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Nasimi
The lyrics of this song come from the poetry of the 14th century 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.
CREDITS
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Dövləti-cavidan mənəm,
I am the Eternal Treasure
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*An allusion to the saying of the Prophet (a hadith qudsi wherein God speaks through the Prophet): ‘I was a Hidden
Treasure and I longed to be known. So I created the creatures and they came to know Me.’
**An allusion to the Four Rightly Guided Caliphs
***An allusion to the Five Ahl al-Kisa (People of the Cloak: the Prophet, Ali, Fatimah, Hasan and Hossein) and to other
revered figures
**** Names of tribes/families
*****An allusion to the bridge (al-sirat) that human beings must cross after death to enter Paradise.
More information:
Imadeddin Nasimi (1369-1417), an Azerbaijani poet, philosopher and sage, was the author of the first Divans (collections
of poetry) in the Azerbaijani language. Considered as one of the greatest mystical Turkic poets of his time, he also
composed poems in Persian and Arabic. Although few details are known about his life, his passionate poetry shows his
deep knowledge of Islamic poetic traditions as well as a genius for composition, and it shows a depth of knowledge of
Islamic, particularly Sufi, intellectual teachings that indicates that he must have had training in these fields. His gift as a
poet was instrumental in conveying Hurufi Sufi philosophy to the Turkish-speaking population of Anatolia, a
philosophical perspective that is still echoed in the certain Sufi orders today.
The poem in the composition, ‘Nasimi’, has elements of a tradition of ecstatic sayings that emerge from a deep inner state
of knowing, an overpowering spiritual state that is often fleeting. Ecstatic sayings such as those of Mansur al-Hallaj,
Bayazid Bastami, Nasimi, and others, need to be interpreted in the context of the mystical vocabulary of their times. And
it is necessary to understand the religious forces, the social and political life, and the whole culture of the Islamic world
within which these figures lived and died. Without a profound understanding of this context certain of their words, which
on the surface can resemble infidelity, are easily misconstrued.
In this poem, Nasimi returns repeatedly to the contrast between the ‘two worlds’, the physical and spiritual. By naming
opposites—‘I am the old, I am the young’— he points beyond them to unity, to tawhid, to the divine unity that is one of
his principle themes. For Nasimi, the signs of God (ayat Allah) are found throughout creation, but they are not limited by
this realm alone.
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