Mustafa Ismail's Melodic Narrative Part 1

In a recording from 1970, Sheikh Mustafa Ismail begins his recitation of Surah Fatir in a voice that, as others have described, is modest and does not initially suggest the improvisation and melodic variety that usually dominates his recitations.

Ismail gradually ascends, repeating verses as the audience responds with shouts of "Allah," and characteristics of maqam bayati become evident in his breath and vocal tone, which shed their initial restraint to reveal power and musical mastery.

As Sheikh Mustafa Ismail himself mentioned in an interview, his creative ability as a reciter is heavily dependent on the audience’s interaction. This is evident when comparing his studio recordings to his live recitations, which can exceed an hour and a half, during which his voice continuously ascends in artistry and innovation.

Then, he reaches the verse:"But if they deny you, so did messengers before you; and to Allah all matters return." (35:4)

As soon as Ismail finishes reciting the verse, the audience erupts in exclamations. But what triggered this sudden reaction? It is the sheikh’s mastery in conveying meaning through melody and maqam. The listener perceives the meaning emotionally and intuitively rather than through linguistic analysis.

How did Ismail achieve this? He began reciting the verse from the dominant (ghammaz) of maqam bayati, the note nawa (g4), above the tonic of the maqam on dukah (d4). After ten minutes of recitation, having reached the ghammaz, Ismail transitions in this verse from the standard bayati maqam to bayati husayni, which consists of bayati on dukah and rast on nawa.

Starting his recitation in maqam bayati is not unusual—this is how he and most reciters begin their recitations. For as its name suggests, bayati evokes feelings of home and nostalgia, making it a natural choice for both the beginning and ending of a recitation, returning to a familiar tonal "home."

However, Ismail’s shift to this specific branch of bayati, and the rast tetrachord specifically, demonstrates a focused intent and deep understanding of melody and meaning, for this verse emphasizes that all matters ultimately return to Allah despite the deniers' schemes. Therefore, Ismail chooses the rast tetrachord, which conveys majesty and grandeur in reference to the divine.

Even more remarkable is his ability to musically illustrate the meaning of the verse. He ascends through the higher notes, from the maqam’s ghammaz (nawa, g4) to kirdan (c5, an octave higher), symbolizing the ascent of matters to Allah. When he recites, "and to Allah, all matters return," he reaches the highest maqam note, kirdan.

Through this, the masterful reciter—whom his late student Ahmad Mustafa Kamal described as "God’s gift"—transforms maqam notes from mere musical scales into a dramatic sonic representation of creation and its relationship with the Creator. From the material world in the lower notes (qarar) to the spiritual realm in the higher notes (jawab), Ismail paints a vivid picture.

It is no exaggeration to say that Ismail surpassed his peers and those who came after him in this skill. His student, Dr. Ahmad Nuaina, confirmed this in a conversation with the composer Ammar El Sherei, as the latter emphasized: "Sheikh Mustafa Ismail silenced those before him and exhausted those after him."

To further confirm this exceptional talent, let's examine another recitation from Surah Al-Qamar and the verse: "So he called upon his Lord: ‘Indeed, I am overpowered, so grant me victory!’" (54:10) When Ammar El Sherei analyzed this recitation, he remarked:"The sheikh’s recitation here proves that he is a true musician who knows exactly what he’s doing… If he’s not a musician, then we musicians should just leave!" We rely on El Sherei’s analysis as a foundation for this study.

The speaker in this verse is Prophet Noah, who complains to his Lord about his people's rejection of his message and seeks divine assistance. Ismail’s recitation here, as before, demonstrates a deep understanding of melody and meaning.

He selects maqam saba on dukah (d4), which is the most fitting maqam to convey sorrow, yearning, and lamentation.

Just as he excelled in Surah Fatir, Ismail does so again in Surah Al-Qamar. Upon reaching the word "so help!" (fantasir), he starts from the maqam’s ghammaz at jaharkah (f4), then ascends to saba (g4 flat) and husayni (a4), before returning to saba - all within a single five-letter word.

Why did Ismail traverse the notes so quickly in this particular word? Once again, he uses the maqam's degrees to create an emotional effect. As Prophet Noah raises his plea to the heavens, Ismail’s voice ascends as well. But why does he return to the ghammaz instead of staying at husayni? To emphasize the supplicant’s humility and desperation.

When he transitions to the following verses: "So We opened the gates of heaven with pouring rain, and We caused the earth to gush forth with springs, so the waters met for a matter predestined." (54:11-12) Ismail’s mastery is strikingly evident. He recites these verses twice. In the first, he ascends to ajam (b4 flat) at "So We opened," representing divine intervention from above.

But upon reaching "gates," he suddenly drops to jaharkah (f4) and sikah (e4 half-flat), melodically separating the divine realm from the material world where events manifest. He then ascends again at "the heavens," gradually descending until "springs." 

He transitions smoothly from the hijaz scale, the branch tetrachord in the context of longing, to the root scale with a fluidity that embodies the descent of an immense downpour—just as if the waters of the sky were cascading from the peak of a mountain down to its base, one after another, until reaching the earth.

And when he reaches the verse: "And We caused the earth to gush forth with springs" (54:12), he ascends again by two degrees, illustrating the emergence of water here from beneath the earth to its surface, rather than descending from the sky. His genius does not stop here.

Instead of closing the verse in the usual maqam saba at dukah (d), he surprises the audience by landing on iraq (b half-flat), transforming the maqam entirely into bastah nigar (sikah on iraq and saba on dukah). This sudden shift led Ammar El Sherei to acknowledge that Ismail possessed a level of maqam expertise unmatched by any other reciter.