Conductor Randall Tweed on his introduction and experience with Azerbaijani classical music
Washington, October 10 (AZERTAC). “Seven Beauties” ballet will be premiered in San Diego, CA on October 11. The orchestra will be conducted by Randall Tweed, world-renowned conductor. He is a Director of Choral/Orchestral Activities at Grossmont College, and has been conducting opera, symphony, and chorus throughout Southern California since joining the music faculty in 1986. Dr. Tweed has frequently appeared as guest conductor on concert music series throughout Southern California including the Cabrillo Chamber Orchestra, the United States International Orchestra, Spreckels Organ Society, and various educational and church music concert series. Dr. Tweed received the doctorate in musical arts (D.M.A.) from the School of Music at Arizona State University, located in Tempe, Arizona. He has also completed two Master of Music degrees from the University of Southern California in addition to pursuing post-graduate study in Berlin, Germany (studying at the Berliner Kirchenmusikschule) where he was a recipient of a Konrad Adenauer Foundation Fellowship.
On the eve of the premiere of “Seven Beauties” in Southern California, Mr. Tweed was interviewed by the Washington Bureau of AZERTAC about his career and discovering Azerbaijani music and arts.
- Dr. Tweed, you have conducted for nearly 30 years, obviously directing masterpieces of renowned composers throughout your career. What has brought you to Azerbaijani music?
As it is in many aspects of life, so it is with my introduction to the music of Azerbaijan: through the meeting of a colleague who happened to be a board member of the Switzer-Highland Association (sister district to the Nasimi District in Baku) four years ago. This meeting caused me to begin researching Classical (European) music that led me to find a number of revered native composers who trained in Russia under such great composers as Shostakovich and Glière. I believe one of the great fortunes Russia's pedagogues supported for young Azerbaijanis was to support their native tradition when composing. And I experienced this with the works I conducted by Amirov and Qarayev several years ago. And this ultimately brought me to Qarayev's ballet "Seven Beauties."
- How different is the classical music by Azerbaijani composers from European and American? And if you find Azerbaijani classical music close to European, what are the similarities from the perspective of an American musician?
As alluded to earlier, because of the training Azerbaijani composers received, their music looked to the Classical master-composers, from Tchaikovsky and Brahms to Prokofiev, Schnittke and beyond. There is immediacy to their music that is tinged with the folk tradition of Azerbaijan that is perceptible by anyone who enjoys Classical music. But it is the Mugham tradition that so intrigues me, e.g., the symphonic Mughams of Amirov. These works certainly stand tall in the pantheon of quality 20th century works for orchestra--and I look forward to investigating more music of this nature, especially Classical works by younger Azerbaijani composers.
- Is there something peculiar about "Seven Beauties" that you picked it out amongst other Azerbaijani masterpieces?
I had conducted the orchestral suite from Qarayev's "Seven Beauties" several years ago. The music was loved by both the orchestra musicians under my direction as well as the audience members--as witnessed by several standing ovations. Because of my relationship with San Diego Ballet, it seemed prudent to pursue a ballet to help bring the music of Azerbaijan to America. Beyond the pragmatics, the subject matter truly worked for some of the goals Grossmont College is committed to support, e.g., multiculturalism, and women's studies. With the realization that in Ganjavi's poem, it was "woman" who taught "man" the principals of great leadership, "Seven Beauties" seemed the perfect choice for this project. In my opinion, Javier Velasco (Artistic Director of San Diego Ballet) has truly captured the essence of each beauty--their choreography underlying each principal (lesson) taught to the young Prince (Bahram V Gur).
- What are your plans for the future as far as Azerbaijani masterpieces are concerned? Do you intend to conduct more Azerbaijani plays in the future? Anything specific so far?
It is my great hope to uncover many more works by Azerbaijani composers, both past and present. And because of the many friends I have made at Azerbaijan State Ballet, Baku Conservatory of Music, and more; it is my hope to strengthen our academic and professional ties by allowing students from both countries to study at our mutual institutions . . . even to invite music faculty from our respective institutions to teach master classes, as well as to perform. I have only scratched the surface regarding the music of Azerbaijan, and I look forward to the future of discovering new works to be shared with our American audiences.
Yusif Babanli
Special Correspondent
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