The opera "Deceived stars" in the context of satirical works by Mammad Guliyev

Abstract

The opera genre has taken a leading position in the musical culture of Azerbaijan and has undergone great development. The fact that Azerbaijani composers continue the traditions of this genre and constantly turn to innovation indicates the mobility of this genre. Azerbaijani opera reflects the aesthetic principles of each era and has become the main expression of national mentality and moral values. From this point of view, among the first operas written in the satirical genre, MammedGuliyev's "Aldanmıshulduzlar" ("Deceived Stars") is interesting. Within the framework of the satirical opera, the composer, who describes the features of the Novruz holiday ceremonial performances and public square performances, using a number of genres of folk music (meykhana, mugham, ashıq music, folk songs and dances, etc.) succeeded in creating a type of opera with purely private and national characteristics. For the first time, in this article, the ways of applying mass choirs and leitmotif system according to certain genre orientation in M. Guliyev's "Aldanmısh ulduzlar" ("Deceited Stars") and VasifAdigozalov's "Oluler" ("The Dead") operas are explained. In the opera "Aldanmısh ulduzlar" ("Deceived Stars"), leitmotifs, solo and ensemble, choral scenes have a certain dramaturgical function. Thus, its structure, composition, and dramaturgy are distinguished by their uniqueness in relation to the genre characteristics of the work. There are two main leitmotifs in the opera - the image of the stars and the leitmotif of Selma, the central female character. In this opera written based on the story of MirzaFatali Akhundzadeh, unlike his story, the image of the stars is not presented at the beginning, but using the "circular frame" method as a dramaturgical method, the composer gave both in the Prologue and in the finale of the opera. This leitmotif is static in nature, the same notes sounding repeatedly are enriched and developed due to changing harmony. Another leitmotif found in the opera is related to the central female character, Selma. Like N.A. Rimsky-Korsakov (the image of the Shemakhi princess), M. Guliyev also used oriental methods in developing her image. We are introduced to Selma's leitmotif as well as the leitmotif of the stars for the first time in the prologue of the opera. Apart from Selma's leitmotif in the opera, his lieutentonations are also given. In the introduction in Act II, the orchestra and vocal part, as well as in the end of Act III, Selma's lieuttonation is given. This lieutentonation given at the beginning of Act III is given as an Coda apofeoz. Selma's leuttonation becomes a symbol of the victory of love and Light and is heard 4 times in the finale of the opera. Giving leitmotifs in this way is one of the indicators of the unique writing style of the composer Mammad Guliyev, who is distinguished by his innovation among composers and the use of most musical styles in his work.