TARZEN OF LITE DARKNESS

Ismayil Zulfugarov is a multiple winner of international music competitions. Known for his jazz, classical and r&b/electro (contemporary R&B) music, he has successfully represented Azerbaijan in Türkiye, France, Russia, China and Lithuania. Zulfugarov has also shared the stage with the renowned French musician Philippe Gagnier (Filigan), where he has performed a rock music with an orchestra. He believes that the national instrument should be treated with reverence. Without abusing its primordial nature, it is necessary to reveal tar's wide potential, thereby promoting the Azerbaijani music all over the world.

"How did you start your journey into the world of music?"

"Music education has played a huge role in my development. I received valuable knowledge at the Bulbul High School of Music. In 2013, I continued my studies at the Azerbaijan National Conservatoire. Umud Ibrahimov, the Honoured Teacher of Azerbaijan, tought me notes there. He played an instrumental role in my personal and professional development. I took mugham lessons from the People's Artist of Azerbaijan Aghaselim Abdullayev. Among my teachers I would also like to mention Shahriyar Imanov, with whom I later performed a duet. In 2017, I began my master's programme. I was lucky to have the honoured artists Sahib Pashazade and Elchin Hashimov as my teachers. Currently I teach at the Azerbaijan State University of Culture and Art. I teach students to play our national instrument, tar."

"Why tar?"

"I began to develop an interest in tar as a child. I used to freeze in front of the TV screen when I heard someone playing the tar. It was hard not to notice my passion for music. So my parents decided to buy me a tar. Generally, I grew up in a musical family. My grandfather and uncle loved playing the tar. They were self-taught. Only my aunt had a musical education and started playing the harmonica professionally. It was she who insisted on sending me to a music school. I think parents should pay closer attention to what their child is interested in. Is it worth sending a child to a music school if he or she shows no love or interest at all?"

"Sometimes parents choose a profession for their children solely thinking of how profitable it will be. The same applies to the way of thinking among the youth..."

"Children do not think about income. They follow their calling. A practical person certainly thinks about profit first. Since my youth, I have performed in various concerts and joined a variety of competitions. It was the success of my performances that made me continue in this direction. Believe me, any success sooner or later brings money. I think I chose the most appropriate field for me. My only objective was to become a good musician and then a good professional. It is important to note that understanding and performing music professionally are different things. I have learned to play several musical instruments, including classic guitar, oud, piano, and of course the tar, which, unlike other instruments, I play like a professional. It takes time and a lot of diligence to become an expert at something. In my performances and arrangements, by the way, I often use my skills acquired while playing other instruments."

"It is believed that education is not as important as talent and outlook in the creative industries. Do you agree?"

"I will never deny the role of academic education in the development of any person in any field of activity. Education is the foundation that forms the right direction in personal development. Nevertheless, in music and art it is indeed the creative realisation of one's inner world and worldview that counts more than education. Yet, how can one create a quality music without having a certain amount of knowledge?"

"There is no limit to knowledge. Where do you get your new ideas?"

"From the social media! I'm constantly listening to YouTube channels of musicians from all over the world, learning about different world instruments, performance techniques and, of course, different genres. This helps me in creating my own compositions. Tar has a lot of potential, and the role of musicians is to discover and reveal the technical and dynamic aspects of tar and to diversify their performance. For example, I love listening to electronic music, especially R&B, which I base my music on. That's how I'm trying to contribute and breathe new life into our traditional music.  I can tell you about my own melody 'Aura' which is played on three string instruments - guitar, oud and tar. I also create music based on jazz. This genre of music brought me success at the Baku International Jazz Festival, where I was the second prize winner. But most of all I like to create in free style. There is no limit, no special technique. Only a feeling and free expression of inner feelings. I performed similar compositions in my solo concert also called Aura. I was in my first year of graduate school at the time."

"What is your melody Spirit about?"

"It is about my inner world, about what my soul wants. Maybe it is about what I have already found on my path. Who knows?! (smiles). I think it helps the audience sense my attitude towards music in general."

"You often collaborate with different musicians from different parts of the world, creating a synthesis of national and foreign music. Tell us about your common projects..."

"One of the interesting projects was with the French guitarist Philippe Gagnier (Filigan), who came to Baku through the French Embassy in Azerbaijan. After meeting him, we decided to conduct a mini-festival of tar and guitar, which implied the synthesis of two different genres. We organised several concerts together. Our preparations took very little time, and the language barrier allowed us to speak only the language of music. During the concerts, there were common projects between the Azerbaijani performers of national music and the famous French chansoniers. I would also like to mention my performance with the IP Orchestra conducted by Igor Ponomarenko. Performing on the same stage with this musician and his orchestra was another fascinating experience. Together we performed Cambaz of the Turkish rock band Mor ve Ötesi, as well as the epic Led Zeppelin song Kashmir. And, of course, we had a wonderful experience performing with the Brazilian trio Tico-Tico."

"How did the idea of performing together come about?"

"Brazilians were planning a tour to Azerbaijan. They had heard my rendition of the famous Brazilian tune Tico-Tico no fubá on YouTube and offered to perform together during their concert. Of course, I gladly accepted the offer. We made a synthesis of Brazilian instruments with Azerbaijani tar, and I think the result is very interesting. It was confirmed by the storm of applause in the hall. By the way, the scope of tar's opportunities impressed my Brazilian guests."

"Do you do your rehearsals with foreign artists online?"

"I can't imagine making something creative online. You can talk, discuss something in the virtual world, but creating duets or rehearsing a concert online is something that doesn't fit in my mind. Preparing for a performance should take place live. That's my personal position."

"Tell us about your tours. Which ones do you remember?"

"I have performed on various world stages, including during tours, festivals and concerts. I remember each of these performances, as I was presenting our music to a worldwide audience. I have been truly impressed in doing so. My first tour took place when I was in an eleventh-grade student at school. I joined the festival Moscow Meets Guests, where I was awarded a gold medal. I still remember Polad Bulbuloghlu's speech at the festival, when he told the audience about the Azerbaijani music. They listened to him very carefully. Then I performed with the mugham trio Shusha at a festival in Lithuania. I also visited France at Filigan's invitation. There was a festival there, where we jointly performed musical compositions - a synthesis of guitar and tar. In Istanbul I premiered Pike Akhundova's Su kadesi oratoriyası with choir and orchestra. I performed together with my Turkish colleagues."

"Do you have the moments of exhaustion after so many tours, concerts, teaching and composing?"

"I don't really look for motivation or inspiration for my work. The very process of working and the realisation of the chosen path are an impulse for me to move forward. The moment I get discouraged, I start to create something new. That is the driving mechanism."

"What does the term "darkness" mean to you? You occasionally mention it in your social media posts."

"I don't really put any special meaning into those words. For me, darkness means calmness, solitude and silence. Especially when I'm playing the tar. It seems strange, but the darkness motivates me. It is part of my creative process. Creating melodies by moving away from the world of light and plunging into total darkness seems beautiful to me. Darkness is a space where one can more easily find and know oneself."

"How do you keep up with trends and remain interesting to contemporary audience with a traditional national instrument?"

"We live in the age of technological innovation. It's hard not to notice how rapidly everything is changing around us. That said, I think that the beauty of our music and instruments is their traditionalism. Undoubtedly, it is important for us, musicians, to take into account the trends and preferences of the audience. It is true that Azerbaijani artists create modern music. Meanwhile, we preserve the primordial nature of our culture. For me, it is important to make tar popular all over the world. By creating ethno-electronic or R&B music, I wanted to show the ties between the national music and modernity."

"But it is also true that many older musicians oppose the modernisation of instruments and music..."

"The roots of mugham go back to the East. Every nation performs mugham differently. Our Azerbaijani mugham differs from that of other nations by its unique keys and character of performance. I believe that national instruments must not be changed, the foundations should not be changed just because the audience or time demands it. To modernise music and instruments means making some changes to the sound and technique of performance without distorting the music or the instrument in any way. Azerbaijani music is unique and beautiful in its original form."