Analysis of Neriman Memmedov's Oratorio titled Azerbaijan

Abstract

Neriman Memmedov has been the composer of numerous symphonies, operettas, vocal-symphonic works, chamber music pieces, concertos, ballets, over six hundred songs, and other works. This research is the first study on N. Memmedov's vocal-instrumental works. The article aims to analyze the poetic text, musical language, and structural features of the composer’s ‘Azerbaijan’ oratorio. While examining the characteristics of the musical language in N. Memmedov's vocal-instrumental works, the study focuses on topics such as makam, melodic structure, metrorhythmic features, and the effect of modes on melodic and harmonic language. This approach helps reveal the national characteristics of the composer’s musical language and allows for an investigation into the role of these features in shaping his musical style. In the research process, accepted analytical methods in theoretical musicology, particularly historical-theoretical and comparative analysis methods, were used. The analysis of N. Memmedov’s works, especially the ‘Azerbaijan’ oratorio, was conducted in accordance with the principles of music theory. N. Memmedov's ‘Azerbaijan’ oratorio, composed to the lyrics of A. Zeynallı for soloist, choir, and symphonic orchestra, was analyzed through the printed keyboard score. As a result of the research, it was determined that N. Memmedov’s vocal-instrumental works feature distinctive style characteristics derived from the composer and the muqam tradition. The analysis revealed that in the studied works, the melodic structure is dominant in both vocal and instrumental sections, and all vocal parts reflect the spirit of folk songs. Future studies may explore the unique features of Neriman Memmedov’s other works and also conduct a comparative analysis of the musical language characteristics of vocal-instrumental works by other Azerbaijani composers.