CC BY
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ART
UDK 792.01
Vazirova Aydan Adalat gizi
Post - graduate student of Baku Academy ofMusic, Azerbaijan State University of Culture and Art Department of Instrumental performance, Faculty of music art
DOI: 10.24412/2520-6990-2022-26149-4-9
PERFORMANCE FEATURES OF SAiD RUSTAMOV'S CONCERT iN ADALAT VAZiROV'S
iNTERPRETATiON
Вазирова Айдан Адалат кызы
аспирант Бакинской Музыкальной Академии, Азербайджанский Государственный Университет Культуры и Искусств, Кафедра Инструментального исполнительства, Факультет музыкального искусства
ИСПОЛНИТЕЛЬСКИЕ ОСОБЕННОСТИ КОНЦЕРТА САИДА РУСТАМОВА В ИНТЕРПРЕТАЦИИ АДАЛАТА ВАЗИРОВА
Abstract.
The presented article is devoted to the investigation of the interpretation features of the concert of composer Said Rustamov performed by Adalat Vazirov. During the research, we concluded that although the performance of the mughams is the main part of Adalat Vazirov's creativity, the performer also interpreted the composer's works at a high level. As a talented performer, he skillfully and professionally demonstrated all the technical capabilities of the kamancha instrument while interpreting mughams and composer's works. Adalat Vazirov is considered the most talented and professional musician in playing kamancha in our modern times. By the way today teachers who teach kamancha and mughams in higher and secondary music schools recommend their students to listen to Adalat Vazirov's performances on their websites. Adalat Vazirov demonstrated a unique approach to the composer's works and skillfully applied bow strokes.
Аннотация.
Представленная статья посвящена исследованию особенностей интерпретации концерта композитора Саида Рустамова в исполнении Адалата Вазирова. В ходе исследования автор пришел к выводу, что хотя исполнение мугамов составляет основную часть творчества Адалата Вазирова, исполнитель также на высоком уровне интерпретировал произведения композитора. Как талантливый исполнитель, он умело и профессионально продемонстрировал все технические возможности инструмента кяманча при интерпретации мугамов и композиторских произведений. Адалат Вазиров считается самым талантливым и профессиональным музыкантом на кяманче нашего времени. Следует также отметить, что сегодня преподаватели, преподающие кяманчу и мугамы в высших и средних музыкальных школах, рекомендуют своим ученикам слушать выступления Адалата Вазирова. Адалат Вазиров продемонстрировал уникальный подход к произведениям композитора и мастерски внедрил штрихи кяманчи.
Keywords: Adalat Vazirov, strokes, interpretation, Said Rustamov, concert, kamancha, interpretation, bow methods.
Ключевые слова: Адалат Вазиров, приемы, интерпретация, Саид Рустамов, концерт, кяманча, интерпретация, штрихи кяманчи.
Outstanding kamancha master of Azerbaijan Adalat Vazirov has left a great and indelible mark on the musical culture of Azerbaijan with his creativity. Solo performance, accompaniment, pedagogic activity, scientific and methodical works were the basis of his life. Despite the fact that each of them has different fields of activity, Adalat Vazirov managed to integrate these fields with high professionalism and skill and was able to cope with these tasks as a highly qualified specialist.
Our immortal kamancha master Habil Aliyev was particularly fond of Adalat Vazirov's art and said: "When I die, I will give the kamancha to Adalat. Because I don't show my bow to anyone else" [10, p. 4]. Docent Togrul Asadullayev, who is one of the professional players of the kamancha instrument and researches valuable scientific works in this field, in his dissertation entitled "Kamancha players and their role
and importance in the development of mugham art" from the work of Adalat Vazirov. mentioning. the composer emphasizes that he has a unique set-line in the performance of his works [1, p. 119].
Adalat Vazirov was a performer with the ability to perform folk songs, dances, colors and classifications, mughams perfectly, to accompany the singer in a trio, and to perform the works of Azerbaijani and world composers at a high level. concerto for symphony orchestra, concerto of Zakir Bagirov, concerto of Said Rustamov's concerto [7].
Said Rustamov's concert for the orchestra of folk instruments with tar was interpreted in a unique way in the interpretation of kamancha players: Adelat Vazirov, Mirnazim Asadullayev, Elman Badalov, Fakhraddin Dadashov, Togrul Asadullayev. The great services of
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these performers in the art of playing kamancha are undeniable [1, p. 79].
Adalat skillfully applied his performance methods in the interpretation of Vazirov's concert. The first part of the concert is composed in the form of a classical sonata and consists of exposition, work, reprise. The first movement begins with a five-bar entry in a playful Example 1
Allegretto tempo, 4\4. The introductory theme starts from the Shimayi-Shams stage of the left tonic Shur stage, gradually moves downwards and descends to the cadence stage of the stage. As the cadence of the delicate introductory theme touches on L flat, it reminds one of Dilkash intonation in the left tonic Shur moment.
Although the first part of the concert is at a playful pace, the opening theme is played by the performer in a relatively gentle manner. The melody of the intro is a melodic figure that moves down the sequence. After the Example 2
introduction, the exposition of the first part begins, and the main theme of the exposition is played by the kamancha.
During the development of the main theme, the intonations of the introductory theme were also used, which creates a close connection between both themes, a monolith of ideas. The main theme composed in the Do tonic Shushtar period consists of square sentences according to its structure. The first sentence, which begins with the cadence of the position, ends in the complementary phrase, creating the impression of a question sentence. The second sentence of the subject starts Example 3
with the one-octave bell of the complementary step and gradually descends to the pitch of the cadence, thus sounding like a response sentence. The performer interprets with the upper half and lower half of the bow, applying various bow techniques to demonstrate the technical capabilities of the bow. While the main theme is repeated in an octave cymbal, the overall range of the theme expands and modulates to the mi tonic Segah moment.
A. Vazirov interpreted this part with special emotionality and succeeded in revealing the variety of artistic images. He strived for the accuracy of all bar and dynamic cues, stressing that any live performance depends on individual performance qualities. If the structure of the connecting part is somewhat similar to the main theme, it differs from the main theme in terms of the structure of rhythmically applied figurations. Here, along with sixteenth notes, eighth note triplets appear.
Example 4
A brief exchange between the kamancha player and the accompaniment part in the middle of the closing part brings a new sound to the exposition, and the soloist performs with a new texture, both intonation and rhythmically. After a small change, the soloist resumes his theme in the Shushtar moment, and the melody soon modulates again to the accentual on E of Segah makam, ending his musical thought on a base note of the makam.
After the connecting theme of the exposition of the emotional melody in Andante tempo. The auxiliary concert, its auxiliary theme begins. In contrast to the subject is an eight-meger period, arranged in a 2- me-main theme, the secondary theme is an elegant and very ger-2-meger -4-meger scheme.
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Example 5
The performer interpreted the dynamics of Said dramaturgical structure of the dynamic line, he pre-
Rustamov music in dark tones, considered the piano(p) nuance as the main tone and paid attention to the richness of all possible colors of the piano nuance. In the
Example 6
ferred smooth and slow transitions.
Although the second progression of the auxiliary theme begins in the Shushtar mode, it sounds in the H sound of Segah mode.
Here, Adalat Vazirov interpreted the melisma with a soft wrist and made the second movement of the auxiliary theme more colorful, and used the intonations and trifles of mugham corners possible on the kamancha instrument. In the middle section, the melodic theme played by the improvisation and the kamancha during the movement of the voices in the bass and cymbal registers is interpreted with dramatic tension, and the dialogue between the kamancha and the orchestra is more colorfully expressed.
After the exposition of the concert, the working part begins. A. Vazirov skillfully interprets tempo changes and fermatas, enriches the musical content of the work part, and creates an elegant lyrical image. His
Example 7
editing of the kamancha part while interpreting the concerto: strokes, appliqué, and bows were processed with high professionalism and were positively received by the author, and the work is performed in this way until our modern times.
The working part consists of four big musical episodes: A+B+C+B. The working part of the concert begins immediately after the exposition without any preparation, and the sharp contrasts between the parts are not noticeable.
Episode B of the work differs melodically, rhythmically, and momentarily from Episode A before it and Episode C after it. If episode A referred to several levels of maqam, episode B was composed based on the intonations of Chahargah mugham.
Interpretor sometimes on cymbals and sometimes on bass, the performer seems to create a dialogue with the accompanying part, and the interpretation of the sometimes sharp and time by time sad melody of the
piece requires special creativity from the performer [5]. Unlike episodes A and B, episode C is a more lyrical and emotional scoreboard:
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Episode C consists of a seven-meger musical theme set in the Mukhalif part.
The fourth episode of the work is a repeat of episode B in terms of melody, plot, and rhythm. The fourth episode B ends with modulation from Chahargah to Shushtar, signaling the beginning of the reprise. The reprise of the concerto is a repetition of the main theme in an octave cymbal, composed in the style of a classical reprise. In the reprise, no changes were made in the Example 8
kamancha part melodically, rhythmically, momentarily, and texturally.
The cadence of the concert was composed based on Chahargah mugham. By the characteristics of the cadence, variations of measures, melisma, fermato, contrasting rhythmic figures, and nuances are widely used here.
Here, Adalat Vazirov demonstrated his performance capabilities more widely and freely [2, p. 36]. He interprets melismas, fermatas, contrasting figures, and nuances in his way. Near the end of the cadence, the improvisation in the "Chahargah" moment gradually becomes rhythmically concrete, falls to a certain weight, and the performer moves in the upward direction, slowly developing this rhythmic figure [5]. Adalat Vazirov, adhering to the tradition, was not satisfied with playing the cadenza as it was, and by skillfully applying his performance capabilities, he enriched the sound of the work to the utmost, performed complex technical passages with ease, and succeeded in producing strong, pleasant and melodic sounds. In the content
Example 9
of the first part of the concert, the characteristic that attracts attention is its enthusiasm, lightness, and emotionality, the composer opens the contrasting content with relatively compact and dynamic development.
The second part of the concert is composed in a complex three-part form and has a lyrical and elegant melody: Introduction+A+B+C. This part sounds very fragile and extremely emotional when played by the kamancha.
It should be noted that three themes play an essen-sial role in the structure of the second part. After the introduction, theme A, played by the kamancha, consists of two phrases: A=a+b.
The first sentence is based on the H sound of Segah mode.
Sentence b, which sounds after sentence a of the couplet A, is modulated to the left-syllabic Bayati Shi-raz mugham, and after this sentence is repeated twice, episode B begins. Episode B is tonally lowered and raised to the position of Segah with D [6].
After episode B, the theme a of the couplet A has interpreted again in an octave cymbal, and the theme a is sounded with a new color by ringing the register in the kamancha.
After theme b of couplet A is also repeated, episode C is heard in a slightly higher tessitura.
If in the first part of the concert contrasting moods and images were created, then the image of the second part is monolithic. So, if in the first part we compared
the themes with cheerful mood, the hero with feelings (the main theme), with the description of nature (the auxiliary theme), then the themes in the second part can be compared with the images of lyrical love and affection. The rich intonation content, rhythmic basis, and moment root of Azerbaijani folk music have become an inexhaustible source of music for the performer in the interpretation of these images.
The character of the third part of the concert is cheerful and playful. This part consists of four major musical episodes: A+B+C+A+coda.
The third movement begins with the A episode, which consists of three musical movements, and is played cheerfully by the kamancha.
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Example 10
Leaping octave notes show the complexity of the technique, and the performer prefers upper bow strokes when using melismas. The delivery of long legato notes within the part again reflects the difficulty of the playing technique and the accurate playing of the legatos is expertly demonstrated. Taking technical and artistic aspects into account, Adalat Vazirov gave preference to
Example 11
emotion while playing the main theme on the kaman-cha, and used various dynamic signs and bar alternations in repeated musical phrases [7].
Sentence a of episode A is sounded in the Arakh sound of the Dughah mode and descends to the Shi-kasteyi-Phars mode in the eighth meger, in the eleventh meger it is modulated to the G sound of Segah mode, and in the thirteenth meger, it is modulated to the F sound of Shur mode.
After episode A, episode B of the third part begins, and a piece of more lyrical sheet music is revived in the performance of the kamancha. The episode is based on the main sound of Segah mode
Example 12
The theme of the concerto's coda is a repetition of the first four movements of the A episode. The code is built on the Dugah moment and solemnly interpreted by the performer.
Example 13
By applying all the possibilities of the bow technique, the performer achieves the opening of the magnificent and solemn character that corresponds to the Example 14
character of the coda. The complexity of the rhythmic figure also requires attention from the performer.
In the piece, the kamancha instrument, with its solo performance and timbre variety, has achieved the creation of various characters and brings nationalism and liveliness to the symphony orchestra. We can boldly say that the role of the kamancha instrument and its performer is great in opening the overall composition of the work and presenting the main idea and content. Regardless of the character, the kamancha instrument plays a leading role in all melodic ideas and can create bright images in all parts of the concert with its rich timbre colors.
Thus, although the main part of Adalat Vazirov's creativity is the performance of mughams, the performer also interpreted the composer's works at a high level. As a talented performer, he skillfully and professionally demonstrated all the technical capabilities of the kamancha instrument while interpreting mughams and composer's works. According to his interpretation, our mughams and composer's works are placed on internet sites in our modern times, and tape recordings are preserved in the "Golden Fund" [3, p. 20]. We can
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boldly say that although there are many talented musicians playing kamancha in our modern era, none of them has taken the place of Adalat Vazirov. Adalat Vazirov is considered the most talented and professional musician in playing kamancha in our modern times. By the way also today teachers who teach kamancha and mughams in higher and secondary music schools recommend their students to listen to Adalat Vazirov's performances on their websites.
Reference literature
1. Asadullayev T.M. Kamancha performers and their role and importance in the development of mugham art. (6213.01-Dissertation submitted to receive the scientific degree of Doctor of Philosophy in Music Art Studies). Baku, 2015, 140 pages.
2. Dagli E. The bow master who lives in our hearts. Baku, Respublika newspaper, April 18, 2021.
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3. Gasimov T., Nabioglu A. The kamancha lost its owner. Baku, One thousand songs publishing house, 2006, 216 pages.
4.
https://www.youtube.com/watchv=zvNWqX6F5tI
5. http://enene.musigi-dunya. az/m_kamanca_chl. html
6.
https://www.youtube.com/watchv=dKeerx0gvk0
7.
https://www.youtube.com/watchv=fFMo2RLLhVc
8.
https://www.youtube.com/watchv=cvk3DIN2l_U
9. http://www.Musiqi-dunya.az Suleyman Alas-garov-80
10. https://gundelik-baku. com/cemiyyet/4936-habil-muellim-deyirdi-ki-olende-kamanchani-edalete-verecem-amma-edalet-ondan-gabag-o ldu. html.
УДК 792.01
Мирзазаде Зинаида Мурсаловна
член Союза художников Азербайджана, диссертант Азербайджанской Государственной Академии Художеств
DOI: 10.24412/2520-6990-2022-26149-9-12 АБДУЛЛА ШАИГ - ПОЭТ И СОЗИДАТЕЛЬ ДЕТСКОЙ ДУШИ
Mirzazade Zinaida Mursalovna
member of the Union of Artists of Azerbaijan, dissertation student of the Azerbaijan State Academy of Arts
ABDULLA SHAIG, A POET AND CREATOR OF CHILDREN'S SOUL
Аннотация.
Статья посвящена изучению творчества поэта, писателя и драматурга, переводчика и педагога, народного поэта Азербайджана Абдулле Шаигу, а также его творческой деятельности в Театре юного зрителя и актуальности его произведений на сцене Театра кукол. Автор отмечает вклад А.Шаига в систему образования Азербайджана времен царской России.
Актуальность данной статьи состоит в том, что она охватывает не только его литературное творчество, но и педагогическую деятельность, позволившую писателю с такой чуткостью и точностью выявить востребованность детской литературы, а также коренным образом изменить репертуар детского театра. В целом А.Шаиг внес неоценимый вклад как в литературу, так и в педагогику, в область переводов, а также в театральную деятельность.
Abstract.
The article is dedicated to Abdulla Shaig, a poet, writer and dramatist, translator and teacher, honored artist of Azerbaijan and also to his creative activity in the Young Spectator's Theatre and the relevance of his works on the stage of Puppetry. Also we draw attention to Shaig's contribution to the educational system of Azerbaijan in the period of Tsarist Russia.
The relevance of this article is that it covers not only his literary activity but also his teaching activity, which let the writer to determine the need and lack of children's literature in accurate and sensitive manner and also allowed him to change fundamentally children's theatre repertoire. In general A. Shaig made indispensable contribution both to literature and pedagogy, translation and theatre activity.
Ключевые слова: А.Шаиг, поэзия, педагогика, переводческая деятельность, драматургия, ТЮЗ, Кукольный театр.
Keywords: A. Shaig, poetry, pedagogy, translation, dramaturgy, Young Spectator's Theatre, Puppetry.
Детский мир хрупок, прозрачен и чист, как вода в роднике. Детское мировосприятие и мироощущение сильно разнятся от восприятия взрослых. Как сказал великий русский писатель Максим Горький, «дети - живые цветы земли», и как почва питает растения, так и родители заботятся о своем
чаде, пытаясь дать ему самое необходимое и важное для полноценной жизни. Одним из таких фундаментально важных элементов является воспитание. С момента рождения и до полного взросления ребенок проходит сложный, но интересный путь первого познания мира. Он делает первые шаги, учится говорить, выполняет несложные поручения.
