The opening sounds of this dramatic new composition by Sami Yusuf carry the eternal message of wind and stones, with anchoring vocalization by Emin Mammadov. Shur mugham elements are then introduced through the astonishing voice of Kanan Bayramli. The sweeping melody conveys the majesty of place and the weight of time. Rising above the Caspian Sea, Gobustan’s boulders contain six thousand ancient stone carvings, messages left by our human ancestors over twenty thousand years ago. They speak to us not just of another time, but of another way of being. One remarkable feature of Gobustan are its stone drums, an ancient means of communicating across distance. The sound of these stone drums are incorporated into this extraordinary piece.

This meditative piece opens with vocalisations by Sami Yusuf and backing drones inspired by Indian rags. The primal sounds of voice, drone, and the haunting wind instrument, the balaban, weave together seamlessly in this piece. ‘Ateshgah’ reaches out to the listener on an elemental level; it evokes the simplicity and purity of mindfulness.

The lyrics of this song come from the poetry of the 14th-c. mystical poet Nasimi, who was one of the first literary figures to compose in Azerbaijani. The composer sets an ecstatic mood in this new piece in Shur mugham that evokes Sufi ceremonies through high-energy percussion and dazzling avaz sections. The musical narrative is majestic, powerful and intensely beautiful.

This is an original instrumental composition in Bayat-e Shiraz) mugham whose joyous melody is carried from the balaban and kemanche solos to the layered sounds of the orchestra. This piece celebrates the art of movement, an art that tells many stories and reveals the inner world of a culture.

‘The Garden’ is Sami Yusuf’s moving English rendition of the beautiful Azerbaijani folk song ‘Girdim yarın bağçasına’. He is joined by the renowned singer Sevda Alekperzade who sings the Azerbaijani lyrics. The result is a gorgeous interweaving of their voices that underscores the message of this deeply moving and lyrical song of love and longing.

‘Shirvanshah’s Palace’, an instrumental work from Sami Yusuf, features a 57-member orchestra and dazzling solos on oud, kamanche, tar ,and balaban. The musical narrative is majestic, powerful and intensely beautiful. This piece is performed in Shur mugham [Əbu Əta], evoking an ecstatic mood that echoes the Sufi ceremony of remembrance. Although the sub-mode Əbu Əta (Or Abu ’Ata) is seldom used in recent decades, it has been part of the Azerbaijani mugham system for centuries. The composer has chosen to honour this particular traditional expression here, and in doing so seeks to contribute to the revival of this complex musical language. Shirvanshah’s Palace is a 15th-c. complex in Baku where the revered philosopher and sage, Seyid Yahya Bakuvi, taught and prayed and where his tomb is located.

This arrangement of a much-loved Novruz song in Chargah mugham is inspired by traditional Azerbaijani music. The festive sounds of percussion and zurna reflect the joyous spirit of the day. Novruz — the day of the vernal equinox — is the jubilant holiday that celebrates rebirth, renewal, fertility, and the return of spring.

This piece features tar, balaban, kamancha and vocalists. The effect is profoundly evocative; the music speaks directly to the heart. In Segah mugham, the lyrics are from a poem that speaks with deep longing of the universal love of one’s homeland. The Shaki Khan Palace in Shaki, Azerbaijan, is a place of unique architectural and decorative beauty.

From the Azerbaijan: A Timeless Presence album, this composition draws on traditional vocal, instrumental, and rhythmic layers along with modern musical elements to reflect the many-faceted aspects of the arc of Azerbaijan’s history. The piece features stunning vocal solos by Sevda Alekperzadeh, Tayyar Bayramov, Kanan Bayramli, Samira Aliyeva, and a beautiful tar solo by Sahib Pashazade.