"HE WHO WALKS IN THE FOOTSTEPS LEAVES NO TRACE..."

Even the strongest person sometimes looks weak and defenceless when it comes to the homeland lost with childhood and adolescence. But on the proud face of our interviewee - young singer Babak Niftaliyev, weakness and vulnerability were not felt at all, although the famous singer could not hide his longing for his native Karabakh. It is no coincidence that the mugam "Qarabag Sikastasi" occupies a special place in his repertoire.

- First of all, tell us about your recent trip to Italy...

- In late June Vafa Valiyeva and I went to Rome, where, accompanied by Sahriyar Imanov and Elvin Ibayev, we gave a concert of Azerbaijani folk songs and mugam. It was an absolutely different concert programme compared to previous ones. We performed without a break, singing one song after another for 45 minutes. Before the trip, Professor Siyavus Karimi listened to the programme and liked it very much. We returned to the stage for an "encore" twice. The programme began with "Sabi-Hicran", then "Iravanda hal qalmadi" and "Simayi-sams" were performed and of course, we completed the performance with "Qarabag Sikastasi".

- Probably, young singers like you are sent on foreign tours after careful selection.

- Each of us takes a direct part in the ongoing projects in the country. This may be projects by the Ministry of Culture and Tourism, the Heydar Aliyev Foundation and other organizations, which, in a sense, contributes to the formation of our programme. For example, in most of the projects I perform the "Song of the Blind Arab". Therefore, if it is necessary to perform this song somewhere, they definitely invite me. The same applies to other performers who managed to distinguish themselves with the performance of specific works.

Mugam is developing especially rapidly in Azerbaijan today. This is due to the efforts of Goodwill Ambassador of UNESCO and ISESCO and President of the Heydar Aliyev Foundation Mehriban Aliyeva, for which we are eternally grateful to her.

We toured a number of countries. There is no such centre of mugam in any corner of the world, but we have one thanks to the assistance of Mehriban Aliyeva. The mugam performers who preceded us overcame many difficulties to protect and preserve it. The political regime that existed at the time had imposed a number of restrictions. For example, I've heard from our masters that it was forbidden to perform the mugam "Humayun" at the time because it was based on a slightly sad note. Now we have not only complete freedom, but also full support. Although earlier in the Oriental Motifs festival in Uzbekistan we took first place or won the Grand Prix, personally I always regretted and was jealous that we had no such festival here. Now, thank God, our dream has come true, and Azerbaijan also hosts international mugam festivals and implements a number of international cultural projects.

- In an interview, you said that your biggest dream is to play the role of Majnun. Has your dream come true?

- You know, it is the cherished dream of every singer to play in this great work and leave his mark in its history. I also dream about it. But there are certain aspects you cannot touch on. I hope my dream comes true. In a certain sense, I have partially achieved my dreams. Going on a tour in Sweden, we specially prepared and performed "Layla and Majnun" with Vusala Valiyeva in a new style, in a dynamic manner. I think it turned out well.

- Did you tell your mentors about this innovation? Did they react conservatively?

- No, thank God, there was nothing like that.

- Are there pop songs in a synthesis with mugam or songs in a different genre in your repertoire?

- I performed Eldar Mansurov's work "Bahramnama". This music is considered close to the genre ofpop rock. In between the song, I sang mugam. I think this project has to be met with great interest.

- Have you received such offers from foreign groups?

- Not yet. But if I do, I will consider them.

- In Karabakh, including among the population of Kalbacar where you were born, there is certain conservatism in relation to mugam and its performers. Do you consider this when selecting synthesis projects or other innovative proposals?

- Each singer has his own audiences with their unique views and attitudes. That's why I'm always critical of myself and my performance, analyzing it from the side. I also consider the offers received as a stranger. If there is something that is contrary to the conservatism you mentioned, of course, I refuse. There are certain things, which I refused. I thought if I agreed, I'd lose face. For example, the first pop song I performed was "Sansiz kecan gunlarim" ("The days I spent without you") by maestro Ceyhun. When I received an offer from him, I did not agree immediately. I thought I'm a mugam singer and I can't sing this song. But at the urging of Ceyhun, I went to the studio and sang it. They say it turned out good. Then, taking into account the opinion of the audience, they even filmed a clip directed by Fuad Alisov.

- Sometimes our elder artists criticize the performances of young singers at weddings. What do you think about this?

- Previously, the interest in mugam was not like now. When we went to weddings, the owners asked us not to perform mugam. For example, I myself was forced to perform banal songs. I had to learn them by rote all day long. But recently, after the appearance of care for mugam in Azerbaijan at the state level and mugam competitions, the interest in it also increased at popular celebrations. Now, inviting us to a wedding, they specifically ask us to perform mugam.

- Have there been instances when your trio was invited to sing mugam, but you felt the reluctance of the audience to listen to it? What did you do in this situation?

- The singer himself must feel it. It is a moment that requires some ingenuity. Whether the audience wants a long or short mugam can be felt from the length of applause. If the audience is made up mostly of young people, I perform classic songs. But I will not be mistaken if I say that nowadays young people make up the majority of mugam listeners. They have already realized that it is real music. Mugam is a phenomenon that compels sensible minds to think. Our teachers always remind us of one interesting expression by Uzeyir Hacibayov. He said that mugam drives the head and other music - the legs.

- You said that you take into account the composition of the audience. So, are you working for the audience?

- I believe that the audience is an important factor.

- What about the view that a master should be able to lead the audience?

- This opinion concerns television. On television, the singer leads the audience. But at popular celebrations, you should consider the opinion of the audience.

- Do you frequently remember Karabakh?

- Of course. Karabakh is my cradle. It is a childhood memory. Only I know how my heart bleeds every time I play "Qarabag Sikastasi". No matter how strong you are, you feel powerless when you reach the area adjacent to occupied Kalbacar and know that you cannot continue to drive. I have been to those regions many times and each time I could not hold back tears and washed them away with water from the river, originating from those regions. Karabakh is the most sacred thing I have - it is the cradle of my mugam.

- By the way, you performed a song about Kalbacar...

- Yes, that song was the dream of my heart. I considered it my duty to perform such a song. I am a person who never forgets his past, I am a son who lost his home. Kalbacar is my past, my present and my future.

- Did you inherit your voice or is it a gift from the land of Karabakh?

- Naturally, the Karabakh land also played a certain role. But my maternal grandmother also had a beautiful voice. They say she sang "Qarabag Sikastasi" beautifully. Relatives and friends say that my voice is from her. In Kalbacar, asuq music is more popular. Therefore there were few mugam singers. But now we have a growing number of mugam singers. Taking care of mugam reinforces the interest of the youth in it. Observing each other's work, the young strive to be like the best of the best. For example, I have always tried to become a master like Alim Qasimov. He has been my ideal since childhood. I decided to perform mugam under his influence. I'm in love with his work. I can repeat the performance style of Alim Qasimov accurately, but I've never wanted it. "He who walks in the footsteps leaves no trace," our ancestors said. I've always lived by this principle. I don't want people to say that Babak performs in someone's manner. Let them say that Babak has his own style of performance.

- Recently, there has been talk that honorary titles will be abolished. This question was raised even in the parliament. Do you think it makes sense to award honorary titles to masters of art?

- If I do my job with dignity that corresponds to the criteria of my people, why shouldn't I get a title of honour? It inspires people, encourages them, they love their art even more. For example, when I was given a presidential scholarship, my joy knew no bounds. Respectively, my responsibility increased as well. Once again, I realized that in order to move forward, you need to work even better. Elders tell us that if we spare no effort for the sake of our nation and our state, we will be awarded honorary titles. But sometimes they are claimed by people who have not lifted a finger for the sake of the people but have too much ambition.