Academic and mass genres in the works of M. Magomayev

Kaloev Alan Tarielovich Master's Degree, Department of Musicology and Applied Music, Krasnodar State Institute of Culture 350072, Russia, Krasnodarskii krai, g. Krasnodar, ul. 40-Letiya pobedy, 33 Alanskiyalan@gmail.com

Lashcheva Elena Vladimirovna PhD in Pedagogy Associate Professor, Department of Musicology, Composition and Methods of Music Education, Krasnodar State Institute of Culture 350072, Russia, Krasnodarskii Krai oblast', g. Krasnodar, ul. Armavirskaya, 60, of. 73 lacheva1977@mail.ru

The second half of the XX century was marked by the creativity of the most powerful representatives of the national musical culture, where the legacy of some became the completion of an entire era, others – the opening of unknown horizons of the world of music and new paths to the future. Some were unknown and remained in the shadows, but at the same time their work was an integral part of the "holistic picture of musical art", which remains an important link in the musical layer. Other talents, on the contrary, were surrounded by cosmic glory, which received worldwide recognition during their lifetime.

Despite the fact that the period of the second half of the last century of Russian musical culture still generates contradictory opinions of scientists due to various reasons, primarily ideological, objective study of the art of this period and awareness of the role of the development of national culture remained ambiguous and not fully studied, and the variety of creative searches of creators was underestimated. Nevertheless, the appearance of a figure in the musical art world of Muslim Magomayev left a bright trace and determined the development of the musical culture of Russia in the second half of the XX century. The legend of the musical world of art, whose work is still relevant today, harmoniously fits into the historical and geopolitical context. The phenomenon of his musical figure, consisting in the synthesis of academic voice production and vocal delivery in the context of vocal pop art, influenced vocal musical culture as a whole.

Even at the very beginning of his vocal career, the basis of Muslim Magomayev's musical material was academic genres. During all three stages of his career, leading roles were performed in a number of operas by J. Pucini (Tosca); W. A. Mozart (Don Juan, The Magic Flute, The Wedding of Figaro), J. Rossini ("The Barber of Seville"), G. Verdi ("Rigoletto", "Ottelo"), S. V. Rachmaninoff ("Aleko"), S. Gounod ("Faust"), R. Leoncovallo ("Pagliacci"), P. I. Tchaikovsky ("Eugene Onegin"), etc. The vocal and artistic talents of Muslim Magomedovich are revealed in many ways in academic genres.

Muslim Magomayev had a special attitude to the work of J. Verdi and, in particular, to the opera "The Barber of Seville", the cavatina of which allowed the young vocalist to gain all-Union fame. The plot of The Barber of Seville, familiar to Azerbaijanis since the middle of the XIX century (the first production was in 1889), meanwhile, did not cause a restrained attitude towards new productions. Cavatina Figaro played a huge role in the creative formation of Muslim Magomayev, this work has always been present in the repertoire of the great vocalist, moreover, Muslim Magomedovich performed full-fledged roles in such operas as: Scarpia from the opera Tosca by J. Puccini, Figaro from the opera by J. Rossini "The Barber of Seville".

In 1962 , the young musician began an internship at the Azerbaijan State Academic Opera and Ballet Theater named after M. F. Akhundova, and after a while, became one of the soloists of the theater. Music critics of the time praised Muslim 's performances Magomaeva on the opera stage: the breadth of vocal and acting capabilities, impeccable command of sound and dynamics were noted. A number of enthusiastic reviews from reputable music critics followed. Thus, in the work "A new meeting with the opera The Barber of Seville" A. Iskanderova, when analyzing the image of Figaro, notes "a strong and clear voice". According to the author, Muslim Magomayev fantastically got used to the image of Figaro and surprisingly plausibly played it, conveying the whole spectrum of feelings, emotions and sensations to the audience, portrayed exactly that holistic artistic picture and that palette of colors that was undoubtedly conceived by the authors. Also, A. Iskanderova notes that Muslim Magomayev, who is known as a very talented performer, organically reincarnated and fully revealed the image of a young, agile, agile, gallant and amiable man in the same production. Muslim Magomedovich needs to continue working on his vocal part and raise his acting to a higher level. The author is also sure that later one of the best performers of this role will be M. Magomayev ^[7].

It should also be noted that M. Magomayev performed in almost all opera houses of the Soviet Union in the role of Figaro in the play "The Barber of Seville", including such cities as: Vilnius, Tbilisi, Chisinau, Riga, Leningrad, Moscow, etc. In 1968 , M. Magomayev performed on the stage of the Azerbaijan State Academic Opera and Ballet Theater named after M. F. Akhundov was noted in the issue of the newspaper "Literature and Art", in the article "Muslim Magomayev sings", it is interesting that he last performed in this performance in Tbilisi in 1964. Magomayev told a correspondent from the Azerinform news agency under the Council of Ministers of Azerbaijan about this interview. He is most associated with cavatina Figaro J. Rossini with his creative biography, it was with this role that he first appeared on many opera stages, played the role of Figaro in Tbilisi. After Muslim Magomayev began to actively perform on the "stage", he always wanted to return to the opera stage and realized that it was not so easy to do it: in order to resume his activities on the opera stage again, to rise to a sufficiently high level and achieve the right manner of performance, a pause was needed, after which Magomayev continued working in opera genre ^{[5, 25]}.

In 1978, after a long break from numerous various performances and concerts on the stage, M. Magomayev returned to opera activity. By this time, he had already filigreed the roles of Figaro and was a People's Artist of the USSR. R. Atakishiev – People's Artist of the Azerbaijan SSR and part-time performer of Count Almaviva, speaking about the return of M. Magomayev to the opera, noted the skillful and masterful performance of the vocal part of the role of Figaro, as well as brilliant acting: "The singer's voice was more melodious, strong and beautiful." The acting skills of M. Magomayev, which rose to a higher level and brought to perfection, led music critics to delight. They expressed the unanimous opinion that the musician's opera repertoire has fully taken place as an academic performer ^{[25, 31]}.

In another way, the incarnate Muslim Magomayev is Don Basilio. Scene and aria of Don Basilio from the opera "The Barber of Seville" by J. Rossini. It should be noted that Muslim Magomedovich did not participate in the production of the opera, but often performed Don Basilio's aria both accompanied by an orchestra and accompanied by a piano. When performing this aria, Muslim Magomayev demonstrated not only a brilliant command of his voice in an academic manner, but also artistry. It is worth noting that the complex melodic lines of the aria part are brilliantly played out on stage, literally reincarnating into their hero. Muslim Magomayev gives himself completely to a new role, however, at the same time he controls every sound, every motive, not only without distorting the author's idea, but also bringing a special flavor to it. The aria of Don Basilio performed by Muslim Magomayev is a true standard, which both young performers and experienced artists are equal to.

Knowledge of languages, a brilliant musical education and the experience gained during a number of internships allowed Muslim Magomedovich Magomayev has an impressive academic repertoire, with which he visited a number of republics of the Soviet Union and foreign countries.

While still a very young performer, in March 1963, when the Decade of Culture and Arts of Azerbaijan took place in Moscow, Muslim Magomayev made his debut with the academic repertoire. Among many famous vocalists, the young Muslim Magomayev also performed, and many metropolitan publications of that time devoted their front pages to his personality. The high-profile publications were followed by an invitation to perform a solo concert at the Tchaikovsky Concert Hall. A few months later, the Baku Opera and Ballet Theater nominates Magomayev for an internship at the world-famous Milan theater "La Scala", where the performer was recognized and replenished his academic repertoire with world masterpieces.

§ "Ah, miocor" G. F. Handel;

§ "AveMariya" by F. Schubert;

§ "Ombramaifu" G. F. Handel;

§ "Lasciach'iopianga" G. F. Handel;

§ "Setum'ami" by D. Pergolesi;

§ "Arioso Papageno" by V. A. Mozart;

§ "Aria of Don Juan" libretto by V. A. Mozart;

§ "Iago's Monologue" by G. Verdi;

§ "The Song of Pali Racha" by I. Kalman et al.

Muslim Magomayev visits France, and after the concert, taking advantage of the offer, records several songs at a recording studio: his records sold an impressive 4.5 million copies, the author himself receives a "golden disc". Muslim Magomayev's numerous concerts gather full halls, and the audience applauds him standing up. Upon his return to the Soviet Union, Muslim Magomayev continued his active opera and stage activities, which increasingly fascinated the musician.

In addition to world classical music, Muslim Magomayev's academic musical repertoire included academic works by Russian composers.:

§ "Arioso Mizgir" by N. A. Rimsky-Korsakov;

§ "Gremin's Aria" by P. I. Tchaikovsky;

§ "Cavatina Aleko" S. V. Rachmaninoff;

§ "Paganel's Song" by I. O. Dunaevsky;

§ "Robert's Song" by I. O. Dunaevsky et al.

Muslim has a special attitude Magomayev was to the romances of Russian composers. The romances of Russian composers are masterpieces of vocal lyrics that have truly classical traditions of performance, requiring great emotional fullness, expressiveness and plasticity of phrasing from the singer. These traits are undoubtedly present in the performance of Muslim Magomaeva. "... The listeners got the impression that the vocal lyrics of Tchaikovsky and Rachmaninoff were especially close to him. He perfectly feels her character, beauty and deep poetry, penetration, which is full of every phrase, every bend of the melodic line in these romances ..." wrote music critic Vsevolod Timokhin ^[46]. The repertoire included such works as:

§ "I bless you, forests" P. I. Tchaikovsky;

§ "In the silence of the secret night" S. V. Rachmaninoff;

§ "Does the Day reign" by P. I. Tchaikovsky;

§ "How it hurts me" S. V. Rachmaninoff;

§ "Oh no, I pray, don't go away" S. V. Rachmaninoff;

§ "Pimpinella" by P. I. Tchaikovsky;

§ "The Romance of the Demon" by A. G. Rubinstein et al.

Svyatoslav Belza noted that "Magomayev excellently succeeded in the arias of Figaro and Scarpia, Mephistovel and Onegin ... however, the resounding pop success prevented the development of an opera career" ^{[3, p. 5-7]}.

Excellent vocal skills, high performing technique and an impressive list of performed works: from classical arias to popular pop songs of Muslim Magomayev brought him All-Union fame and universal recognition on the stage.

Fans of Muslim 's creativity Magomayeva notes that professional musical education and practice on the opera stage have only had a positive impact on the artist's pop work. Moreover, it is the pop art of Muslim Magomayev is associated with the appearance of "Western" rhythms on the Soviet stage. At the same time, despite the ease and accessibility of the musical language of pop songs, in every sound and every gesture of the performer, both greatness and his multifaceted talent were manifested. 

For the first time as a pop artist Muslim Magomayev appeared on television in 1964 as part of the New Year's program "Blue Light". Muslim Magomedovich performed the smash hit "Comeprima" to his own piano accompaniment. Despite the fact that the performer retained the original Italian text and the meaning of the song, the mass audience and listener, of course, did not understand, everyone appreciated something else: the whole, strong and sensual voice of the young vocalist, in which the boundless joy of life was felt. Muslim Magomayev sang, closing his eyes and "stretching his neck like a boy", completely giving himself to the melody, freely and naturally controlling every phrase. Of course, the list of pop works by Muslim Magomayev is amazing, we will give only all-Union and world-famous examples:

§ "Azerbaijan" by P. Bulbul-Bulogly;

§ "Baku Autumn" by P. Bulbul-Bulogly;

§ "Thank you" A. Babajanyan;

§ "Buchenwald Alarm" by V. Muradeli;

§ "Beauty Queen" A. Babajanyan;

§ "The best city on Earth" by A. Babajanyan;

§ "Malaya zemlya" by A. Pakhmutov;

§ "Moments" by M. Tariverdiev;

§ "Melody" by A. Pakhmutov et al.

Muslim 's pop repertoire Magomaeva is striking in its diversity. During the concert performance, the great performer freely moves from military songs of Soviet composers ("Beloved City", "Moscow Windows", "Faithful Friends", "Dark Night", etc.) to world hits or pop arrangements of folk songs ("Girl", "Along St. Petersburg"). Muslim Magomayev conquered his listeners with sincerity: he sang soulfully about devotion to his beloved girl, about male fidelity, about the life of a Soviet man, about war and peace.

For example, even at the stage of composing the song "Beauty Queen", A. Babajanyan admitted that he was thinking about Muslim Magomayev, and imagined how he would perform it, hence the special motives arose. The outstanding composer also remembered Magomayev's request to write a song in the twist style, and although he was afraid that such a request might "cost" him dearly, he took a risk. The rhythm of the twist and the playful, even slightly audacious performance of the "Beauty Queen" by Muslim Magomayev did not go unnoticed, especially after the song won the people's contest "Best Song" in a poll of the newspaper "Sovetska Kultura". The Union of Composers condemned the musical style alien to the Soviet man, but the listeners loved the song so much that it was almost impossible to remove it from radio and television broadcasting.

Filigree bringing out each sound of the melody, accompanying the performance with light dance movements and bright facial expressions, Muslim Magomayev conquered the fans. The song "Beauty Queen" sounds on almost all radio stations and especially dance floors throughout the Soviet Union, the company "Melody" creates multimillion copies of records with a hit song, but it is almost impossible to buy them, as they are instantly bought up by Muslim Magomayev's fans.

Another famous smash hit by Muslim Magomayev "The Best City on Earth" also belongs to the pen of the great A. Babajanyan. The first performer was the famous Armenian singer Jean Tatlyan, however, after concerts in France, the artist decided not to return to his homeland, and Muslim Magomayev began to perform the smash hit. The song about Moscow received All - Union fame precisely in the performance of Muslim Magomaeva. For several months, the song was played on the radio and literally one day it was removed from all radio broadcasts on the orders of Nikita Sergeevich Khrushchev, who doubted that a twist-style song could sound about Moscow. However, a month later, Nikita Sergeyevich himself was dismissed. There is a well-known reaction to these events by the author of the words "The Best Year of the Earth" Leonid Derbenev, who once uttered a phrase that was addressed to radio workers: "Well, Magomayev did everything he could: Khrushchev was removed; will you now broadcast our song?" ^{[34, p. 32]}. Of course, after all the bans, the song "The Best City on Earth" returned victoriously to the radio broadcasts of the Soviet Union. "Smelly", as Muslim Magomayev called it, "twisty music" of two songs by A. Babajanyan, as well as colorful, bright, daring and at the same time the most intelligent literary texts by outstanding songwriters A. Gorokhov and L. Derbenevi, as well as moderately restrained, but at the same time bright performance by Muslim Magomedovich Magomaeva successfully complemented each other, giving rise to colorful incendiary hits: "Beauty Queen" and "The best city on Earth".

A completely different image of the lyrical hero is conveyed by Muslim Magomaev in the song "Melody" by A. Pakhmutova and N. Dobronravov, in the hymn of love and ode to music. It was in the "Melody" that feelings for a woman and devotion to the musical art, which were close to Muslim himself, were organically intertwined Magomaeva. Of course, for all fans of Muslim Magomedovich's work, the history of the song is connected with the personal history of the performer and his wife Tamara Sinyavskaya. A true masterpiece of song lyrics, an incredibly beautiful literary text by N. Dobronravov was created on a ready-made musical theme by Alexandra Nikolaevna Pakhmutova. The melody, however, does not quite comply with the laws of the pop genre, it is quite complex in rhythmic terms, its melody is close to the instrumental type, Alexandra herself Pakhmutova doubted that she could make a song. However, for Muslim Magomayev and such a difficult melody by the standards of pop music turned out to be "on the shoulder".

It is believed that the first performance of the song "Melody" by Muslim Magomayev passed February 4, 1973. And the story itself, which the great vocalist "tells" from the stage, originates at the Olympic Games in Munich. Specially for these games, another song was created by A. Pakhmutova and N. Dobronravov – "Heroes of Sports", which, despite the fact that it was composed specifically for Muslim Magomaeva did not like the vocalist and he suggested another performer – Eduard Khil. But E. Khil was not in Moscow, and Alexandra Nikolaevna Pakhmutova personally persuaded Muslim Magomedovich to perform a sports smash hit, promising to write the next song specifically for his type, this song became "Melody". The complex melodic line of the song did not frighten Muslim Magomedovich, since it was the same heavy and complex thoughts that overcame him at that time, and the literary text perfectly clarified the reason for such thoughts. Despite the fact that the author's score of the melody was not finished, Muslim Magomayev wished to share this hymn of love with his listeners as soon as possible by ordering the orchestration from other musicians. A few months later, when Alexandra Pakhmutova finished the score, and the song of the same name was finally recorded at the Melody studio.

Why was Muslim in such a hurry Is Magomedovich in his desire to share a new song with the audience? The reason is that the acquaintance with "Melody" occurred during the period of his romantic relationship with the outstanding opera performer Tamara Sinyavskaya. The mood and theme of the composition by A. Pakhmutova and N. Dobronravov coincided with the inner feeling and feelings of Muslim Magomedovich Magomayev. He repeatedly recalled: when he recorded the song, Tamara Ilinichna Sinyavskaya were on tour in Italy at the La Scala Theater. Without waiting for his muse to return to his homeland, Magomayev for the first time performed the song "Melody" to his beloved woman into the phone. His stage performance of the smash hit of love was also similar: somewhere quiet and personal, somewhere emotionally open and as real as it is possible to tell only about those feelings that you experience yourself.

One can talk endlessly about the pop art of Muslim Magomayev, but when you read the diaries of "famous people", you realize the full power of his personality, which left a significant mark in the musical culture of the second half of the XX century. Back in 1980 R. Rozhdestvensky wrote: "I have attended many concerts in which Muslim Magomayev sang, and there has never been a case when the presenter had time to give the artist's full name and surname. Usually, after the name "Muslim" there are such ovations that, despite the most powerful speakers and all the efforts of the presenter, the surname "Magomayev" hopelessly drowns in an enthusiastic roar. We are used to it. How used to the fact that his name alone has long been a kind of attraction of our art. And also to the fact that any opera aria, any song performed by him is always an expected miracle."