The creative heritage of the great Azerbaijani composer Uzeyir Hajibeyli is very rich and diverse. The unforgettable composer served Azerbaijani culture and music throughout his life, transcribed more than 300 folk songs, created cantatas, fantasies, songs and romances, chamber and choral works. The anthems of both the Azerbaijan Democratic Republic and Soviet Azerbaijan, as well as the modern anthem after the restoration of independence, are by an outstanding composer.
As Day.Az reports with reference to AZERTAC, today marks 76 years since the death of the outstanding composer, musicologist, author of the first opera in the East, public figure Uzeir Hajibeyli.
Along with the multifaceted activities of a composer, scientist, writer, publicist, public and political figure, Uzeyir Hajibeyli is also known as the creator of the first opera in the East. The history of Azerbaijani national opera art began with the opera “Leyli and Majnun”, which was staged on stage 111 years ago by Uzeyir Hajibeyli. The first conductor of the opera was Abdurragim bey Akhverdiev, the director was Huseyn Arablinski, Huseyngulu Sarabski performed the role of Majnun, and Abdurragim Farajev acted as Leyli. The premiere of the play took place on January 12, 1908 in Baku, at the Haji Zeynalabdin Tagiyev Theater.
“Leyli and Majnun”, written based on the poem of the same name by the brilliant Azerbaijani poet Muhammad Fizuli, is the first opera not only in Azerbaijan, but also in the East. The history of opera in the ancient East began precisely from this day.
The culmination of Uzeyir Hajibeyli’s work was the opera “Koroglu”, which is one of the brightest examples of not only Azerbaijani culture, but also occupies a worthy place among world operas.
The creation of the first operetta in the East is also associated with the name of Uzeyir Hajibeyli. The first musical comedy of the brilliant composer is the three-act comedy “Husband and Wife.” This work is the first example of musical comedy in Azerbaijan. The first production of the work took place in 1910.
The author’s second musical comedy is the comedy “If not this one, then this one.” The first demonstration of the work took place in April 1911 in Baku. The musical comedy was then translated into various languages and staged.
The third and last musical comedy of the immortal composer was “Arshin Mal Alan”. This operetta has been translated into about 70 different languages and performed in more than 100 theaters. “Arshin Mal Alan” was filmed five times and was recorded on gramophone records several times. Based on this musical comedy, a silent feature film was made for the first time in 1916.
The founder of Azerbaijani professional musical art, Uzeyir Hajibeyli, laid the foundation of a national school of composition and a new direction in the history of musical culture of Azerbaijan, and left a deep mark on the history and culture of the Azerbaijani people.
Uzeyir Hajibeyli not only wrote music, but was also the author of various teaching aids. The scientific work “Fundamentals of Azerbaijani Folk Music”, published in 1945, is still widely used as a textbook today. He is a real genius who has achieved a radical turn in Azerbaijani music.
How did Uzeyir Hajibeyli influence the development of opera in the Eastern world?
Time.news Interview: Celebrating Uzeyir Hajibeyli – A Legacy of Azerbaijani Music
Editor (E): Welcome to Time.news! Today, we’re honored to have Dr. Leyla Ismailova, a prominent musicologist and expert on Azerbaijani music history, join us as we commemorate the rich legacy of Uzeyir Hajibeyli. Dr. Ismailova, thank you for being with us.
Dr. Ismailova (I): Thank you for the invitation! It’s a pleasure to discuss the incredible contributions of Uzeyir Hajibeyli to Azerbaijani culture and music.
E: Today marks 76 years since Hajibeyli’s passing. Why do you think his work continues to resonate so strongly with audiences in Azerbaijan and beyond?
I: Hajibeyli’s influence is immense. He didn’t just compose music; he transformed the cultural landscape of Azerbaijan. His ability to blend traditional folk elements with Western classical techniques enabled him to create a unique sound that speaks to the heart of our national identity. His operas, such as “Leyli and Majnun,” are not just performances but profound statements of Azerbaijani cultural pride.
E: You mentioned “Leyli and Majnun.” Could you elaborate on its significance as the first opera in the East?
I: Certainly! “Leyli and Majnun,” premiered in 1908, is remarkable not only for its artistic merits but also for its cultural impact. By adapting the poem of the same name by Muhammad Fizuli into an opera, Hajibeyli laid the foundation for operatic expression in the region. It showcased our literary heritage through a theatrical format that had not been explored before in Azerbaijan or, indeed, anywhere in the East. This was revolutionary!
E: It sounds like Hajibeyli wasn’t just a composer but also a cultural pioneer. How did his role as a public figure influence his music?
I: Absolutely! Hajibeyli was deeply engaged in the social and political issues of his time. His compositions often reflected the aspirations and struggles of the Azerbaijani people. For example, he composed anthems during different political epochs—both for the Azerbaijan Democratic Republic and Soviet Azerbaijan—showcasing his adaptability and commitment to his country’s identity.
E: Beyond “Leyli and Majnun,” his opera “Koroglu” is often highlighted. What makes this work stand out in the context of both Azerbaijani and world opera?
I: “Koroglu” is a monumental work that transcends cultural boundaries. It tells the story of a legendary hero and embodies themes of justice, freedom, and resistance. Musically, it incorporates rich folk motifs and showcases the depth of Azerbaijani musical heritage. Its success is a testament to Hajibeyli’s skill in crafting narratives that resonate universally while keeping a distinctly Azerbaijani voice.
E: It seems that Hajibeyli’s legacy is not just limited to his compositions. What do you think about his role in musicology?
I: Hajibeyli was also a scholar who dedicated time to transcribing folk music and studying its structures. His work in musicology opened pathways for future generations to understand and appreciate Azerbaijani music. He understood that preserving folk traditions was essential for the development of a national music identity, which is why his contributions are invaluable even today.
E: As we reflect on Hajibeyli’s legacy, what steps do you think need to be taken to further promote his work and influence among younger generations?
I: Education is key. Incorporating his music and life story into school curricula and encouraging performances of his works can inspire a deeper appreciation among the youth. Additionally, utilizing digital platforms to share his music and history will allow a global audience to discover the beauty of Azerbaijani culture. Celebrating his centenary through concerts and events will also highlight his timeless influence.
E: Those are excellent points, Dr. Ismailova. As we remember Uzeyir Hajibeyli today, it’s clear that his contributions go beyond music—they are a vital part of Azerbaijani identity. Thank you for sharing your insights with us.
I: Thank you! It’s been a pleasure discussing this crucial figure in our cultural history. Let’s continue to celebrate and honor his legacy!