Our great composer, Uzeyir Hajibeyov, has been gone for many years. However, we still feel his presence as our master and teacher in the conservatory, in the classroom where he once taught. It seems as though he continues to oversee our creativity like a father, and we sense his attentive gaze upon us.

Uzeyir Hajibeyov, the founder of professional music in Azerbaijan and a prominent teacher of our renowned composers, is a genius whose memory is cherished and remembered with love at all times. His artistry, work, and contributions are an invaluable example for us. As we celebrate the 90th anniversary of his birth, it brings me great joy to share memories and reflect on the past regarding our esteemed master and teacher.

It should be noted that most of our composers, who are prominent representatives of the Azerbaijani school of composition and currently create with endless inspiration, are students of Uzeyir Hajibeyov. 

Like my fellow artists, I learned the foundations of Azerbaijani folk music in Uzeyir Hajibeyov's class during the difficult years of the Great Patriotic War. As is well known, we young composers had several responsibilities during the war. In addition to mastering the secrets of art, we were tasked with composing works that would inspire our brave soldiers and the workers on the home front towards victory. Therefore, during the war, I composed my first vocal piece, "Wait for Me," with lyrics by the soldier-poet Shirzad Aliyev. I presented that song to our great singer, Bulbul, who immediately liked it. However, I hadn’t mentioned anything about it to Uzeyir Muallim.

It was October 1942. While we were in Uzeyir Hajibeyov's class, we suddenly heard the sweet voice of our beloved singer coming from the neighboring room. He was singing  the song “Wait for Me.” Uzeyir Muallim was intrigued by this song. Someone informed him that Suleyman had written it. He quickly stood up and, with warmth, said, “Well then, let’s go and listen to the song properly.”

We moved into the room where the singer was busy. Upon Uzeyir Muallim's suggestion, Bulbul sang the song again. (At the grand piano, he was accompanied by Vladimir Kozlov.) As the song ended, Uzeyir Bey first congratulated me, followed by my fellow students. Our esteemed singer remarked, "Young man, your song has been granted citizenship rights from this day forward." 

I was thrilled. Inspired by the high praise from my teacher, Uzeyir and Bulbul, for the first song I wrote on the theme of war, I later composed my second song titled "I'm Waiting," based on the lyrics of poet Zeynal Jabbarzadeh.

In 1944, Zahra Rahimova successfully performed the song "Wait for Me" at the Ten-Day Music Festival of the Transcaucasian Peoples held in Tiflis. Since U. Hajibeyov liked this song a great deal, I was accepted into the Composers' Union in 1943 at the suggestion of the great composer.

Uzeyir Hajibeyov did his utmost to ensure that young composers, just starting, were recognized and supported in every possible way. I must express great pride and joy in saying that Uzeyir Muallim first guaranteed my acceptance into the ranks of the Communist Party of the Soviet Union. 

In May 1945, after the war ended victoriously, my composition "Holiday Prelude," created for the 25th anniversary of the establishment of Soviet power in Azerbaijan, was performed for the first time by a symphony orchestra at a concert organized at the Philharmonic. Despite his limited time, Uzeyir Muallim, a caring teacher and kind-hearted person, came to listen to my work, congratulated me, and offered his valuable advice. My friends and fellow musicians still remember that unforgettable scene. I developed a closer creative relationship with the great composer when I conducted his operettas. From 1944 to 1948, while I was orchestrating the operettas "Arshin Mal Alan", "If Not That One, Then This One", and "Husband and Wife" at the building of the current puppet theater, Uzeyir Muallim often visited the theater, observed the performances, and provided his insights. 

I remember it well: Once, the operetta "Arshin Mal Alan" was performed in a new production at the theater, with me conducting. After the performance ended, Uzeyir Bey approached me and expressed his satisfaction with the performances of the actors and musicians. However, he advised me to pay special attention to the fermata in the performance of Gulchohra's aria in the third act. Our great composer later added that it was essential to showcase the skills of individual performers.

I will never forget. After the first performance of the operetta "If Not That One, Then This One" in the new production, Uzeyir Muallim came backstage, thanked all the actors and the orchestra, and expressed his satisfaction with the conducting. Could there be a greater reward for a young artist?

I arranged one of the composer’s cantatas during his lifetime, and along with Aghabaji Rzayeva, I adapted the composer's romances "Without You" and "Sweetheart" for the Radio Committee's folk instrument orchestra. During the review, Uzeyir Muallim offered advice and repeatedly expressed his approval.

When I graduated from the Azerbaijan State Conservatory in 1948, he was seriously ill and was receiving treatment at the Kremlin Hospital in Moscow. Even during such a challenging time, he did not forget about me and sent me a telegram congratulating me on my successful graduation from the conservatory. I am keeping that telegram as a precious memory. Since our great composer’s eternal separation, I feel his presence every moment, and try to stay true to his traditions in my creative work.

After my dear teacher’s passing, I dedicated two works to him: the play "Thought" and the ballad "Glory to the Artist," which I wrote to the lyrics of our beloved national poet, Samad Vurghun.

Yes, as the years and centuries go by, Uzeyir's music will continue to conquer hearts, his name will be spoken widely, and the people's love for him will only grow stronger.