Khoja Abd al-Qadir ibn Gaibi al-Hafiz al-Maraghi ( Persian عبدالقادر مراغی , Azeri Əbdülqadir Marağayi ) (1353-1435) - Persian [1] musician and music theorist, originally from the historical region of Azerbaijan . Along with Safiaddin Urmavi, Maraghi made a huge contribution to the theoretical study of the musical culture of Azerbaijan (the historical region of northern Iran [2] ) [3] . He was a court musician of the Baghdad caliphs , he served at the court of Timur in Samarkand . In a number of treatises (beginning of the 15th century) he gave a theoretical account of the system of 24 modes , descriptions of forms and genres, as well as many musical instruments of his time. Although al-Maraghi's native language was Azerbaijani , with the exception of several Turkic verses, he wrote all the works in Persian [4] .
| Abdulgadir Maraghi | |
|---|---|
| ( Persian عبدالقادر مراغی ) | |
 | |
| Birth name | Abd al-Qadir ibn Ga'ibi al-Hafiz al-Maraghi |
| Date of Birth | 1353 |
| Place of Birth | Maraga |
| Date of death | 1435 |
| Place of death | Maraga |
| Citizenship (citizenship) | |
| Occupation | Music , Poetry , Calligraphy |
| Language of Works | Persian , Arabic |
Content
Biography
Born in 1353 in Maraga [5] . The father of Abdulgadir, Movlan Gabi, was an educated and respected man in the city. He noticed the early abilities of his son and decided to train him. At the age of four, Maraghi recited the Qur'an , at age 8 he mastered grammar, at the age of 10 he went with his father to the Mejlises of learned men and sheikhs , where he skillfully performed complex musical works. Maraghi also composed poetry, owned calligraphy , "and by writing on a stone he had no equal and the like." Muhammad Isfizari , who lived in the 15th century, claims that Maraghi had three talents - a musician, calligrapher artist and poet. He wrote about him:
| “... and by writing on a stone he had no equal and the like” |
During Jelairids
In the early 70s of the XIV century, Abdulgadir Maraghi participated in the Majlis of the ruler - Sultan Uweis Jelair . I got the wife of the daughter of Haji Rizvanshah ibn Zaki at-Tabrizi for composing musical works ( mugam cycle).
During Timurids
During the campaigns of Timur Maraghi in 1393 , like many other skilled craftsmen and artists, he was stolen to Samarkand . In the center of Maverannahr, the musician also enjoyed great fame. In Timur’s “Firman” (decree) ( 1397 ) Maraghi is called “the padishah of all music connoisseurs”. Abdulgadir returns to Tabriz . But soon, due to the difficult situation at the court of Miranshah , known for its bloody reprisals against poets of that period, he was forced to flee to Baghdad , where Timur sentenced him as an approximate of Miranshah to death. However, he canceled his sentence, impressed by the beautiful voice of Maragha and his masterful reading of the sura from the Koran . Maragi again became the court musician of Timur.
Work on theoretical works
At the beginning of the 15th century, in Maverannahr and Khorasan, the scientist worked on theoretical works, in which he summed up his rich experience. Maraghi in the period from 1405 to 1413 worked on a large treatise "Jame al-Alkhan" ("The Set of Melodies").
In 1415, in Herat, Maraghi wrote the second version of the treatise "Jame al-Alkhan." It is in him that mugam ( makam ) as a term and concept for the first time receives a thorough scientific development. As a theorist, Maraghi studied, first of all, the most complicated problem of mugham (maqam) frets . He recorded the complication of professional musical art, describing in detail 24 shobe - modal scales derived from basic mugams (makams).
Maraghi also highlighted the topic of how to accompany a melody on plectic instruments (a variety of plucked strings), on various methods of hitting a plectrum , as well as a kind of vibrato - “rubbing” (malesh) sound, as a performing technique for extracting a micro-interval in 1/4 tone (“ihrha” ").
In the treatises Maraghi also reveals the peculiar features of the art of one or another people.
In the scientific works on musical instruments and musical genres, he reveals the specifics of ashug art - the art of ozans, bakhshis, and baxis representing the culture of Turkic - speaking peoples [6] . The main tool of the ashugs is the “ gopuz ” Ruma ( Asia Minor ), the “ gopuz ozanov” ( Azerbaijan ), the “shidirgu” - a tool common among the Turkic bakhsh Khat (East Turkestan ).
Maragi reveals a peculiar quart-second basis with the ashugsky saz common for the gopuz ozanov and shidirga, substantiating the connection of the modern saz with its prototype - the gopuz of the famous Turkic epos “ Kitabi Dede Korkut ” [7] .
He distinguishes 9 main modes of music performed by Turkic singer-storytellers. Describes bow instruments such as kamancha , gijak , tanbur , plucked instruments like rubab .
Abdulgadir Maraghi in his last verses reflected the freshness of feelings and the hope of recognition of descendants:
Although I am old, but my heart is young
The same fervor in the head and in the heart is fire.
Although in old age I behave young
And scatter (not sparing) the pearls of my tunes,
But my creations are like a memory (of me)
Will remain until the end of the world.
The work of Maragha attracted the attention of many Western European musicologists, including Rafael G. Kizevetter , Henry J. Farmer and others. The English oriental scientist Henry D. Farmer called him "the last classic of medieval music science." Some Maraghi manuscripts are kept in the Topkapi Museum and the libraries of Nur Osmaniye ( Turkey ), Mashhad ( Iran ), Oxford University ( Great Britain )
Descendants
Scientific research in the field of musicology was continued by his youngest son - Abdulaziz ibn Abdulkadir Al Maraghi . Abdulaziz Maraghi moved to Istanbul , where he served as a court musician with the Ottoman sultan Mehmed II the “Conqueror” . By order of the Sultan, Abdulaziz Maraghi wrote the scientific treatise "Nakavetul-Edwar." The son of Abdulaziz Maraghi, Mahmoud Maraghi, also continued the work of his great grandfather and served at the court of Sultan Suleiman I the Great . [eight]
Known Treatises
- Jame al-Alhan
- Megasid al-Alkhan
- Sharr al-Edwar
Notes
- ↑ Farmer, HG “Abd al- Qadir b. GHaybi al-Hafiz al-Maraghi. ”Encyclopaedia of Islam. Edited by: P. Bearman, Th. Bianquis, CE Bosworth, E. van Donzel and WP Heinrichs. Brill, 2007. Brill Online. “ Abd al- Ḳādir b. G̲H̲aybī al-Hāfiz al-Marāg̲h̲ī , the greatest of the Persian writers on music. Born at Marāg̲h̲a, about the middle of the 8th / 14th century, he had become one of the minstrels of al-Ḥusayn, the Ḏj̲alāʾirid Sultan of ʿIrāḳ, about 781/1379. Under the next Sultan, Aḥmad, he was appointed the chief court minstrel, a post which he held until Tīmūr captured Bag̲h̲dād in 795/1393, when he was transported to Samarḳand, the capital of the conqueror. In 801/1399 we find him at Tabrīz in the service of Tīmūr's wayward son Mīrāns̲h̲āh, for whose erratic conduct his „boon companions“ were blamed. Tīmūr acted swiftly with the sword, but ʿAbd al-Ḳādir, being forewarned, escaped to Sultan Aḥmad at Bag̲h̲dād, although he once more fell into Tīmūr's hands when the latter re-entered Bag̲h̲dād in 803/1401. Taken back to Samarḳand, he became one of the four brilliant men who shed luster on the court of S̲h̲āhruk̲h̲. In 824/1421, having written a music treatise for the Turkish Sultan Murād II, he set out for the Ottoman court to present it in person in 826/1423. Later he returned to Samarḳand, dying at Harāt in 838 / March 1435. "
- ↑ AZERBAIJAN // Iranik Encyclopedia
- ↑ Encyclopedia Iranica. Azerbaijan. Music of Azerbaijan. "The art music of Azerbaijan is connected with the Irano-Arabo-Turkish art of the maqām, of which the great theoreticians were notably Ṣafī-al-dīn Ormavī (d. 693/1294) and ʿAbd-al-Qāder b. Ḡaybī Marāḡī (d. 838/1435), who were originally from Urmia and Marāḡa in Azerbaijan. "
- ↑ Gönül Alpay Tekin Timur Devrine ait iki Türkçe Şiir [Two Turkish Poems of the Timur Period] // Harvard Ukrainian Studies. - 1979-1980. - T. 3/4. - S. 850.Original text (tour.)Fakat A. Merâgî, ana dili Azerî Türkçesi olmasina rağmen, bazi Türkçe şiirleri dişında, eserlerini Farsça yazmiştir.
- ↑ Now in East Azerbaijan , Iran
- ↑ Azerbaijan SSR. Music - an article from the Great Soviet Encyclopedia . “Shur is the intonational basis of ashug music. Theorists of Safi ad-din Abd al-Mumin al-Urmawi, Abdul Kadir Maraghi, who wrote treatises on frets, musical forms and the relationship of music with poetic text, were already engaged in the study of these modes in the Middle Ages. The names of the main 7 frets became the names of the mugams. ”
- ↑ Encyclopedia Iranica. ČOḠŪR. "ČOḠŪR (also čoḡor, čogūr, more commonly called sāz in former Soviet Azerbaijan), is the typical pyriform lute of the ʿāšeq (qv), the professional minstrel of Azerbaijan. The ancestor of this instrument was probably the ṭanbūr of Šīrvān, described by ʿAbd-al-Qāder b. Ḡaybī Marāḡī (p. 200) in 809/1405, which was very popular in Tabrīz. ”
- ↑ Bulent Aksoy, Bosphorus University. Istanbul: Center Of Middle-Eastern Classical Music. "Nakaavetu'l-Edvar by Abdulkadir Meragi's son Abdulaziz, Fethullah es-Sirvani's Mecelle fi'l-Musiki, dedicated to Mehmed II, in the fifteenth century are clear indications showing the musical preference of the state and that classical Islamic sources have been evaluated for the formation of Ottoman musical culture ... The leading representative of this genre was the Azerbaijani composer Abdulkadir Meragi, who also had sung in the Timurid courts. This tradition was introduced firsthand to Istanbul by Abdulaziz, his youngest son. He was active as a composer, performer, and a writer on music during the reign of Mehmed II (1451-1481). He was followed by his son, Mahmud, who was still active in the court of Suleyman I (1520-1566). Mahmud's absence marks a definite break within the flow of the pre-Ottoman Islamic tradition. ”
Literature
- Kasimov K.A. Maraghi H.A. // Musical Encyclopedia / ed. Yu. V. Keldysh . - M .: Soviet Encyclopedia, Soviet Composer, 1976 .-- T. 3.
Links
- Abd al-Qadir // Musical Dictionary : in 3 volumes / comp. H. Riemann ; add. Russian department with staff. P. Weimarn and others; per. and all ext. under the editorship of Yu. D. Engel . - Per. from the 5th of it. ed. - Moscow — Leipzig: ed. B.P. Jurgenson , 1904 .