Misticismo en al-Andalus / Cofradía al-Shustarí, Omar Metioui
Cantos místicos de la Cofradía al-Harráqiyyaa · as-Samá‘


Pneuma PN-200
p. 1998
Tánger & Urueña (Valladolid)

I. Cantos místicos de la cofradía al-Harráqiyya

01 - [5:31]
1. Kullí f-wyúdak · ¡Ay señor mío!
2. Sqáni hádh l-mdám 'ushsháqí · Sé humilde ante tu Señor

02 - al-HARRÁQ. (muwwál) Wa ahsanu ahwálí · Poner mi confianza   [6:15]

03 - [5:31]
1. Turíd yáa fuqayyar · Quieres, pobrecillo
2. 'An hawakum kayfa ansarifu · Cómo podría renunciar a amaros
3. Ya 'uhayla l-himá · Gentes del Sagrado
4. (mutaqárib) Allá má sallí · Señor nuestro bendice al Escogido   [6:26]

II. as-Samá‘

04 - Al-Ádán · Llamada del almuédano de la oración   [3:07]
05 - CORÁN. Súrat al-Baqara 2. 285-286   [1:33]
06 - Al-Mawlidiyya · Conmemoración del nacimiento del Profeta Muhammad   [15:23]
07 - al-SHUSTARÍ. Yá bi-l-wisál · Concedió la Unión   [5:57]
08 - al-HARRÁQ. Atáriki sáhira l-layálí  (al-Harrâq) · ¡Ay tú, que así me dejas!   [5:09]
09 - al-HARRÁQ. (muwwál) Buh bi-l-garámi · Revela tu pasión   [6:23]

Omar Metioui

voces solistas:
I. Mohamed Aroussi
II. Mohamed Berraq, Hasan Ajyar y Abdesselam El Amrani


Although the music is religious in nature, the Sufi brotherhood it comes from (the Cofradia al-Harraqiyya) was apparently liberal in their allowance of instruments in music (where many Sufi orders rely only on vocal and percussion music). The Cofradia Al-Shustari, named for an 11th century mystic poet from Granada, uses ney, violin, rebab (fiddle), and percussion in addition to choral, solo and call and response vocals. At times, the music is more meditative, but at other times it really lifts off into an extremely heterophonous ecstasy, with even the singers only loosely singing the same thing. At times, it can be a little overwhelming, so I have to be in the appropriate mood to be able to withstand the force of Al-Shustari, but I really do like it, and, like everything I’ve heard him on, Metioui’s oud playing is outstanding. He isn’t as warmly recorded here as he is on the Sony discs, but you still get a sense of the atmosphere of the occasion, and you never have trouble hearing Metioui as he guides the ensemble.

Metioui’s work is obviously more than merely recreating ancient music, like a Western early music group might do, exclusively for a concert audience. It still has powerful spiritual overtones, and is drawn from the living tradition of Andalusian music as it survives in Tetuan in Morocco. The second half of the disc is devoted the Sama, a Sufi religious ceremony (the best known version of the Sama in the west is the Mevlevi ritual with its whirling dervishes) which in this case appropriates Andalusi rhythms and modes. It is much more sober than the ecstatic first half of the disc, but wonderful nonetheless.

by Tom Chandler / Points East, new music from the Near East