User:Aredoros87/factory
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| Bayram overture | |
|---|---|
| by Soltan Hajibeyov | |
| English | "Bayram" overture |
| Native name | "Bayram" uvertürası |
| Other name | Overture for big symphony orchestra |
| Year | 1956 |
| Style | sonata allegro |
| 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[edit]
Main theme and sections[edit]
The composer's program idea is in sonata allegro form,[1] 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][2]
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.[3] 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.[4] 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.".[3]
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.[5] 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.[3]
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.[6]
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.[6]
In addition to simple repetition of the main theme of the overture, variant repetition of two or three motif cores is also used.[7]
Secondary theme and its sections[edit]
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.[8]
In terms of music, the theme is compatible with the cantilena feature and declarative-speech expressiveness.[9]
In contrast to the detailed expression of the main theme, the presentation of the secondary theme 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.[10]
The secondary theme, first expressed in the "h" tonality, is then transposed into its dominant space.[n 3] During this transition, although the inner essence of the theme remains unchanged, the absolute pitch of the melody changes. Its emotional color is updated, the dynamics of the sound are strengthened.[11]
The polyphonic factor also plays a role in the completeness of the development of the secondary theme. L. Karagicheva and M. Ismayilov write that "If the homophonic-harmonic structure is characteristic for the main theme, the nature of the melody of the secondary theme brings forth polyphony, which is one of the main factors in its development."[10]
A new melodic line — thematic development of the secondary theme in the performance of the strings by the trumpets and vartornas — is added to the imitative. The gradual layering of registers and timbres weighs down the polyphonic material. The strings continue to play the secondary theme, while the brass implements an imitation of it. The woodwind part is based on the harmonic texture of that fragment.[12]
The form of the secondary theme is an extended modulated period. The first phrase ends on the sixteenth note, the dominant of B minor. The second phrase, which is asymmetrical in terms of the number of bars, modulates to the subdominant tonality of C minor. The transposition of the theme to the tonality of F-minor strengthens its dynamics. Continuing the development in successive waves, the secondary theme covers increasingly higher registers. It has an expressive character and seems to be directed upwards. In the climactic part of the development, the melody of the supporting theme suddenly breaks harshly.[13]
The chord base of the loops that form the melodic framework of the secondary theme is the shur. h-Fis-cis and e-h-Fis are built on fifth tones. In the first ring, the dominant sound of fis, which is the reference step of the Bayati-Kurd section of the Shur mugham, plays the role of a strong center of attraction. The "h" sound on the second ring — the shur chord reference step with the tonic "e" is the center of attraction. Each of these reference steps has sounds surrounding it, which enable it to be specified as a reference step around that sound. This gives special relief to the structure of the secondary theme.[14]
Elaboration section and scherzo motif[edit]
The general goal of the development section is to maximize the expressive possibilities of the main musical images. The composition of the development section consists of a number of sections based on the separate and joint development of the main and secondary themes. They are opened in a new way, contrasting elements hidden within them are revealed.[9]
The development section begins with a quiet, march-like, slightly grotesque-sounding theme played by the bassoon solo. It can be said that its basis is the initial intonation of the secondary subject, which is given in a reversed form. At the beginning of development, the number of tools involved is reduced to a minimum. Bassoon, flute have a thematic function, and strings have an accompanying function.[15]
The next ring of the bassoon's theme is repeated by the solo flute. The subsequent alternation of the thematic function between these two instruments creates a peculiarly sharp characteristic dialogue. The difference in timbre and register of solo instruments plays a big role here.[13]
Later, the scherzo motif of the main theme of the overture, played by flutes, clarinets and accompanied by short passages of cellos, enters the development process of the piece. The theme of the scherzo, revealed in the different registers of the orchestra and the sound of the instruments, takes on a sharp character. Depending on the degree of strengthening of the dynamics, other tools are also included in the development process. With this, the composition of the orchestra increases. Repeated repetitions, rapidity of alternating solo instruments bring elements of humor to the expression. The light, fun, playful nature of the music softens the harsh tone at the beginning of the development section.[16]
Notes[edit]
References[edit]
- ^ Hacıbəyov, Soltan. Overture for symphonic orchestre. 1967.
- ^ Tağızadə 2011, p. 95.
- ^ a b c Səfərova 2018, p. 239.
- ^ Tağızadə 2011, p. 96.
- ^ Tağızadə 2011, pp. 96–97.
- ^ a b Tağızadə 2011, p. 97.
- ^ Tağızadə 2011, p. 98.
- ^ Səfərova 2018, p. 240.
- ^ a b Səfərova 2018, p. 241.
- ^ a b Карагичева & Исмайлов 1961, p. 41.
- ^ Tağızadə 2011, p. 100.
- ^ Tağızadə 2011, pp. 100–101.
- ^ a b Tağızadə 2011, p. 101.
- ^ Tağızadə 2011, p. 105.
- ^ Səfərova 2018, pp. 241–242.
- ^ Карагичева & Исмайлов 1961, p. 43.
Bibliography[edit]
- Tağızadə, Aidə (2011). Soltan Hacıbəyov [Soltan Hajibayov] (in Azerbaijani). Baku: Mütərcim.
- Səfərova, Zemfira (2018). Azərbaycan musiqi tarixi [Music history of Azerbaijan] (in Azerbaijani). Vol. 3. Baku: Elm.
- Карагичева, Л. В; Исмайлов, М.С. (1961). Народная музыка Азербайджана [Folk music of Azerbaijan] (in Russian). Moscow: "В Азербайджанская музыка".