Because Wahab was such a consummate composer, and Shaheen such a patient player, the latter often withholds his appearances until the ensemble has had something substantial to say. The opening “Al Hinna” is one example, laying down a melodic foundation via strings to build an inviting rhythm. Before the oud reveals its tactile voice, the ney of Anton Hajjar sews the binding of this magical book. Hajjar is further showcased in “Ibnil Balad,” a compositional highlight through which his lines move like runaways escaping in alleys they know all too well. Equally fluid is Shaheen’s viola in “Hanil Widd,” imbued with a spirit of self-examination.

“Sittel Habayeb” and “Bortuqal” feature chorus singing. In both, Shaheen provides a backbone that never leans too much to one side. This balance makes him an admirable interpreter of Wahab. Qanun master Ibrahim Salman is a strong presence in the latter song, trading wonders with Hajjar in the closing “Mudnaka.” Between them, “Theme & Variations” lays down another orchestral offering, oud and percussion giving the greatest breadth of care.

By the end of all this, we are left with impressions wafting like fragrances in the wake of their expression. The music evergreen but never definitive, open to listeners as they are...and to changing times. The fact that it is being revived now speaks to its adaptability, ready to inspire a new generation of lovers to sing.