Introduction to Solomon and the Queen: An Overview for Beginners

This post serves as an introduction to Solomon and the Queen for people who are less familiar with Qur’an recitation, or with the particular style which is exemplified by the reciter, Qari Hajjaj al-Hindawi.

The Qur’an as a Vocal and Oral Phenomenon

The first thing to appreciate is that the Qur’an is a vocal and oral phenomenon, as much as – if not more than – it is written and read as a scripture. As I have explained elsewhere, Qur’an recitation can be seen both as a science and and art-form, in that it is governed by certain rules of pronunciation (known as tajweed), while the beauty of vocalisation is also encouraged and emphasised.

The Spiritual Experience of Listening to Qur’an Recitation

Listening to the Qur’an being recited by an expert is a highly spiritual experience, and may be deemed as an act of worship when done with that intention. The believer listens to receive guidance and to move his or her heart into greater submission to the Creator. Yet anyone may listen in on this divine discourse and appreciate the power of the Qur’an’s internal rhythms, as enhanced by the melodies of the reciter’s interpretation.

The Egyptian Tradition of Performative Recitation

The Egyptian tradition of performative recitation (mujawwad) is of particular note, and Qari Hindawi is a contemporary master of this tradition.

Key Features of Solomon and the Queen’s Recitation

Now I shall mention some key features to bear in mind when watching Solomon and the Queen, and the recitation therein from Surat al-Naml (the Chapter of the Ants), verses 15-44.

Spontaneity of the Live Performance

The reciter decides within the moment exactly how he will render the verses, in terms of melody, phrasing, repetition and so on. He has an audience in front of him who may react at times to how he delivers a verse, and this may affect him positively.

Slow Pace and Repetition

These same verses might be recited within the prayer within just a few minutes, whereas the style adopted here – known as mujawwad – is designed to allow for deeper reflection on each verse or phrase before moving on. The reciter may repeat a single phrase a number of times, allowing for him to vary his own tone, and for the listener to consider its meanings more deeply or from various angles.

The Role of Melodies in Mujawwad Style

The mujawwad style is highly melodious and characterised by variation, based upon the melodic scales known as maqamat. This allows the reciter to shift between contrasting tones appropriate, variously, to jubilation, awe, reward, punishment, and so on.

Multiple Readings (Qira’at) of the Qur’an

There are multiple transmissions of the Quranic text known as the Ten Readings, all of which are considered unanimously by Muslim scholars to be authentic and authoritative in their status as Qur’an. Each has two sub-narrations, of which the two most prominent are known as Hafs and Warsh.

The Hafs and Warsh Narrations in the Recitation

The Hafs narration is the most familiar to people all around the world, to the extent that many are unaware that there are more ways to pronounce the Qur’an! The majority of the recitation in this film is in this predominant Hafs narration, but there is a small section towards the end in which Sh. Hindawi switches to Warsh, and then back to Hafs: this has been noted in the top-left corner of the screen.

The Controversy of Mixing Readings and Narrations in Public Recitals

The practice of mixing between readings and narrations in this type of public recital is somewhat frowned upon by scholars, but it is very common in this Egyptian mujawwad tradition.

Differences Between Hafs and Warsh in the Recitation

For those who are interested in more specifics about the verses recited in the Warsh narration in this film, here are the descriptions of the words which sound different from the familiar Hafs narration:

• Verse 40: the extended vowels in Anaaaaaa aaaaaateeka (particularly the first of these). The light /r/ sound, and altered and extended vowels in ra’aaaaaahu, then the light /r/ in mustaqirran. The two ways of reciting li-yabluwaniya a-ashkuru / aaaaaashkuru are options within Warsh.
• Verse 41: the light /r/ in nakkiroo. The transition in nanzur-a-tahtadee.