TAR—THE MIGHTY DEEP

Shahriyar Imanov is a tar player. His convincing performance of folk music and Azerbaijani classics is evidence that creativity should not remain passive but rather keep in step with the times. It is the technical nuances and subtle interpretation of traditional performance practices that make Shahriyar a virtuoso. He goes forward mindful of the past. He appreciates and honours the past.

Modern arrangement of tar compositions can actually make ethnic music relevant at all times. It is the professional level of improvisation, composer's creativity, confident performance, unique composer style and the actual context embedded in the melody that enthrals and enthuses the audience at Shahriyar's concerts in Azerbaijan and beyond. He could not ask for more as a musician, but he knows no limit to perfection. He is in constant movement, always…

"We have this conversation in the Azerbaijan National Conservatoire, where you work as a teacher. Who you really are: a teacher or a celebrity?"

"I have been teaching here since 2013. I have had many students during those six years. It is believed that it is easy for a young teacher to find a common language with his students, but frankly speaking, a small age difference has both advantages and disadvantages."

"Really?"

"Well, typically, students lend an ear and respect the teachers over 50 years old. The situation is completely different when the teacher is five or six years older than his students. But I could become a friend for my students. I can always help and advise them, if necessary."

"Young people often find the modern educational system and program somewhat dull and outdated. Do you think reforms in education are necessary?"

"I do. I have repeatedly mentioned this at various academic meetings, addressing my comments to the leadership and faculty stuff. Of course, I do appreciate that our education is based mainly on classics, age-old traditions, mugham and the history of music. Our musical heritage is our treasury, our roots, without which it is difficult to imagine our culture. But even the classical mugham needs additions and changes. If our goal is, say, to conquer the world arenas by promoting the national music, then the form of education should be changed, because the Soviet education system is way different from modern standards. We live in the age of technology, the Internet, innovations and the rapidly changing information, hence we must keep in step with the ongoing transformation."

"What innovations should be introduced into the musical education of Azerbaijan?"

"For example, I would suggest improvisation lessons held two or three times a week. Even a single lesson, where the students are instructed to create a piece of music from scratch for further discussion with the teacher, would do the trick. Such lessons would help students develop and improve their skills. After all, it may well be that some of our students have good improvisation skills without being certain about it. Our task is to expand, deepen and develop the talents of creative students. Siyavush Kerimi (rector of the conservatoire, R+) has touched on this issue, and we hope that improvisation classes will be introduced into our curriculum shortly."

"Your background is classical education. Where did you learn the unconventional techniques of performance?"

"In fact, I have used them way before entering the conservatoire. In 2013, I took part in the National Mugham Contest held in Baku, where Siyavush Kerimi asked the participants to show something new, unconventional, that is, different from the traditional performance of folk music. I found the challenge very interesting, appealing, and presented my composition with great pleasure. Both the jury and the audience accepted my performance of The Seven Moments with enthusiasm, hence allowing me to win the contest. I have become more confident and decided to continue my experiments."

"But you have also been criticised by the veteran musicians, who were dissatisfied with the unusual manner of your performance..."

"It happens occasionally. I have been criticised more often in the past than now. Back in the 1990s, the famous tar player Hamid Vekilov had begun his stand-up performances on tar and made many changes in the instrument. For example, he had introduced a tuning system similar to that on a typical guitar and made a couple of changes to that part of the instrument, which we call kelle. He had also moved four strings below and increased the number of octaves. His innovations drew sharp criticism in those days, forcing Vekilov to move to Turkey to continue his activities. His case is not the only example. I have been very sensitive to critical comments of my colleagues at first, feeling depressed some times. It seemed to me that I was on the wrong path. Over time, however, many masters, including Siyavush Kerimi, supported me. As well as my audience, who has always encouraged and inspired me, for which I am grateful."

"Can you confirm that after winning the mugham contest, you have become more confident and stronger?"

"Definitely! My victory was a new wave in my musical life. I had gained considerable experience both on the national and international stage before the contest, but the victory opened a new page in my life. I owe a lot to that musical contest."

"How sensitive to tar music are the audiences of France, Abu-Dhabi, Brazil, and other countries where you had concerts? Do you think that the listeners should understand the music or enjoying it is enough?"

"This is a very delicate and important point, which is all about finding a middle ground, you know. One cannot expect the same level of comprehension from all the listeners, for tar is not a typical musical instrument in those countries. On the other hand, representing your country and music is a completely different level of responsibility meaning that one needs to present not only the classical music and traditions associated with the national instrument, but also to show its modern potential. We know that tar is not as big as a guitar, but we want to prove that it is by no aspects concedes to it. To show these features and to tell the audiences about them, one needs to find that middle point."

"And how can we do this?"

"It depends on performer's experience and his ability to select the repertoire properly. If one plays classical music for an hour, he risks losing the audience in less than 15 minutes no matter the audience. It gets tired and no longer understands you, because your music is exotic for the audience. It is necessary that the music be accepted with love, be searched for. For example, we love India and hope to visit the country one day thanks to Indian songs that we had heard when we were kids. We fell in love with American rap music thanks to Tupac, wishing to walk in the same neighbour where he lived. In the same vein, if we correctly present our national music on the world stage, we can attract tourists and people who are not indifferent to Azerbaijani culture (plays Aghlayan shalalah, Weeping Waterfall)."

"You are also a composer. You have just played Aghlayan shalalah. Why is your waterfall crying?"

(Laughs). "I will tell you the story. As I said, back in 2013, I became the winner of the mugham contest. One of the members of the jury was the world famous musician Misirli Ahmet, a Turkish master of darbuka (an old percussion musical instrument popular in the Middle East, Egypt, North Africa, Transcaucasia and the Balkan Peninsula, R+).

"He liked my performance and invited me to Misirli Ahmet's Rhythm and Art Camp (Misirli Ahmet Ritim ve Sanat Kampı), which brings together musicians from many countries. We lived there in the forest, gathered around a fire playing music all night long. Someone danced or composed melodies from scratch, which is what happened to me. There, in the forest, was the Weeping Waterfall, which inspired me to create this melody. It was the wonderful atmosphere of the gathering that inspired me. Misirli Ahmet also liked the tune, and asked me to finish the song. It is a polyphonic combination of mugham and modern music. I have performed Aghlayan shalalah in many countries. It is sort of my creative passport, which audiences always take with admiration."

"You have also played the Greek Sirtaki of Mikis Theodorakis on tar... Audience accepted your performance with great enthusiasm. Are you going to continue performing foreign music?"

"Of course, I am. You know, music is a bottomless space where everyone can take something as much as one wishes. But someone uses only a finger, someone a hand, and someone eagerly grabs everything. No musician or composer can say that he knows everything.

"Every time you learn something new, you realise how little you have known before. Therefore, the music of every nation is an open treasure that one can learn from. When I was studying Sirtaki, I have discovered many things unknown to me before from the Greek history and culture. A true musician should not be limited only to the music of his people but should learn endlessly."

"Can we say that music is a common concept? For example, we have created so many interesting jazz melodies and compositions."

"I completely agree. I believe that music is the only source of peace among the nations. It is the necessary tool to reconcile the warring nations. Music is alien to the concepts of religion, hostility, nationalism, racism, borders and occupation of lands. We hear so much talk about peace but fail to see real deeds to ensure it—children and innocent people are still dying... Our common planet needs peace more than ever. And only music can unite peoples around the world. For example, jazz or piano performances. It does not matter who plays the music—a Japanese or an African. After all, he or she is a person expressing feelings through music. Let there be more festivals, contests, events that bring us together!"

"But we often face a situation when our music and culture are appropriated. Our 'neighbours' are trying to convince the world community that, say, Sary Gelin is an Armenian folk song... As a tar player, have you ever had similar incidents?"

"Armenians cannot do the same with tar because we have many players who are widely recognised for their unique performance. Undoubtedly, the world community will eventually side with the people whose players play better. I am sure that neither by performance nor by attitude can Armenians prove to the world that tar is their musical instrument. Our state and masters pay great attention to this unique national instrument. Our outstanding performer, People’s Artist of Azerbaijan, Professor Ramiz Guliyev toured the whole world with tar showing our music to everyone. On December 5, 2012, the craftsmanship and performance art of the tar was added to the UNESCO Intangible Cultural Heritage List. Yet another national musical instrument is balaban (Azerbaijani double- or single-reed wind instrument, R+), which is presented to UNESCO as Armenian duduk. It has become known internationally after the release of Gladiator (2000). The performing musician, Jivan Gasparyan, has his own duduk school in the USA. I must admit that in terms of promoting balaban we lost the battle.

"Iranian and Azerbaijani tars are different. They hold the instrument on their lap, while we hold it on the chest. Sadykhjan is a nineteenth-century Azerbaijani musician, tar player and the man behind the Azerbaijani tar, who is now recognised as the father of tar. Along with numerous other novelties, he had raised the tar from the lap to the chest. In principle, one can call the Iranian tar Azerbaijani, as it was born on native Azerbaijani lands of Tabriz and Ardebil way before the division of Azerbaijan."

"What is your credo and how does it help you move forward?"

"My life philosophy is to stay alone with myself. This helps me discover many new things. I get to know myself when I am alone. My goals, ideals and aspirations are the most valuable things for me. I keep the human factor higher than anything else. Perhaps, I will never understand some people saying 'I am nobody', because a human being is the perfect creation. Some people fly to space, while the others have no other place to sleep than the streets. Some people make the most incredible discoveries, while the lazy ones can wake up at five o'clock in the evening. Anyone who can channel all his strength to achieve the goals will do that eventually. We know this from the stories of our well-known predecessors. Therefore, the concepts of destiny and predestination sound so alien and strange to me. I'll tell you more – I firmly believe that they do not exist at all. Everything is in our own hands. The difference between unsuccessful and successful manager is due to the immature idea of the former and the hard work of the latter. Impossible is possible and success will come sooner or later, if one shows enough persistence and does not give up. If you want to stand out of the millions, then live the moment as you wish. The most important thing is to show determination; success and recognition will follow later."

"We wish you all the best and hope that your name will some time enter the hall of fame of the Azerbaijani national music."

"Thank you for the interesting conversation and challenging questions."