The Music of Hidayat Inayat-Khan

Representative-General of the International Sufi Movement and Pir-o-Murshid of its Inner School.

Hidayat’s personal research in musical composition could be best described as a combination of oriental raga systems and occidental polyphonic structures, in which he ventures to follow as much as possible the basic principles of Western musical analysis, while adding the enchanting flavour of Oriental raga.

In Western music there are three principal modes from which most harmonic conceptions have been derived, whereas in the East, music is confined to a number of specific ragas, the structure of which is immutable and sacred.

A raga consists of as many as twelve notes and, in some cases, as few as five. These groups of notes, which sometimes present melodic differences in the ascending and descending successions, are mostly outlined by a tonic, or first note of the series, and this note is made audible during the entire piece of music by way of repetition, accompaniment, or both. These same groups of notes also have a dominant, called the King Note, or Vadi, which are specially emphasised throughout the melodic line. There is also a consonant, called Sandavi, which has a very particular part to play in the mystical unfoldment of the melody. The term raga, which is generally translated as "melodic formula", should be regarded as something much more complex than just a specific mode or scale. It implies the formulation of emotions and as such it evokes a particular conditioning, which can be described as the "tuning of the heart".

Among Hidayat’s compositions for symphony orchestra, the one which expresses most the Eastern raga tradition is certainly the Poem in F, written in the mode of F, which is the tone-structure in which all thematic elements are woven. This work is based on the Western classical lied form while at the same time respecting the specific characteristics of Rag-Bhairivi, which is responsible for its oriental atmosphere. In the opening section, the initial theme unfolds most gradually out of a preceding period of rhythmic elements, or "Talas", designed according to a monotonous graphic. These rhythmic elements gradually turn into melodic groups which constitute the harmonic structure of this particular section. The middle section is a new development of all elements previously introduced and which now acquire a specific colouration with the main object of expressing in musical terms the verse of Omar Khayyam’s Rubaiyat, ‘Awake for Morning.’ The closing section is a culmination of melodies and rhythmic elements combined, emphasised by the beating of the drums, the echo of which illustrate the "Call to Prayer". This composition is dedicated to the memory of Hidayat’s father, Hazrat Inayat Khan. This Symphony was performed for the first time in 1952, in New York, by the Town of Babylon Symphony Orchestra, conducted by Chistos Vrionides, and was later broadcast over Hilversum Radio in Holland by the Radio Philharmonic Orchestra, conducted by Jean Fournet

Among Hidayat’s main compositions, the Gandhi Symphony is the most characteristic of oriental colourings. This symphony was dedicated to Mahatma Gandhi on the occasion of his centenary. It is a suite of Indian dances, all of very sacred character, expressing deepest gratitude for the Mahatma’s universal spirit of brotherhood. This symphony was broadcast by United Nation’s Radio in New York, as well as major broadcasting systems all over the world, in 1972, from a concert in Holland, sponsored by UNESCO. In that same year, the Voice of America also broadcast this symphony together with an interview of the composer by Carmen Dragon, conductor of the Hollywood Bowl Symphony Orchestra in California.

The Monotonia has been written in several versions for symphony or string orchestra, and has also been transcribed for string trio and for organ. This work is dedicated to Hidayat’s sister Pirzadi Noorunnisa Inayat Khan G.C., C. de G., in homage to her heroic life. After a deeply feeling "Call to Prayer", there is an outburst of sound which expresses a "Victory March in the Hereafter", followed by sequences of peaceful resignation. This work was broadcast for the first time by Radio France Culture with the Orchestre de la Radio/Television Francaise, in 1971 conducted by Andre Girard. The Ballet Rituel for symphony orchestra describes a royal ballet of kings and princes of all creeds in the Universal Temple of the Emperor Akbar, to whom this work is dedicated. Most of the musical themes are characteristic of processions, dancing nobility, elephant marches and palace parades. This work was broadcast for the first time in 1952 on Radio Hilversum, Holland, by the Radio Philharmonic Orchestra, conducted by Jean Fournet.

The Zikar Symphony, for orchestra and organ obligato, is based on the secret principles of a particular esoteric practice generally performed for the purpose of inner training, the theme of which is sacred. This symphony was performed for the first time in 1957 at Salle Pleyel, Paris, by the Pasdeloup Orchestra, conducted by George Pretre.

The Message Symphony, for orchestra and organ obligato, was broadcast for the first time in 1977 by the Radio Philharmonic Orchestra of Munich conducted by Henri Arends, and was also later broadcast by Dutch Radio.

The Virginia Symphonic Poem was performed for the first time in Lynchburg,Virginia in I973, conducted by William Yarborough, and was broadcast for the first time in I974, over Radio Stuttgart, conducted by Franz Allers. In I975, this Symphonic Poem was broadcast on Radio Hilversum conducted by Maestro Driehuisen. One composition, the Concerto for String Orchestra, has not yet been performed, but there have been numerous performances and broadcasts of both the pieces mentioned here and other compositions by Hidayat Inayat-Khan.