“Rag Pilu” is a traditional Afghan composition deeply rooted in the rich musical heritage of Afghanistan. Known for its soothing and contemplative nature, this raga is characterized by a unique blend of melodic patterns and rhythmic structures that create a distinct and immersive auditory experience. The raga’s melodic framework allows for expressive improvisation, enabling musicians to convey a wide range of emotions through subtle nuances and intricate phrasing. Whether played on traditional instruments—like the rubab, sitar, or harmonium—or interpreted through contemporary arrangements, “Rag Pilu” continues to resonate with audiences, preserving its timeless appeal.
“Rag Bihag” is a distinguished and revered raga in the classical music traditions of South Asia, including both Indian and Afghan music. Known for its serene and romantic ambiance, “Rag Bihag” is typically performed during the late evening, capturing the mood of tranquility and introspection that characterizes this time of day. Crafted to create an atmosphere of peace and contemplation, it is often used in compositions that explore themes of love and devotion, and is ideal for both vocal and instrumental performances.
“Tark-e Arezo Kardam” is a renowned Qawwali (a form of Sufi Islamic devotional singing) by composer Ustad Sarahang, who based it on a poignant work by Sufi poet Abdul-Qādir Bedil. Performed by the Afghanistan National Institute of Music (ANIM) Qawwali group, this evocative piece delves into the spiritual theme of renouncing worldly desires in pursuit of divine love and enlightenment. The members of ANIM’s Qawwali group bring a contemporary sensibility to this timeless classic, their voices resonating with passion and devotion. “Tark-e Arezo Kardam” transports listeners to a realm of spiritual reflection and mystical experience, embodying the profound connection between music, poetry, and the divine.
“Pir-e-mano,” a Sufi song, is rooted in the profound poetry of Rumi—one of the most celebrated Sufi poets—and reflects the deep spiritual bond between the seeker and the spiritual guide. As performed by ANIM’s Qawwali group, “Pir-e-mano” is imbued with a fresh and vibrant sound, while celebrating the enduring relevance of Rumi’s poetry and the timeless nature of the Sufi tradition.
Members of the Zohra Orchestra have chosen to perform “Zendagi” as a powerful statement of advocacy for women’s rights and their freedom, reflecting the orchestra’s commitment to performing music as a medium for social change and empowerment. Originally adapted by legendary Afghan musician Ahmad Zahir from an Indian song and inspired by the revolutionary poetry of Abul-Qasem Lahuti, “Zendagi” is a poignant anthem about the individual’s need for freedom. At a time when Afghan women face significant restrictions and their rights are under threat, Zohra’s performance represents a symbolic act of defiance and hope. The Zohra Orchestra aims to inspire and mobilize efforts towards achieving a society where women can live freely and without fear.
“An Selsela Mo” is a historic and symbolic song, composed by Nainawaz during the 1950s to celebrate a landmark event in Afghanistan’s history: the removal of the forced hijab. This period marked a significant shift in the country’s cultural and social landscape, as Afghan women gained the right to choose whether to wear the hijab. The lyrics of “An Selsela Mo” metaphorically salute the presence of women in public spaces, poetically expressing that when a woman steps into the bazaar, or marketplace, her mere presence breathes life and vitality, transforming it into a garden. This imagery highlights the beauty and strength that women bring to society.
“Sarzamine Man” is a song by Amir Jan Saboori. A conductor with a deep love for Afghan culture, Tiago Moreira da Silva begins his arrangement with a symphonic ode to Afghanistan’s grandeur, capturing the majesty of the country’s landscapes and the strength of its people. A solo sitar and rubab create a lament for the Afghanistan of old—a place of rich traditions and bustling bazaars, of laughter and love—followed by a vision of a land ravaged by civil war, looted by warlords, and betrayed by corrupt politicians. Suddenly, the music shifts dramatically. The harmonious melodies give way to dark, tumultuous sounds, symbolizing the collapse of hope and the resurgence of the Taliban. Then, a single rubab begins to play a solitary, haunting tune, a symbol of resilience. The rubab is joined by other instruments until the final tutti, a powerful declaration that Afghanistan’s spirit could not be broken. With their unyielding spirit, the Afghan people will rebuild their beloved country one note at a time.
“Pa Bismillah,” or “In the Name of God,” is a heartfelt Afghan wedding song, traditionally performed in Pashto. The song narrates the poignant moment of a young bride’s departure from her mother’s house, delving into the bittersweet emotions that accompany this transition, highlighting both the joy of marriage and the sorrow of leaving one’s family home. This duality is a central theme in many Afghan wedding traditions, where celebrations are tinged with a sense of loss and nostalgia, and the song resonates deeply with Afghan listeners.
“Mera Joota Hai Japani” is an iconic Indian song composed by the legendary music duo Shankar-Jaikishan, with lyrics penned by Shailendra for the 1955 Bollywood film Shree 420, directed by Raj Kapoor. The lyrics convey a sense of optimism, pride, and self-reliance, captured by the refrain, “Mera joota hai Japani, ye patloon Inglistani, sar pe lal topi Roosi, phir bhi dil hai Hindustani,” which translates to, “My shoes are Japanese, these trousers are English, the red hat on my head is Russian, but still, my heart is Indian.”
Originally composed for piano four-hands, Hungarian Dance No. 5 is one of the most famous pieces from Johannes Brahms’s set of 21 Hungarian Dances. In this arrangement, the infusion of Afghan traditional instruments adds a unique dimension to the piece. Their distinct timbres make for a fascinating blend that honors the wild and dramatic spirit of the Romani-inspired dance while offering a fresh perspective through the lens of Afghan musical traditions.
Composed by William Harvey, Saudade do Afeganistão tells the story of the flight of the musicians of ANIM to Portugal in 2021, when the Taliban reconquered Afghanistan and declared music to be illegal once again, as it was during their first reign of terror from 1996–2001. The ANIM students were working on a recording when the Taliban entered Kabul on August 15, 2021, so the first section of the piece is called “Uma Gravação Abandonada” (“An Abandoned Recording”). A dissonant chord begins the second section, “Chegada do Talibã” (“Arrival of the Taliban”). An Indo-Afghan raga is used for the third, “Voos Para Portugal” (“Flights for Portugal”), while the fourth, “Fado,” refers generally to the national music of the Afghans’ new homeland of Portugal, but specifically to the famous song quoted here “Uma Casa Portuguesa” (“A Portuguese Home”). Yet the students are not yet at peace with their new home, as shown by the return of the dissonant chord. The fifth section, “Saudade” (“Longing”), contains a text sung in Portuguese, meaning: “Longing for Afghanistan consumes me, a home is here, but a home is there.” Next, in “Dur Khana” (“Far from Home”), the rubab leads the musicians in the Afghan song of that name, which the orchestra then combines with the Portuguese one, in a union of Afghan and Portuguese cultures. The last section, “Alguma Saudade Permanece No Coração” (“A Little Longing Remains in the Heart”), suggests that while the students are happy in Portugal, they all yearn for the day when the strings of the rubab can once again sound in Afghanistan.
In this innovative arrangement of the Intermezzo from Zoltán Kodály’s Háry János Suite, the pivotal role of the cimbalom is reimagined for the Afghan rubab, an instrument known for its rich and resonant tones. True to the fantastical stories of Háry János, the Intermezzo offers constant surprises, engaging listeners with its playful shifts and spirited energy. This arrangement, which bridges Hungarian and Afghan musical traditions with its cross-cultural instrumentation, enhances the whimsical, adventurous spirit of the piece, celebrating the universal language of music.
“Ay Nay Naway Jawedan,” originally composed by Nainawaz with lyrics from the poetry of Rumi, is reimagined in an arrangement by Khaled Arman. This orchestration opens with a mesmerizing improvisation by the rubab before introducing the violin’s main melody. Traditionally a slow and contemplative piece, Arman’s arrangement features two faster instrumental sections, creating a dynamic contrast that highlights the musicians’ virtuosity. The piece concludes with the entire orchestra chanting the main melody, creating a powerful and unified sound.
An Afghan in New York is an original composition by Tiago Moreira da Silva based on the well-known Pashto song “Pa Loyo Ghro” by Ustad Mohammad Din Zakhil. Drawing inspiration from both the well-known song and the film An American in Paris, it begins with an evocation of a towering Afghan mountain, lush with dense foliage and partially obscured by low-hanging clouds. Following a thunderstorm, two characters are introduced, represented by the rubab and the sitar. This leads into the Dilemma section, where the theme from “Pa Loyo Ghro” is intertwined with an original motif that symbolizes the need to leave. The second theme, “Resignation,” is nostalgic in mood, and the final section, “A New Beginning with Hope,” reprises the first theme in a major key, showing that happiness can be found even in moments of profound sorrow.
“Maste Mange Bar,” a well-known Pashto song composed and originally performed by Ustad Awalmir, is written in the traditional Afghan meter of 7/8, characterized by one compound beat followed by two simple beats. The Afghan Youth Orchestra presents an instrumental version of this piece that prominently features the rubab, showcasing its virtuosity and distinctive sound in a constant dialogue with the more conventional orchestral instruments.
“Watan Ishq Tu Iftekharam” is deeply cherished in Afghanistan for its emotional and patriotic resonance. Originally a Greek composition by Mikis Theodorakis, the song was adapted in 1978 by Abdul Wahab Madadi, a renowned Afghan singer. Penned by Naser Tohori, its Persian lyrics resonate deeply with the Afghan spirit. Following the fall of the Taliban in 2001, the song was considered for the national anthem of Afghanistan, underscoring its cultural and emotional significance. The piece begins with a maestoso section, painting the greatness of Afghanistan and its people. The allegro section follows, its dynamic rhythms symbolizing their resilience and spirit. A poignant sitar solo captures the nostalgia of Afghans who have left their homeland, and the arrangement concludes in traditional Afghan 7/8 time. Listeners are invited to experience this musical homage to a nation that has faced immense challenges yet continues to preserve its rich cultural heritage with pride and hope.