[HEADER] Pervin Muradov – remembering Jevdet Hajiyev, an Azerbaijani

talent

Pervin Muradov, a long-term resident of Melbourne, Florida, is the daughter of

composer Jevdet Hajiyev (1917–2002), a legend of Azerbaijani classical music.
Taking inspiration from Azerbaijani mugham and ashiq music, he organically
synthesised the sounds of Azerbaijani classical music on such instruments as the tar,
kamancha and saz with western classical forms. Jevdet studied under two musical
giants – Uzeyir Hajibeyli, father of Azerbaijani and Eastern classical music –
composer of Leyli and Majnun (1908), the first opera of the Muslim East – and Dmitri
Shostakovich (1906–75), the leading progressive Soviet composer, who had a
challenging relationship with the Soviet authorities.

Jevdet Hajiyev was extremely prolific, composing eight symphonies, three tone
poems and the opera Veten (Motherland), in collaboration with Gara Garayev,
amongst many other works. His final work was an oratorio to commemorate the
victims of the Black January independence uprising in Azerbaijan in 1990.

In the centenary year of her father’s birth, Pervin has done much to commemorate his
work. Together with Elena Cobb of EVC Music Publications they published a
compilation of his piano works in sheet music form after a gap of more than 60 years.
Pervin has organised large-scale concerts of his work in Carnegie Hall in New York,
Geneva, Switzerland and St John’s, Smith Square, in London, amongst others.

Pervin is a professor of piano at the Florida Institute of Technology, the founder and

director of the Music Education and Autism initiative and the director of Art and
Education Committee of Azerbaijani-American Cultural Organization of Florida. She
regularly presents at music festivals and conferences abroad: in Italy, Spain,
Germany, Canada, and Russia, and also runs her piano studio, where she successfully
combines methodologies from the Russian and the American approaches. Neil
Watson caught up with her during her first visit to London to find out more.

[BOLD] This year has seen several concerts and competitions to commemorate
the centenary of your father, Jevdet Hajiyev, hosted in New York, Carmel
(Indiana), Geneva, Vienna and in London. How have these concerts been
received, and how have they differed?
These were truly remarkable and exciting events as, for the first time, the centenary of
an Azerbaijani composer was celebrated in some of the most world-renowned concert
halls and venues, such as Carnegie Hall, New York; St John’s Smith Square, London;
Vienna Conservatoire; and the UN office in Geneva. The music of my father was very
well-received and met by a standing ovation on each occasion. People were fascinated
by this music that was unfamiliar to most of them. They were pleasantly surprised by
the variety of musical pieces, each of which was coloured with unique intonation,
melodies, harmonies and exceptional eastern-tinged flavours.

[BOLD] Your father studied under two musical giants – Uzeyir Hajibeyli the
father of Azerbaijani and Eastern classical music, and under Dmitri
Shostakovich, the most innovative and best-known Soviet composer. How did
your father describe their respective impact on his work?
The impact of Uzeyir Hajibeyli on the growth and development of the compositional
art of Jevdet Hajiyev was enormous. During his studies at Baku Music Academy, in
the class of Hajibeyli, my father received excellent training in the study of the major
principles of Azerbaijani folk music and its specific traits, modes and rhythmic
attributes. This left a deep imprint on his works, particularly those that were
emblematic of his national origin.

However, Hajiyev absorbed the compositional and formal concepts of western

musical culture from Dmitri Shostakovich. Due to his years of study with this master,
Hajiyev inherited the musical traditions established by his teacher that became an
integral part of his compositional style. In that sense, I would say my father is the
musical heir to Shostakovich and a direct representative of his remarkable school.

In his symphonic and chamber works, my father frequently utilised the Shostakovich
cryptogram-musical motif of DSCH, thereby referring to the initials of the composer
in their German transliteration, emphasising the role of Shostakovich as a teacher,
artist and even a personal friend, and expressing his admiration.

The modal characteristics of the music of Shostakovich effectively re-echoed the

musical ideas and national heritage of Hajiyev. This influence is apparent in many of
his works, and particularly his symphonies. For example, in the Sixth Symphony
(1977), there is a clear evidence of a link between Shostakovich’s modalities and
those in Azerbaijani music. Furthermore, the use of the DSCH motif in this symphony
resulted in the development of polydramaturgical lines and a unique sound. This type
of mutual modal influence is also evident in the Hajiev’s chamber–instrumental work
entitled Dialogiya, dedicated to Shostakovich.

[BOLD] Although your father lived to see the regaining of Azerbaijani

independence, he was primarily a composer during the Soviet period. To what
extent did ideas of formalism and perceived concepts regarding the
comprehension of his music by the proletariat impact his creative freedom?

You are right – my father was an Azerbaijani (Soviet) composer who lived through
several epochs, from the Stalinist era to the contemporary independent Republic of
Azerbaijan! We are all aware of the Stalinist terror and the infamous campaign
whereby all key figures of Soviet music were accused of ‘formalism’, including
Dmitri Shostakovich, Sergei Prokofiev and other great composers. This ruthless
campaign also affected my father.

In fact, my father fearlessly raised his voice in defence of Shostakovich, whose opera
The Lady Macbeth of the Mtsensk District (Catherina Izmaylova) was viciously
criticised and the accusations of formalism levied against him in 1934. My father was
only 19 years old when he defended his teacher – Shostakovich – during his speech at
a meeting of the Communist Party and government officials. Immediately following
this, there was expulsion for my father from the Moscow Conservatory and he was
included on the KGB’s blacklist. However, after the rehabilitation of Shostakovich in
the eyes of the authorities, my father was reinstated.
[BOLD] Your father was married to Amina Dilbazi, the famous folkdancer and
choreographer. To what extent were folk themes incorporated into his work?

Folk music played a principal role in the work of my father. He participated in many
folkloric expeditions during his student years, headed by Bul-Bul Mammadov, the
famous Azerbaijani and Soviet operatic tenor and folk music performer. He produced
extraordinary studies of Azerbaijani folk songs and dances, and particularly the work
of the ashiqs. Jevdet Hajiyev determined the specificity and logic of the distinguishing
traits of our national musical heritage, together with exploring contemporary music,
and fused the two in a phenomenal and dynamic manner.

It is impossible to imagine Azerbaijani music today without his work. In the majority
of my father’s works – in fact, across his entire oeuvre – he used such ancient
Azerbaijani modes as segyakh, chargyakh, shur and shushter, especially in his
symphonies. My mother was his muse and inspiration, and they were married for 63
years. Altogether, they had four children, 10 grandchildren and 11 great-
grandchildren. As a dancer, my mother was unique, and continued performing without
any breaks whilst raising her offspring.

[HEADER] It is still true that Azerbaijani classical music – including that of

Jevdet Hajiyev – is almost unknown in the west. Why is this, and what can be
done to redress the balance?

It is most unfortunate that Azerbaijani music remains virtually unknown across the
world. There is now no excuse for this – we are in the 21st century, and there is no
Iron Curtain or Cold War to which this can be attributed. To date, very little material
has been published in English on this subject.

Firstly, very limited promotion of Azerbaijani music is due to the inertness of such
cultural organisations as the Azerbaijani Composers’ Union and the Azerbaijani
Ministry of Culture and Tourism, in addition to embassies around the world. These
must be more proactive and utilise the expertise and enthusiasm of highly-educated
Azerbaijanis living abroad. Secondly, Azerbaijani music has yet to be published in the
West – this is the single biggest obstacle that must be overcome. The scarcity of
information became apparent when I discovered that the name of Uzeyir Hajibeyli,
the father of both Azerbaijani and Eastern classical music and opera, and other great
composers from my homeland, are absent from the Oxford Dictionary of Music. It is
disappointing that such prominent composers are unknown to so many in the West.

During his lifetime, the music of Jevdet Hajiev elicited a great reaction from
musicians and audiences around the world, but the demand for his music was left
unfulfilled. His piano music was published in 1950s during the Soviet era. We need
cultural lobbyists who can present and promote Azerbaijani art and musical culture
abroad, including the publication of books, selection of musical works, and the
filming and distribution of film documentaries, amongst other activities. I feel
fortunate and grateful that I was able to positively contribute to expanding the
appreciation of Azerbaijani music by publishing a collection of the scores of my
father’s piano music in the UK. This was published in a limited edition in the UK, to
celebrate the centenary of his birth. I was hoping that Hajiev’s music would be
reprinted in his homeland on the occasion of his centenary celebrations; this would
have provided a great opportunity to leave his music legacy to next generations and to
promote Azerbaijani music abroadUnfortunately, very little has been done in this
regard; in particular, the board of the Azerbaijani Composers’ Union did nothing to
publish his rich musical legacy.

We all benefit from international cultural exchange, and it is our duty and
responsibility to protect and promote our cultural heritage for the benefit of future
generations. Hopefully, circumstances will change for the better and assist in
achieving this objective. If the situation does not improve, there is a risk that we may
lose our cultural identity.

[BOLD] The concerts have featured works by Alexander Peskanov – the

Azerbaijani Rhapsody and Spring Concerto. Did Alexander know Jevdet Hajiyev,
and how did they come to be commissioned?

Alexander was unaware of the musical legacy of my father before we met. When I
informed him of the upcoming centenary of my father, he asked for more information
on my parents. He became so fascinated and inspired by their story that he composed
a piano concerto – Azerbaijani Rhapsody – where he beautifully and emotionally
described their love story. One movement tells the story of the famous Dilboz Horses,
which is an evocation of my horse-breeding ancestors in the 18th century.

[BOLD] How are you involved in developing the talent of autistic child
musicians?
I wasn’t familiar with autism until a student with Asperger’s syndrome joined my
studio around a decade ago. For me, as a teacher, working with him was a unique
challenge and experience. I worked with more autistic students over several years,
gained knowledge of the condition, even had several success stories, and became
fascinated by the sufferers’ undiscovered talent and love of music. It has been
scientifically proven that, unlike many other activities, music can engage the attention
of such children. It helps focus their attention, increase their communication skills,
reduce anxiety, and enhance body co-ordination. In 2015, I established the Music
Education and Autism foundation jointly with composer/pianist Alexander Peskanov.

In October 2015, we organised our first Gala Benefit Concert in Carnegie Hall, New
York, where autistic children performed with orchestra. In 2018, we are planning to
organise an international music competition jointly with my colleagues, where
children with special needs will perform. Our objective is to let the students take
centre-stage, enhance their self-confidence and develop awareness of their talent. We
aim to embrace as many children as possible and proudly report that none were left
without our support, or had their talents buried. It is our duty and vocation to help
children with autism enjoy a full, successful life that is full of hope.

[BOLD] How do you see the musical legacy of Jevdet Hajiyev being further
propagated?

The music of my father ranks among the jewels of classical music, both Azerbaijani
and on an international level. Even though his oeuvre was predominantly composed
over half a century ago, his music continues to awaken the emotions of both listeners
and performers. In my view, publication, performance and recording of his works will
continue to delight audiences for centuries to come, exemplifying the music of
Azerbaijan for listeners and performers across the world.

[OPEN BOX]
Visit http://bit.ly/jevdetbook1 to purchase the Jevdet Hajiyev Piano Collection: Book
1 from Amazon (publisher: EVC Music Publications).

Go to www.pervinmuradov.com to learn more about Pervin Muradova-Dilbazi.

See http://bit.ly/jevdetpeace to hear Jevdet Hajiyev’s Symphonic Poem for Peace, as

performed by the Baku Philharmonic Orchestra under the baton of Rauf Abdullayev.
[CLOSE BOX]