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6SOME CONSIDERATIONS ABOUT CHAMBER MUSIC
Albina Bakhtiyarovna Urazbeyeva State Academy of Choreography of Uzbekistan
Abstract: This article is dedicated to the musical composition "Camer", in which the author provides detailed information about the characteristics of the composition of the chamber, the performance and interpretation of the work.
Keywords: composition, rhythm, musical measure, instrument, note, duet, trio
He is a composer (from Latin - composer, creator), author of multi-voice musical works, creator of music. They create musical works with the help of notation, try to express a new, individual artistic content. In this respect, they differ from composers who rely on the criterion of traditionality and create in the monody system.
In Uzbekistan, compositional creativity developed rapidly at the end of the 20th century (V.Leysek and others), especially from the 1920s and 1930s (V.Uspensky, A.Kozlovsky, G.Mushel, and others). The first creative experiences of local composers M.Ashrafiy, T.Sodikov, M.Leviyev, M.Burhonov, S.Yudakov belong to the 1930-1940 years. During the period of independence, the creativity of Uzbek composers rose to a new level. Among the young composers of that time - A.Mansurov, D.Omonullayeva, K.Ergashev, D.Yanov-Yanovsky, N.Ghiyosov and others were important in the development of musical life, including the genres of pop and film music, symphonic and chamber music. are contributing. Among these, let's talk about chamber music.
Chamber music is composed of a group of small performers, and it represents a person's personal qualities, or the delicate state of the human heart through music, melody, and melody. Chamber music (Latin - "camera", meaning "room") is a piece of music intended for performance in a small room for a narrow audience. It differs from symphonic, concert, opera and ballet genres performed in large concert halls and special places such as theater buildings.
The origin of chamber music is primarily connected with the works of Viennese classics (Haydn, Mozart, Beethoven). Later, in the 16th and 17th centuries, the term "chamber music" was first applied to secular vocal and instrumental music in Italy to distinguish it from church music.
Scholars and enthusiasts of this period practiced music making at home, as a result two-person (duet), three-person (trio), and five-person (quintet) ensembles appeared. Due to this, ensembles with such a composition were able to attract everyone's attention.
Chamber music - violin, viola, cello, piano and flute, i.e. the listed instruments are shown and completely formed. Beethoven symphonized his quartets and created them
on a much larger scale in terms of content, essence and form. If we take romantic composers, among them F.Schubert, F.Mendelson, Schumann, chamber music was of great importance. For example: it appears in Mendelson's work "Pes'ni bez slov".
By the first half of the 20th century, many did not turn to chamber-instrument ensembles. That is why this genre did not develop. But we can see that some composers turned to this genre. For example: one of the Ukrainian composers Vasiliy Barvinsky (1888-1963) was one of the people who created chamber music - in many genres. He wrote works for various instruments. Relying on his colorful coloristic harmony and textural-timbral effects, his works have a deep national character. Valentin Sylvestrov (1937) is another representative of the Ukrainian people - he is distinguished by the interdependence of more timbres, the use of polystylistic styles and the composition of non-traditional ensemble compositions in chamber music. One of them is, for example, "Little music" Flute, trumpet, celesta are special instruments.
So, we meet a lot of young and old composers who emphasize chamber-instrument music in their compositional work. Not only foreign, but also our own Uzbek composers have been expressing their creativity in this direction. Let's talk about the Trio, that is, the ensemble consisting of 3 people, and which composers created it for the TRIO ensemble. As an example, let's look at examples of creativity:
Among the Uzbek composers, composer, professor Rustam Abdullayev's work consists of 3 parts and a finale, sonatas written in "allegro" form, for violin, cello and piano; Ulugbek Musayev's trio for violin, cello and piano; A work created for the composition of the trio known as "Romans" by Mutal Burkhanov; We can see Abdusaid Nabiyev's "trio" works for piano. In addition, we can find chamber music works by Felix Yanov Yanovsky, Tolqin Kurbanov, and Ikram Akbarov.
Enjoying the creativity of composers who have won the hearts of listeners with their perfectly written works, I, like them, preserving our nationality, in the field of music, with the help of my teacher Rustam Abdullayev, created a chamber-instrument musical, known as "Poem-fantasia" for the "Trio" ensemble. I created a work.
What does "Poem" mean in music? It is an instrumental piece with a lyrical-dramatic character. It is distinguished by the use of length in a free form. Often written for piano or string instruments, sometimes performed with an orchestra. Examples include M.Bafoyev's "Poem" for violin and piano (1974), Nurullo Zakirov's "Concert-fantasia" (1971) and Sabir Karimkhoji's "Sonata-fantasia" for violin and piano (1993). However, in the work of any composer, I have not come across works in which "Poem-fantasy" and "Trio" are combined, that is, two different genres are related to each other. Because of this, I put forward the idea of a work that combines the genres of "Poem" and "Trio" in order to create something new.
First, I turned to "poem", a genre that expresses the inner state and feelings of a person; secondly, I introduced the "fantasy" genre to enrich it and strengthen its content
through my idea; Thirdly, I expressed my thoughts in the "Trio" genre. Because most of the trios are written in "sonata allegro" form. The characteristics of the "sonata" form are directly used in this work. There is a reason why I show these 3 different genres in harmony. I did not use national instruments in this work. However, the violin-bass is able to give moans, the cello-bass shows a person's sadness and depression, his inner feelings in creating a sad image, and the piano is an instrument that connects them using the "method". I used them. In this work, I used "dodecaphony" (12-tone musical technique), aleatorics, and modern harmony-disharmony, which are characteristic not only of the national color, but also of the modern compositional style. For example: there is a small episode in the duration of the work, and this is where I showed a more dodecaphonic style, structured through series. Rhythmically: I used the "lame method", which is common in Uzbek folk songs, or uneven rhythms using 7/8, 9/8, or oscillating methods such as "alla". In the bass, in the piano part, the same repetition of notes is called "basso ostinato" in the language of music. In terms of character: I think that in this work two people are connected by one thing, because they are not the same, they understand each other through music, one is heavy and depressed, and the other is full of excitement and joy. sometimes he plunges into sad, deep thoughts and finally comes to one conclusion, approves of each other and comes to a solution together, all these are music, melody, melody, lament, rhythm, harmony, I wanted to show through the effects. Every composer has his own style, and I would not be wrong to say that I found my own musical language and style by listening to my mentor Rustam Abdullayev and listening to his advice while creating this work. You can consider the work as an experimental work. I think that it is because of the combination of nationalism and modernity that the work is distinguished by its character, character and theme.
In conclusion, it can be said that the young composers who are currently creating mainly emphasize the modern style. However, not everyone can hear and enjoy such works, because for them, "such melodies sound unpleasant to the ears, we don't understand such works." However, we should not limit ourselves to our own national and traditional music, but also get acquainted with the musical works of other nations, put a great emphasis on the creativity of composers, and grow at the professional level. Because the development of the music culture of our country is in the hands of us, the youth.
References
1. Murray, L. M. (2015). Chamber Music: an extensive guide for listeners. Rowman & Littlefield.
2. Dack, J. (1988). Chamber Music: A Research and Information Guide.
