When Paths Meet series of concerts in Amsterdam and, more recently, Paris, I had to draw on my knowledge of a wide range of musical genres. I need to understand the potential ranges of the instruments performing each piece, the tonal systems suited to each, and the rhythms best suited to conveying the mood.

My experience as a performer on various instruments has been crucial in integrating many instruments into my works. As for language, my familiarity with sacred poetry from multiple traditions helps me select lyrics that carry deep meaning across all cultures. I am always learning; I believe my journey has provided me with a clear path forward.

As a conductor, you also bring together musicians from different origins. How do you manage to create harmony and unity beyond differences?

At my recent concert in Paris, we brought together musicians from 11 countries: from China and Uzbekistan to Morocco, Mali, France, the United Kingdom, and beyond. With a group like that, there are sometimes communication challenges concerning various details and logistics, but these difficulties vanish as soon as the music begins. There are no communication errors when the language is music. It’s truly incredible to witness.

What inspires you?

Simply put, I am inspired by beauty, love, and wisdom. The world’s musical traditions—whether Western classical, Celtic, Andalusian, West African, Middle Eastern, Central Asian, Indian, or the incredible indigenous traditions—contain these three elements. They speak to me on a profound level and are an inexhaustible source of inspiration.

Philosophically, I am inspired by great minds who have recognized that there is ultimately a single essence that unites humanity, regardless of the diversity (and beauty) with which this essence is expressed in different cultures. I am also inspired by the patterns of the natural world and the nobility of the human heart.

In what conditions do you prefer to create?

I don’t have a single method for composing music. The initial inspiration for each piece is as varied as the works themselves, and, as I mentioned, I see inspiration all around me. For example, One came to me in a dream after reading the works of Hildegard of Bingen, and I began writing its parts. Often, I first perceive a piece as a whole, then develop all its elements.

Do you have a special relationship with nature?

I spend time in uninhabited spaces as often as possible. The sounds of nature—the wind in the leaves, the rain, streams, ocean waves, the calls of birds and insects, and especially the silence of nature—nourish my soul.

It is said that the natural world, the Earth in all its diversity, is a book containing the meaning of life. A book written by a person is composed of lines on paper. But the book of nature, written by an invisible hand, is written in all living things. Much can be learned by immersing oneself in nature; every tree leaf reveals secrets.

Too many people today feel isolated. The natural world allows us to feel our true and essential interconnectedness.

Your compositions are cultural as well as inner journeys. I’m thinking of pieces like Fire Within, The Journey, A Timeless Presence, Beyond the Star, etc. They touch the soul...

You’ve understood them well. They are external journeys where the audience can hear the artistic traditions of China, Central Asia, India, Turkey, North Africa, and Europe. At the same time, the compositions are intended as inner journeys, echoing the circular nature of life, from before birth to after death. By embarking on an external journey, our accumulated wisdom ultimately brings us, enlightened, to a place of inner peace.

You often address love, wisdom, personal quests—a philosophical and spiritual approach. Is this central to your art?

My music is a form of prayer. It is sometimes inspired by human emotion, sometimes by the need to immerse myself in a spiritual world. But it is always imbued with awe for the mystery of the divine.

What do you feel when you create, sing, and play music?

Sufis use a term: hal. It refers to an elevated state of consciousness where one becomes aware of the pulse of life flowing through us, aware of the divine breath moving within. It feels as if one has entered a world more vibrant and alive than the one we normally inhabit.

In such a hal, it is no longer I who creates the music; the music flows through me. This state is temporary, not permanent, but I have entered it before and believe my best music has emerged from it.

Many indigenous peoples consider all forms of art sacred. How do they inspire you?

Traditional and indigenous peoples recognize in their art forms a direct and primordial way of communicating their people’s ethics, not only to their descendants but also to the wider world. Art carries the heart and soul of a people. It holds sacred memories.

The art of each indigenous people reveals their unique way of interacting with the world. Each contributes to the rich tapestry of humanity. I particularly appreciate Native American drums, aptly called the heartbeat of Mother Earth.

Is there anything you’d like to add?

I’d like to conclude by addressing my audience directly. People came from all over the world to attend the When Paths Meet concert in Paris in December 2023. From Mexico, Malaysia, Argentina, India, Uzbekistan, the United States, and Canada, from Madagascar and Réunion Island. From all over Europe, the Middle East, and North and West Africa.

And my online listeners truly form a global family. Thank you all for your support, love, and dedication.

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