F. Amirov, one of the giants of Azerbaijani classical music! Such a temper and folkore-like way of delivering the spirit! One of the representatives of the golden pleiade of the 20th century Azerbaijan.
Elmira Nazirova was born in 1928 to an Azerbaijani-Georgian Jewish family. The family was musical, and she herself began composing by the age of 12. She began studying at the conservatory in Baku, a rich cultural crossroads between East and West. While still studying, she married Miron Fel, a psychology student. "We've been together for 60 years," she chuckles. Fel continued his work as a psychologist in Israel after the couple moved here with their two children, and so speaks Hebrew. Nazirova, on the other hand, needed an interpreter for the interview, Yugoslav-born musicologist Dushan Mihalek, who became friendly with her on his visits to Baku. How did the correspondence between you and Shostakovich begin? "His first letter contained corrections of the many errors in the two volumes of preludes and fugues he had given me," says Nazirova, showing the letter, which is filled with notation. "I replied mostly out of politeness. But he continued to write more and more." What did he write to you about? "Mostly technical details: how to play, analysis of the works, the meaning of the music, and different aspects of music." And how did you respond? "The truth is that at the beginning, I didn't reply, because he was huge, someone who seemed to me from another world. He was different from anyone else I'd ever met. Even the way he composed was different - not at the piano, but straight onto the paper, with a dip-pen and inkstand. I saw how it all flowed from his mind, the orchestration included. I know a lot of composers, some of whom are considered great, but they are all ordinary people like us. Not Shostakovich. He was totally immersed in the world of music." Shostakovich did not give up: "I feel your absence. If you do not think ill of me, please write. I feel bad, and I am worried, and a word from you will help me recover," he wrote in November 1953. In other, intense letters, he added that he needed her words and her presence. He continued to press her to answer him and even asked her on two occasions to send him a photograph. "I am disappointed by musicologists who assume from these letters that we were romantically involved," says Nazirova. So you were not? "There was nothing between us. He never even held my hand. He wasn't that kind of person. It seems I was a kind of ideal for him, a muse, a symbol of beauty and musical inspiration. And after the 10th Symphony, I apparently became very important to him, because its success was a turning point in his life, and he saw me as part of that." He never spoke of his feelings for you? He never wrote about them? "Never," says Nazirova. Nevertheless, she takes one particular letter out of the drawer, a special one, in which Shostakovich does not sign his name, but ends with a line of musical notes. Whoever knows Tchaikovsky's opera "Eugene Onegin" would recognize the fragment at once. It is from an aria sung by the hero, Lensky, with the words "I love you! I love you!" NAZIROVA WAS THE MUSE OF SHOSTAKOVICH : ...No one could have guessed that the symphony contained a secret the two shared and that the third movement was entirely a dialogue of love between two musical themes. No one heard what the two whispered to each other at the beginning of that movement, when the solo horn played the musical theme that with time would become an unsolved mystery for many scholars: "The horn player doesn't understand the music, the conductor doesn't understand, the orchestra is playing without feeling," the young woman whispered to Shostakovich. "But I couldn't tell Mravinsky where those themes came from," he replied... www.haaretz.com/1.4814228
Fikret Mashadi Jamil oghlu Amirov (1922, Ganja - 1984, Baku) was a prominent Azerbaijani composer of the Soviet period. Fikret Amirov grew up in an atmosphere of Azerbaijani folk music. His father, Mashadi Jamil Amirov, was a famous mugam singer ("xanəndə") from Shusha, who played tar and composed, including the 1915 opera Seyfal mulk. During his childhood and early adolescence, Fikret began composing pieces for the piano. Upon his graduation from the Ganja Music College, Amirov entered the Azerbaijan State Conservatoire, now known as the Baku Music Academy, where he was a student of Boris Zeidman and Uzeyir Hajibeyov. In 1941, when Nazi Germany attacked the USSR, Amirov, 19 at the time, was drafted to the Soviet army. He was wounded near Voronezh, hospitalized and demobilized from the military service, returning to Baku to continue his studies at the Azerbaijan State Conservatoire. Amirov's music was strongly influenced by Azeri folk melodies. He created a new genre called symphonic mugam. Amirov's symphonic mugams were based on classical folk pieces and were performed by many renowned symphony orchestras throughout the world, such as the Houston Symphony Orchestra conducted by Leopold Stokowski. Amirov was a prolific composer. His most famous pieces include symphonic works such as "Shur" (1946), Kurd Ovshari (1949), "Azerbaijan Capriccio" (1961), "Gulustan Bayati-Shiraz" (1968), "The Legend of Nasimi" (1977), "To the Memory of the Heroes of the Great National War" (1944), "Double Concerto for Violin, Piano and Orchestra" (1948) etc. His ballets include "Nizami" (1947) and Arabian Nights, which premiered in 1979. Amirov wrote the opera "Sevil" in 1953. He also wrote a number of pieces for the piano including "Ballad," "Ashug's Song," "Nocturne," "Humoreska," "Lyrical Dance," "Waltz," "Lullaby" and "Toccata." He also wrote numerous film scores. Michelle Kwan, World Champion Ice Skater from the U.S. used Fikret Amirov's symphonic piece "Gulustan Bayati-Shiraz" in her skating program "Taj Mahal" in 1996. Wikipedia
Can you speak english? Or can you use latin alphabet? Probably you have wrote original names of melodies. I am from Azerbaijan. Since my childhood when I heard this concerto first time I am curios about origin of these melodies. Can you write them in latin alphabet?
@@is.valizadah5151 some of this melodies are taken from arabic old songs of famous composer mohammed abdel wahab then abdelwahab later took some melodies from amirov also in very famous arabic songs for om kalthom When I searched for Amirov concert it was 1957 but abdelwahab songs was 1964 , but abdelwahab fans pretended that Amirov was quote from him and they also claim that Amirov was distributing songs at the request of Abdel-Wahhab the melodies that Amirov quote from abdelwahab th-cam.com/video/Y4dGVYeX6xg/w-d-xo.html and 2 th-cam.com/video/D5sGPnzyIEY/w-d-xo.html abd alwahab took 1 th-cam.com/video/1wBvuZVE7FI/w-d-xo.html 2 th-cam.com/video/OgwVzw2DT7E/w-d-xo.html and this is a video i made of the melodies th-cam.com/video/bphfbdLZb3Q/w-d-xo.html
they are for the Egyptian musician "Mohamed Abdel Wahab" Inta Omry - Umm Kolthoum Fel leil lama khely - Mohamed Abdel Wahab Hedeyet El Eid (music) Mohamed Abdel Wahab
Um presente! a atmosfera e cores árabes é dominante, romances no deserto e cidades misteriosas. Certamente vêm à imaginação contos árabes, cidadelas isoladas e oásis de suave beleza.
Thank you very much for your words, Kathy! It is interesting that there is a diversity of styles and languages. Music speaks to each person in different ways.
F. Amirov, one of the giants of Azerbaijani classical music! Such a temper and folkore-like way of delivering the spirit! One of the representatives of the golden pleiade of the 20th century Azerbaijan.
Thank you very much for your words, Tokai!!!
I am glad to know that you liked this work.
Thanks for sharing these beautiful pieces. My regardings from #Azerbaijan.
Elmira Nazirova was born in 1928 to an Azerbaijani-Georgian Jewish family. The family was musical, and she herself began composing by the age of 12. She began studying at the conservatory in Baku, a rich cultural crossroads between East and West. While still studying, she married Miron Fel, a psychology student. "We've been together for 60 years," she chuckles. Fel continued his work as a psychologist in Israel after the couple moved here with their two children, and so speaks Hebrew. Nazirova, on the other hand, needed an interpreter for the interview, Yugoslav-born musicologist Dushan Mihalek, who became friendly with her on his visits to Baku.
How did the correspondence between you and Shostakovich begin?
"His first letter contained corrections of the many errors in the two volumes of preludes and fugues he had given me," says Nazirova, showing the letter, which is filled with notation. "I replied mostly out of politeness. But he continued to write more and more."
What did he write to you about?
"Mostly technical details: how to play, analysis of the works, the meaning of the music, and different aspects of music."
And how did you respond?
"The truth is that at the beginning, I didn't reply, because he was huge, someone who seemed to me from another world. He was different from anyone else I'd ever met. Even the way he composed was different - not at the piano, but straight onto the paper, with a dip-pen and inkstand. I saw how it all flowed from his mind, the orchestration included. I know a lot of composers, some of whom are considered great, but they are all ordinary people like us. Not Shostakovich. He was totally immersed in the world of music."
Shostakovich did not give up: "I feel your absence. If you do not think ill of me, please write. I feel bad, and I am worried, and a word from you will help me recover," he wrote in November 1953. In other, intense letters, he added that he needed her words and her presence. He continued to press her to answer him and even asked her on two occasions to send him a photograph. "I am disappointed by musicologists who assume from these letters that we were romantically involved," says Nazirova.
So you were not?
"There was nothing between us. He never even held my hand. He wasn't that kind of person. It seems I was a kind of ideal for him, a muse, a symbol of beauty and musical inspiration. And after the 10th Symphony, I apparently became very important to him, because its success was a turning point in his life, and he saw me as part of that."
He never spoke of his feelings for you? He never wrote about them?
"Never," says Nazirova. Nevertheless, she takes one particular letter out of the drawer, a special one, in which Shostakovich does not sign his name, but ends with a line of musical notes. Whoever knows Tchaikovsky's opera "Eugene Onegin" would recognize the fragment at once. It is from an aria sung by the hero, Lensky, with the words "I love you! I love you!"
NAZIROVA WAS THE MUSE OF SHOSTAKOVICH : ...No one could have guessed that the symphony contained a secret the two shared and that the third movement was entirely a dialogue of love between two musical themes. No one heard what the two whispered to each other at the beginning of that movement, when the solo horn played the musical theme that with time would become an unsolved mystery for many scholars: "The horn player doesn't understand the music, the conductor doesn't understand, the orchestra is playing without feeling," the young woman whispered to Shostakovich. "But I couldn't tell Mravinsky where those themes came from," he replied...
www.haaretz.com/1.4814228
Thank you very much for your collaboration, dear friend!
Fikret Mashadi Jamil oghlu Amirov (1922, Ganja - 1984, Baku) was a prominent Azerbaijani composer of the Soviet period.
Fikret Amirov grew up in an atmosphere of Azerbaijani folk music. His father, Mashadi Jamil Amirov, was a famous mugam singer ("xanəndə") from Shusha, who played tar and composed, including the 1915 opera Seyfal mulk.
During his childhood and early adolescence, Fikret began composing pieces for the piano. Upon his graduation from the Ganja Music College, Amirov entered the Azerbaijan State Conservatoire, now known as the Baku Music Academy, where he was a student of Boris Zeidman and Uzeyir Hajibeyov.
In 1941, when Nazi Germany attacked the USSR, Amirov, 19 at the time, was drafted to the Soviet army. He was wounded near Voronezh, hospitalized and demobilized from the military service, returning to Baku to continue his studies at the Azerbaijan State Conservatoire.
Amirov's music was strongly influenced by Azeri folk melodies. He created a new genre called symphonic mugam. Amirov's symphonic mugams were based on classical folk pieces and were performed by many renowned symphony orchestras throughout the world, such as the Houston Symphony Orchestra conducted by Leopold Stokowski.
Amirov was a prolific composer. His most famous pieces include symphonic works such as "Shur" (1946), Kurd Ovshari (1949), "Azerbaijan Capriccio" (1961), "Gulustan Bayati-Shiraz" (1968), "The Legend of Nasimi" (1977), "To the Memory of the Heroes of the Great National War" (1944), "Double Concerto for Violin, Piano and Orchestra" (1948) etc.
His ballets include "Nizami" (1947) and Arabian Nights, which premiered in 1979. Amirov wrote the opera "Sevil" in 1953.
He also wrote a number of pieces for the piano including "Ballad," "Ashug's Song," "Nocturne," "Humoreska," "Lyrical Dance," "Waltz," "Lullaby" and "Toccata." He also wrote numerous film scores.
Michelle Kwan, World Champion Ice Skater from the U.S. used Fikret Amirov's symphonic piece "Gulustan Bayati-Shiraz" in her skating program "Taj Mahal" in 1996.
Wikipedia
Beautiful concerto
17:15 انت عمري
15:16 مصر يا ام الدنيا يا حبيبتي_ في الليل لما خلي
19:00 هدية العيد
19:55 مجنون ليلى
Can you speak english? Or can you use latin alphabet?
Probably you have wrote original names of melodies. I am from Azerbaijan. Since my childhood when I heard this concerto first time I am curios about origin of these melodies. Can you write them in latin alphabet?
@@is.valizadah5151 some of this melodies are taken from arabic old songs of famous composer mohammed abdel wahab
then abdelwahab later took some melodies from amirov also in very famous arabic songs for om kalthom
When I searched for Amirov concert it was 1957 but abdelwahab songs was 1964 , but abdelwahab fans pretended that Amirov was quote from him and they also claim that Amirov was distributing songs at the request of Abdel-Wahhab
the melodies that Amirov quote from abdelwahab
th-cam.com/video/Y4dGVYeX6xg/w-d-xo.html
and 2
th-cam.com/video/D5sGPnzyIEY/w-d-xo.html
abd alwahab took
1
th-cam.com/video/1wBvuZVE7FI/w-d-xo.html
2
th-cam.com/video/OgwVzw2DT7E/w-d-xo.html
and this is a video i made of the melodies
th-cam.com/video/bphfbdLZb3Q/w-d-xo.html
they are for the Egyptian musician "Mohamed Abdel Wahab"
Inta Omry - Umm Kolthoum
Fel leil lama khely - Mohamed Abdel Wahab
Hedeyet El Eid (music) Mohamed Abdel Wahab
and Magnoun Lila
لايوجد هذا الشي
ملاحظة عبد الوهاب من اكثر الملحنين سرقة لاعمال غيره
Um presente! a atmosfera e cores árabes é dominante, romances no deserto e cidades misteriosas. Certamente vêm à imaginação contos árabes, cidadelas isoladas e oásis de suave beleza.
Gracias por tus palabras, Marcos Aquino!!!
Fikret Amirov (not Fiket) - The Great Azerbaijani composer🇦🇿
*Fikrat
Thank you for your message, Javid!!!
This is not that interesting as Hovhaness.
Thank you very much for your words, Kathy! It is interesting that there is a diversity of styles and languages. Music speaks to each person in different ways.
U know Nothing