ETERNITY IS JUST THE BEGINNING

Farkhad Khudiyev is an American-Azerbaijani conductor and composer. Born in Ashgabat into an Azerbaijani family, he grew up alongside two other talented musicians. At just 15 years old, Farhad and his brothers, Emil and Eldar Khudiyevs, were preparing to move to the United States to pursue their studies. However, they encountered an unexpected hurdle: the American consul in Ashgabat decided to evaluate the musical talents of young visa applicants. Undeterred, the teenagers brought their instruments to the consulate and gave an impromptu concert. Their performance captivated the audience, including the consul, who promptly approved their visas. This memorable moment marked the beginning of an extraordinary journey.

We recently had the opportunity to speak with the maestro via video call.

"Farhad-bey, let's start with your childhood. What kind of child were you"

"I was always a calm and balanced child. I got along well with my teachers and peers, thanks to my parents, who taught me to respect others and practice gratitude. They often reminded me, ‘If you have a problem, look for the cause within yourself first.' Those words nurtured my self-reflection and problem-solving skills.

"But childhood wasn't all about academics. For two years, I boxed, played the violin, and balanced sports with the arts. That balance was pivotal in helping me find harmony in life—a lesson I carry with me to this day." 

"What values do you instil in your children now?"

"For me, it's essential to teach a balance between self-confidence and self-criticism. Mistakes are part of life; what matters is learning from them and moving forward. I encourage my children to approach life's challenges with a smile, as I believe that's the key to happiness." 

"Your creative life seems incredibly busy. How do you manage it all?"

"My schedule is packed, but I find inspiration in the rhythm of it all. For example, on December 9, I conducted Mahler's First Symphony—a monumental piece that demands complete focus. Right after, I flew to Vancouver to perform with the Vancouver Symphony Orchestra, where a highlight was my brother Eldar Khudiyev's composition, Circus, for clarinet and orchestra. It was performed by the legendary clarinettist and artistic director David Shifrin, whose mastery brought a unique depth to the piece." 

"Our interview was postponed a few times because of your preparations for another major concert. How did it go?"

"That concert was a defining moment in my career. It took place in Eugene, Oregon, with the Eugene Symphony, one of the finest orchestras in the region. Beyond being a performance, it was the final stage of a competition for the position of music director, which drew around 180 conductors worldwide.

"The unique 2,400-seat concert hall, inspired by North American indigenous culture, created a magical setting for the program. We explored the theme of destiny through Verdi's Force of Destiny Overture, Beethoven's Second Piano Concerto, and Tchaikovsky's Fourth Symphony. The audience was deeply moved, evident from their prolonged and enthusiastic applause."

For Farkhad Khudiyev, time is not just a sequence of moments; it is a canvas where emotions and meaning intertwine. The loss of his father in 2008 profoundly changed him, deepening his perspective on life. This transformation is reflected in his conducting, where every performance becomes an intentional dialogue between the music and the audience. To Khudiyev, each piece serves as a map, guiding listeners through emotions, memories, and philosophical ideas.

"How do you approach selecting a concert repertoire?"

"It's a thoughtful process. Every piece must tell a story, and as a conductor, my job is to weave them into a cohesive narrative. For instance, in one concert, I combined Kara Karaev's Seven Beauties, Donald Grant's Baron Simitris Mambo, and Stravinsky's Firebird. The contrasts between these works highlighted connections between different cultures and eras, creating a rich experience for the audience." 

"Your programming seems not only artistic but also deeply philosophical. How does your personal connection with composers influence this?"

"Gara Garayev, for example, was an incredibly genuine composer. His music breathes truth. I felt this profoundly when conducting his works. One of my mentors, Recep Allayarov, a great Turkmen composer who studied under Garayev, described him as a man of unwavering honesty and sincerity. That ethos deeply influenced me.

"Interestingly, Garayev admired Stravinsky and even met him in Los Angeles in 1961. These historical connections between composers and their works add depth to the program, transforming it into a journey for the audience." 

Farkhad Khudiyev's contributions to music have earned him prestigious accolades, including the Georg Solti Competition and the Arthur Nikisch International Conducting Competition (the Beethoven 250 Special Prize). His signature composition, Sounds of Eternity, is a fusion of Azerbaijani traditions (mugham, traditional dances, kamancha and naghara) and Western symphonic styles, embodying his vision of music as a unifying force.

"Tell us about Sounds of Eternity."

"Sounds of Eternity is not just music but the story of my life, infused with personal values and experiences. Performing it for the first time, I felt that I had conveyed what I had always wanted to share with the world. My life began in Turkmenistan, within an Azerbaijani family that valued internationalism and a deep appreciation for culture. Our parents instilled in us a respect for diverse traditions while ensuring we remained connected to our ethnic roots. When I moved to the United States at the age of 15, the international environment further strengthened my love for Azerbaijani culture. Sounds of Eternity is my attempt to bridge two worlds that hold a special place in my heart: the Western world, where I have lived for over 20 years, and Azerbaijani culture, with its profound depth and beauty. The words my father once sang served as my inspiration: "How to find happiness? You have to love—that's the whole secret." These words became the essence and philosophy of the composition. For me, this work is a reminder to the world that true happiness lies in love, harmony, and mutual acceptance.

"On stage, you created an extraordinary contrast, combining the performance of the University of Texas at Austin Symphony Orchestra with exceptional talents like Alim Gasimov, Natig Shirinov, Imamyar Hasanov, and Laman Hendricks, an Azerbaijani dancer based in the US. How did you prepare for this concert while being in different countries?"

"For me, these individuals embody Azerbaijani culture in its purest form. Their participation was crucial to realising my vision. Preparing for the concert was challenging since we were all in different countries. A few weeks before the performance, I spoke to Alim Gasimov for the first time. That meeting immediately put us on the same wavelength. Alim was deeply enthusiastic about the idea and believed in the piece, which was immensely encouraging. Once the musicians arrived, we all stayed in the same house, fostering an incredible creative atmosphere. Every morning began with Alim singing; music surrounded us, and each of us contributed to this grand vision.

"On stage, our connection was palpable. When Alim Gasimov sang about love and happiness, the entire hall seemed to hold its breath. It was more than a performance—it was a moment of genuine magic that united everyone present. The Western audience was astonished at how seamlessly mugham blended with the symphonic work. For me, it was a triumphant validation of music as a universal language."

"You said that Sounds of Eternity has become your life's mission. What motivates your work now?"

"When I completed Sounds of Eternity, I felt as though I had expressed everything that had built up in my heart. It brought a sense of closure, but over time, I realised it was only the beginning. My current focus is on conducting, as this art form itself offers incredible creative possibilities. Many of my colleagues believe I will return to composing someday—and perhaps I will. For now, it is essential to me that Sounds of Eternity continues to be performed. This work has become my message to the world, and it brings me joy to know it will endure, even without my involvement. 

"Life moves forward, bringing new meanings with each day. As long as I live, I will create, conduct, and share what I believe contributes to making the world a better place. And perhaps, one day, there will be another story I feel compelled to tell through music."