Renowned Azerbaijani mugham singer – Sounds of Surprise

  02 November 2016    Read: 2031
Renowned Azerbaijani mugham singer – Sounds of Surprise
Alim Qasimov, prominent Azerbaijani mugham singer gave an interview to the TEAS Magazine (the European Azerbaijan Society). AzVision. az presents the interview below:
Born in Shamakhi, located 70 miles west of Baku in 1957, Alim Qasimov ranks amongst the foremost mugham singers of Azerbaijan. He is also probably the best-known performer of this national music on an international level. In 1999, he was awarded the prestigious International IMC-UNESCO Music Prize, which is amongst the highest international accolades. His music is characterised by a higher degree of vocal improvisation than is conventional, thus representing a move away from traditional mugham performance. To date, Qasimov has recorded ten CDs, four of which contain performances with Ferghana Qasimova, his daughter. Mr Qasimov has now brought the music of Azerbaijan to audiences in many countries, including France, Germany, Belgium, Spain, Brazil, Iran, USA and – of course – the UK. His voice has received plaudits from across the world for its purity, passion and meditative qualities. The New York Times stated: “Alim Qasimov is simply one of the greatest singers alive, with a searing spontaneity that conjures passion and devotion, contemplation and incantation.” The Times in London commented: “His voice soars…the people watching are seized by the power of the ancient poetry,” and Robin Denselow, in The Guardian, described him as: “One of the most thrilling, unashamedly emotional performers on the planet.” Le Monde described him as: “One of the greatest voices in the world.” In 2012, he made a guest appearance alongside Sabina Babayeva on stage as she sang her entry for the Eurovision Song Contest, hosted that year in Baku. Those who appreciate the unmatched voice of Mr Qasimov will have an invaluable opportunity to see him in action on 12 July, when he gives a masterclass at the School of Oriental and African Studies (SOAS) and gives a concert at Wigmore Hall – one of London’s foremost concert venues – on 14 July. Neil Watson caught up with Alim Qasimov to find out more:

Your father was an occasional singer. Was he responsible for introducing you to mugham music?

My father had a beautiful voice, although he didn’t perform mugham. He preferred to concentrate on folk songs, and was often asked to sing at weddings. He recognised my abilities and made a nagara drum from a goat’s stomach, together with a homemade saz, which used an aluminium cooking pot as the body.

Which methods were used to teach mugham? Did you learn about performance and the ‘modes’ of mugham music – determining scale, key, outline and form – from a master?

I went to a mugham school, where we concentrated on musical notation and the mugham modes. I found the music very profound, but was initially unsure whether I should focus on singing. The study of mugham proved very challenging, as the music is both modal and nonrhythmic. My parents and teachers were very inspirational and supportive. They demonstrated great faith in my abilities.

From the age of 21 years, you studied mugham at the Musiki Mektebi State Music School. In addition to focusing on elements of performance, did you gain an insight into the meditative elements of the music?

I studied at the school for four years, where I continually practised. We strove for perfection, but it was impossible to achieve the requisite element of meditation during this period. Study during the Soviet era was focused on achieving musical perfection and performing whilst dressed in a suit and tie. We were, of course, restricted regarding the countries that we could visit. Although mugham was not actively encouraged in Soviet times, it was not prohibited.

In 1983, you won the national Jabbar Garyaghdioghlu Singing Competition. How did it feel to receive recognition of this kind after so many years of study?

I did not originally want to participate in the competition, but the composer Suleyman Aleskerov inspired me to compete. This was my first award, and started my professional career.

Were you surprised by the positive response to mugham in the west?

My international career began with a summer concert at an Uzbek festival, which was attended by Dr Theodore Levin, a musicologist at Princeton University. He appreciated mugham, and introduced me to US audiences. This marked my first appearance on the western stage, and I quickly realised the extent to which US audiences appreciated the music. This led to concerts in France, the Netherlands and Germany.

You have developed your own style of mugham performance, permitting a greater degree of improvisation than is standard, incorporating ashiq music and other influences. Why is this?

It is true that I improvise to a greater extent than is conventional. I did not intend to change the music; it is just my interpretation.

You have controversially collaborated with a range of western musicians, most notably Jeff Buckley, the Kronos Quartet, DJ David Vendetta and Eurovision entrant Sabina Babayeva. What are the reasons behind these cross-cultural alliances, and do you feel that they introduce your music to new audiences?

It was fate that brought about these crosscultural collaborations. My involvement with the Aga Khan Music Initiative has resulted in my work with the Kronos Quartet and Silk Road Ensemble. I enjoy performing in a range of contexts.
You have also participated in Yo-Yo Ma’s Silk Road Ensemble. Do you find similarities between mugham and other indigenous musical forms represented by that group?

The Azerbaijani composer Frangis Alizadeh introduced me to the Silk Road Ensemble, led by the cellist Yo-Yo Ma. She had composed some Dervish pieces for incorporation in the Ensemble’s performances. However, my involvement is separate to the multi-movement works that incorporate performers and music from throughout the ancient Silk Road. Instead, Ferghana, my daughter, and I perform an abridged version of Leyla and Majnun. This was the first Azerbaijani and Eastern opera, written by Uzeyir Hajibeyov in 1908.

During the past decade, you have duetted with Ferghana, your daughter. What qualities does she bring to your music?

To a certain extent, working with Ferghana has reduced my freedom to improvise, as there are places in the music where I need to pause for her contribution, but this is not to the detriment of the music. On the contrary, the contrast of the voices stops the audience from becoming bored and enhances the entertainment value. Ferghana is still learning her performance technique, and there is a special connection in the artistry created between a father and daughter.

Do you believe that mugham has evolved since Azerbaijani independence? What do you regard as its future direction?

During the Soviet period, mugham was regarded as an old-fashioned art form. However, President Aliyev now places great emphasis on Azerbaijani national music. The construction of the new International Mugham Centre in Baku is indicative of a desire to enhance understanding of the music, as was the inauguration of the International Mugham Festival. The First Lady, Mrs Mehriban Aliyeva, has provided pensions for elderly mugham performers, supported grants to young musicians and inaugurated a prize for mugham performance worth AZN30,000 (£24,169). The future for mugham is indeed bright.

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