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14INTERPRETATION OF THE PIANO WORKS BY ANATOLY LYADOV
Khayitbaeva D.S.
Khayitbayeva Dilbar Sultanovna - Associate Professor, DEPARTMENT OF INTER-SUBJECT PIANO, STATE CONSERVATORY OF UZBEKISTAN, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: the article is devoted to the piano work of Lyadov. The proposed article discusses the composer's program works, his connection with Russian classical music, folk song, the work of Schumann and Chopin. Elegance and lacy subtlety of texture, melodic roundness of phrases, alternation of melodiousness and scherzo, intonation closeness to the national people form the basis of his works. Graceful and simple, captivated by the softness and poetry of their sound, Lyadov's piano works contribute to the development of the performers' artistic musical taste.
Keywords: piano pieces, melodic melody, epic theme, scherzo, fine texture, form, image.
Piano music occupies one of the important places in the creative heritage of Lyadov (1855-1914). The largest number of works for piano was created by the composer in the 80-90s. During this time, Lyadov grew into an independent and original artist. At the same time, the style of his piano writing finally developed and took shape.
A deep connection with Russian folk songs and Russian classical music, appeal to vivid programmatic images, harmony and completeness of form, melodic melody of texture - these are the main features of Anatoly Lyadov's piano compositions.
In small program novels, the author creates a children's puppet world ("Puppets", "Musical Snuffbox", etc.); an epic theme in content sounds in the ballad "About antiquity". Among the non-program compositions are preludes, intermezzos, pastorals.
In Lyadov's music we will not hear tragic notes, sharp emotional contrasts. The subtle nuances of musical expressiveness reflect the affectionate expressions of the human soul, moods of elegiac thoughtfulness, epic narrative, cheerful scherzo.
Lyadov grew up and was brought up on the best examples of Russian musical classics. Melody, grace and transparent clarity of the musical fabric - these properties of the composer's piano pieces are also inherent in the classical compositions of Russian piano music. The work of Glinka, Borodin, Mussorgsky, Rimky-Korsakov, Tchaikovsky could not help but influence the subtle nature of Lyadov. We can also notice a close connection with folk musical art. Knowing and feeling the Russian folk song well, Lyadov transferred a number of its melodic, harmonic features to instrumental music. The chant of the piano texture - a feature of Lyadov's piano compositions - is largely associated with folk polyphony.
In addition to Russian composers, Lyadov's early work was influenced by the piano music of Western European composers Schumann and Chopin. The texture-rhythmic features of some pieces of "Spikers", a special impetuosity of rhythm come from some of Schumann's works.
Chopin's work occupies a special place in Lyadov's life. The basis of Slavic songwriting with its inner melodiousness and melodiousness brought these two composers together. A subtle sense of form and all its proportions, the purity of voice leading are characteristic of these two composers. The sophistication and simplicity of the harmonic language are characteristic of the work of both musicians. Lyadov's mazurkas, preludes, waltzes were written under the influence of Chopin. But in Lyadov's compositions there is no trembling, agitation, melancholy, which is found in Chopin's music.
In piano music, as in all of Lyadov's work, program compositions occupy a significant place. In his first piano work "Spikers", the author creates bright, joyful, "spring" moods. This piano cycle consists of fourteen small pieces; the first and last pieces are similar in their musical material.
Elegance and lacy delicacy of texture, melodic roundness of phrases, alternation of melodiousness and scherzo, intonation closeness to the folk make up the features of this work. In separate miniatures of the cycle, you can hear the dance rhythms of the waltz (3), the lyrical intonations of the nocturne (9), the etude movement (2,8,13). 1,5,6,14 can be attributed to epic and folk song images.
Among Lyadov's piano compositions, "About Antiquity" (1889) is one of the major works. It is written in a contrasting complex two-part form and consists of a pictorial-narrative introduction Largo % and a festive Allegro (5/4).
In ballad "About antiquity" the author draws a majestic image of the ancient singer Bayan. In the first part, the solemn, calm theme of the story sounds. The melody, built on folk-song intonations, sounds very free. In the second part, distant events come to life, the images of past battles and battles take on full force. Bayan's story ends with a picture of a jubilant celebration and a folk feast.
Among the program piano works of the 1990s, one can distinguish graceful miniatures - "Puppets" op. 29 (1892) and "Musical snuffbox" op. 32 (1893).
The music of "Puppets" is light and graceful, has a waltz movement. The somewhat contrasting lyrical episode in the middle (Meno mosso) only sets off the mechanical fragility of the initial waltz theme. The big conclusion (Piu mosso), by varying the main musical idea intonation, affirms its dominant position in the general form.
Lyadov's "Musical Snuffbox" is the finest and most elegant piece that created fame for its author; it arose as a direct imitation of the music box. This work is also written in the form of a small waltz. With the emphasis on mechanical rhythm, this work lives and warms with the warmth of human feeling. Exact repetition, transparent texture and high register are characteristic of this music. Arpeggios and frequent grace notes can occur both at the behest of the composer's intention and, as it were, involuntarily; due to a malfunction, inaccurate operation of the mechanism, when the whole sound or chord clings, delaying the introduction. With extraordinary skill, Lyadov conveys this in his "toy" music.
The largest piano work by Lyadov in the mid-1990s is his "Variations on a Theme by M. Glinka" (1895). Twelve variations composed by the composer on the theme of Glinka's barcarolle "Venetian Night" correspond to the clear and simple style of Glinka's romance music. In the development of the theme, Lyadov shows skill and ingenuity; in a number of variations, the theme acquires a different genre appearance. Separate variations are sustained in the movement of scherzo (2), mazurka (3), barcaroles (4), variations in the style of Bach's preludes (7 b). Several variations are close to Chopin's music (8,10,11). Variation (7a) resembles Schumann's image, the picture of Russian antiquity is reflected in 5 variations; completes the cycle with a brilliant finale (12).
Variations on the theme of Glinka in their structure approach the suite form. Variations do not have a pronounced line of development, they consist of independent, isolated pieces-miniatures. This technique can also be seen in the work of other Russian composers (Glazunov, Symphony 6).
Among Lyadov's piano works there are many dance pieces. These are mazurkas, waltzes. They reflect the most diverse lyrical moods of the author.
Lyadov's best mazurkas were written in the mature period of his work (mazurkas, op. 38 - 1896 and op. 57 -1906). Bold in their melodic lines, varied in texture and mood, they clearly create the image of Polish dance.
I would especially like to note the "Little Waltz" op.26, which resembles puppet, toy waltzes of the author. In this work, the composer took care of the performance simplicity and accessibility. Charming and coquettish waltz op. 9 No. 1. (1884).
In Waltz op.57 No. 2 (1906) there is no constant waltz movement. Here the composer uses different tempos, textures, rhythmic patterns. It gives the impression of a dialogue.
The sketches represent the light, serene moods of the author. There are no great technical difficulties here, although each is dedicated to a certain virtuoso technique (double notes, fine technique).In them you can find differences in sizes in the right and left hands, a combination of duoles and triplets, quintoles and duoles. The general melodiousness and melodiousness of the piano texture remains typical of Lyadov's virtuoso compositions, in the wide "draught" passages of which one can always hear individual hidden melodic lines.
Lyadov's preludes reflect the composer's most lyrical moods. Lyadov wrote relatively many preludes. One of the best is the prelude op.11 No. 1 (h-moll), composed in 1886. The elegiacally calm, thoughtful music of the prelude conveys a state of contemplation. In its restrained sounds, a feeling of hidden sadness comes through. The melody of the declamatory warehouse is widely permeated with song intonations. A feature of the development of the prelude is dynamic growth without completed climaxes. In the music of this prelude, as it were, something remains unsaid all the time. Many of his preludes are characterized by euphony and melodiousness. They are written in elegiac moods. In form, Lyadov's preludes are one-part constructions.
Many of Lyadov's piano miniatures have become firmly established not only in the concert programs of soloists, but also in the pedagogical repertoire of students. Graceful and simple, captivated by the softness and poetry of their sound, Lyadov's piano works contribute to the development of the performers' artistic musical taste.
Lyadov's work, which is distinguished by expressiveness and skill, simplicity and accessibility of musical speech, vivid imagery and specific orientation of program ideas, connection with folk song sources, develops the remarkable traditions of Russian musical classics.
References
1. AlekseevA.D. History of piano art. M. Moscow, 1967.
2. AsafievB.V. Russian music of the 19th early 20th century. Second edition L. Music, 1979.
3. ZaporozhetsN.V. A.K. Lyadov. Life and creativity. M. Music, 1954.
4. Kremlev Yu.A. On programming in music. / Soviet music. 1950. № 8.
