Mugham Trio (2006) by Sanan Samadov Into the Divine e Music of Layla and Majnun by Aida Huseynova Indiana University Jacobs School of Music t the age of 23, the composer Uzeyir Nearly a century after the Baku premiere, Hajibeyli (1885–1948) put Azerbai - Hajibeyli’s opera found a new life half a world Ajan—and himself—on the map of away thanks to the Silk Road Ensemble under music history with his Leyli and Majnun. This the artistic direction of Yo-Yo Ma. In 2007, the opera was the first piece of composed music group created a chamber arrangement of created in Azerbaijan, premiering in 1908 in Hajibeyli’s work that was entitled Layla and Baku (then part of the Russian Empire, now Majnun, following the pronunciation of the the capital of the Republic of Azerbaijan). heroine’s name in Arabic culture, in which this Azerbaijanis have revered their first national ancient legend had originated. From 2007 to composer and his work ever since. For 2009, the arrangement was a highlight of the decades, every season at the Azerbaijan State ensemble’s repertoire, delighting large audi- Opera and Ballet Theater has opened with ences around the world. Leyli and Majnun. Each Azerbaijani singer ap- The rich multicultural potential of Hajibeyli’s preciates the honor and responsibility of par- opera perfectly resonates with Silkroad, the cul- ticipating in these productions, and audiences tural organization Yo-Yo Ma founded to house throughout the country enjoy broadcasts of the Silk Road Ensemble. Silkroad envisions the performances. music as a global phenomenon, with musical

PLAYBILL PROGRAM NOTES forms, genres, and styles serving as bridges Throughout its long history, the mugham across time and between cultures. Azerbaijani genre has attracted many outstanding perfor- opera offers many possibilities for such musi- mers in Azerbaijan. Among them is Alim cal and cultural synthesis. In Leyli and Majnun, Qasimov, who occupies a unique and honorable Hajibeyli combined Western opera with two place in Azerbaijan’s national music history. artistic treasures of Central Asia and the Middle Qasimov is revered as a National Treasure of East: the story of Layla and Majnun and the Azerbaijan, and he also has enjoyed substantial genre of mugham. acclaim abroad. In 1999, Qasimov won the The ill-fated lovers Layla and Majnun are International IMC-UNESCO Music Prize— often compared to Romeo and Juliet, although a highly respected award that previously their story in oral tradition predates Shakes - had been bestowed on Dmitri Shostakovich, peare's play by more than a thousand years. Leonard Bernstein, Olivier Messiaen, Daniel Layla and Majnun have been celebrated in Baren boim, Munir Bashir, and Ravi Shankar, tales by Turks, Arabs, Persians, Indians, among others. Qasimov possesses an in-depth Pakistanis, and Afghans. Known in many po- knowledge of mugham. At the same time, he is etic renditions, their story also has inspired renowned for his innovative approach to tradi- works of visual art, literature, cinema, and tion and his openness to experimentation. This music. It is not accidental that Hajibeyli chose is why it is no surprise that Qasimov initiated the poetic setting of the Azerbaijani poet and the idea of a new embodiment of Hajibeyli’s old philosopher Muhammad Fuzuli (1483–1556). “mugham opera.” Written in the Azerbaijani language, Fuzuli’s Qasimov shared his vision with members of work is one of the most famous versions of this the Silk Road Ensemble and received a positive ancient legend. response. He was intimately familiar with Musical interpretations of the legend of Layla Hajibeyli’s Leyli and Majnun, as he had been in- and Majnun appear in diverse genres and na- volved in its productions in the Azerbaijan State tional traditions, attesting to the tale’s enduring Opera and Ballet Theater in the 1980s. For his popularity. Hajibeyli’s opera—the first piece of Silkroad work, Qasimov selected the portions composed music to set this ancient story—was of Hajibeyli’s score that focus on Majnun’s solo based on mugham, the quintessential genre of and duet scenes with Layla, the heroine, whose traditional Azerbaijani music. Mugham is a role was performed by Fargana Qasimova, branch of the large maqam tradition cultivated Qasimov’s daughter and student, now a highly in the Middle East and Central Asia. An im- reputed mugham singer on her own. Qasimov provised modal music, mugham historically has also included choral and ensemble episodes, been performed by a mugham trio that consists along with instrumental interludes. Based on of a singer playing gaval (frame drum) and two these selections, Silk Road Ensemble members instrumentalists playing tar (lute) and ka- Johnny Gandelsman and Colin Jacobsen, both mancheh (spike fiddle). Mugham remains a pre- violinists, created a score. cious part of the traditional music heritage of In the interpretation of the Silk Road Azerbaijan. Since the early 20th century, mug - Ensemble, the story of Layla and Majnun is pre- ham also has become the main source of sented in a condensed version: the three-and- creative inspiration and experimentation for a-half-hour-long opera is compressed into an Azer baijani composers. In 1977, Azerbaijani hour-long chamber piece. Hajibeyli’s five acts mugham was one of the 27 musical selections are rearranged into six parts. These changes put in Voyagers I and II. Sent beyond our solar have resulted in a reordering and even an omis- system, these American spacecraft carried this sion of many operatic episodes. Ultimately, the music as a testament to the emotional life of Silk Road Ensemble’s alterations highlight the human beings. In 2003, UNESCO recognized story’s time-honored messages. The legend of Azerbaijani mugham as a Masterpiece of the Layla and Majnun has a strong Sufi component, Oral and Intangible Heritage of Humanity. with the love between a man and a woman PROGRAM NOTES being seen as a reflection of love for God. The Layla and Majnun is a constantly changing death resulting from separation from one’s be- and developing project. Every performance is loved is a supreme fulfillment, as it takes the in- unique, and it is impossible to take a snapshot dividual into the divine. In Hajibeyli’s opera, of this work. Yo-Yo Ma called this a “part of the this idea was conveyed through the chorus thrill” and described the project as “perhaps the “Night of Separation,” which opens and conc- finest example of group intelligence at work” ludes the work. These episodes can be compa- (New York Times, March1, 2009). A reviewer of red to the Chorus in Greek tragedies, which a performance by the Silk Road Ensemble comments on events before they occur in the noted, “Layla and Majnun was the apex of the program. Classical music making rarely achieves this combination of spontaneity and superb craftsmanship” (Washington Post, March 14, 2009). Indeed, this composition is a result of collective effort and is imbued with the spirit of improvisation. Hajibeyli was aware of the large cultural span of his project, in terms of its musical and literary contents. However, Hajibeyli li- mited the cultural, aesthetic, and styli- stic scope of the opera to the context of his native culture. In so doing, he ref- lected the social and cultural expecta- tions of early 20th-century Azerbaijan as well as his own professional experi- ence (or rather, its absence, as Leyli and Majnun was Hajibeyli’s first work). The Silk Road Ensemble has expanded the First poster for Uzeyir Hajibeyli’s Leyli and Majnun cultural reach of Azerbaijani opera deep into the Middle East and Central Asia. No less importantly, they have in- narrative. Reconstituting the Chorus as a cello creased the Western elements in Hajibeyli’s solo, both at the beginning and at the end of the score, creating a work of global East-West signi- piece, is one of the new arrangement’s most in- ficance. The new musical arrangement of Layla sightful interpretations: the lonely melody of and Majnun is a respectful and highly artistic the cello sounds as the voice of eternity. transformation of Haji beyli’s “mugham” opera, The new arrangement of Hajibeyli’s opera now shaped by creative energies coming from has created a different balance between Western diverse cultural, stylistic, and temporal sources. and Eastern traits. In Hajibeyli’s opera, these two components mostly are kept separate: the Aida Huseynova has a PhD in musicology and symphony orchestra plays all episodes of com- teaches at the Indiana University Jacobs School posed music and remains silent during the of Music. Her publications include Music of mughams. Only the tar and kamancheh accom- Azer baijan: From Mugham to Opera (Indiana pany singers during mugham episodes. In the University Press, 2016). Huseynova also serves as new version, however, the role of the en- a research advisor for the Silk Road Project under semble—with tar and kamancheh included—is the artistic direction of Yo-Yo Ma. Her numerous crucial throughout the entire piece, and both awards include an Andrew W. Mellon Founda - the improvised and written parts of the com- tion grant (2016) and a Fulbright scholarship position are firmly integrated. (2007-08).

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