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8MUSICAL DRAMATURGY OF U.MUSAEV'S BALLET "TOMIRIS"
Irina Radikovna Sultangirova Ira.sultan78@mail.com Uzbekistan State Academy of Choreography
Abstract: The article is devoted to the specifics of the musical dramaturgy of the ballet U.Musayeva "Tomiris". It shows interest in history, reliance on national origins, modern musical thinking. The ballet has become a vivid example of innovative techniques for synthesizing music with choreography.
Keywords: U.Musaev, "Tomiris", composer, musical dramaturgy, leitmotif, score.
The ballet "Tomiris" was written by the famous Uzbek composer U.Musaev. The production of the ballet "Tomiris" was performed in Uzbekistan at the GABTA. Navoi in 1984, the choreographer is the People's Artist of Uzbekistan I. Yusupov, artist S. Fesko. The main roles were played by People 's Artists of Uzbekistan Z. Davletmuratova, I. Kistanov, marking an important stage in the development of Russian ballet art. The libretto of the ballet "Tomiris" is based on the famous work of Ya. Ilyasov's "Spotted Death", which tells about the legendary past of our ancient and beautiful land.
The ballet consists of two acts framed by an orchestral introduction and an epilogue. The first action includes three pictures. They contain an exposition of the main conflict and images - Tomiris, Phrases and Cyrus. The scene of the collision of these characters (the duel of Tomiris and Phrases, the 1st picture) becomes the beginning of the main conflict. In the second picture there is an exposition of the image of Cyrus.
The second act also consists of three pictures. The fifth picture becomes the dramatic center. In the middle of the fifth picture of the second act, preparations begin for the general climax - the scene of Spargapa's capture and subsequent suicide. The direct collision of two conflicting forces grows into a dynamic scene that pulls all the dramatic lines into a single knot. The duet-fight between Tomiris and Cyrus becomes the nodal moment of the ballet's dramaturgy, representing the culminating peak. The denouement is the apotheosis in the epilogue, where Tomiris breaks the sword in two, symbolizing victory.
The ballet score focuses on the main features characteristic of the work of the Uzbek composer Ulugbek Musayev in general - interest in history, reliance on national origins, modern musical thinking. The historical reality of the events and the prototypes of the heroes, the scale of the personalities determined the choice of
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certain artistic means. The peculiarity of the musical score of the ballet "Tomiris" is determined by the combination of epic and dramatic beginnings. The main conflict of the musical dramaturgy of the play is revealed in the convex opposition of the song-romance intonation sphere of the central image of Tomiris and the march-fanfare motifs of Cyrus, conveying a generalized image of aggression. The genre antithesis of songfulness and marching conveys the basic ideological and artistic concept of ballet - the confrontation of two opposite thinking - love of freedom and expansion.
The composition "Tomiris" is based on the rich means of musical drama. Contrast becomes the fundamental principle. Large-scale mass scenes are juxtaposed with a solo monologue, divertimental dances with effective episodes. So, for example, the lyrical Adagio of Tomiris in the first picture is replaced by a furious duel of Tomiris with Frada, the languid "snake dance" turns into a pantomime dialogue of Cyrus and Frada (2nd picture). Among the striking dramatic techniques is a compositional arch that binds a large-scale stage action into a holistic structure (duets-fights Tomiris with Frada in 1 d. and with Cyrus in the final of the 2nd d.).
Musical dramaturgy is based on a rich system of leitmotives. The total number of leitmotifs is six. Of great importance in the development of musical drama is the theme of introduction, which receives the meaning of the leitmotif-refrain. This theme repeatedly arises in the nodal moments of the development of the action and unites the canvas into a single whole. Permeating the entire action of the ballet, the leitmotif becomes the carrier of the end-to-end action. The topic is characterized by the interrogativeness of the second intonations, the theses of the presentation, the chanted nature of articulation. The characteristic intonation causes an illusion with the sound of dombra. The laconic leitmotif from scene to scene increases its meaning and in the final bars of the score develops into a capacious image of an appeal to history, to time, to humanity.
In the center of the ballet is the image of Tomiris. The detailed characteristic of the leading heroic image in ballet is solved in the nature of the procedural musical and choreographic development from subjective-personal to epic-heroic. The form of a monologue is of central importance in the characterization of Tomiris. Impressive in the power of emotional impact, the first monologue of the queen (the 1st picture of the first act) reveals the personal tragedy of Tomiris. The monologue, voluminous in content and form, consists of three parts. The first musical phrases expressively embody the questions that arise in the soul of Tomiris: she cannot accept the loss of a dear person. The monologue "with the crown" (second act) turns the lyrical and dramatic perspective of the image into a heroic and dramatic one: the queen is placed in an exceptional situation and must choose the only correct solution. The dramatic pathos and declamation of her musical speech reflect her anxiety for the future of her people.
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The heroic line is clearly revealed in the development of the Tomiris characteristic. The queen's duels with Freda and Cyrus bring a strong-willed, active-dynamic beginning to her image, which perfectly balances the lyrical manifestations and gives the image a versatility rare in the genre of ballet. A high degree of epic generalization is achieved by the duet-the duel of Tomiris and Kira, which is the culmination of the performance. For the composer, it is not so much the conflicting confrontation of images that is important, as the very element of the battle itself. The composer emphasizes the rhythmic beginning in the decisive deadly battle. The rhythmic pattern sounds in the character of Usul Doira. The ringing usul perfectly conveys the emotional expression and tense pulse of the fight.
Unlike Tomiris, the image of Cyrus is limited to general features, its theme is expressed mainly by marching means. The quarto-fifth moves of the melody, accompanied by the drum roll, deliberately sharp and straightforward sound delivery by brass wind instruments draw the pompous self-confidence of the emperor. The marching gait of the fanfare theme draws an imperial step, thereby personifying the image of an evil force. The concubine dance becomes not just a decorative episode, but also serves as an indirect characteristic of Cyrus. The musical theme of the dance is based on chromatic turns of an exaggeratedly languid nature. Some intonations wittily convey the plasticity of a person who is intoxicated.
There is a considerable amount of humor in the topic of the Phrase. The bassoon's short, ragged phrases in low registers sound like buffoons. There is a discrepancy between the choreographic and musical images, and this vertical installation technique helps to convey the essence of Frada - a treacherous and empty man who betrayed his native tribe.
The ballet "Tomiris" has become a vivid example of innovative techniques for synthesizing music with choreography. Along with traditional forms, U. Musaev creates new perspectives of visual and auditory communication of the artistic message. He divides the musical fabric of the ballet into two large-scale layers, which are clearly opposed to each other by communicative signs: one of them is perceived as an objective message, the second as a subjective, deeply personal experience. Music, then acts as a commentator on the events taking place and the author reviews the historical past from the perspective of modernity. In other scenes, the author gets used to his characters and the music speaks directly from the first person. As a consequence, a feature of the musical drama of the ballet becomes a major tectonics in the comparison of layers of action, observation and experience.
"Tomiris" is a ballet-a legend about our ancient and beautiful land. The music of the performance conveys the breath of the free steppe and the flying run of a horse, the pain of personal loss and love for the Motherland. The paintings are painted by
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the composer with a large bold stroke and add up to a beautiful fresco. The music of the ballet "Tomiris" reaches a vivid symphonic and philosophical generalization.
References
1. Avdeeva L. Ballet of Uzbekistan. T., 1973.
2. Vanslov V. Articles about ballet. Musical and aesthetic problems of ballet. L., 1980.
3. Ilyasov Ya. Spotted death. Royallib.ru
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