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Seyyah III

(for Ensemble / 9‘)

Flu. (in C, G) - Cla. (B flat, Bass) - Perc. - Piano - Vln - Vla - Vlc

- Performed by Cikada and Hezarfen Ensemble -

Seyyah III Cikada
00:00 / 09:04

Performed by Cikada (June 2019) 


Written for an ensemble of 7 players, this piece finalizes the Seyyah trilogy. The piece finds its core within the imperishable work of the Persian mathematician, astronomer and poet Omar Khayyam; The Rubáiyát. The quote below which is taken from this work represents the essence of the trilogy, therefore is the final step on the path.

The thoughtful Soul to Solitude retires, *


Solitude is a powerful concept which should be distinguished from the state of being alone. In various cultures, solitude is seen as a divine purpose. Hence one should realize that the crucial aspect of this state is that it is often dependent of someone’s will. Of course, it is probably required to acknowledge that solitude would be a necessity which comes natural to the souls that pursue divine paths of their cultures.

The thought process that comes with solitude is often regarded from the outside as, stimulating the mind and reaching some version of enlightenment by releasing yourself from your earthly connections, depending on the culture. According to my version, this process should make the mind reflective of its surroundings rather than isolated, as contrasting as it may sound. To me, what Khayyam might have tried to propose could be the realization that earth and possible outside universe(s) does not matter. What matters is the self as both those realities are one within each of us and varies from person to person. This almost intangible (and possible) definition of soul might be a way for the self to be aware of one’s reality.

That is why the mentioned quote reflects the idea behind Seyyah perfectly. This realization process marks the end of the wandering path and enable the Seyyah to retire.

* NOTICE: The English version of the above quote from Omar Khayyam’s work The Rubáiyát is translated by Edward FitzGerald in 1859. Although criticized for its poor authenticity to the original Farsi text, it is praised for its literary aesthetics and attention to rhyme. Therefore, FitzGerald’s translation is featured because of phonetic and aesthetic preferences.

Score Excerps

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