ON BOTH SIDES OF CREATION

I once read in a book that conducting is a mystery. And indeed, conductors are akin to magicians... They even wield magic wands. It is remarkable how one individual, standing before a hundred musicians playing diverse instruments and sometimes solo singers, becomes a conduit through which music flows and takes shape.

Maestro - the chief conductor and musical director of the Azerbaijan State Academic Opera and Ballet Theatre, chief guest conductor of the Kunming Philharmonic Orchestra (China), Honoured Artist of Azerbaijan, recipient of the Presidential Prize, and laureate of international competitions Eyyub Kuliyev - serves as a true interpreter of instructions inscribed almost like runes in a complex, enigmatic language, conveying a succession of sounds that can extend for over four hours. He is intricately reliant on the expertise of all other participants involved. Quietly, in a manner known solely to him, he steers an invisible omnipotent force toward a specific objective - the audience. Diverse in every aspect yet united simultaneously - they stand behind him, capturing his every sound-infused gesture as he guides not just the listeners but also the orchestrators. And for both these factions, he bears equal responsibility...

"Not too long ago, there existed orchestras whose sound alone could reveal the conductor at the helm, whose very names guaranteed packed auditoriums. According to anecdotes from their contemporaries, the eminent conductors possessed quite formidable personas. To what extent do you embody a 'tyrant'? And how do you view the contemporary 'trend' of granting orchestra players some autonomy?"

"Tyranny, freedom, democracy. These notions are highly relevant and extensively deliberated within our circles. In the early 20th century, there existed the concept of a conductor-dictator, a conductor-tyrant, an authoritative figure who could afford to be stringent, excessively demanding, perhaps even brusque, positioning themselves above all others. Typically, these were exceptional musicians. Fritz Reiner, Herbert von Karajan, George Szell - merely a brief roster of those who believed in the efficacy of tyranny and dictatorship in attaining their objectives. Moreover, during the Soviet era, authoritarian conductors were prevalent, compelled by circumstances where obtaining results from the orchestra necessitated an iron will and an authoritarian stance. However, the most renowned dictator was Arturo Toscanini, noted for breaking baton sticks, shouting to the point of screaming, and employing profanity as evidenced by surviving recordings. His stark antithesis was Claudio Abbado, an advocate of a democratic approach to conducting. He advocated for a different mode of interaction with musicians - on equal footing, with respect and reverence. Under his guidance, the Berlin Philharmonic Orchestra renegotiated their contract terms, thereby terminating the 'von Karajan era', characterized by a lifetime contract devoid of any dismissal clause. Consequently, the relationship between conductor and orchestra has transformed significantly today. Presently, it is the orchestra that decides with which conductor they will collaborate. They hold the authority to select the chief conductor, the music director. To the extent that they may simply walk out of a rehearsal at a single harsh word. Such instances have indeed occurred! The changes are particularly perceptible in Europe and the USA. It is crucial to acknowledge that illustrious names have been succeeded by young, gifted, and promising conductors whose appointments are endorsed by the orchestras themselves. Furthermore, along with lowering the age limit, women have assumed positions behind the conductor's podium as well. Currently, there exists a notable feminism movement which I find impressive. I observe remarkable and talented female conductors making their mark in the field. While it is evident that not everyone possesses equal opportunities, this trend provides them with a platform to showcase their art on par with men, even in complex programs. Historically, orchestras were predominantly comprised of men as evidenced by numerous German ensembles. The contemporary mixed composition of orchestra members highlights the departure from male chauvinism and dictatorship into the annals of history. In my view, the shift towards mutual understanding and fostering a sense of freedom in communicating with musicians has emancipated orchestral ensembles in their interactions with the conductor and within themselves. This evolution has proven advantageous in rejuvenating some instances while presenting challenges in others due to certain mental idiosyncrasies. Individuals have grown accustomed to a guiding, explaining, demanding 'hand' that fosters a comfortable environment. Personally, I prefer a scenario where both parties are well-prepared and collaboration transforms into creativity. This collaborative music-making process yields fruitful outcomes!"

"Do you differentiate between talent and genius? Can geniuses collaborate with other talented individuals in an orchestra, or do they tend to work in isolation?"

"Personally, I find the distinction between 'talent' and 'genius' to be somewhat elusive, especially within our field. While specific names of geniuses can be attributed to composers, defining genius in conducting is complex due to its subjective nature. Occasionally, individuals emerge lacking technical prowess and manual resources, yet possess a unique quality that defies verbal description. There exists a certain chemistry and understanding between them and the orchestra. One such example is Wilhelm Furtwängler, who lacked conventional technique and formal training but was a brilliant conductor. With an adoring orchestra, he achieved remarkable feats! This phenomenon defies explanation for me; perhaps an inner message and energy play significant roles. Geniuses, though few in number, may be characterized by their ability to accomplish feats beyond the reach of even talented individuals. Naturally, geniuses can collaborate with musicians of varying skill levels, from mediocre to highly talented. In my view, a genius should be able to establish a rapport with any orchestra. However, they may feel constrained by certain limitations, as these conductors require creative space and freedom. Conversely, there are instances where a talented individual fails to shine due to various reasons – lack of response from the orchestra, inability to harmonize, or insufficient experience. Talent alone, without dedication, amounts to naught. History is replete with examples of fleeting talents who fade into obscurity. True genius endures, making a lasting impact that resonates through time. This distinction allows us to delineate between genius and ordinary or talented musicians. Genius lies in creating work that sparks enduring conversations and reflections, leaving an indelible mark."

"As a conductor positioned on stage, facing away from the audience, you are unable to visually gauge their reactions as they are figuratively 'breathing' down your neck. Do you possess a sort of intuitive 'eyes' that enable you to captivate the audience's attention?"

"I would echo the sentiment shared by many of my colleagues in emphasizing the significance of the audience's energy within the hall. We can sense it palpably. Personally, I find contrary assertions perplexing. What truly matters is one's dedication to their craft. Does the size of the audience impact you? For every conductor and their counterparts, a filled hall with an engaged audience is desirable. Even if not entirely versed in the art form, an audience that perceives and comprehends the performance professionally is invaluable. The ability to discern what merits attention and persuasion on stage is pivotal. There are instances where everything seems to align seamlessly during a performance with no audience response, while seemingly flawed moments elicit delight from spectators. Each individual in the audience interprets the performance uniquely, implying neither lack of preparation nor misunderstanding on their part…"

"How significant are emotions to you?"

"Conductors, like audience members, are individuals enveloped in the realm of their subjective sentiments and emotions. Each person harbours their unique perspective. Securing a positive emotional response from a substantial portion of the audience, even if it diverges from one's own evaluation, validates the conductor's efforts. The dual nature of reception occasionally leaves one pondering whether the conductor achieved their objective or if a goal even existed. Thus, the energy within the hall and the audience's feedback always hold importance! The venue, whether in a capital city or on the periphery, does not diminish this significance. However, the same performance may be received diversely across the globe due to varying levels of preparation, upbringing, development, mentality, culture, and beliefs – even nationality plays a role. For instance, the emotional resonance of German composers' music may resonate more with Europeans than with audiences in Arab or African nations. This is not a matter of superiority but rather proximity in emotional connection to the 'new information' conveyed by the conductor through the orchestra. Individuality and personal motives drive perceptions in this multifaceted landscape. Listeners in the audience play a pivotal role in our craft. While I lack specific means to engage with the public, it is not farcical to cater to their expectations, particularly during public programs or festive concerts. Anticipating and fulfilling audience preferences can be gratifying, enhancing the synchronicity of the moment. Thus, the audience's 'breath' forms an integral component of the performance. Admittedly, audience reactions may not always align with our expectations. Nonetheless, when conducting with sincerity, honesty, professionalism, and conviction, the audience invariably stands by the musicians."

"Psychologists posit that individuals instinctively seek to shield their backs for protection. However, conductors have an audience behind them initially. From a comfort standpoint, do you prefer an orchestra pit or an open concert stage?"

"I do not view my back as a shield safeguarding myself and the musicians; rather, I am receptive to those for whom our artistry is intended. Conducting is not a solitary pursuit driven solely by personal ambitions; it is an endeavour that transcends individual desires. Stepping onto the stage serves as an appeal not only to the public but primarily to the musicians. Our creative process bears semblance, albeit peculiarly, to culinary artistry – with music serving as expressive ingredients. Hours spent in the 'musical kitchen' culminate in a 'dish' presented for tasting in the concert hall. Facing the orchestra while having the audience behind me, I aspire for spectators to derive meaning from the musical 'feast' offered – be it emotional charge or message. Establishing a connection with the audience through an orchestra pit poses challenges as it intensifies responsibilities manifold. Leading both facets on stage with an orchestra proves more manageable as visual cues aid interaction. Conversely, conducting from a pit presents logistical complexities necessitating coordination amidst vast stages and artistic teams while adhering to directorial directives – a monumental undertaking indeed! In this setting, conductors and orchestrators remain obscured from view, rendering contact with the audience more arduous. Every flaw by a vocalist or dancer during an opera or ballet performance directly impacts the conductor's execution, underscoring the interdependence within collaborative efforts. Despite meticulous preparation, occasional missteps are inevitable. Notably, audiences have discerned artistic errors yet acknowledged and appreciated the orchestra's adeptness at rectifying such instances – a testament to collective effort. Collaboration is paramount for conductors in opera and ballet theaters, requiring alignment and mutual support to navigate intricate performances seamlessly. This synergy fosters confidence in collective actions while averting discomfort arising from dissonance among performers. Challenges intensify when soloists fail to synchronize effectively, underscoring the demanding conditions faced by conductors in orchestra pits."

"You frequently introduce new concert programs. Do you undertake challenging works, and how do you define them?"

"When it comes to concert programs, there are undoubtedly compositions that stand as a musical Everest for musicians and conductors alike – representing a pinnacle or milestone necessitating a certain level of mastery to ascend. However, this feat is not always attainable due to the conductor's level of readiness. At times, challenging works are embraced earlier than anticipated for various reasons. Each musician harbours a list of desirable conductors, and vice versa. Certain composers require substantial technical, dramaturgical, and overall skill from performers. Personally, there are composers whose intricate works I aspire to conduct. To realize this ambition, thorough preparation and capable musicians aligning with me are imperative to deliver an exemplary performance deserving of conquering this metaphorical Everest. Challenging works often demand substantial resources, typically composed for large ensembles with high technical proficiency, robust foundations, cultural refinement, and intellectual depth."

"Which works by composers fall into the challenging category that you aspire to perform?"

"In the realm of music, composers renowned for complexity include Gustav Mahler, Anton Bruckner, Richard Strauss, Dmitri Shostakovich, Igor Stravinsky, Sergei Prokofiev, among others. Avant-garde composers further contribute to this esteemed list. Surprisingly, for some individuals, Mozart ranks among the most challenging composers. With age, I increasingly resonate with this sentiment, a view echoed by many esteemed musicians worldwide. Mozart arguably leads the roster of composers crafting intricate works. The degree of complexity and distinguishing factors warrant in-depth discussion. As conductors accumulate skills and experience over time, encountering challenging works becomes inevitable – contingent upon personal readiness for the undertaking."

"What holds greater importance for the conductor and the orchestra – fostering an ecstatic atmosphere akin to soaring and drawing musicians along or meticulously ensuring correct execution and emphasis?"

"In this context, a delicate balance of both aspects is essential. Striking this equilibrium is paramount. There exist musicians akin to metronomes or Kapellmeisters who steer orchestras with precision, emphasizing accuracy and cohesion without imbuing emotional depth. Conversely, excessive euphoria can jeopardize control over the orchestra, akin to losing grip on a high-end vehicle's steering wheel during speed changes and turns. In our profession, maintaining a fine balance is crucial for top-tier orchestras. Overwhelming emotions may deter musicians – despite initial intrigue – once they discern a lack of leadership morphing into erratic behavior detached from musical essence. Finding the golden mean involves controlling emotions while crafting a compelling image – ensuring musicians resonate with the conductor's intended emotions conveyed through music convincingly. Minimal gestures can communicate profound sentiments not only to the audience but also resonate within the orchestra through subtle 'vibes.' Movements possess symbolic significance beyond mere physicality; renowned conductors emphasize that impactful leadership transcends mere arm movements. Eyes and facial expressions offer alternative means of influence; a single glance can captivate the orchestra fully. The most exemplary conductor excels in maximizing outcomes with minimal gestures – evoking genuine emotions and imagery through music effectively. Ultimately, true mastery lies in fostering engagement and conveying sentiments authentically from within, transcending conventional gestures to influence and inspire both audience and orchestra alike."