Characteristics of musical language in instrumental concerts of Nariman Mammadov

Özet

The article analyzes NarimanMammadov's instrumental concerts reflecting his creative achievements in the field of instrumental music. Concerts for various solo musical instruments and symphony orchestra occupy an important place in the composer's creativity. He is the author of seven concerts. Four of them were composed for piano and symphony orchestra. The composer also created string, flute and violin concertos, which are varied in their content and subject matter. The performance composition and compositional structure of these works are traditional and include classical concert features. Concerts are traditionally intended for soloists and symphony orchestras, where the composer managed to create interesting compositions using mainly classical sonata allegro, rondo and three-part forms. The performance qualities of the works, instrumental performance style, bright, virtuosic musical themes, lyric pages, and the use of technical means of expression of modern compositional writing are quite remarkable. Simultaneously, N. Mammadov's skillful use of national musical features should particularly be mentioned. He benefited primarily from folk music and mugham, and his appeal to the roots of Ashiq music and its instrumental performance features is evident in his works. All these stand out as the main qualities of the composer's creative style. Using the elements of national music in a unique way is related to the features of N. Mammadov's professional compositional thinking. In the composer's concerts, both in the solo melodic line and in the orchestral texture, the commitment to national musical features is evident. In the piano part, a readable, lyrical song-like melodic line is of leading importance, in the cadence sections, a mugham style of performance is reflected, and in the orchestral texture, preference is given to the structure consisting of ostinato-type sound combinations with different intervals, reminiscent of the sound characteristics of national musical instruments. All this is resolved in the development of the general musical idea of the concerts, in terms of expressing the artistic and technical capabilities of the instrument. N. Mammadov's Second Concerto (1973) is one of the composer's mature works written in this genre. In the concert, the instrumental interpretation of the mugham melody by the composer is performed according to the principles of development of national music. The composer, who creatively passed the Mugham melody through the filter of his thinking, approached its development with freedom. In the compositional structure of the concert, we clearly see the combination of classical music traditions and mugham structure. The composer kept the structure of the parts in the three-part classical sequence typical of the concert genre: Part I - sonata allegro, part II - a three-part lyrical part, part III - a virtuoso-sounding finale. He achieved great artistic qualities by bringing the development features of mugham to the structure and figurative content of the concert. As a result, we can say that Nariman Mammadov, who is deeply familiar with our national values, as well as in his other works, was able to very skillfully express the typical stylistic features of folk music, especially metro-rhythmic freedom, freedom of rhythm, and variety in his piano concerts.