MYSTERY ENSEMBLE

Baku's concert scene has recently welcomed a new musical attraction that has delighted the fans of high-quality music. Music by candlelights. The stage of the Chamber and Organ Music Hall (Lutheran Church) is more than just a cosy setting with flickering candles. It is where the real magic of Mystery Ensemble music happens - a world music project by Red Events & Distribution Ltd. that always draws a full house.

Contemporary music is unique in its diversity of styles that coexist at the same time, and it poses various challenges for the performers. New music demands the curiosity of the explorer who gradually unravels the composer's intentions. The violin and other string instruments are a rich source of sound production techniques that today's composers can use.

But the most important thing remains the same - emotional depth. It is this depth that the leader of the Azerbaijani Mystery Ensemble, Honoured Artist of Azerbaijan, graduate of the Tchaikovsky Moscow State Conservatory, and first violinist of the State Quartet of the Azerbaijan Academic Conservatory, Jaila SEYIDOVA, brings to life. With her bow, she leads the musicians of the ensemble to enchant the audience in the hall, who not only listen to the musical "revelations" of contemporary composers, but also breathe in sync with the pieces played on the stage. This is the beauty of the mystery, when the bows move almost in unison with ease, as seen from the hall. And behind this performance is hours of hard work. But for the listener, it remains "beyond the notes", because the only standard is Her Majesty Music...

"What is more interesting in practice in terms of emotional background - a solo or a group performance?"

"Ever since I was a child, I have preferred to perform music in small ensembles. I do enjoy solo music a bit more, but I also feel comfortable with a limited number of musicians. Because in my career as a musician, I have experienced different ensembles. I have worked with symphony orchestras - both foreign and our own, which had different compositions. But as a musician, I am interested in playing where I can hear myself. Where I don't get drowned out by the sounds of other instruments. More compact ensembles are, for me, cosy in their sound communication. And for me, the opportunity to play with good musicians with whom I can create an interesting repertoire is the most important. After all, it matters a lot what you play! It is possible, for example, to perform solo a piece that gives you no joy and that fades away as soon as you leave the stage. And the opposite. I have a story in my "stage portfolio" and I still remember that concert in Cologne with their symphony orchestra when I performed Tchaikovsky's Fifth Symphony. And it was amazing, wonderful! Even though I was somewhere lost in that orchestra, the fact that the music was splendid made me enjoy it as a musician. So, in fact, I don't feel any major difference in which ensembles I play in. The main thing is what I play."

"How did you choose the musicians for Mystery Ensemble, which is part of the global music project Red Events?"

"This is where my many years of musical practice have helped me. I can say that I have worked with almost all of our musicians. That's why I initially set myself the goal of choosing colleagues with whom everything would be fast, clear, and high-quality. And here I considered not only musical talent, but also personal qualities. The most important thing for me is the ability to respect time, both mine and my colleagues'. I will never tolerate being late or missing a rehearsal without a good reason. I inherited my genes from my dad, who sometimes makes me scold myself for my punctuality, which is not always suitable. Another major factor is my attitude to music. These are the basics I used to select musicians. By trial and error, I formed the backbone of Mystery Ensemble - from the strongest and most experienced guys, who have become a team and started to see it as their own, based on musical professionalism and personal traits."

"Does a musician need to be comfortable? Or is there a deeper connection beyond the eye contact?"

"What is undeniable, first and foremost, is the talent of the musician. Especially in the music performed by Mystery Ensemble, which requires passion and appreciation. After all, we have brought something new to our repertoire - music from films. It is like we are turning film scenes into music. And here, you can't ignore the emotional qualities of the performers themselves, backed by professionalism. Of course, when you communicate with your facial expressions and eyes, it is a powerful way of non-verbal communication. Friendly relations are also very important, but sometimes they can get in the way when you have something to say, but you don't want to hurt anyone. That's why we keep this part of our personal but non-work relationships outside the rehearsal room. Here we have pure collegiality, which means collaborative creativity with the opportunity for feedback and constructive criticism. The latter is hard to accept in our society, but for me, if it's for a good reason, it's part of a shared quest for excellence. When criticism is constructive, it is easy to accept it. After all, sometimes you can notice something better from the outside. And there is always room for variation in music..."

"How do concert venues differ? And how do they affect the choice of programme?"

"For us, the most important criterion is acoustics. Many venues fall short in this aspect. They may have a beautiful hall and a magnificent stage, but the sound is dull. And it's hard to express the subtle nuances in the score: to play softly, to build up the volume... When you feel that the hall is dead and the sound doesn't carry, you struggle against it. One of the rules is that the sound should bounce back, but sadly, some venues don't allow that. One of my favourite halls in the city was the Chamber and Organ Music Hall. It makes sense, since it was designed for that purpose. Another factor in choosing a venue is the availability of extra technical equipment. For example, in the Harry Potter programme at the Philharmonic, which I also love, we used microphones. Because the concept required showing all the intended effects and all the beauty of sound, from the quietest to the loudest notes. The main thing is that the venue should be able to compensate for the flaws of the acoustics and provide a comfortable listening experience. My third favourite venue is the Heydar Aliyev Centre with its unique hall and shape."

"How important is it to put together a good programme?"

"This is the most crucial part! It is essential! For me, this aspect always matters a lot, no matter where and with whom I perform. I choose the programme to capture the audience's interest. Because the audience comes to relax. To feel certain emotions, not to sit and watch the clock and wonder when it will end, to get up and leave. So that there is no doubt whether it was worth spending your evening listening to music that depresses and weighs you down. Apparently, our efforts to adapt the musical programmes we present are successful. Also, the sequence of the pieces is carefully planned, giving the listeners a chance to breathe in and out emotionally. When putting together a programme, one should not neglect the balance that helps us keep the audience's attention in a positive suspense."

"What does it mean to 'decompose' a score to fit a cast of musicians?"

"It was something new for me! I'll use Tchaikovsky's works as an example. I don't know who arranged the score we used, but it was brilliant. The pianist played the harp part and we played the flutes. And yet, despite the change of instruments, the original sound is still recognizable. Moreover, the musicians of Mystery Ensemble try to mimic the sound quality as closely as possible. It's very challenging. Imagine that a few people replace the whole symphony orchestra!.... The musical palette created by the composer is preserved without loss. The musicians of Mystery Ensemble always give their best at every concert. This is the basic principle - a joint solo performance at full sound. Of course, the score is not rigid. We make our own modifications along the way. Sometimes, we can add an instrument that is not even mentioned, but this decision is well justified! And the music becomes even richer..."

"What do you think of the final note of the piece?"

"Well, the final note is crucial in any concert programme. It shouldn't be rushed at all! It's terrible to just end it quickly and stand up for applause. No way! The sound has to linger and resonate somewhere else for a while. That's why we keep our bows up for a few seconds. And the hall is quiet with us. It's strange that the scores rarely have any markings for the final notes. Most of the time, the bows just drop. So I like to change that, giving a different emotional tone to the final note, which sometimes surprises the musicians of the Mystery Ensemble, by guiding them to lift the bow to a high point where they have to pause, breathe out and then take the bow off the string. Because the final note has so much emotion that needs to flow out into the hall!"

"The name itself implies that the listeners will expect some mystery in both the music and the mood you create. Doesn't that put some pressure on you?"

"From what I've seen in previous concerts, I can tell that the audience loves these programmes. And judging by how the halls are packed and the feedback we get, I think that the Mystery Ensemble creates a unique atmosphere with silence and attentive listening. It feels like they are under a spell. There is a sense of complete harmony between the Mystery Ensemble and the people in the hall, breathing together. I believe we have found this delicate balance. I confess that sometimes I have a slight irrational fear of the silence in the hall. Especially when we play very softly, with no vibrato, as if we were playing without sound. The only thing you hear from the hall is breathing... And even though it gives me a chill, I also find it amazing!"

"What does silence mean to you?"

"For me, silence is the lack of sound. But it's also a sound in itself! For a musician, it's so hard to be silent. Because there are always sounds in my head. My ears are constantly picking up something from the environment. Even the simple movement of an elevator can sound like a musical phrase. Only at night, I make silence around me. That's when I relax. I hear my heartbeat - the best lullaby of Life."