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Список литературы / References
1. Постановление Президента Республики Узбекистан Ш. Мирзиёева «О мерах по инновационному развитию сферы культуры и искусства в республике Узбекистан» // Газета "Народное слово". С. 1.27. 08.2018.
2. Ганиева Л. Эстрадно-инструментальное исполнительство. // Учебник. Ташкент: Мусина., 2019.
3. Конен В. Рождение джаза. М., 1995.
DILOROM SAIDAMINOVA'S COMBINATION OF HISTORY AND MODERNITY IN MUSICAL PIECES FOR THE FORTEPIANO Hayitbaeva D.S. Email: Хайитбаева17144@scientifictext.ru
Hayitbaeva Dilbar Sultanovna - Associate Professor, DEPARTMENT OF PIANO, STATE CONSERVATORY OF UZBEKISTAN, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: the article is devoted to the analysis of well-known Uzbek composer Dilorom Saidaminova 's piano series, their role in Uzbekistan's fortepiano performances, and describes the musician's application of modern compositional techniques in the interpretation of historical themes. The article also explores how the composer's artistic world perspective influenced performing arts schools. Well-known composer and many-times winner of international competitions, Dilorom Saidaminova is one of the most leading contributor's to the development of Uzbekistan's music culture and propaganda. D.Saidaminova's compositions of various genres stand apart from other pieces due to their serenity, in the breadth-of the composer's worldview, and in their philosophical richness. Keywords: fortepiano, genre, composer, impressionism, postmodernism, performance technique, harp, harmony, style, portrayal, form.
СИНТЕЗ ИСТОРИИ И СОВРЕМЕННОСТИ В ФОРТЕПИАННЫХ ЦИКЛАХ ДИЛОРОМ САЙДАМИНОВОЙ Хайитбаева Д.С.
Хайитбаева Дильбар Султановна — доцент, кафедра фортепиано, Государственная консерватория Узбекистана, г. Ташкент, Республика Узбекистан
Аннотация: статья посвящена фортепианным циклам ведущего композитора Узбекистана Дилором Сайдаминовой. В ней рассматривается роль фортепианных циклов композитора в исполнительской практике, взаимодействие истории с современными композиторскими технологиями. А также определяется роль художественного мышления композитора в исполнительской практике.
Дилором Сайдаминова, известный композитор и неоднократный победитель международных конкурсов, является одним из ведущих участников развития музыкальной культуры и пропаганды Узбекистана. Композиции Д. Сайдаминовой разных жанров отличаются от других произведений своей безмятежностью, широтой мировоззрения композитора и их философским богатством.
Ключевые слова: фортепианно, жанр, композитор, импрессионизм, постмодернизм, техника исполнения, лад, гармония, стиль, изобразительность, форма.
УДК 078
In the composer's pieces, we see the interplay of traditionalism and modernity, the portrayal and exploration of eternal artistic themes, and the "dialogue" of the past and present in music tones. Such a combination of musical techniques, themes, and ideas highlight the unique and original character of Dilorom Saidaminova's works.
"The identity of the composer is determined by a combination of factors," writes V. Bobrovsky. This includes the artist's emotional aptitude, personality traits, moral and aesthetic worldviews, and aesthetic ideals that perceive the world through an individual approach. Such a combination, which yields and represents the artistic style of a creative person, can be conventionally called a "creative
gene" [1, 11]. The "creative gene" of D. Saidaminova has also been able to stand out and express itself in her fortepiano cycles.
During her career, D. Saidaminova has successfully performed in various genres. In a vibrant creative state, the composer created three major piano compositions called "The Walls of Ancient Bukhara", "Frances of Afrosiab" and "Dialogue with Umar Khayyam." The different piano cycles represent the different creative periods in the composer's career.
In compiling her first fortepiano series, "Walls of Ancient Bukhara," the composer first looked at the history of the nation. A close acquaintance and understanding of the architectural monuments of the ancient East gave the artist a deep sense of the rich national culture and the need to express it through the piano. When thinking back to the creation of her piece, the author recalls that, "It was like a romance. As I walked through the ancient Khiva streets, I felt the walls of the towers with my palms and seemed to communicate with my ancestors. I tried to express this in music...Looking back over the ages and understanding the great culture of my ancestors, the pursuit of unseen conversations with them inspired and moved me".
D. Saidaminova published the piano series "Walls of ancient Bukhara" in 1973. In 1978, its new edition, enriched with invoices and passengers, was published in Moscow. In a series of eight plays of varying character, the composer was able to convey the rich history of the ancient city, its architectural monuments, the clear sky and the powerful state of the Samanids, and the spirit of our great ancestors. The dramatic integrity of the genre, the composer's skillful use of modern writing techniques and folk styles, such as sonoristics and pantilism, the widespread use of polyrhythmic and poli-tonal harmonies, the ability to "create" the sounds of national instruments through the piano—these all display how the series broke away and detached itself from conventional musical norms and the piano series' strong attachment to the national culture reveals that Dilorom Saidaminova's work truly laid the groundwork for a new spirit and distinct interpretation of music.
Each piece in the series is not limited to its vivid imagery. They impress the listener by making up the inner spirit of the whole series and by being guided by one spirit. This is especially important for the genre. Deep and delicate spiritual experiences as well as the beautiful ancient East are portrayed through vivid visual scenes and landscapes in efforts to combine modern means of expression.
The next piano series "Afrosiab frescoes", completed in 1996, represents a new stage in the composer's career. "The series was born as a result of the creative and spiritual experience of the artist, her thoughts and research". Here the composer reports her impressions of Afrosiab, one of the ancient cities of Samarkand, and of her awe of the ancient inscriptions and paintings on the walls. The main content of the music is based on the personal feelings and emotional state of the artist. Feelings, impressions, and perceptions dominate the musical series.
"This series of seven subcultures is based on the idea of "reviving" ancient images through sound and describing their story and present story. The starting point of the series is the creation of a vibrant and "flammable" sound environment under a quickly emerging background. Fresco music is like a spell that captivates the audience" [2, 38]. The composer effectively uses the features of impressionism and minimalism in creating the compositions. These artistic styles play a dominant role in the series and each "draws" a particular scene. Though the plays are united by a common idea, they are by no means serene and tranquil; in fact, they become ever more colorful, vibrant and impactful with contrasting tones as the series develop. "Unique sound paintings are spread out across the whole series. Ostinato rhythm formulas, octave movements, and the ringing of the bells give rise to a vivid and brimming scene. And impressionism helps set the musical mood, acting as a musical character, through a subtle echo of singing" [3, 25].
In the piano series "Conversation with Omar Khayyam", written in 2010, the virtual dialogue of the artist with the ancient times is depicted perfectly. This "dialogue" was first seen in the composer's "The Walls of Ancient Bukhara" and continued in the "Frescos of Afrosiab" series. "Dialogue" is a characteristic of postmodernism that establishes a spiritual connection with the culture of different historical periods, depending on the relevance of the era of globalization". This is one of the best musical pieces created by the composer during her mature years as a composer. In regards to the creation of this piece, the author says: "The idea of creating a conversation with Omar Khayyam came from consciousness, at the bottom of my heart, as a result of my self-awareness. Perhaps this mystery goes back to my family's genetic code from several generations of my generation and intellectuals..." [4, 126]
Each of the eight episodes in the series draws attention because of its color, vividness, and the portrayal of a unique character. They reflect philosophic thoughts, inner experiences, thoughts, and life experiences of the poet and composer, who "communicate" with each other through the centuries. D.Saidaminova's work is inspired by Umar Khayyam's poems, which have been living in the nation's heart for thousands of years. In the series, the present and past come face to face. Putting them on one
side of the scale reflects and reaffirms their power, magnitude, and relevance in shaping what is today, what has been left in the past, and what will be tomorrow.
D. Saidaminova is a prominent scientist, master of Middle Eastern science and literature, utilizing cantoris, aleatorics, clusters, regularly changing subway rhythms, lado- tonal décor or modal-tonality, and vocals and bands to represent the poet Omar Khayyam through music. Just as an artist seeks color in drawing, the poet chooses the appropriate words to write a poem and D. Saidaminova is able to find harmony in each series. Through music, the composer expresses Omar Khayyam's writings. Of course, tradition and modernity allow the composer to link common themes and draw links between present and past when exploring Khayyam's works.
Looking at Dilorom Saidaminova's piano series over time, we see that they were created at different stages in the composer's creative work and career, each portraying a unique worldview and a certain spiritual state. While the series "The Walls of Ancient Bukhara" served as a unique experience exploring a new genre, the "frescoes of Afrosiab" represent a new look at the past and the present. "Conversations with Omar Khayyam" show that the composer experienced time and space at the level of profound professionalism. Each of these categories was born as a result of years of hard work and talent. It is evident that they have opened up new facets of the composer as an intelligent person, artist and philosopher. In composing these pieces, the author uses all the capabilities possible of the piano. The ability to "discover" various musical instruments with a single instrument, to express the peculiarities and melodies inherent in our national music, to give it an orchestral role, to use a wide range of dynamic features to illustrate a selected image-- all of these demonstrate the exceptional skill of the composer.
Dilorom Saidaminova's musical series set for the performer a number of tasks. In order to convey the composer's ideas and emotions when performing each piece, the performer must be able to express a dynamic state, the emergence and distance of silence, and the dynamics, subtle nuances, and sounds to describe quietness and vibrancy. Another important task for the performer is to reveal the deep national spirit-- the "historical memory" in the series by imitating the timbre and style of Uzbek folk instruments through the piano.
The composer's fortepiano musical series were received in concert style with mass success. Like the subsequent works of the series "The ancient Bukhara Walls", written by the author for the first time, Dilorom Saidaminova landed a firm standing among famous and talented pianists within and outside of the nation. The composer's piano compositions serve a vital role in the study of this genre (i.e., the combination of past and present) in producing Uzbek musicians that will be known worldwide, in giving color to the history of our ancestors, and in passing on this history to next generations through music.
References / Список литературы
1. Avagimova S., Zufarova S. Dilorom Saidaminova. Tashkent, 1997.
2. Bobrovsky V. The theme as a factor of musical thinking. An essay. M. Music. Tashkent, 1989.
3. Gulzarova I. Dilorom Saydaminova: Life in a gamut of sounds. Monographical essay. Tashkent, 2019.
4. Gumarov M. The performer's interpretation of contemporary fortepiano pieces by Uzbek composers. Tashkent, 2007.
