478:
sequence is a very common method in the development process, nevertheless, repetition and variation are the main factors in the melodic development of the overture. These principles, which are more typical for folk dance music, are clearly revealed in the structure of the main theme. Repetitions are used here as a method of melodic development and patterning. Each of the sections of the main theme concludes with persistent repetitions of certain chord structures, such as folk songs or the traditional cadences of a mugham melody. Repetition manifests itself in a broader aspect in the structure of the auxiliary theme. The basis of this instruction is the transposition method.
189:
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.
363:
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 and 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.
332:
347:-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 and flute have a thematic function, and strings have an accompanying function.
323:, 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.
525:
162:
strength from the accents on the tonic. The triphonic motive is the main impulse that drives the next movement. It can concentrate on the main constructive idea of the work. Then, the motor skills of the music are reinforced by adding a semitone to the music. The orchestra also has its influence on this. Violins and
485:
Periodic repetition and variation of metro rhythmic figures characteristic of folk dance music form the basis of the musical development of the work as a whole, which is particularly vividly manifested in the metrical structure of the main theme. The 2/4, 3/4 time signatures associated with the fast,
435:
movement, the harmonies built on the dominant of C major and thereby strengthen it are repeated stubbornly. The harsh and sharp harmonies resulting from the layering of the chromatic moving bass complex over the dominant of C major are marked with a general pause, bringing the tension of the sound to
489:
In the polyphonic writing style of Soltan
Hajibeyov's overture, more stable principles from folk music are used. Polyphony plays an especially large role in the rich development process of the secondary theme in the exposition. As the theme transposes from "h" to "fis" in the exposition, the strings
223:
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,
375:
In the first section, the increasing dynamics in the orchestral sound reaches its climax. Against the background of sharp trills of woodwinds and violins in the high register, the opening theme of the reworking section sounds in a dominant "fis" sound. In harmony with the low timbre of the strings,
339:
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 several sections based on the separate and joint development of the main and secondary themes. They are opened in a new way, and
188:
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
481:
One of the important components of the thematic material of the overture is the metrorhythmic structure, which includes all the richness and variety of the rhythmic content typical of different genres of folk music. Due to the character of the rhythmic movement, the connection of the main theme of
184:
character of the melody played on the strings is enhanced by passages of high-pitched thirds to the flute. 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
161:
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. 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
192:
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
383:
The development process moves upward with strong dynamics and stops at the pedal sound "a". The third section of this part begins. This section is based on the scherzo motif of the main theme. A. Taghizade notes that "This motif is smoothed out rhythmically. Exuberant notes disappear. The music
399:
of unisons emphasizes the chromatic fullness of chords. The emotional tension of the orchestral part is intensified by the pedal sound kept in the lower register of the woodwind and string instruments and sounds like a shade that darkens the heroic color of the theme. Heavy rides lead to a new
477:
The main methods in the melodic development are wandering around reference sounds, variations, repetitions, and sequence shifts. Usually, sequence shifts occur as a result of modulations or shifts in other scales. Through the sequences, chord orientation from rast to shur starts. Although the
362:
motif of the main theme of the overture, played by flutes, and 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
231:
The secondary theme, first expressed in the "h" tonality, is then transposed into its dominant space. During this transition, although the inner essence of the theme remains unchanged, the absolute pitch of the melody changes. Its emotional color is updated, and the dynamics of the sound are
228:. 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.
235:
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
498:
The overture, written in 1956 on the occasion of the first
Congress of Azerbaijani composers, was performed in the same year by the Azerbaijan State Symphony Orchestra under the leadership of conductor Niyazi Taghizade-Hajibeyov. After this performance, the work gained great fame.
212:
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.
490:
forming the leading line of the melody are joined by a solo trumpet, as well as a brief imitation of the cello and double bass. The canonical juxtaposition of these three lines—at a quarter-note distance—creates an active-concentration musical development.
371:
touch of separate intonation elements of the secondary theme is evident in the brass instruments. The theme of solo bassoon is important here. Its participation in this process is associated with the beginning of a new section each time.
366:
The intensity of development of the
Scherzo motif leads to the creation of general movement forms. Outer registers – the part of string and woodwind instruments is enriched with rhythmic pulsation. In the middle register, the transparent
430:
are also present: the combination of improvised melody with rhythmically precise measured accompaniment. The cello melody is then joined by the flute, bassoon, and clarinet playing a short, sharp rhythmic motif of the main theme. In the
350:
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
158:, which is traditional for the symphonic overture genre. The overture is based on the figurative contrast of two themes. At the same time, it is about juxtaposing cheerful musical playfulness with lyrical singing.
180:
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
298:. 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
259:
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.
513:
sent a letter to the composer Soltan
Hajibeyov, in which he repeatedly mentioned the artistic qualities of the overture and that it was processed with high professionalism.
177:
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.".
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Later, the piece was performed in Moscow under the conductorship of
Abraham Stasevich. The work was included in the performance program of Moscow and performed by the
247:— 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
486:
agile dance movement suit its genre character. The dynamics of the rhythm increases due to the interrelationship of time fragments divided by accentuations.
166:
play the leading thematic role here. Bass strings – cello and contrabass actively accompany the theme. The brass band holds the harmonic function. Short
380:, and precise rhythm give it a tough character. The second section of the elaboration develops the intonation-thematic fragment of the secondary theme.
193:
beginning of the main theme. Its approximate schematic representation is as a b b c c. Such simple repetition is characteristic of several
411:
played by cellos attracts attention. Its intonation is based on the bassoon theme at the beginning of that section, based on the tonic "
170:, which are part of the melody and the precise rhythmic pattern of seconds in the accompaniment infuse the music with scherzo elements.
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In addition to simple repetition of the main theme of the overture, variant repetition of two or three motif cores is also used.
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The core of the main theme is the intonation based on the tonic of the "Mahur-Hindi" mugham, which is found in folk music,
309:
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
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The piece was performed in 1962 by the
Evanston Orchestra of Chicago, US. For this reason, the American composer
407:
stabilizes. Against the background of precise, broken, dry chords of trumpets and trombones, a sad, passionate
287:
440:, confirming the main theme of the overture with its bright orchestral tutti and its pure C major key.
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However, Aida
Taghizadeh, a researcher of S. Hajibeyov's creativity, rejects this idea and says that
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of the bass strings, brass and bassoon are answered by the chords of the brass band and the
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part of the development, the melody of the supporting theme suddenly breaks harshly.
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leads to the creation of characteristic harmonic complexes accompanying the theme.
313:. In the first ring, the dominant sound of fis, which is the reference step of the
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454:"Soltan Hajibeyov's music does not have signs of direct affinity with folklore."
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the development of the secondary theme is to some extent similar to the
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in 1956. The overture was performed for the first time in 1956 by the
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450:"Soltan Hajibeyov fully addressed folk music in his overture music."
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type. The distinguishing features of this genre between mugham and
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theme. After this repetition of intonation, a reprise is played.
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266:. The first phrase ends on the sixteenth note, the dominant of
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The cello theme is associated with rhythmic mughams in the
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Grand
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The form of the secondary theme is an extended modulated
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and register of solo instruments plays a big role here.
240:, which is one of the main factors in its development."
1042:] (in Russian). Moscow: "В Азербайджанская музыка".
1063:
Böyük simfonik orkestr üçün uvertüra. Soltan Hacıbəyov
340:
contrasting elements hidden within them are revealed.
415:" mugham. Relying on the sound order of the Shushtar
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In terms of music, the theme is compatible with the
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482:the overture with folk-dance music is determined.
376:the loud, bright timbre of the brass instruments,
137:at the first congress of Azerbaijani composers in
436:the limit. This is followed by a light, jubilant
43:
1029:] (in Azerbaijani). Vol. 3. Baku: Elm.
220:feature and declarative-speech expressiveness.
343:The development section begins with a quiet,
8:
506:under the direction of conductor N. Anasov.
18:
1034:Карагичева, Л. В; Исмайлов, М.С. (1961).
630:. Overture for symphonic orchestra. 1967.
1088:Works by Azerbaijani classical composers
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1051:. № 7 (in Russian). "Советская музыка".
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327:Elaboration section and scherzo motif
7:
384:acquires the character of bravery."
197:. For example, folk dances such as "
201:", "Darçını" are examples of this.
131:Azerbaijan State Symphony Orchestra
119:Overture for big symphony orchestra
108:Azerbaijan State Symphony Orchestra
55:Overture for big symphony orchestra
154:The composer's program idea is in
133:under the leadership of conductor
14:
607:aa, bb, cc repetitions are meant.
16:1956 overture by Soltan Hajibeyov
598:chords of trumpets and trombones
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290:of the theme to the tonality of
278:, modulates to the subdominant
828:Карагичева & Исмайлов 1961
750:Карагичева & Исмайлов 1961
448:According to Zemfira Safarova
270:. The second phrase, which is
1:
1047:Холопова, Валентина (1964).
1036:Народная музыка Азербайджана
1027:Music history of Azerbaijan
1109:
1021:Səfərova, Zemfira (2018).
274:in terms of the number of
26:
1040:Folk music of Azerbaijan
1023:Azərbaycan musiqi tarixi
1012:] (in Azerbaijani).
400:section of development.
1004:Tağızadə, Aidə (2011).
195:Azerbaijani folk dances
336:
44:
1083:Culture of Azerbaijan
334:
1093:Music of Azerbaijan
901:, pp. 243–244.
818:, pp. 241–242.
776:, pp. 100–101.
544:Music of Azerbaijan
156:sonata allegro form
45:"Bayram" uvertürası
27:by Soltan Hajibeyov
925:, p. 105–106.
494:Reception and play
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1078:Concert overtures
683:, pp. 96–97.
628:Hacıbəyov, Soltan
444:Thematic material
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187:
179:
172:Musicologist
160:
153:
118:
114:
113:
1016:: Mütərcim.
589:cello theme
405:rhythmicity
397:Diatonicity
358:Later, the
320:Shur mugham
315:Bayati-Kurd
311:fifth tones
145:Composition
125:written by
40:Native name
1072:Categories
615:References
562:Main theme
464:Altı nömrə
369:polyphonic
257:polyphonic
150:Main theme
105:Performers
52:Other name
472:Bəxtəvəri
428:ashiq art
409:cantilena
393:xylophone
300:climactic
249:registers
238:polyphony
218:cantilena
168:staccatos
164:woodwinds
97:Conductor
517:See also
474:dances.
460:Qızılgül
433:ostinato
424:shikasta
417:dulcimer
413:Shushtar
378:staccato
296:dynamics
280:tonality
199:Tarakama
123:overture
121:) is an
89:Location
76:Premiere
438:reprise
389:unisons
360:scherzo
292:F-minor
284:C minor
268:B minor
253:timbres
182:scherzo
32:English
353:timbre
286:. The
264:period
243:A new
226:mugham
135:Niyazi
100:Niyazi
1038:[
1025:[
1008:[
550:Notes
468:Ulduz
345:march
307:chord
68:Style
1014:Baku
305:The
276:bars
251:and
139:Baku
117:(or
92:Baku
84:1956
81:Date
63:1956
60:Year
282:of
1074::
978:^
891:^
876:^
859:^
796:^
781:^
742:^
727:^
688:^
647:^
470:,
466:,
462:,
395:.
141:.
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