Solving the genre problem in Azer Dadashov's piano works

Abstract

The piano creativity of Azerbaijani composers was formed at the beginning of the 20th century and created a rich heritage. Azer Dadashov is one of the composers who played a role in the creation of this heritage represented by colorful genres. By addressing all genres of music, the composer demonstrated creative mastery that reflects the bright pages of modern Azerbaijani music. Piano music occupies a special place in A. Dadashov's creativity is represented by large and small works of various genres for this instrument. Here you can find concerts for piano and orchestra, large-scale concert pieces, small piano miniatures, and series. In each of his works, the composer exhibits a unique attitude to the issues of genre, form, content, features of the musical language, and the use of folk creativity. In A. Dadashov's piano music, the genre problem is solved in different ways. Here, the characteristic aspects of the classical genre are affected by the current styles in modern music and are enriched with new lines originating from folk creativity. Genres such as a concert, poem, miniature, sonatina, prelude, fugue, and postlude take on a new meaning in A. Dadashov's piano works. The predominance of the miniature genre creates a connection with the influence of romantic traditions. In particular, the embodiment of the folk dance genre here is realized with the help of various factors. At the same time, dance and rhythm tandem take the main place and become the main criterion of A. Dadashov's musical language. The dance factor acts as an independent genre, as a programmatic criterion, and as an element of the musical language. While a whole series by the composer is composed of miniatures originating from folk dances, rhythm-intonations specific to various dances are also evident in other plays.