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ABOUT TELEOPERA-DASTAN MUSTAFO BAFOEV
Toirov A.Z.
Toirov Akbar Zoir ugli - Lecturer, DEPARTMENT OF MUSIC PEDAGOGY, STATE CONSERVATORY OF UZBEKISTAN, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: works of new forms and genres naturally set new tasks and goals for the performing arts. The composers of Uzbekistan are widely introducing new themes, new timbres and new styles of performance. The interaction of the folk instruments orchestra with the choir also led to the discovery of new timbres and new colors. The use offolk instruments in various forms by the choir in the orchestra radiates unique, beautiful tones and timbres. The principle of relying on the traditions of impressionism is also manifested in contemporary works of composers. Because the combination of different tones and colorful colors, acquiring a symbolic meaning, is the reason for the embodiment of countless modern delights in the performance of the orchestra and the emergence of new performing possibilities.
Keywords: music, art, style, theme, orchestra, instrument, timbre, genre.
О ТЕЛЕОПЕРЕ-ДАСТАН МУСТАФО БАФОЕВА Тоиров А.З.
Тоиров Акбар Зоир углы - преподаватель, кафедра музыкальной педагогики, Государственная консерватория Узбекистана, г. Ташкент, Республика Узбекистан
Аннотация: произведения новых форм и жанров закономерно ставят перед исполнительским искусством новые задачи и цели. Композиторы Узбекистана широко внедряют новые темы, новые тембры и новые стили исполнения. Взаимодействие оркестра народных инструментов с хором также привело к открытию новых тембров и новых красок. Использование хором в оркестре народных инструментов в различных формах излучает неповторимые, красивые тона и тембры. Принцип опоры на традиции импрессионизма проявляется и в современных произведениях композиторов. Потому что сочетание разных тонов и красок, приобретающих символическое значение, является причиной воплощения в исполнении оркестра бесчисленных современных навыков и появления новых исполнительских возможностей.
Ключевые слова: музыка, искусство, стиль, тема, оркестр, инструмент, тембр, жанр.
It is not an exaggeration to say that M.Bafoyev was a master of all musical genres. No matter what genre he creates, regardless of the size of the work, he draws the main attention not to its form, but to its content. That is why, when listening to his works, the spirit of nationalism is immediately felt. With his composition skills, M. Bafoyev organically connects European forms with Eastern content, that is, he proves through his work that wonderful works can be created as a result of the close connection of European culture with Eastern culture.
"Bukhoroi-Sharif' is a tele-opera-dastan created by M. Bafoyev based on Khurshid Davron's libretto. This work, dedicated to the 2500th anniversary of Bukhara, includes two epics and twenty-two motifs. The teleopera was performed for the first time in 1997 in the form of tapes at a concert dedicated to the anniversary of the city of Bukhara. There are two video films based on this work in the "Yoshlar TV channel" fund of the Uzbek television. But only some patterns are included in them.
Mustafa Bafoyev, the sought-after creator, was the first to create teleopera and teleballet works for the orchestra of folk instruments. His teleopera "Bukhoroi-Sharif' made with artistic features typical of the epic genre is mainly shown in concerts and video films. The main character of the teleopera is Bakhshi, who starts the work and acts as a "bridge" connecting the successive parts with each other. The first epic is dedicated to the history of Bukhara, its historical monuments and monuments. In the second, the bright figures of historical figures who created in Bukhara are praised.
The teleopera will feature a storyteller, a master of artistic reading, an orchestra, a choir, a soloist and soloists. In order to enrich the orchestral tones with a new color and a special timbre, a piano instrument was introduced. It also replaces the instruments imagined by the composer. And each singer praises a certain hero or historical figure, and that image is embodied in our eyes [1].
The first epic talks about the history of Bukhara and tells about its historical monuments and monuments.
The second one expresses the names of great people who created in Bukhara, such as Imam-al-Bukhari, Abdukhalik Gijduvani, Bahovuddin Naqshband, Ibn Sina, Rudaki and praises the immortality of certain monuments.
1 naksh of the first epic is a song-hymn about Bukhara, which at the same time serves as the prologue of the work. It is written in a festive, grand and solemn character. The song-anthem is written by H. Davron. In this work, the conductor must have the skills to conduct not only the orchestra, but also the choir, because the choir, along with the orchestra, plays a primary role.
2 naksh begins with a solo of the tambourine. It is not for nothing that the author chose tanbur, sato, law and oud for the interpretation of the theme. Because, since time immemorial, classical music tunes have been played on these instruments. Therefore, these instruments come in handy when expressing music. And dust is used in the work in a symbolic sense. Tanbur's interpretation was based on the Iraqi Bukhara lad core, which was used as a leitmotif throughout the opera. In this pattern, the criteria for grouping the orchestra is used in a unique way. The main goal was to represent a traditional ensemble performance through an orchestra.
3 naksh begins again with the interpretation of the theme of dust. The poet begins to sing. He tells the audience about Siovush marrying Farangis, the daughter of Turan king Afrosiyob, and building Arki Oliy, as beautiful and beautiful as his husn, in the image of his lover's love. The piece is conducted in three parts in 7/8 time. In this case, the main attention should be paid to the complete execution of the last three octave notes, for this the third part is conducted longer than the previous parts due to one octave note more.
4 naksh is Siovush's aria, which expresses his love for Farangis in a soft and sincere tone. Since the aria is of a musical character, the interpretation of the main theme will be accompanied by clarinet I-II, clarinet I-II, dulcimer I-II and dulcimer-altos. The rest of the instruments give a way. The peak of this pattern is number 3. It also changes the time signature from 5/8 to 6/8. The first part of the piece is written in 5/8 time and is conducted in two parts. In this case, the same eight notes are played in two measures in the first part, and in three measures in the second.
6 naksh is Afrosyab's aria, written in a heroic, military character. For this reason, the author chooses Kashgar and Afghan rubabs, gijjaks and gijjak-alts for the performance of the main theme, and the conductor took a tact from these instruments to play powerfully in shahdam and bold tones that express the image of kings, starting with two octave notes in f sound. should require. Since the performance style of this pattern is close to the traditional performance, M. Bafoyev makes good use of the orchestra, brings its performance closer to the performance of an ensemble and encourages him to perform the task of being only an accompanist.
7 naksh, Mustafa Bafoyev tried to show the artistic expression of wedding ceremonies that are held in a typical Bukhara style. A wedding is being held in connection with the completion of the twelve gates of Bukhara. This pattern is written for full orchestra performance. In it, the composer used five Bukhara local songs. The piece begins with a circle method in 12/8 measure. This is an invitation to invite special guests to the wedding. Then the first song "Taralilalilai" will be played.
From number 6, the second folk song "Hoy nozanin" begins. In this song as well, the main theme is performed in chorus and tenor one after the other. The orchestral texture is adjusted accordingly. As soon as the second song ends, the third song "Orange" is connected from No. 8 (Allegretto). This song is performed one after the other by the choir and the tenor solo. Doira plays in a way that matches the character of the song. The rest of the instruments also do their job. The conductor should show the first strong part by the right-hand auftakt for the dust and piano, and the second part with the left hand for the brass band.
9 naksh example, M. Bafoyev follows the poet's text and adapts the words to the method typical of Turkish music. This is the figure of Sheri Kishwar, a great wrestler-Lion of the Motherland. Therefore, this pattern, unlike others, sounds in a heroic spirit. Because it glorifies the action and victory of army chief Sheri Kishwar. The orchestra plays a big role in this pattern.
1 naksh of the second epic. This pattern is written on the basis of Persian-Tajik lads, based on the tshar zab method. The scene begins with an orchestral performance. The melody played in the orchestra then goes to the oud. The master of artistic words reads a poem about Bukhara under the theme of oud. Between each quartet, the composer uses the oud instrument and the law in the form of a melody that reminds of the past, emanating from the music.
2 naksh is a representation of Rudaki's figure. His wisdom is expressed through musical tones. The author used the flute and clarinet to sing deep and delicate melodies. Since Rudaki's poems are in Tajik language, the song was also performed in Tajik language.
4 naksh is devoted to the illumination of the image of the great scholar Ibn Sina. His rubai's are read during the session. The composer creates a theme that expresses the image of Ibn Sina in six measures. This theme is played first by two bars of clarinet, then by all strings. In number 2, the author used the sixth taron of Buzruk maqam "Talqini Uzzol", but the words were changed and Ibn Sina's rubai was used instead.
5 naksh. Bakhshi recites verses about Bukhara to the tune of Chang-Kovuz. This pattern begins with light notes (with triplets) played by a string band. The chans, the khan and the mezrob instruments give a method in
the second, fourth, sixth, and eighth bars. At the beginning of the song, only the clarinet accompanies the main theme. The rest of the groups give way, the bass instruments catch the sound of the floor.
6 naksh is dedicated to Bahavuddin Naqshbandi. That is why the style of zikr is embodied in his land. This pattern has great educational value.
7 naksh. Sohibqiran is dedicated to expressing the character of Amir Temur. This pattern is a modified version of the first pattern of the 2nd epic. Melodies go from a free-flowing state to a military style and tone characteristic of Sahibqiran and etc.
M. Bafoyev equates the performance of the whole orchestra with the movement of large armies, and therefore used the method of performance by the whole orchestra. In this pattern, the conductor must choose the correct tempo. According to the character of the work, it requires a firm hand and vigorous conducting from the beginning to the end.
References / Список литературы
1. Таshmatova А. "Buxoroi-Sharif'. Toshkent, 2007.
