Pir-o-Murshid Hidayat was born in London, England in 1917, the son of Hazrat Inayat and Pirani Ameena Begum. In his youth he studied music and composition at L'Ecole Normale de Musique in Paris, and later enjoyed a distinguished career as a violinist, conductor and professor of music. He has composed numerous works, among them La Monotonia Op. 13 for strings, Ghandi Symphony Op. 25, Zikar Symphony with organ Op. 26, Message Symphony with organ Op. 30, Virginia Symphonic Poem Op. 44, Concerto for strings Op 38, Quartet for Strings Op. 45, and a number of choral pieces including Chanson Exotique, Awake for Morning, and a collection of Sufi hymns. He is a founding member of the European Composers' Union, and his music has frequently been broadcast internationally. Many of his compositions are now available on CD.

In 1988 Hidayat Inayat-Khan assumed the role of Representative-General of the International Sufi Movement and Pir-o-Murshid of its Inner School. He divides his time between Holland and the family home in Suresnes, but travels extensively, giving classes and lectures on Sufism.

MAGICAL MOMENTS
Impressive World Premier of 'La Monotonia'

A Symphony Orchestra of great sensitivity brought success to a
world premiere of the requiem from the pen of
Indian composer Hidayat Inayat-Khan

Freising: The composer was moved close to tears in response to the audience's enthusiastic reception of the revelatory world premier of his requiem 'La Monotonia' on Saturday in the auditorium of the Domgymnasium. The work was originally created by the Indian composer Hidayat Inayat-Khan (84) in dedication to his sister, and successfully finds a fine balance between occidental and oriental musical influences.

His 'Suite Symphonique, Opus 7' was brought to life by an orchestra of great sensitivity. The Muenchen-Andechs Symphony Orchestra radiated an intense peace occasionally punctuated by suspense through Inayat-Khan's tonal variations which were imbued with both a European and a far-Eastern flavour.

The composition resolved itself into a synthesis of Indian raga and Western polyphony under the baton of Andreas Pascal Heinzmann. Heinzmann equally emphasised the meditative and mystical quality of the composition and technical skills and precision. It commenced with the merest whisper which the strings developed into a melody out of the One Thousand and One Nights.

The melancholy of the theme was intermingled with a constantly recurring lightness, alternating harmony with rhythm. The prologue culminated in a climactic interchange between kettledrum and horn in F. The outpouring of emotion, like a purifying thunderstorm was carried forward into the second movement. This was followed by a Bolero reminiscent dialogue defined by the strings. The epilogue was imprinted with both the flow of Indian energy and rigorous European musical tradition. The finale seemed to reverberate endlessly.

The programme which followed - Mozart's Concerto for Piano and Orchestra, No 24, and Johannes Brahms' Symphony No 1 - did not come close to producing the magical moments of the requiem 'La Monotonia.' Nevertheless, Marie Carlsson gave a brilliant solo piano performance in the Mozart piece.

Alexander Fischer
Critic Sueddeutsche Zeitung - Freisinger Teil
Monday 18th February, 2002