Winter 2005 (13.4)
Pages 46-49

Music History
Erasing Names From History: The Role of Jeyhun Hajibeyli in Azerbaijan's First Opera
by Jeyhun Hajibeyli, brother of composer Uzeyir Hajibeyli

Most people credit Uzeyir Hajibeyov (1885-1948) with composing the "First Opera of the Muslim East" based on the story of Leyli and Majnun. The story, which premiered in 1908, is based on a Romeo-Juliet type of love story from an Arabic legend that was set to poetic verse by 12th century poet Nizami and later by 16th century poet Fuzuli.

But there was a second person deeply involved in the creation of this opera - Uzeyir's brother Jeyhun (1891-1962). Even the 1908 program notes of "Leyli & Majnun", written in Arabic script (Azerbaijani) and Russian, support the fact that these two brothers were co-authors of the work.


How is it that Jeyhun's name disappeared from the credits over the years? Simply, like so many other events and realities in Azerbaijan that took place in the 20th century, history suffered from being revised and rewritten. After the Bolsheviks took control of Baku in 1920, it became "politically incorrect" and even dangerous to continue listing the names of people who contributed to the artistic life of Azerbaijan who were adamantly opposed to the Soviet regime.

When Azerbaijan sought independence from the czar, Jeyhun and his brother Uzeyir had been active members of the Musavat Party, which was the leading political party that helped to establish the short-lived independent Democratic Republic of Azerbaijan (1918-1920).

Jeyhun had the chance to accompany the Azerbaijani political delegation that represented the country in its attempts of gaining recognition from Europe and the United States at the Versailles Treaty in Paris.

Uzeyir remained in Baku. When the Bolsheviks took control of Baku (April 28, 1920), Jeyhun was in Paris. He soon realized that he would be risking his life to return since he had been so active politically.

He knew that many of those who opposed the Bolsheviks had been killed.

Above: Azerbaijan's delegation to the Treaty of Versailles (1919) to gain international acknowledgement of Azerbaijan as a nation. Clockwise from center front: Abbas Atamalibeyov, Mammad Maharramov, Alimardan Topchubashov, Akbar Agha Sheikhulislamov, Jeyhun Hajibeyli, Miryagub Mirmehdiyev. Fatali Khoiski was Prime Minister at the time for the Azerbaijan Democratic Republic (ADR). Photo: Courtesy Ramiz Abutalibov.

And thus, the door was slammed shut and Jeyhun never returned to Azerbaijan. He carried this deep pain in his heart to the end of his days. Basically, communications between the two brothers were severed. For Uzeyir to have any foreign associations, either friends or relatives living outside of the Soviet Union, could jeopardize his own life.

They say that during the dreaded period of Stalin's repressions (1930s and 1940s) Uzeyir often used to sleep with his street clothes on, fearing a dreaded knock on the door that would lead to his arrest.

Left: The three Hajibeyov brothers (left to right): Zulfugar, Jeyhun and Uzeyir. 1907-1908. Photo: Hajibeyov home museum.

Thousands of intellectuals had such experiences. Thousands were arrested and either executed or sent to labor camps in Central Asia or Siberia. Jeyhun Hajibeyli later went on to write for the "Caucasian Review", a publication, which was an extension of the Institute for the Study of the USSR, funded by the United States government.

The following article, published in 1957, was written by Jeyhun Hajibeyli to commemorate the 50th Jubilee of the origin of opera in Azerbaijan. The date itself links back to this opera - Leyli & Majnun. Here Jeyhun observes how his collaboration on this famous work was deliberately omitted and how history, thus, was rewritten.

Today, it is still rare for Azerbaijanis to acknowledge the role that Jeyhun played in this work because of the precedent established during the Soviet period.

We reprint Jeyhun's comments here to show the kinds of pressures that artists and musicians had to deal withwhen Stalin (1879-1953) was in power. This article appeared in "The Caucasian Review"(Volume7, pages159-161), published in Munich in 1957.

Azerbaijan's First Opera
The 50th Jubilee of Azerbaijan Opera [as a genre] should have been celebrated on January 12, 1958, to commemorate the first performance of the first Azerbaijani opera, Leyli and Majnun in the Taghiyev Theater in Baku on January 12, 1908.

Left: Program for the first performance of Leyli and Majnun on January 12, 1908, which was printed in Russian and Azeri (Arabic script). Uzeyir and his brother Jeyhun are both listed as the composers. In 1919, Jeyhun accompanied the Azerbaijan delegation of the ADR (Azerbaijan Democratic Republic) to the Versailles Treaty in Paris where they were trying to gain recognition for the statehood of Azerbaijan.

When the Bolsheviks took control of the government in Baku (1920), Jeyhun feared for his life if he returned to his Homeland. He spent the rest of his years in Europe, propagating against the Soviet Union. This jeopardized his brother Uzeyir who was still living in Baku. Over the years, Jeyhun's name has disappeared as one of the composers of this work - Leyli & Majnun - which was recognized as the first opera of the Muslim East. Photo: National Archives of Azerbaijan.

It soon became evident, however, from brief and intermittent announcements in the press that the Soviet authorities of Azerbaijan intended to postpone the celebrations until April 28, with the obvious desire to show a relationship between the development of operatic art with the Sovietization of the country, which occurred on April 28, 1920 [when Bolsheviks took control of Azerbaijan].

In an article in Azerbaijan Ganjlari [Azerbaijani Youth] entitled Nasha Gordost [Our Pride] published on April 27, 1958, I. Nazarov, Minister of Culture of the Azerbaijan SSR, expressed the deep interest of the Party in the musical accomplishments of the Azerbaijani people. Of course, he did not forget, at the same time, to discuss the ideological side of the question.

He also mentioned the names of a dozen young composers of the Soviet era, who had created a number of important works. It seems he forgot, on this particular occasion, his own sharp criticism of these very same works in the January issue of Azerbaijan Kommunist.

The first Azerbaijani opera, Leyli and Majnun, was written by my brother Uzeyir and me. Uzeyir continued his fruitful activities as a talented composer and librettist while I later entered politics and took an active part in the struggle against Communist domination. Consequently, my name is no longer mentioned as a co-author of the opera.

Rewriting of History by Soviets
In an account given by Soviet reviewers of the first presentation of Leyli and Majnun, not only has the name of Jeyhun Hajibeyli been omitted, but also the names of many members of the original cast have been left out, especially those who took an active part in the struggle against the Sovietization of the country. The Soviet authorities replaced those names with others that were more acceptable to the regime.

Left: Jeyhun Hajibeyli in Paris with his son. 1920s. When the Bolsheviks took control of Baku, Jeyhun could not return. He spent the rest of his life as an exile, living outside of Azerbaijan. Photo: Courtesy Clement Baily, grandson of Jeyhun Hajibeyli, Paris.

In addition, numerous people, who probably enjoyed the confidence of the Communists, wrote their memoirs posing as sponsors of the production of the first Azerbaijani opera. As I had been connected with this opera since its very inception, I'm in a position to say that I have never even heard of the names of these gentlemen who supposedly encouraged this initiative.

The truth is, that throughout Baku, only the cultural society Nijat, and a certain individual Imran Gasimov, who was a member of the middle class, suppoerted and encouraged the compposers in any way. Nijat was materially interested and Imran Gasimov was eager to display his talents as a singer.

Rehearsals were held in Hotel Islamia, the residence of the composers, and in Gasimov's home - much to the dismay of Imran's brother, Haji. Many people were skeptical about the opera and thought it would end in utter failure.

Some religious reactionaries were disturbed and even hostile towards the idea. In order to prevent any possible outbreak during the performance, the promoters asked Bashir bey Ashurbeyov, a prominent member of the community and respected by the people of Baku, to address the audience before the curtain went up and to ask them to sit quietly during the performance and not to distract the performers in any way.

Left: Jeyhun Hajibeyli (left) with Uzeyir Hajibeyov in 1910s. Photo: Courtesy Baily, grandson of Jeyhun Hajibeyli, Paris.

This warning brought about unforeseen consequences. The audience not only sat quietly, but they were afraid to applaud the scenes of pathos in the opera. Only deep sighs and moans were heard and tears were shed; the audience vividly felt the suffering of the principal characters as portrayed by the script of Nizami and Fuzuli and our musical interpretation.

The venture turned out to be a complete success, and the opera was performed several times by public demand. This encouraged my brother to continue his creative activities exploring new fields.

During the six years [1909-1914] following his production of Leyli and Majnun, Uzeyir produced four more operas: Sheikh Sanan, Rustam and Zohra, Sheikh Abbas and Khurshud Banu, and Asli and Karam. These were all based on legendary themes. He also wrote three musical comedies - Arshin Mal Alan, Mashadi Ibad and Husband and Wife - which were based on contemporary themes, and which criticized the bourgeois classes.

His musical comedy, Arshin Mal Alan [Cloth Peddler], was particularly successful. It was translated into many languages and like Leyli and Majnun, it is still performed in many countries.

Left: Hagigat Rezayeva, the first professional woman to perform the role of Leyli in "Leyli and Majnun". All roles were traditionally performed by men. Huseingulu Sarabski here as Majnun. 1928. Photo: Courtesy Azer Rezayev, family archives, son of Hagigat Rezayeva.

As is well known, the atmosphere created by the Soviet regime did not encourage a free expression of creative artistic talent. In the 28 years which followed the Sovietization of Azerbaijan, Uzeyir Hajibeyli produced only one more opera - Koroghlu (Son of a Blind Man) though it is considered one of his best works.

Although Koroghlu was written in 1934, it was not produced until 1938, on the occasion of the Festival of Azerbaijani Music in Moscow.

The production of Koroghlu on this occasion was probably prompted by an article in Zarya Vostoka (Dawn of the East) on August 18, 1937 [at the height of Stalin's Repressions], indicating that the authorities in Moscow had realized the need of acquainting the public with the achievements of Azerbaijani opera at the forthcoming festival and that they considered Uzeyir Hajibeyov to be one of those who best represented these achievements.

The article states: Another shortcoming with the Baku opera repertoire stems from the decision not to draw upon the rich legacy of Azerbaijani music.

In 1928, because several leftist musicians had insisted, nearly all of the entire rich legacy of Uzeyir Hajibeyli, the pioneer of Azerbaijan opera, was excluded from the Baku opera repertoire.

For quite some time, the public was deprived of the opportunity of seeing the stage productions of some of the best Azerbaijani operettas such as Arshin Mal Alan, O Olmasin, Bu Olsun, and others. Of course, the question of utilizing old Azerbaijani musical works is debatable. Nevertheless, we think this question should be raised as a subject for discussion by competent people.

During the visit of the Egyptian President Jamal Abdul Nasser to Azerbaijan last spring [1956], Abdullayev, the Chairman of the Azerbaijan Supreme Soviet, while acquainting his guest with the culture of his country, told him that Leyli and Majnun was the first Azerbaijani opera. He mentioned with pride the name of Uzeyir Hajibeyov. On the very day he arrived in Baku, President Nasser attended a performance of Leyli and Majnun.

During the celebrations of the 50th Jubilee of Azerbaijani Opera on April 27, 1958, a statue of Uzeyir Hajibeyov, by the talented sculptor Omar Eldarov was unveiled. Now, after Uzeyir's death, many musical, cultural, and other institutions, are named after him.

Now the Soviet authorities are trying to obliterate from the pages of history the 18 years of systematic persecution, which my brother, the founder of Azerbaijani opera suffered.

The cult of Uzeyir Hajibeyov may be explained by the fact that there has been little interest in the field of opera in the country since his death 10 years ago. Several attempts have been made to write operas on historical subjects, but none has attained a high artistic standard - a fact that has been lamented by responsible elements in various congresses.


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