"I JUST CAN'T NOT PLAY"

Music penetrates the soul, leaving an indelible mark where words fall short. Although flautist Agharahim Guliyev's family was supportive of art, they were hesitant about his musical path. Growing up surrounded by musicians, he was immersed from childhood in the piano sounds played by his grandmother, Elmira Mustafayeva, a renowned pianist and teacher, and his mother, a concert pianist who understood the complete dedication required for a musical career.

Agharahim would constantly entertain his family by playing various melody snippets he had memorized by ear. "It would be a sin to leave talent undiscovered," his grandmother once remarked, even as she attempted to dissuade him from this vocation. From that moment, his musical journey began: first with classes at music school, then performances on prestigious stages. In 2018, he was honoured with the Golden Key Award in France among flute performers. In 2020, Guliyev participated in the James Galway Academy Festival and performed at the International Flute Performers Festival, where he was awarded a scholarship by the Galway Flute Academy project. In 2023, the young flautist and pianist Eldaniz Alakbarzade created Duo Avey, a duo specialising in Azerbaijani music in Paris. On November 19, the young musicians performed at the Korto Concert Hall, presenting works by Gabriel Fauré, Franck Martin, Sergei Rachmaninoff, Carl Reinecke, and Azerbaijani classicist Fikret Amirov to international audiences. The duo's concert aimed to unite people across different backgrounds and beliefs, receiving a standing ovation.

"When you were 9 years old, you started performing on important stages. What role did family support play in this?"

"On the contrary, my family was categorically against my becoming a musician. Now I understand why: it is a tremendous responsibility, constant stress, nearly complete absence of free time, and total dedication. My grandmother began practising piano with me at the age of four - we had a piano at home in Baku. She offered me a choice: either piano or kindergarten. Of course, I chose the piano! Later, it was discovered that I was asthmatic, and doctors advised me to take up the flute, as this instrument requires even breathing and does not create excessive tension. I was already fascinated by the flute, often attending concerts. I particularly remember the performances of Nijat Salmanov, the principal flautist of the State Symphony Orchestra, who gave a solo concert in Baku. This fascination began 'just for general development' but ended with me winning a competition prize a year and a half later, followed by concerts, an academy, trips to Samara and St. Petersburg for the Rostropovich Festival, and a performance in Moscow's St. George Hall of the Kremlin."

"The list continues with performances on prestigious stages like UNESCO. Did you feel a special responsibility during such concerts?"

"Absolutely. My first performance on the UNESCO stage was a special experience. The concert was more challenging than I had anticipated. At that time, due to my age, I didn't fully comprehend that UNESCO is a global political organisation where serious issues are deliberated. For me, it was simply a place to perform, and my task was to deliver a quality performance. I was scheduled to perform a piece called Lachin. However, the most difficult aspect was not the performance itself. Sevda Mammadaliyeva, who supervised the event, informed me that I would need to walk through the entire UNESCO hall in darkness before ascending to the stage. This prospect worried me most. My primary concern was avoiding a fall on the stairs - there were steps, and I feared tripping. Fortunately, everything proceeded smoothly, and after that concert, I decided to continue my studies in France, although I had originally planned to study in Italy or Germany. The stage imparts a certain responsibility. It has now become part of my life, and I accept this responsibility with pride."

"In one of your interviews, you mentioned being interested in three professional directions in music: conductor, soloist, and teacher. Which direction receives more of your attention?"

"At this stage of my career, I am concentrating on solo work and teaching, as I believe these are the most suitable areas to fully develop my potential. My attitude towards orchestral work has always been nuanced. Although the orchestra is a crucial part of the music industry, it can limit a performer's self-expression. Within an orchestra, one is dependent on the overall sound and cannot always bring personal musical ideas and interpretation to the listener. Therefore, I am convinced that if a musician has the opportunity and desire to develop as a soloist, they should seize the chance.

"Pedagogy is also tremendously important to me. However, I am firmly convinced that only those with genuine stage experience can teach effectively. To teach successfully, one must understand not only the technical but also the psychological complexities of performing, know how to manage performance anxiety, and understand audience interaction. That is why I strive to pass on to my students not just technical knowledge but also the experience I have gained on stage. Currently, I assist my teacher, working with students of varying skill levels, including children, helping them prepare for solo performances."

"How do you feel about interpretation in music? Is it necessary for a performer to express something personal, or is it better to simply follow the musical notation?"

"Interpretation is genuinely a critical component. A performer always introduces something unique, their own individuality to each piece. However, we must never forget that the composer remains the primary authority. We must respect the composer's intentions, faithfully convey what they wished to communicate, and then showcase our personal interpretation. I consistently attempt to consider the style, epoch, and national characteristics of a work. This is more intuitive in Azerbaijani music because I understand it at a deeply personal level."

"I will quote one of your fascinating statements suggesting that to properly convey French music, one should know Victor Hugo's works. What is required to convey the depth of Azerbaijani music?"

"To truly capture the spirit of Azerbaijani music, being Azerbaijani is insufficient. It demands years of dedicated work, studying the style, understanding musical traditions. This music cannot be performed correctly by simply learning the notes. One must feel it with one's soul, allowing it to permeate completely. A certain ineffable sensation, perhaps inexplicable in words, can always be sensed in music.

"For me, a musician's fundamental task is to distract the listener from everything else, to evoke something profoundly special internally. Our national music possesses all the prerequisites for this. It is capable of touching one's deepest emotions.

"Consider the work of Gara Garayev, one of Azerbaijan's greatest composers, who I believe remains not fully appreciated. Many of his works are perceived merely as technical material for skill development, without penetrating the deep meaning embedded within. Garayev represents emotion and meaning, which can be felt even without extensive musical knowledge."

"When you talk about meaning, do you mean the philosophy that the composer embeds in their work?"

"For instance, Gara Garayev's phrases might appear simple or, conversely, complex, and perhaps not everyone will immediately recognize the nuanced layers the author has incorporated. However, upon careful relistening, one can discern their profound depth. I'll illustrate with an example where Eldaniz Alakbarzade performed Garayev's sonata with a foreign violinist. There is a phrase in this piece - a seemingly unremarkable chromatic scale descending in semitones, repeated on the piano. At first glance, it appears insignificant, but when examining the entire sonata, one notices its repetition four times with distinctly different dynamics. You realize the composer is artfully expressing a fading emotion. Garayev demonstrates how an emotion subsides before a new theme emerges, creating a comprehensive emotional landscape.

"Interpretation becomes crucial here: if we accurately convey the meaning of this phrase on stage, the listener will experience something meaningful, even without literal comprehension. As the Soviet and Russian pianist, composer, and conductor Mikhail Pletnev argued, you can articulate the phrase 'I love you' with varying intonations, each conveying a different emotional nuance. Similarly with music - understanding and reproducing the composer's intended emotional inflection is paramount."

"You frequently perform both classical and contemporary music. What distinguishes your approach to these different musical periods?"

"The distinction between a professional and an amateur lies in the depth of theoretical and stylistic study required to convey the era's spirit and the composer's intention as precisely as possible. If we perform Beethoven through our personal lens, it is no longer authentically Beethoven. In English, there is a concept called 'rework'. For concerts featuring classical or romantic works that are stylistically reimagined, creative interpretation is acceptable. However, when appearing on an academic stage as academic musicians, our primary objective is to deliver the style, text, articulation, and phrasing exactly as notated.

"Sheet music plays a critical role here, as numerous publishers release works containing errors. Consequently, we seek Urtext editions - essentially original printings directly from composers' manuscripts, documenting their precise intentions. These are serious publications, such as HENLE Verlag, one of Europe's most renowned publishers, from which many musicians perform.

"Contemporary composers represent an entirely different paradigm. I can directly contact the composer, discuss their conceptual vision, and understand the specific accents they desire to emphasise. Often, they permit significant interpretative freedom in performance."

"How much does the right choice of instrument affect the quality of your performance? Tell me about your instrument. How does it differ from others and impact your performance?"

"My approach to instruments is straightforward: as long as they maintain their sound integrity and do not distort the musical idea, they can be adapted with necessary technical improvements. Modern flutes differ significantly from those played in the early 20th century - notably, the addition of the "B" note. Composers like Stravinsky and Shostakovich began incorporating this note, necessitating changes in the flute's design. Today, bass and alto flutes exist, but in my opinion, their sound diverges substantially from the classical flute, losing its fundamental character.

"Currently, I perform on a professional instrument crafted from 958 sterling silver. I deeply value the purity and resonance silver provides. While gold flutes and instruments with additional mechanical elements are popular nowadays, I prefer standard mechanics and a clean sound, devoid of extraneous technical embellishments. My instrument is handmade, and although it has endured six years of intensive use, it continues to perform admirably.

"The fundamental requirement for a musician is selecting a quality instrument that complements one's style and practising consistently to refine skills. Gold, platinum, or any other metal represents merely an external aspect that does not inherently enhance performance expressiveness. Effective playing demands constant personal development rather than an upgraded instrument. Equally crucial is choosing the right mentor and teacher who offers not just professional guidance but also moral support.

"My primary mentor in Azerbaijan, Muzaffar Aghamalzade, was an extraordinary instructor. He not only taught theory but actively performed, serving as the principal flautist in the State Consort and traveling internationally, including to UNESCO headquarters. His extensive experience enabled him to prepare musicians for the most challenging stage scenarios, addressing both technical nuances and psychological aspects.

"Trained during the Soviet era, his approach was stringent and uncompromising, embodying the philosophy of 'achieve at all costs'. Although contemporary teaching methods and performance schools have evolved, his advice and experience continue to guide me through difficult situations. He taught me critical skills like managing technical failures during performances and preparing effectively for significant orchestra auditions - knowledge not always accessible within the European teaching system.

"Few instructors of his calibre remain in Azerbaijan, which is insufficient for the comprehensive development of a music school. During the nine months I spent in Baku, I realized that interest in classical music has significantly declined. Many parents now enrol children in music schools merely for general development, and competition participation has become a formulaic pursuit. Children are frequently sent to competitions to acquire diplomas rather than gain genuine experience and stage exposure."

"You also write music. How did you come to do that?"

"It emerged as a passionate pursuit. At a certain point, I enrolled at the conservatoire for a film composition course. I became intrigued by the prospect of collaborating with directors and producers, eager to explore this creative avenue. The experience significantly enriched my musical perspective and helped me understand the intricacies of film composition. A few of my compositions have even been incorporated into short films. However, for me, this remains more of a passionate hobby than a professional objective. My compositions are accessible on platforms like Spotify, where I am featured under the name Agharahim Guliyev."

"You have been residing in France for several years. How does the French public perceive Azerbaijani music?"

"The audience here consistently demonstrates curiosity about novel musical experiences, including musical traditions unfamiliar to them. However, event organizers are not always equally receptive to such repertoire. They might question, 'Why are we featuring Azerbaijani composers again?' or suggest alternative selections. Yet, I am aware that many listeners are drawn to experiencing something original and unique. When I perform works by Fikret Amirov or other Azerbaijani composers, I observe a genuine spark of interest among the audience."

"You probably encounter situations where you must assert your right to choose your repertoire?"

"Unfortunately, many individuals are somewhat apprehensive about potential conflicts arising from an Azerbaijani musician presenting Azerbaijani music, particularly considering the substantial Armenian diaspora presence in France. This context generates a certain underlying tension. However, I cannot and will not compromise my artistic integrity or renounce my cultural roots. This music represents my heritage and has fundamentally shaped my worldview."

"To what extent does the current political instability between Baku and Paris impact your professional activities and relationships with colleagues?"

"Thus far, I have not encountered significant professional obstacles due to geopolitical complexities. However, I cannot claim that the French approach Azerbaijanis with the same neutrality they might apply to Italians or Englishmen - for reasons we all understand.

"Within my professional sphere, colleagues generally remain disinterested in political discourse. Musicians and composers are predominantly preoccupied with their creative work and artistic tasks. Nevertheless, critics or audience members occasionally approach me with pointed inquiries: 'Are you Azerbaijani? How do you manage living in Paris? Would you consider returning? Might you apply for French citizenship or asylum?' When I challenge them about the rationale behind seeking asylum, explaining that I am content with my current citizenship, they often appear perplexed. They frequently ask, 'You've been living here for six years, so why not obtain citizenship?' When I probe their underlying motivations, communication can become unexpectedly challenging."

"What serves as the primary driving force in your creativity? What compels you to continue making music despite various difficulties?"

"I cannot simply play. Music represents a natural, visceral necessity that has resided within me since childhood. If I am denied the opportunity to perform, I begin to experience profound discomfort, sliding into a form of creative depression. This transcends mere professional occupation - it is fundamentally more profound. It is crucial for me to continuously learn new pieces, meticulously prepare for performances. This process provides me with strength and imbues my life with meaningful purpose."