THE QUEEN OF ORGAN

The Honored Artist of Azerbaijan, organist and teacher Rena Ismayilova was born and lived for a long time in Baku. She has performed at concerts in many cities of Europe and has taught at the Conservatory as Acting Professor of organ class. She currently lives in Cologne, Germany but continues playing at concerts in German cities. Rena-khanim is the first performer of nearly all new organ works of Azerbaijani composers. In addition, she has made arrangements and transcriptions for the organ the works of world and Azerbaijani classics in two volumes.

In her interview with R+, Rena Ismayilova spoke about her life and work. 

- Rena, how did you become a musician?

- My older sister, now the Honored Artist and Professor of the Conservatory (Baku Music Academy - BMA), Secretary of the Union of Composers of Azerbaijan, Zemfira Gafarova, was my first mentor after she discovered my talents when I was five. She continues being my mentor, I always feel her presence. When Zemfira is with me, I feel calmer. I am graduated from piano school. I was attached to literature, however, I went in the footsteps of my sister and chose the Faculty of History of the Conservatory with a degree in musicology.

- Why music? After all, you grew up in a family of The People’s Artist Gullu Mustafayeva and the Honored Artist Najafgulu Ismayilov?

- Well, I think the desire of my parents to see me a successful musician coincided with mine. I remember that as a child, I took the first place in drawing competition arranged by the magazine “Vesyoliye kartinki”. My mother was working with a ballet dancer, and I drew a dancer also, and a row of trees. I love watercolor, it has more light. Now, living in Cologne, I want to enroll in a school of painting. When studying musicology, I realized that I wanted to be on the scene accompanied with applauses, as a real artist. I wanted to see all that I had seen as a child, performing in front of our neighbors, accompanied by Zemfira, and announced none other than the winner of the Stalin Prize (laughs). I fell in love with organ immediately, not only for its excellent and powerful sound but also due to its magnificent appearance. Indeed, there is no more similar tool like the organ, be it its sound or structure. The appearance of organ is a tribute to baroque, romance and modern structure. No wonder the organ is called the King of Instruments. During his visit to Baku, the well-known Yugoslav organist, Željko Sojčić, prophesied to me the title of the Queen of Organ. After the Conservatory under the mentorship of the talented organist and remarkable man, Prof. Zara Jafarova, I began my postgraduate study in Moscow under Prof. Leonid Roizman. Since I lived with my friends, away from the place of study, I was very late for the first lesson at 7 am. Professor was waiting in the hall looking at me very expressively. I was so ashamed that from then on I would take a taxi and arrive half an hour earlier than my teacher arrived. During my studies, I worked a lot, attending concerts and rehearsals. I would listen and absorb everything like a sponge. Communication, both in Baku and Moscow Conservatory, with the best musicians of the world was at the highest level and remarkable. Then began the next phase of my life associated with pedagogy. I have had many students, including winners, whom I love and am proud of them.

- Tell us a little about the organ

- Organ has three rows of keyboards on top and various registers, which are regulated during the performance by an assistant. They change the pitch and timbre of the sound. We also work with our feet on pedals. Organ is an electrically powered instrument. No power and it can turn off. It is not an easy job to tune it either – an expert enters the inside of organ and begins tuning the instrument. We have become friends with organ. It relieves negative charges and charges me with positive energy. It is fantastic! It is not easy to play organ, as some believe. But I'm in love with my instrument! Barely touching him, I feel taking off the ground straight into the space.

- In your repertoire, you have elements from Gara Garayev’s Don Quixote. It is known that the composer has not written it for the organ.

- This is one of my successful transcriptions. I have developed an interest in organ music of Azerbaijan since 1971. Since my first year at the conservatory, I have shown myself as a talented accompanist and a soloist, performing with chamber orchestra. I soon became friends with our renowned composers - Vasif Adigozalov, Agshin Alizade, Farhang Huseynov and others. They believed I could be the first performer of their works for organ. I am trying to keep the Azerbaijani organ music. Therefore, I have published two volumes of transcriptions for the organ. Some works, written originally for other instruments, sounded just fine in the organ.

- At one of the festivals, you performed “The prelude to Gara Garayev’s memory” by Jalal Abbasov. And at climax of the performance, you have almost fell on the keyboard. Was this for an external effect, or for powerful sound?

- For a more powerful sound. “Ave Maria” by Farhad Badalbeyli, performed by two singers - Farida Mammadova and Sabina Asadova, has also sounded perfect in organ. The soprano in Sevda Ibrahimova’s “Ithaf” (Dedication) is also very good when performed in organ. The number one on my concerts is the mugham “Bayati-Shiraz” by Nazim Aliverdibayov, which I love to perform. I like its power, brightness, effects. It is always accompanied by standing ovation from the audience.

- What about your life in Cologne?

- I have been living here for 10 years. This is a beautiful German city on the Rhine. There are many well-kept parks for recreation. And I really love nature. When I first entered the church, I saw enlightened persons anxiously listening to music. This was so exciting that I began to cry. There are a lot of churches, cathedrals with organs here. I also found a place for my rehearsals. In Baku, the audience is demanding and more sophisticated in music than in Cologne, where it is attentive, intelligent, does not make unnecessary movements during the performance. I often play at church services. For a concert, it is necessary to apply in advance to negotiate a program. In Baku, I once assisted to the organist from Leipzig, Wolfgang Schatelich, we then became friends. He sent me by mail almost 9 volumes of Bach's music. He invited my parents to Leipzig. At his home, he showed us a beautiful white cabinet organ, which was made by his father-in-low. He worked with me on Bach's organ. I gave my first concert in Germany at the Church of St. Joseph, where I also performed works of Azerbaijani composers. In Cologne, I met an amazing woman, organist, conductor and singer Angelika Müller. Together we performed “Ithaf” by Sevda Ibrahimova, who was visited Cologne specifically for the concert. Her angelic voice was indescribable, as if from the heaven. On another concert, Angelika sang “Ave Maria” in Azerbaijani language in the presence of the author, Prof. Farhad Badalbeyli. There are usually many Azerbaijanis at these concerts, who live in Cologne and other German cities. The organization of such concerts is thought to be good - invitations, posters, photos. It is a shame that I cannot visit Baku often. In Germany, I recorded two CDs of Azerbaijani music, along with the famous organist Jürgen Wolf, who played excellent jazz music. As long as I can be on stage, I will certainly promote Azerbaijani music, which sounds great on organ.

 - Do you have hobbies and dreams?

- I'm studying foreign languages, I can speak English and French, and am mastering my German. I do not forget about the painting. My dream is to play as much Azerbaijani music as possible.

- Good luck to you!