"THE JEWEL OF EASTERN MUSIC"

The xananda [singer] Islam Rzayev was reliving the peak of his fame as he told me with great pride about his first success: "Seyid Susinski approved of my voice". Seyid Susinski's approval and recommendation bound Islam to a career as a singer for all time. Because Seyid was a master of this art. His commendation was the greatest appraisal, the highest honorary distinction and the most memorable title for young singers…

Acknowledged and loved not only in Azerbaijan but in the neighbouring countries, the most popular singer of his age, People's Artiste, recipient of the "Badge of Honour", Merited Artiste Seyid Susinski, even at the peak of his fame, recalled with gratitude the venerable singers he studied with and was proud he was a pupil of Jabbar Garyagdyoglu.

Seyid Susinski was born on 12 April 1889 in the village of Horadiz in Susa [Shusha; town in Karabakh] province. His real name was Mir Mohsun Aga, but he was called Seyid because he belonged to a generation of Seyids (an honorary title of Muslims for descendants of the Prophet Muhammad). For this reason musicians treated him with reverence as "Aga" (Sir, Master). Having lost his father Seyid Ibrahim at an early age, he grew up in the care of Mashadi Hurzad, his aunt on his mother's side, an educated woman who had a beautiful voice and used to sing at weddings in Karabakh. Seyid spent his primary education at a medreseh in Horadiz. He studied Arabic and Persian. After graduating from the medreseh, he studied the craft of tailoring and occasionally appeared at religious ceremonies and folk festivals.

"Glory to you, Most Divine One!"

Later, together with his second cousin on his mother's side, Seyid began to perform at weddings. In 1907 his performance was heard by the celebrated singer Kecacioglu Mahammad, who was very impressed with Seyid's singing. He advised Seyid's uncle to seriously encourage the young man's musical education. Mashadi Seyidali, who was a neighbour of Jabbar Garyagdyoglu's in Susa, took the young nephew under his wing. He made sure that Seyid studied the mugams, got him to learn the verses of Saadi, Hafiz, Fizuli and Zakir by heart and to sing them to the tunes of the mugam and took him to Navvab's musical evenings. And he also heard Jabbar's voice live, not in gramophone recordings. It was Jabbar Garyagdyoglu's influence that played a big part in establishing Seyid as a singer.

…A concert at the "Summer Club" in 1908 was an unforgettable one for the people of Susa. Seyid Susinski, too, recalled that evening with immense affection right up to the end of his life. The most illustrious singers of Karabakh took part in it. It was 9 o'clock in the evening. The people of Susa listened to the seductive voices of Jabbar, Qasim, Mashadi Mammadali, Hamidi and Kecacioglu. This is how the celebrated singer Islam Abdullayev remembers that day: "When Seyid switched from the 'Xavaran' section of 'Bayati-Shiraz' to 'Qatar', not only the audience but the illustrious singers were amazed. Because to make such a switch demanded not just a wonderful descant, but also skill and courage. The young Seyid's masterly switch from one mugam to another seemed a real miracle to me, to be honest." When Seyid stood up after his performance the audience applauded long and loudly. They quietened down only when Xanliq Muxtar, a person who was respected in the town and was on duty in the khan's palace, fired twice into the air. Kecacioglu Mahammad said: "Glory to you, Most Divine One!"

After the concert Jabbar Garyagdyoglu climbed on to the stage, embraced Seyid and said, with tears in his eyes: "Folks! Now I can die happily. I have nothing to be sorry about because Seyid will come after me!" Later, Jabbar Qaryagdioglu, deeply touched by Seyid's performance, handed him his qaval [type of tambourine]. "Seyid is the jewel of Eastern music…" That was what the great master Jabbar Garyagdyoglu thought of Seyid Susinski's art. Since that day Seyid's fame has travelled the world.

Mashadi Seyidali would not allow his nephew to sing at weddings: "He's still young. Before becoming a xananda, he must study the secrets of the world of music." In order that Seyid would immerse himself in the eastern mugams and the charm of folk music, his uncle took him to Navvab, from whom the young man received a musical education for over two years. In 1910 Navvab advised him to sing at festivals and music events.

In Susa Seyid became one of the favourite singers of this town's demanding audience, who were well versed in the delicate nuances of music. At one wedding Seyid met Fikrat Amirov's father, Mashadi Camil Amirov, who liked the young singer's work. Mashadi Camil took Seyid with him to Ganca where Seyid's voice charmed the people of the city. He became so famous that he received an invitation from Tiflis where he moved to in 1911 and lived until 1919.

Tiflis' literary environment had a great influence on the 22-year old singer. His first performance there was at the "Public Meeting" club. He visited theatres, where he gave concerts in the intervals of shows. The music lovers of Tiflis also loved Seyid's work and often invited him to music evenings.   

Audience of an arts patron

In Tiflis Seyid won fame not just as a singer with a captivating voice but also as an arts patron. In 1912, at the initiative of the editor of "Molla Nasraddin" [Nasreddin] magazine, Calil Mammadquluzada [Jalil Mamedguluzade], Alimirza Narimanov and Yusifbay Tahirov, and with the direct support of Seyid Susinski, a new club entitled "Audience" opened in the Azerbaijani populated part of Tiflis [Tbilisi], Sheytanbazar. At the opening ceremony of the club Seyid Susinski sang "Mahur", accompanied by Mashadi Zeynal playing the tar. He passed on his income from the concert to the club. Concerned about the progress of his people and their future, Seyid also helped the actors of the Muslim Dramatic Society at the club. Playing the parts of ibn Salam, Asgar and Sarvar, he refused to accept any money for this. Actors from Baku also came to Tbilisi for material aid. Becoming famous for his generosity, Seyid gave them money and gifts.

Many people recalled Susinski's generosity. For example, in 1913 Mirza Calil told the actor Haciaga Abbasov: "Haciaga, our magazine has not been publishing for the last two months. It's good that Seyid has come from Batumi and given money for 'Molla Nasraddin'. He then sent me 200 roubles in gold."

The youngest singer of those years, Seyid Susinski was a wealthy man. Performing with gifted exponents of the tar not only in Azerbaijan but also the neighbouring countries, he was showered with money and jewels. In his reminiscences of Seyid Qurban Primov wrote: "Seyid and I were at a wedding in the village of Mirzalar, Susa Province. It was hot. After Seyid had finished singing, they made him a cap out of several Tsarist bills worth 500 roubles, stuck it on his head instead of a sheepskin hat and said: "Aga, it's hot. Try on this paper cap and you can have it." Seyid was friends with such outstanding writers as Mirza Calil, Abdurrahim bay Axverdiyev and Huseyn Cavid. He met the great actor, Huseyn Arablinski, in Tiflis. At that time theatrical groups from Baku set off on tours to Tiflis. During one such trip they struck up a friendship. Together they organized "Eastern Concerts" in Tiflis.  It was Huseyn Arablinski who encouraged Seyid Susinski to first perform "Bayati-Isfahan" standing, accompanied only on the piano. Seyid Susinski contributed much to the popularity of Azerbaijani music and folk songs. He appeared with the Eastern Music Ensemble at concerts in various parts of the former USSR.

A rare talent

The great Azerbaijani composer Uzeyir Hacibayov described Seyid Susinski, who had a profound knowledge of the subtleties of the mugam and possessed a beautiful voice which captivated audiences with its unique roulades, as a rare talent.

Seyid Susinski added new sections, parts, overtones and style of delivery to many mugams. The composer Fikrat Amirov wrote: "If Jabbar Garyagdyoglu was the brains behind folk music, Seyid Susinski was its beating heart. I am proud to be able to say that Seyid Susinski was a direct help to me in composing the symphonic mugams 'Sur and 'Kurd ovsary'. Seyid not only knew Eastern music, he was an attentive teacher and a fine man." Seyid also contributed to Niyazi's composition of the symphonic mugams "Rast".

After 1919 Seyid lived in Baku for 46 years and played a big part in the musical life of the city. In 1926, at the initiative of Uzeyir Hacibayov, he was invited to the Azerbaijani State Conservatoire. Here, together with Jabbar Garyagdyoglu and Kecacioglu Mahammad, he gave a new singing class. Having worked in the conservatoire until 1933, Seyid Susinski made a great contribution to Azerbaijani music as a teacher. Among his pupils were such celebrated singers as Xan [Khan] Susinski, Zulfi Adigozalov, Mutallim Mutallimov, Cahan Talisinskaya, Suraya Qacar, Yavar Kalantarli, Islam Rzayev, Yaqub Mammadov, Rubaba Muradova, and others.

Even in the most reactionary period of Soviet power he never betrayed his choices. This is how Firudin Susinski described him: "An indigo suit, black silk shirt, silver sheepskin hat ("heivacicayi"), white gloves and an ivory walking stick." During the period of terrible repressions in 1933-1938 Seyid Susinski was artistic director of the Fizuli District State Drama Theatre. In 1939-1960 he was soloist at the Azerbaijan State Philharmonic and Azerbaijani Radio. In the latter years of his life he worked as a consultant of the mugams in the Opera and Ballet Theatre.

Seyid Susinski kept the strength and beauty of his voice into old age. Even in the latter years of his life he could sing the descant with immense inspiration of "Heyrati", "Abazbari" and "Mansuria".

Seyid Susinski passed away on 1 October 1965 and was buried in the Alley of Honour. The great singer, who devoted 60 years of his life to the development of Azerbaijani music, continues to live on today in the recordings which have preserved his voice for all time and in the memories of him.