THE SPIRIT OF MAJNUN

Many people ask what mugam (a mixture of classical po-etry and improvised music in a specific local mode) is. Some performers refer to it as the "art of a state of being", which al-ways has its own sense and order. But what does mugham mean to Mansum IBRAHIMOV, a well-known performer and People's Artiste of Azerbaijan, a disciple of the Karabakh school at the present stage? The eminent mugham performer spoke to R+ about this in an interview.

- First of all I would like to note the enormous interest in our music shown by music lovers in Europe. They have the most famous variety singers, the top vocalists, and hip-hop performers; we are the only ones to have mugham. This is why the Europeans are so interested in mugham. For example, two years ago at a festival in Copenhagen we were allocated a 45-minute slot, which we all decided to fill it with mugam. At the festival our group was called the "Qarabag Ensemble". This is what we call ourselves everywhere abroad. Naturally, this is the musicians' idiosyncratic policy. In the final part of the festival we performed "Garabaq sikastasi", after which one of the Danish journalists came up onto the stage, kneeled down and kissed the flag of Azerbaijan and bowed to it. This made us feel really good. Throughout the world people are generally in agreement that a single melody can do what politicians fail to do. Thanks to our music, to be more precise mugam, this view is manifest once again.

- You came to the Opera House at the invitation of Sovkat Alakbarova. From whom did you learn the part of Majnun?

- There's an interesting story to that. As you know, I grew up in Karabakh. At that time I watched a production of the opera "Leili and Majnun" on state television with Arif Babayev and Zeynab Xanlarova singing the main parts. After that I felt that I really wanted to do that, so I went to the Asaf Zeynally music school in Baku. During my time at the school there was a musical competition to mark the birth centenary of  [the opera's composer] Uzeyir Hacibayov. I took first place in the competition. This is when I became acquainted with Sovkat Alakbarova, who was a member education. One day she told me that my place was at the Opera House. "You will make a good Majnun," she said. Then she had a word with the theatre director, and the arts council decided that I should join the theatre. The first time I sang in that opera I sang the part of Zeyd. In 1993, the theatre's management changed, and Arif Malikov became the director. That was when I began to sing the part of Majnun. It took me eight months to learn that part. I observed how others like Arif Babayev, Canali Akbarov and Baba Mahmudolgu had performed that part before me. At the same time, I sang the part of Zeyd in the opera with them. I learnt a lot from them, but still tried to create my very own Majnun. The first time "my Leili" was Gulyaz Mamedova. Up to the present day seven singers have sung the part of Leili with me - Qandab Quliyeva, Nazakat Teymurova, Sakina Ismayilova, Aygun Bayramova, Simara Imanova, and Gulustan Aliyeva. You could say that I'm the Majnun who has sung with the largest number of Leylis.

I have been singing the part of Majnun for 20 years now. I sang this part during the performance at the centenary of the opera "Leyli and Majnun" at the UNESCO International Theatre Institute in Paris. A few years ago, when the 500th anniversary of the saga's poet, the great Mahammad Fizuli, was celebrated, Azerbaijan TV (Aztelefilm) made a film of the opera "Leyli and Majnun", in which Majnun sings with my voice. This year, on the eve of the mugham festival, a 50-minute-long film was made of the opera. This was a completely different project. The plot of the opera was retained, but only Leili and Majnun were filmed. Other characters were not present. The State Chamber Orchestra conducted by Teymur Goycayev provided the music for the film and a choir directed by Gulbaci Imanova and the State Dance Ensemble took part. People's Artiste of Azerbaijan Aygun Bayramova sang the part of Leili opposite me. The Merited Artistes Elcin Hasimov and Elnur Ahmadov accompanied us. The producer was Mehdi Mammadov, the grandson of the outstanding actor Mehdi Mammadov. The opera film caused a big stir among the public and the well-known French star Gerard Depardieu came to see it. The main aim of making this film was to be able to show the opera on small screens at festivals.

- Mansum, as you know Majnun is quite a young person in the work. What do you think? At 52, are you a bit too old to sing Majnun?

- To tell you the truth, there are even 20-year-olds who are already spiritually past 70. No matter what their age is, anyone who goes out onto the stage as Leyli or Majnun, may not cope with the responsibility he is shouldering. Many people sing that part, but no one remembers them. It depends on the extent to which the performer brings the part to life. There are performers of all ages in the theatre. On the stage each one becomes the character that he is supposed to be. You know, it's a big responsibility. Every time you go out onto the stage you feel as if you are being tested by the spirits of the authors of the work, by the brilliant poet Mahammad Fizuli and the outstanding composer Uzeyir Hacibayov. What is most important is that the audience is mainly made up of young people. Sometimes young people are reproached for wanting it to be like a musical, but I don't think that's what they want. This can clearly be seen from the fact that "Leyli and Majnun" is not a musical at all, but a tragedy and most of the audience are young people and university students.

- It is impossible to get tickets to Mansum Ibrahimov's performances. If he doesn't appear on stage for a few months, everyone starts to get worried and take an interest in what's happened to him. Does Mansum Ibrahimov know of a young performer whose absence makes audiences ring the theatre director to find out what's happened to him?

- Only time will tell. Naturally, we have many talented young performers. But it's not enough just to have a good voice. One needs other interesting qualities besides being an accomplished singer, like acting skills, external appearance, and the ability to empathise with one's partner, to be aware of the very soul of Majnun. All this is not just achieved by hard work and enthusiasm. A person is born with this talent. It is such a wonderful art that even your kith and kin will not listen to you if they don't find it pleasing. If Allah has given you a splendid voice, then you should use it to serve your people. We have undoubtedly cribbed all that from our mentors and top performers. Today the mission to do this has fallen to our lot. We are therefore trying to get the young to follow in our footsteps, to pave the way for them. We are obliged to keep the true path, so that those who come after us don't lose their way.

For example, I am running the "Ever younger mugham" project, on the basis of which I am already organising the fourth concert this year. Other young mugham performers have been invited to it as well as my own pupils. A young performer from Iran has been invited too. I think this is a good project, which is helping young people to improve their playing. I'm not asserting that they will all become great musicians, but I feel sure that some of them will become extremely accomplished. At least, I believe that I have done something beneficial for my people and my state.

It is a must that we preserve and continue working on the Azerbaijani school of mugham. I want to point out the efforts aimed at supporting young people that are applied by the Heydar Aliyev Foundation and especially by Mehriban Aliyeva.

- What has Mansum Ibrahimov himself learnt from Majnun?

- The first time I played the part of Majnun, it was very well received by the audience. I was praised on television, by the audience and by eminent performers. I have hidden the recording of that performance well away. This is not because there were mistakes in it. On the contrary, every word was pronounced correctly, for had learnt the words off by heart and sang them splendidly. But my heart wasn't in it. I didn't throw myself into the part properly, but just learnt it off by heart. As the years go by, I sometimes forget myself on the stage, become totally absorbed in the part of Majnun. I'm actually completely devoted to what Allah has given me - my motherland, my parents, my people, nature, mugham. It is much easier to live when you approach everything lovingly.

- Have there been times in your life when you have thought that you could have done something, but you didn't?

- It would take a lot for me to take risks. I have always spent a long time weighing things up, convincing myself that what I am doing is right for me. So, I have never regretted what I have done. But I'm always busy. Believe me, every time I get an award, an honorary title from the state, every time I think that I have just been working, just been trying for the sake of art and not for a reward. I am of course pleased to receive them because these awards are a reflection of the people's and the state's love for me. At the same time, they make me even more aware of my responsibility and I work even more eagerly. Therefore, glory be to Allah, I do not need to regret anything. Everything that was destined to happen to me came at the right time.

- What comes to mind first and foremost when you hear mention of  Agdam? What mugam music would you devote to Agdam?

- First and foremost I recall my childhood, which I spent in Karabakh, in Agdam. I am obliged to Karabakh for my voice. True, in Azerbaijan every corner is splendid, there are talented people everywhere. But I think that if I had been born in a different area, I would not have had such a fine voice. I owe my present status in society to that land. I am a little particle of that land, which constantly attracts me there. Karabakh is a source of great pride to us, it is our singing voice, our very breath. Azerbaijan will have no future without Karabakh. There is no other way. We cannot simply leave that extremely serious problem to our children to deal with. The state and the people will resolve that problem together and return those lost lands to us. I know that is the most important desire of every citizen in our country. But for those who were born in that land, it is a particularly serious source of bitterness. I find it very difficult, even sorrowful that I cannot even visit my motherland. I can only see it in my dreams. I feel sure that we shall liberate those territories and perform "Qarabag sikastasi" there.