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In terms of music, the theme is compatible with the [[cantilena]] feature and declarative-speech expressiveness.{{Snf|Səfərova|2018|p=241}} |
In terms of music, the theme is compatible with the [[cantilena]] feature and declarative-speech expressiveness.{{Snf|Səfərova|2018|p=241}} |
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In contrast to the detailed expression of the main subject, the presentation of the secondary subject takes place horizontally, in a large plan. The development of the secondary theme is carried out in a wave-like way. Each of the waves begins in a higher register than the previous one. In this respect, the development of the secondary theme is to some extent similar to the [[mugham]]. Each subsequent branch of the mugham is built in a higher register than the previous one, thereby not only expanding the range boundaries of the melody, but also achieving a general opening of the form. The method of transposition plays a major role in the wave development of the topic.{{Snf|Карагичева| |
In contrast to the detailed expression of the main subject, the presentation of the secondary subject takes place horizontally, in a large plan. The development of the secondary theme is carried out in a wave-like way. Each of the waves begins in a higher register than the previous one. In this respect, the development of the secondary theme is to some extent similar to the [[mugham]]. Each subsequent branch of the mugham is built in a higher register than the previous one, thereby not only expanding the range boundaries of the melody, but also achieving a general opening of the form. The method of transposition plays a major role in the wave development of the topic.{{Snf|Карагичева|1961|p=41}} |
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== Notes == |
== Notes == |
Revision as of 10:50, 30 April 2024
Bayram overture | |
---|---|
by Soltan Hajibeyov | |
English | "Bayram" overture |
Native name | "Bayram" uvertürası |
Other name | Overture for big symphony orchestra |
Year | 1956 |
Premiere | |
Date | 1956 |
Location | Baku |
Conductor | Niyazi |
Performers | Azerbaijan State Symphony Orchestra |
"Bayram" overture or Overture for big symphony orchestra is an overture written by Soltan Hajibeyov in 1956.
The overture was performed for the first time in 1956 by the Azerbaijan State Symphony Orchestra under the leadership of conductor Niyazi at the first congress of Azerbaijani composers in Baku.
Musics
Main theme and sections
The composer's program idea is in sonata allegro form, which is traditional for the symphonic overture genre. The overture is based on figurative contrast of two themes. At the same time, it is about juxtaposing cheerful musical playfulness[n 1] with lyrical singing.[n 2][1]
The main theme, which is played in one breath, is structured in three parts. The topic is divided into several small sections in the middle.[2] The intonation basis of the theme is a motive consisting of three voices. The fast-paced motive is revealed by a continuous movement of sixteenths, gathering strength from the accents on the tonic. The triphonic motive is the main impulse that drives the next movement. It is able to concentrate the main constructive idea of the work. Then, the motor skills of the music are reinforced by adding an additional semitone to the music. The orchestra also has its influence on this. Violins and woodwinds play the leading thematic role here. Bass strings — cello and contrabass actively accompany the theme. The brass band holds the harmonic function. Short staccatos, which are part of the melody and the precise rhythmic pattern of seconds in the accompaniment infuse the music with scherzo elements.[3] Musicologist Zemfira Safarova notes that "This section as a whole is considered as a thematic variant that strengthens the beginning of the play, which is the basis of the character of the main theme.".[2]
The development of the previous material continues in the second section on the middle of the main theme. Instrumentation is more camera-like. The number of instruments is reduced to a minimum. The scherzo character of the melody played on the strings is enhanced by passages of high-pitched thirds to the flute.[4] A sequence-like development from the melodic direction leads to the final movement in the main body of the main theme, which is a development to the driving intonation of the beginning of the theme. After this repetition of intonation, a reprise is played.[2]
The propulsive intonation repeats insistently, leading to a reprise of the main theme's opening material, culminating in a rapid movement of sixteenths. The character of the solemn holiday is strengthened by increasing the dynamics. Signs of repetition already begin to show from the last section in the middle of the theme. Gradually, woodwinds and then brass instruments are included in the orchestra. The volume rises to tutti in the reprise. The three minor sections that make up the middle section of the main theme are essentially variants of the same intonation layer. The absence of this melody in the opening stages of the theme plays a temporary independent role and gives clarity to the beginning of the theme.[5]
According to musicologist Aida Taghizada, the main theme of the overture combines the characteristic features of the Azerbaijani dance and the theme of the march. The dance signs are not clearly given here. Music sums up its more typical features. This shows itself in the melodic structure of the beginning of the main theme. Its approximate schematic representation is as a a b b c c. Such simple repetition is characteristic of a number of Azerbaijani folk dances. For example, folk dances such as "Tarakama", "Darçını" are examples of this.[5]
In addition to simple repetition of the main theme of the overture, variant repetition of two or three motif cores is also used.[6]
Secondary theme and its sections
The transition from the main theme to the secondary theme occurs organically. The last phase of the development of the main theme is characterized by the strengthening of dynamics. It then fades into a descending chromatic progression, leading to the overture's subsidiary theme.[7]
In terms of music, the theme is compatible with the cantilena feature and declarative-speech expressiveness.[8]
In contrast to the detailed expression of the main subject, the presentation of the secondary subject takes place horizontally, in a large plan. The development of the secondary theme is carried out in a wave-like way. Each of the waves begins in a higher register than the previous one. In this respect, the development of the secondary theme is to some extent similar to the mugham. Each subsequent branch of the mugham is built in a higher register than the previous one, thereby not only expanding the range boundaries of the melody, but also achieving a general opening of the form. The method of transposition plays a major role in the wave development of the topic.[9]
Notes
References
- ^ Tağızadə 2011, p. 95.
- ^ a b c Səfərova 2018, p. 239.
- ^ Tağızadə 2011, p. 96.
- ^ Tağızadə 2011, p. 96 – 97.
- ^ a b Tağızadə 2011, p. 97.
- ^ Tağızadə 2011, p. 98.
- ^ Səfərova 2018, p. 240.
- ^ Səfərova 2018, p. 241.
- ^ Карагичева 1961, p. 41.
Bibliography
- Tağızadə, Aidə (2011). Soltan Hacıbəyov [Soltan Hajibayov] (in Azerbaijani). Bakı: Mütərcim.
- Səfərova, Zemfira (2018). Azərbaycan musiqi tarixi [Music history of Azerbaijan] (in Azerbaijani). Vol. 3. Bakı: Elm.
- Карагичева, Л. В; Исмайлов, М.С. (1961). Народная музыка Азербайджана [Folk music of Azerbaijan] (in Russian). Moscow: "В Азербайджанская музыка".