Examining the role of Elekber Esgerov in the development of the field of Azerbaijani wind instruments

Abstract

İn this study, the multi versatile creativity of Alakbar Asgarov is examined. Master artist A.Asgarov is known as one of the most virtuoso performers of wind instruments among Azerbaijan and Caucasia states. The famous artist A.Asgarov created the melodies the composed and performed on improvisations, benefiting from the tune organizations in Azerbaijan and western music. In the study, Alakbar Asgarov`s reformson the clarinet and balaban instruments, together with the new approach he created in instrument art were exsamened. In the content of the research, transfer of notes made by the musician for the balaban instrument for the works of Azerbaijani and western composers are presented. In this study, together with the development history of the bittern and clarinet instruments, the construcion features of  A.Asgarov`s original “As” clarinet and two-valve bitterns are diskussed. On the other hand, the color melody “Dugah” composed by the artist and the history of the formation of the instrumental folkore ensemble with the same name are exsamened. In the study, the transfer of notes of some musicologist beloding to the “Dugah” color melody of the artist has been presented. In the point of firstly discussing of Alakbar Asgarov`s multi-faceted creativity, the artist`s archive materials were used in the bibliography. Photographs of A.Asgarov`s “As” clarinet and two-valve balaban constructions are included in the text of the work. In the content of the study and in the bibliography section, the musician`s in performances in the Social Media Application You Tube, the transfer of notes for the balaban instrument, her works published in books and magazines are presented. The history of Azerbaijani musical art dates back to ancient times. Azerbaijan`s ancient folk mughams, national dance and dance melodies, songs, minstrel art and many kinds of works formed the basis of this structure. Abdulkadir Maragalı (1353-1435), a scientist of the art of music, gave information about the instrument structures of ancient times in her encyclopedic studies. A.Maragalı divided the musical instruments into three groups in his works.

• Stringed instruments: old oud, perfect oud, sheshtar, kamancha, giyek, Shirvan tanbour, rohafza, gopuz, ozan, tanbour, rubab, rudhani, yektay, trentayi-Rum, shahrud, mugni, cheng, kanun, sazi dulab, yatugan, konkira,
• Wind instruments: zurna, nefir, burğu, hik ney (bigpayp), cipçıg, neyçe balaban (piccolo balaban), sipsi (sümsü), beyaz ney (white ney), zemir, erganun,
• Instruments made in the form bowls and trays: alas, bowl set instruments are included.

Another scientist, Safiyyuddin Urmavi, gave information about Azerbaijan folk instruments made in ancient times in his musical studies. S.Urmevi`s nuzha and mugni instruments have had an important place in Azerbaijan and Eastern instrument art for many years. Unfortunately, many of the old folk instruments of Azerbaijan have degenerated over time and very few of them have survived to the present day. Today, old folk instruments are being restored and they are being converted to their original form. 

Before words and literary language emerged, ancient people imitated nature and used their bodies to communicate with each other. Ancient people created the first prototypes of wind instruments by making instruments from the horns and bones of animals and hard wood trunks. Since many of these instruments are wind instruments, they are included in the group of “with aerophones”. In the early days, wind instruments were organized as an important element of all kinds of ceremonies because they did not have musical abilities, and as time passed and their technical operarions changed, their performance styles were also increased.

A.Asgarov, who adhered to the traditions of the most famous composer Azerbaijan, Uzeir Hacibeyli, who formed the basis of folk magams, made original innovations. Virtuoso musician A.Asgarov built all her instruments on imrovizations and created a unique instrument style related to it. These melodies are made in accordance with the vocal range and technical instruments of wind instruments. If we pay attention to the introductory parts of some melodies, we can see octal or dotted octal pauses there. Alakbar Asgarov made dance melodies 6/8 dimensions. The melodies include enthusiastic, fast and medium tempo melodies. The artist created variations, sequences, major and minor maghams used in western music in his own compositions. 

Composed by Alakbar Asgarov: “Adaleti”, “Mehriban”, “Natavani”, “Javidi”, “Vugari”, “Rasimi”, “Ancient dance” (“Kadim dans”), “Bahtiyari”, “Kurdu”, “Mataneti”, “Marali”, “Zohrabi” (“Sabahi”) dance melodies and “Dugah”, “Shur”, “Bayati-Shiraz” mugham colors (reng) are important musical figures of the Azerbaijani people. In this study, the establishment features of the artist`s “Adaleti” and “Zohrabi” (“Sabahi”) dance melodies are analyzed in more detail. The role of instrumental instruments is very important in the development of musical art. Making multi-type melodies depends on the artistic and technical instruments of musical instruments.

In this study, besides the development of the clarinet instrument of European” origin, the “As”clarinet structure and new approach of Azerbaijani wind instrument virtuoso Alakbar Asgarov is presented. The artist has made some stuctural changes on some of the instruments as he knowns the national balaban, tutek, ney, zurna and European origin clarinet, oboe, flute and saxophone instruments professionally. A.Asgarov`s own structure was able to create new instrument opportunities on the “As” tone clarinet.

A.Asgarov`s virtuoso performances are selected according to the technical composition and timbre of special instruments among other musicians of Azerbaijan, since the “As” clarinet provides versatile possibilities during performance. The artist appiled the musical characteristics of the national balaban, zurna, ney and tutek instruments to the clarinet instruments to the clarinet instrument of European origin. A.Asgarov`s virtuoso performances on the clarinet instrument is the correct breathing and sharing method in national balaban performances.

The balaban instrument is from the group of mouthed instruments and its body is made of mulberry, plum and walnut trees. At least 9 sound holes are opened in this instrument of Azerbaijan played with breath. The pitch of the instrument is close to two octaves, and the left sound of the minor octave is like the do sound of the second octave. A.Asgarov, on the balaban, increased the left sound of the small octave, like the mi sound range of the instrument, with the innovation in her own construction. Thus, A.Asgarov developed a new instrument system by using the valves of old clarinet instruments and adding valves to his own bittern.

A.Asgarov worked on the melodies of Azerbaijani and western composers in order to conduct private lessons on this instrument, and made note transfers by bringing harmony to the vocal range of the balaban. The works of  Austrian composer Frans Schubert “Serenada”, transferred by A.Asgarov for the balaban instrument, and “Podmoskovniye vechera” (“Moscow suburbs at night”) by Russian origin USSR composer Vasili Pavlovich Solovyov-Sedoy are also included.

Master artist Alakbar Asgarov took part in many high-level orchestras during the period (1953-81). Finally, in 1981 he was able to establish his own instrumental folklore ensemble. This ensemble included 8-9 performing musicians. A.Asgarov composed an instrumental color (reng) by making use of the magham establishment of the “Dugah” mugham, which was forgotten in time, and the composition was dedicated to the established ensemble. Under the conductorship of Alakbar Asgarov, all musicians would  start their instruments in concert programs with the color “Dugah” first and them switch to other pieces. The ensemble included folk instruments: tar, kamancha, oud (ud), saz, kanun, balaban, tutek, ney, zurna, nagara and double nagara (gosha nagara).

Alakbar Asgarov has a great role in the devlopment of Azerbaijani music culture. He enriched the musical treasure of the people, while brinding changes to the timbre and vokal range of wind instruments.