STRINGS OF HIS SOUL

When Vamig Mammadaliyev takes his tar and touches its strings, a room is filled with incredible music; ancient and mysterious, like the cosmos. The performance of this remarkable artist can only be compared with heartbeats, while the sound of his tar touches your soul. Vamig Mammadaliyev lives in another dimension when he performs each of his mughams. He believes that mugham, like blood, flows in the veins of Azerbaijanis. The understanding and love for mugham nests in the heart of every representative of our nation, if not immediately. At the end of May, Vamig-muallim received the honorary title of People's Artist of Azerbaijan, and in early June, he celebrated his 72^nd anniversary. The outstanding musician, People's Artist, holder of presidential scholarship Vamig MAMMADALIYEV told R+ about his love of tar, his childhood and youth.

We congratulate you on the high title of the People's Artist! Perhaps it was nice to receive such a gift just before your birthday. On June 9, you turned 72 years old. Congratulations!

Thank you! First, I would like to note that for me the celebration of the honorary title was a double joy. On May 28, together with all the citizens of our country I celebrated the 100^th anniversary of the Azerbaijan Democratic Republic. Of course, it is nice to know that people love and appreciate me. I want to thank the President of Azerbaijan Ilham Aliyev for his high appreciation of my humble work. I gave all my life to music and mugham. I did my best to promote Azerbaijani music all over the world. I do not know how long has been ordained to me by God but I will try to do more to make Azerbaijan, its history, culture and traditions known by as many people as possible.

How have you become interested in tar?

I was born to a large and friendly family living in Kurdakhany. I had four brothers and three sisters. My father was a therapist, my mother was a gynaecologist. They both were respected and appreciated members of our community. It was the time after the Second World War, when almost everyone in the country lived poorly. White bread and sugar were a real treat for us, children. Despite all the difficulties and challenges, we had never complained about life. One could always hear the sound of tar in our house. My father played well on this musical instrument and tried to teach us also. When I was six or seven years old, I listened to my father playing Yeri ha yeri on tar and I dreamed of learning to play as quickly as he did. At that time, my older brothers were already visiting the music club for tar lessons, and I used to quietly listen to their performance peeking through a keyhole. When I turned twelve, my parents sent me to the same music club. My first teacher was Derdayil Aydemirov, who taught me a lot, for which I am grateful to him to this day. As a child, I was left-handed, and I had to retrain a long time in order to adapt to playing on the “right-hand instrument”.

In 1963, I heard that a music teacher was needed in the village kindergarten. I applied to the kindergarten and they hired me. I used to accompany children at various events, taught them folk songs. A year later, I opened a musical circle in Kurdakhany, where I gave lessons on the basics of tar to 25 boys. I remember that a month of training cost 5 Soviet roubles. That was a decent amount that I used to give to my mother. My elder brother Nasim played kamancha, and we were often called to various traditional pre-wedding ceremonies, as well as wedding and birthday parties. People lived poorly but were very sincere. In return, they used to give us a handkerchief full of sweets and cookies, which we accepted gratefully. At that time, people treated musicians with great respect. You walk around the village with a tar, everyone is greeting you with reverence, and you feel like the happiest person on earth.

Then I was drafted into the army. I served in Astara. As soon as I arrived to my unit, I asked my parents to bring me my favourite tar. I spent my military service with music and songs.

How was your life after the army?

I studied at the Asaf Zeynally Music College and the Azerbaijan National Conservatoire. Before that, I took lessons from the People's Artist, khanende, a great connoisseur and performer of folk music and mugham Hajibaba Huseynov. He liked my performance of folk songs. One day he said that he was going to introduce me to a prominent tar player and a great friend of Uzeyir Hajibeyov, Ahmed Bakikhanov. Of course, I was embarrassed and nervous but I did not object my teacher. It was cold and frosty outside, and while we were going to the concert hall, where Bakikhanov and his band were rehearsing. It was so cold that I could not move my fingers. Ahmed-muallim asked me to play something on tar but I could not move my hands. Nevertheless, I performed Xaric segah and I did it wholeheartedly. After listening to me, Ahmed Bakikhanov said to Hajibaba Huseynov: “Just look how he plays. Impressive!” For me, it was the highest praise! After that, I was admitted to the Asaf Zeynally Music College. Unfortunately, Ahmed Bakikhanov died a year later, and Bahram Mansurov became my new teacher.

I was 35 years old when I entered the conservatoire and received my diploma when I was 39. I was, perhaps, the oldest student of this institution at that time. Some teachers treated me with respect by calling me “muallim”. My teachers were the true masters of mugham including Bahram Mansurov, Ahmed Bakikhanov, Haji Mammadov, Adil Geray, Ogtay Guliyev, Sarvar Ibrahimov. I'm grateful to each of them because they gave me a lot. I will always remember my teachers. In 1982, when I still was a student, several mughams that I performed (Xaric segah, Rahab, Bayatı-Şiraz) selected for the State Radio Fund. For a young musician, especially a student, it was a high appreciation of my work. Two years later, I performed three more mughams (Humayun, Bayatı-Qacar, ​​and Rahab) for the radio archive.

In 1985, you recorded and published two mughams, Xaric sеgah and Rahab, at the Soviet record company Melodiya. Was it difficult to reach this nationwide level?

It was indeed. Perhaps, at that time it was a dream of all the musicians of the USSR. I still keep the record that you have mentioned. In 1989, I took part in my first international festival, Falun Folkmusik Festival held in Sweden and represented by more than 30 countries. Azerbaijani mugham impressed the jury and I was awarded the first place. Five years later, I recorded two mughams, Nəva and Rahab,for one of the biggest French record companies Maison des Cultures du Monde. This was followed by a big presentation in Paris dedicated to the release of the album. The record was distributed in large numbers in many European countries and was a great hit. Europeans became interested in mugham – music, which, they say, sounds like a dialogue with the Almighty, a mystery of communication with the cosmos. You know, I have never thought about how much I could earn by selling this music. Money has always been the last priority for me. I was driven by mugham. On a genetic level, it is a part of my destiny. I wanted to be a musician since my childhood and dreamed about playing our folk instrument tar. I am sure if one sets a goal and moves towards it; if one sincerely wishes for something, it will definitely come true. A talent, of course, plays an important role in achieving this dream and needs nourishing. We must constantly work on ourselves, read, perform, gain experience, and learn something new. I am trying my best to share as much knowledge as possible with the young generation of musicians. I believe it will be a sin if I carry my experience and knowledge with me to the other side.

As with other folk instruments, tar also does not tolerate indecent attitude towards itself. This is a very complex and sensitive instrument. It takes quite a while until it is properly tuned and starts “singing” as it should. Tar has very sensitive and gentle strings. You can tune it and then go to the next room for a minute. Upon your return, the strings may no longer sound as needed.

You have a large collection of antique copper utensils. Can you tell us about your hobby?

There were many old copper cups, kazans, and kitchen accessories of my great-grandmothers and grandmothers in our house. Every time I touched the scratches and rubbing marks on their surface, I remembered the house and my relatives. I always liked antiques. They take us back to the past making us feel the connection with our ancestors. I liked antique bowls, kazans so much that I started buying antique dishes in markets. My collection has more than 300 copper utensils, three ancient gramophones and a few samovars.

Can you tell us about your family? Does any of your children or grandchildren follow your example?

I have three sons and one daughter. My sons work on television. My elder son Igbal is a director, producer, and general director of ARB Aran television channel and a board member of ARB Media Group. My second son Salam and the youngest one Gurban work for Ictimai TV. My daughter Narmin teaches English at the secondary school no. 113 in Baku. Unfortunately, none of my children followed in my footsteps, although they have a musical ear. But I have never pressured them. It’s their choice. I have eleven grandchildren, and maybe one of them will one day take my tar to assume my role. I am the happiest person on earth. I have a big friendly family, a favourite job, recognition of the people… What else does one need for happiness?!