Solution of performance problem in modern works written for wooden wind instruments Текст научной статьи по специальности «Языкознание и литературоведение»

Section 3. Study of art

Aliyeva Nargiz Chingiz, Doctorant candidate, Baku Music Akademy named after Uzeyir Hajibeyli E-mail: fleytistka1991@mail.ru

SOLUTION OF PERFORMANCE PROBLEM IN MODERN WORKS WRITTEN FOR WOODEN WIND INSTRUMENTS

Abstract. The article has been dedicated to the research of the solution of performance problems in the works intended for wooden wind instrument in the creativity ofAzerbaijani composers in the modern era. There are opinions on new performing methods occurred related to the modern writing style, traits and their performance in the article. The author has expressed theoretical and methodical opinions related to the works ofJ. Abbasov, E. Dadashova and others for wooden wing instruments.

Keywords: wooden wind, instrument, work, modern traits, performance, tendency.

There are so many types of wooden wind instruments in the world music practice. These instruments have passes fast development process besides being in the line of the most ancient music instruments, having long history. In these stages performance techniques have been improved by developing besides the structure of the instruments and have gained modern professionalism criteria. It includes the issues such as creation of new performance methods, strengthening of performance techniques, as well as new sound effects. During the development processes, instrument-researchers, performers and compositors have acted together, emphasized the performance merits, literary composition and technical demands belonging to the age they belong. In this process master of instrument - compositor and performer trio are of significant importance. Because just this trio forms the main factors of performing culture by preserving the same interest in different historical environments of the instrument. Timbre, characteristic of consonance, used technical methods are of significant importance in the correct understanding ofwork as its other components -such as melody, harmony, facture, form, etc. Each historical environment creates its style in the forming of performance culture and the process continues constantly by being calculated for the future. One of the main issues faced by modern performance culture and the science of instrument-study is to learn the factors playing role in the forming of the art of performance in different eras.

There are many works for wooden wind instruments in the world music literature. There are both solo and ensemble works in their line. Different compositors have evaluated the

literary and technical opportunities of these instruments and applied them in individual creativity laboratories, made rich performance repertoire with the colorful works having high literary value. The creativity ofAzerbaijani compositors takes specific place in this work. In national composition creativity solo works have been written for mostly flute and clarinet, group members have had important position in the composition of different orchestra works.

The more strengthening of the place taken by wooden wind instruments in the creativity ofAzerbaijani compositors in II part of XX century is seen clearly with the application of literary-aesthetic, performing, content and form, modern writing styles in the works existing in this field. The number of these works has been increased notably in modern age, modern performance methods, traits and nuances have been to be applied. Their creation has lead to the strengthening of performing culture, increasing of professional level. The works written in modern age for wooden wind instruments have been awarded with the diplomas and rewards in the world music festivals and contests; have been included to the repertoire of world-class musicians. On the other hand theses works have influenced the modern performance art strongly, stimulated to the mastering of professional performers.

Works intended for wooden wind instruments created in the II part of XX century reflect different directions, composition techniques, styles and tendencies of the modern music art besides having different genres, volume and performing characteristics. There are the samples composed on the basis of mughamimprovision traditions benefiting from national music

Section 3. Study of art

genres, besides classic, modal, series, dodekofonia, puantilism, atonal technique and styles in the line of these works.

J. Abbasov, E. Dadashova, F. Garayev, R. Gadimova, V. Al-lahverdiyev, J. Guliyev, I. Abdullayev, Y. Imanov, T. Gasimzade, A. Gambarli, S. Gani, F. Fatullayev, R. Ramazanov, R. Khalilov, S. Rahimova, Z. Karimova, L. Jafarova, N. Naghiyeva, R. Husey-nova, F. Allahverdi and a number of composers have created both solo and ensemble works with different composition for these instruments. The samples reflecting high professionalism created in this field by our compositors such as A. Malikov, Kh. Mirzazade, F. Alizade plays stimulating role conditioning its development besides making rich the national performance art.

It is observed that miniature formed works are more than large-scale works for wooden wing instruments. This can be related to different tendencies of modern era. Inclination to miniature forms is also related to performing issues. So, organizing the performance of such works is easier than large-scale symphonic works. Other reason is related to the individual creativity principles of compositors. Particularly, younger compositors incline to miniature genres. The miniatures of T. Gasimzade, R. Ramazanov, F. Fatullayev, N. Naghiyev can be samples in this respect. Furthermore, it should be noted a number of miniatures in the creativity of outstanding compositor Kh. Mirzazade. Sonata, concertino and a number of ensemble works are among the large-scale works. The works of A. Malikov, L. Jafarova, J. Abbasov, S. Ganini, A. Gambarli and others can be sample.

The compositions of "(K)einKleinesSchauspiel" by F. Garayev and "L'identification de la vengeance d'Eurydice" by E. Mirzayev that are among the literary source, poetic text, plotted works with or without program of compositors express the clear sample of instrumental theatre. In these works actor play also stands among the requirements before the performers. This acts as one of the characteristic features of modern instrumental works. Performers of these works should know plot, literary or poetic text, and actor play consisting of the conception of the work, besides being aware of literary and technical opportunities of the instrument they play.

There are instructions related to modern performance methods, performance methods of trait and nuances in the works of T. Gasimzade, A. Gambarli, E. Mirzayev, S. Gani. This feature is specific for modern works. Showing methodical instructions by the compositor help to introduce the work more excellently and at the same time the young ones gain many knowledge related to the implementation ofnew performance methods. The compositors have uses modern performance methods such as cluster, slap, multiphone, glissando, trill and mordents, frullato.

A. Gambarli has related the work of "Composition resolved to dots" we analyzed with writing technique (puantilism), T. Gasimzade the work of "Solo for Erin Lesser" with the

natural event, R. Ramazanov the work of "Gussa" with painting, E. Mirzayev the work of "L'identification de la vengeance d'Eurydice" with an ancient legend (Orpheus-Eurydice), used the citations of philosophers and outstanding artists for the sake of the relation of idea and literary-emotional expression. Writing techniques, performance methods, used for the realization of all these ideas have contributed to the performance practice of wooden wind instruments.

So, we can note a number of conclusions related to the influence of modern works written for wooden wind instruments to the performance art:

- The place taken by wooden wind instruments in the creativity of Azerbaijani compositors has been expresses mostly by miniature genres. Furthermore, serial works are also encountered. "SuraAtur" by Z. Karimova, 5 plays serials by Kh. Mirzazade can be sample in this respect. At the same time the samples written for flute and clarinet is more among the solo works: solo works for oboe and bassoon are not seen;

- Unusual instrument choice in the ensemble works requires displaying special sensitivity from the performers. "L'identification de la vengeance d'Eurydice" by E. Mirzayev (flute and 5 percussion instruments), "(K)einKleinesSchaus-piel" by F. Garayev (bas flute and two guitars), "Controle+[" by T. Gasimzade (flute, percussion instruments, violin, chel-los and mezzo-soprano) can be sample. At the same time it is observed registry compliance it the party of instruments with different timbres in these works;

- The compositors benefit from national music genres with different ways. Mughamimprovision style, dance, the application of color genres can be sample in this respect. At the same time European music genres such as waltz, ballade, rondo, march, scherzo also consist of the basis of the works.

- One of the specific features of ensemble works is encountered in that solo and accompanying instruments, as well as all instruments have the same position. Works ofJ. Abbasov, E. DadashovT.Gasimzade, Kh. Mirzazade, S. Rahimova can be samples in this respect;

- The compositors have used slap, vorschlag, mordent, trill, glissando, frullato, cluster, multiphone in both solo and ensemble works. Furthermore, the embodiment of performance culture is typical in the performance of different technical passages, leaps, small notes in fast temp, correct breathing, choice of positions, different applications;

- Additional abilities are required from the performers in the works distinguished by instrumental theatre traditions (F. Garayev, E. Mirzayev, T. Gasimzade). Here each performer should also perform the plot, the images embodying literary idea as an actor.

So, modern performance art in wooden wind instruments requires from the musician professional relation

being interested closely in the achievements of modern qualities. So, it is possible to realize the excellence perfor-

music, having individual creativity qualities, with com- mance of the works in the creativity of national and world

prehensive erudition, besides the enlargement of technical compositors, as well as to develop the performance art at

opportunities, besides being characterized by a number of professional level.

References:

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2. Искендеров А. М. Стилевые и исполнительские особенности произведений для флейты.- Б.: Адилоглы, 2002.- 194 с.

3. Modern music in Post Avant-garde place. XX century. Travel to Europe. Face to face with time. IV modern music project, 2016.