Oh Thou, Who Didst with Pitfall and with Gin. Set for men’s voices in 2 choirs separated to provide echo effects and rich fourteen-part textures. Opus 3a. Thomas Adès
[S.l.], EMI, 2004
On: America. A Prophecy.
Oh Thou, Who Didst with Pitfall and with Gin. Set for men’s voices in 2 choirs separated to provide echo effects and rich fourteen-part textures. Opus 3a. Thomas Adès
[S.l.], EMI, 2004
On: America. A Prophecy.
11 stanzas from The rubaiyat of Omar Khayyan. Chorus a capella. Carlos Ripoll.
Havana, Editorial America, 1956
AL – Allegory
Track on the album Groundloop by In the Nursery. Written, arranged and performed by Klive & Nigel Humberstone a.o.
Sheffield, ITN Corporation, 2000.
ITN CORP 022
The Rubáiyát of Dorothy Ashby. Original compositions inspired by the words of Omar Khayyam, arranged and conducted by Richard Evans. Chicago, Cadett, 2007.
Originally 1970
10 quatrains from Edward FitzGerald’s translation. CD DGA 3002
Quintessence, for chamber choir, 1998. Richard Sims
Text: ‘Umar Khayyám, transl. Edward FitzGerald.
Amsterdam, Donemus [MCN], 1999
The Awakening Wine: A Contextual and Philosophical Reading of Khayyam’s Rubaiyat. Nayeb Ghodrat Gojar
In: Cankaya University Journal of Humanities and Social Sciences, 20, 2026, p. 157-173
This article offers a philosophical and contextual analysis of the metaphor of “wine” in Omar Khayyam’s Rubaiyat, challenging reductive interpretations that associate Khayyam solely with hedonism and secularism. Drawing upon a clearly defined corpus of quatrains authenticated by leading Khayyam scholars, including Abdolhossein Zarrinkoob, Abdolhamid Gheibi, and Abdülbaki Gölpınarlı, the study argues that Khayyam’s frequent invocation of wine functions as a profound metaphor for spiritual awakening, existential inquiry, and intellectual liberation. Rather than promoting literal intoxication, Khayyam employs wine to critique religious hypocrisy, emphasize the fleeting nature of life, and advocate for a conscious, wisdom-driven engagement with the present. The article examines the deep roots of wine symbolism within the Persian hamriyye (wine poetry) tradition, tracing its development from pre-Islamic ritual through Sufi mystical appropriation. It also examines how specific Western translators, including Edward FitzGerald, Friedrich Rückert, and J. B. Nicolas, have distorted Khayyam’s original metaphysical intentions by reinterpreting his symbolic motifs within culturally alien frameworks. By situating Khayyam’s poetry within its historical, linguistic, and intellectual contexts, and by engaging closely with authenticated Persian quatrains alongside their English translations, the study reclaims the richness of his symbolic language and restores the philosophical integrity of his worldview. Therefore, the article highlights how Khayyam’s quatrains transcend cultural and temporal boundaries, offering a timeless call to self-awareness, moral clarity, and existential authenticity.
Rural Rubaiyat
In: Examiner (Launceston, Tas. : 1900 – 1954), 22 jan 1948, Page 2
1 quatrain