Musical and Dramatic Features of Choral Scenes in the Operas of Azerbaijani Composers

Journal of Critical Reviews

ISSN-2394-5125 Vol 7, Issue 7, 2020

MUSICAL AND DRAMATIC FEATURES OF CHORAL SCENES IN THE OPERAS OF AZERBAIJANI COMPOSERS

Ayten Babaeva

Baku Music Academy named after Uzeyir Hajibayli Azerbaijan, Baku [email protected]

Received: 11.02.2020 Revised: 03.03.2020 Accepted: 17.04.2020

Abstract The presented article is devoted to the musical and dramatic features of choral scenes in the operas of Azerbaijani composers. The paper considers the long-term development of Azerbaijani national operas from operas of mugamat the beginning of the 19th to the 20th century some aspects are found in the context of European and national traditions. Also, the domestic operas of Azerbaijan paid attention to the features of choral scenes, some principles of development, and the richness of the musical language. In particular, the law of updating the dramaturgy of choral scenes in Azerbaijani operas at the level of content and musical language was emphasized. The article classifies Azerbaijani operas by content and considers drama, the principle of structure, features of the musical style, the artistic character of images in the analysis of choral scenes in lyric-dramatic, literary-historical, satirical and patriotic operas. The unique qualities and role of choral scenes in Azerbaijani national operas were also presented.

Keywords: Azerbaijan National Opera, musical and dramatic features of choral scenes, mugam opera, lyrical and tragic opera, satirical opera, patriotic opera, musical and exciting art.

INTRODUCTION. In the 1920s, discussions about the development of national The genre of opera, which occupies a prominent place among opera, which were widely used in this area, were mainly the musical and stage works created by Azerbaijani related to the development of Azerbaijani art. The leading composers, has survived a century of development. The artists of the Azerbaijani opera are Uzeyir Hajibeyli and history of Azerbaijani professional music begins with the Muslim Magomayev, as well as A. Badalbeyli (Azerbaijani opera genre. " Leili and Majnun " U. Hajibeyli (1908), the first composer, 1909-1979, author), who was very young at that national Azerbaijani opera, mugams , vocal and instrumental time. The first ballet in the musical West (Maiden's Tower) compositions, which are direct examples of our professional advocated national preservation operas, as well as the national music, is also widely known, and the city of Shusha is development of professional music by studying the classical especially famous for this art. Mugam is an Azerbaijani variety heritage and works of European composers. Baku, as a large of musical practice that is widespread in the cultures of the industrial city, developed and developed into cultural Near and Middle East. It is the common name for Azerbaijani relations. The construction of the opera house by the frogs. 31558) and the further development of the opera of philanthropist Haji Zeynalabdin Tagiyev in 1883, the opening Azerbaijani composers were associated with this genre. The of first-class hotels and secular schools catalyzed multicultural basis of the musical theatre in Azerbaijan was laid by processes between Western and Eastern culture. Western the mugam opera, which bridges the gap between music of the early twentieth century played a significant role traditional mugam and modern Azerbaijani music and has no in Azerbaijani culture; therefore, a school of performing arts analogues in world music. began to form here, characterized by a large variety and richness of musical images. As in other forms of art, here are Establishment of national opera of Azerbaijan presented the ideas of the East and west, closely intertwined, So, in 1908, the first opera was created in Azerbaijan. It was mutually enriching each other. The perception of new tempos, exciting that in the opera, along with a mugamic plot, the rhythms, timbres, tonalities, musical forms created a particular features of the Shabikhs were organically combined with mood, sensitivity to the understanding of the real world (2, p. religious content. It should be noted that the choirs took an 34).The second half of the 30s - two operas created during the active part in the performances of significant upsurge of Azerbaijani musical culture "Nargiz" the Sabbaths. "Sheikh Sanan " (1909), "Rustam and Sohrab " (1935) and "Koroglu" (1937), was a great achievement of (1910), "Shah Abbas and Khurshudbanu " (1911), " Asli and Azerbaijani music. Muslim Magomayev's opera "Nargiz" had a Karam", created based on the opera of Uzeira Hajibeyli (1885– modern revolutionary theme, and Uzeyir Hajibeyli's opera 1948) " Leili and Majnun " ( 1908) (1912), the operas "Koroglu" was an opera reflecting the heroic past of the of Zaligar Hajibeyov (1884–1950) " Ashig Garib " (1916), the people. "Nargiz", which was a transition from the opera operas "Shah Ismail" by Muslim (1885–1937) (1916) as scenic "Mugam" to the modern opera in the classical style, and the works glorifying humanism, a free human personality, love opera "Koroglu", which was a turning point in the and devotion (1, p. 71). development of the Azerbaijani opera, were the result of significant research.Azerbaijani opera has a long history of Thus, opera became the first genre of professional music in development. "Vatan" (1945), created by Dzhovjet Gadzhiev Azerbaijan. The founder of opera, U. Hajibeyov, dressed in and Kara Garayev, "Azad" by Jahangir Jahangirov, "The fate of general education, received professional music education at a the singer", "Sevil" by Fikret Amirov (1953), "Aigun" Zakirov seminary in Georgia, then at music courses in Moscow and at Bagirova (1972), "Dead" by Vasif Adig "( 1963) and Natavan the Conservatory in St. Petersburg. The special environment (2001), Vagif by Ramiz Mustafayev (1962), The Rock of the that formed on a stick of the 19th and 20th centuries, when the Bride by Shafigi Akhundov (1974), The Deceived Stars development of Baku oil opened the gate to Western musical M. Guliyev (1977), Intisar Frangizade (2009) Each of his culture, contributed to increasing attention to the local musical operas played an essential role in the development of the elite, which created the creative spirit of the artistic Azerbaijani opera (1, p. 56). movement. M music, but with Asian content. This synthetic genre was support for solving several problems in the In general, looking at the history of the development of the emergence of professional music in Azerbaijan. Azerbaijani national opera, one can trace an exciting and

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unique way of developing the opera genre. Thus, the type of characters and specific situations to life. In this sense, the mugham opera, which first appeared in Azerbaijani music and formation of the musical and dramatic beginning of choral combined national features, as well as the originality of scenes in national operas begins directly with the opera Leyli domestic operas written in real European traditions, a variety and Majnun. It should be noted that the choir used in this of content, and novelty at the level of the musical language opera is an example of the first two-part national choir (7, p. attracts special attention. Looking at the operas of Azerbaijani 23). composers for decades, one can come across several interesting points. Thus, at the beginning of the twentieth Classification of Azerbaijani operas at the content level century, that is, from the moment the first Azerbaijani national In general, when studying the musical and dramatic role of opera was created until the 1930s, mugam operas choral scenes in Azerbaijani operas, it is necessary to predominated. The mugam operas of Uzeyir Hajibayli and emphasize the updating of national operas in terms of content Muslim Magomayev, the creators of the first Azerbaijani opera, and musical language. In this sense, classifying Azerbaijani became famous scenes during this period. The 1930s entered operas by content, you can familiarize yourself with the types the history of the national opera genre with the writing of the of operas formed on several topics: lyric-dramatic, satirical first Azerbaijani operas based on European traditions. Thus, in and patriotic, literary and historical operas are a vivid example our national music, which is undergoing a period of growth, of updating Azerbaijani operas in content. In general, the the issues of consensus building, the naturalness of the musical and dramatic development of choral scenes in influence of national and European traditions are more Azerbaijani operas is directly related to the content of the pronounced. Muslim Magomayev's operas Nargiz (1935) and opera. At the same time, the same can be said about the Koroghlu by Uzeyir Hajibeyli (1937) were written one after language of music. Thus, the use of elements of Azerbaijani another and became the pearls of Azerbaijani opera in the ethnic music, as well as the laws of development of mugham 1930s. In the 1940s, the consequences of World War II were and references to samples of folk art is some of the features also felt in the genre of the national opera, with preference that determine the operas of Azerbaijani composers. being given to the revival of people's thoughts and actions, their ideas and lifestyle. As a result, the opera Vatan was The role of choirs in the dramaturgy of each of the Azerbaijani created by Gara Garayev and Dzhovchet Gadzhiev (1945), operas, the embodiment of the mass is unique and specific, and which reflected the strict laws of war at the level of content also has a particular function in the nature of the images. It is and musical language in the opera. Fekret Amirov's opera known that the quality of the image is revealed not only on an Sevil, written in the 1950s, is the best example of a lyrical and individual level but also on public scenes. In general, the psychological opera based on classical dramatic traditions and development of choral scenes in national operas attracts the development of choral scenes in an opera that synthesizes attention with their different images. These aspects can also be modernity with a national folk style. Other domestic operas seen in some examples of opera, which played an essential role written during this period also differ in dramatic growth. Vasif in the stages of development of the opera. You can get Adigozalov's opera Dead, the first satirical opera in Azerbaijan, information about choral scenes of different styles by was written in the 1960s. In general, this period was marked considering the musical-dramatic solution of choral scenes in by the writing of exciting operas that determine the fate of the different operas (7, p. 89). Azerbaijani opera. In operas written in the 1970s, a connection was formed between classical traditions and modernity, and Lyric-dramatic content choir scenes in Azerbaijani operas the ability to make full use of national characteristics was In this sense, we will consider the development of choral developed. The "deceived stars" by Mamed Guliyev (1969) and scenes in operas dedicated to lyric-dramatic and historical "Aigun" by Zakir Bagirov (1972) are among the most exciting figures. For example, the image of the main character Sevil in works of this period in terms of the development of choral F. Amirov's opera Sevil is not revealed at the beginning of the scenes. The end of the XX century and the beginning of the XXI opera, but at the moment when she begins to fight as a woman century, in connection with the requirements of the time, demanding her rights, that is, in the dramaturgy of choral attract attention with the appearance of more heroic-patriotic scenes. From this point of view, this feature of the opera operas. During this period, Vasif Adigozalov's operas Natavan Seville is found in other national operas, including the national (2001) and Firengiz Alizade (2009) clearly express the classical opera Koroglu. In Z. Bagirov's opera "Aigun" the main combination of tradition and modernity (9, p.45). character is shown in a separate environment from people; the image is revealed only at an individual level. In this opera, the Thus, a brief review of the history of the development of scenes of the choir are merely a backdrop and play the role of Azerbaijani operas shows that the national operas are a commentator-commentator. In Shakhtar Akhundova's opera dominated by a creative approach to classical traditions, a The Bride's Rock, the mugam genre plays a vital role in the wealth of dramaturgy, a variety of choral scenes and other character of the main character Gulbakhar. similar qualities. These operas have their dramatic features and composition. In this sense, Azerbaijani opera is like a Each choral scene has its own essence in the opera "Bride's colourful carpet. At the same time, if we look closely at this Rock", which combines the features of the genres of song and carpet, we will see great organic unity and harmony. Here mugam opera. In this opera, the scenes of the choir act as a everything is combined in one line. The main feature is that kind of catalyst for the emotional states of the characters. In choral scenes play a role in the dramaturgy of all these connection with this opera, the phrase "scenes of the catalyst operas. Mugam episodes appeared in the first mugam choir" can be used. Since the folk image is the leading one in V. operas. At the same time, the choral scenes were given a Adigozalov's opera Natavan, the dramatic burden of the choir's particular place: it should be noted that the professional choir scenes is greater. In the dramaturgy of this opera, the epic is was not formed during the performance of U. Hajibeyli's opera outstanding. Some views of the choir even bring stylistic Leyli and Majnun. The tradition of singing with a choir has features reminiscent of a magnificent fresco into the opera. In formed in several directions in the production of Azerbaijani this opera, the dramatic burden of choir scenes is massive, and folk songs. The most common "Halai" labor songs in the mass embodiment plays an important role. Choral views are southern region of Azerbaijan, a number of wedding songs, the interpreter of all events and embody the main idea of the lamentations and lamentations performed at mourning opera. Thus, the diversity of choral scenes in Azerbaijani ceremonies, as well as choirs participating in the operas dedicated to lyrical-dramatic and historical figures, the aforementioned religious performances of Shabeh, are consistent disclosure of musical-dramatic features attract examples of choral music in folk art. Given all this, U. Hajibeyli special attention (13, p. 89). colorfully uses choral scenes in the opera Leyli and Majnun. Leyli and Majnun was an opera born of national Choral scenes in satirical Azerbaijani operas culture. Naturally, in the mugham opera "Leyli and Majnun" In the history of the development of Azerbaijani opera for the musical and dramatic function of mugham is to reveal the more than a century, as in world classics, there are examples images of the main participants. Mughams bring specific of satirical opera in the minority. In Azerbaijani music, this

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genre is mainly represented by the "Dead" by V. Adigozalov conditions for the development of magnificent scenes. Such and the "Deceived Stars" by M. Guliyev. At the same time, views are very large-scale. For example, in the opera Vatan satirical elements can be found in a number of musical and (1945), co-authored with G. Garayev and J. Hajiyev, the stage works of Azerbaijani composers. The musical comedies grandeur of choral scenes introduces an oratorical character in of W. Hajibeyli, the founder of the Azerbaijan Professional the opera. In general, this feature is a defining feature of School of Composition, are dominated by satirical elements, patriotic operas. Another essential feature of patriotic operas and even an approach to the lyrical-comic opera is felt. In is the epic in dramaturgy. Thus, the calm development of Azerbaijani satirical operas, choral scenes create a "choral events serves to gradually reveal the idea in choral scenes and, ensemble". In some scenes, the choir is accompanied by finally, for a bright culmination. At the same time, the dynamic comments by participants and performances by the main development of the image of the people is combined with this characters. Although a number of operas by Azerbaijani opera epic and adapts to the dramaturgy of choral scenes. Another classics have been preserved in the opera Dead by V. distinguishing feature of patriotic operas is a comprehensive, Adigozalov, the features of innovative and folk field multifaceted disclosure of the image of people from different performances appear in M. Guliyev's opera The Deceived Stars angles. The people expressed in the choral scenes of such (11, p.67). Azerbaijani satirical operas are characterized by the operas are characterized as sad, optimistic and courageous. In language of modern music on choral stages, giving the features general, the mass embodiment of the operas by U. Hajibeyli of "theater in theater", dynamism in drama, the embodiment of "Keroglu", G. Garayev and J. Hajiyev, "Azad" by J. a socio-philosophical concept. Particular attention is paid to Dzhakhangirova, "Intizar" F. Alizade, united by a single idea, is the depiction of people in the choral scenes of Azerbaijani at the forefront of drama (14; 16, 17; 18). Choral scenes have a satirical operas. Choirs, which play the role of commentators, great dramatic load. Even the leading position of the choir, the express the psychology of the crowd. monumentality of the scenes of the choir, the direct dependence of other representations on choral scenes lead to Interestingly, in Azerbaijani satirical operas, some of the choirs oratorical features in patriotic operas. In the operas "Koroglu" are built-in polyphonic style. In particular, in V. Adigozalov's and "Vatan" the epic is more noticeable, in the opera "Azad" opera The Dead, there is a musical style of choirs, which is the lyrical beginning is more robust, and this directly affects given at the tensest moments of events and somehow the style of choral scenes written on the theme of interprets the facts. In satirical operas, one can also find choral patriotism. In the opera Intisar, the shocking content is more scenes in a monophonic harmonic style, built in the form of noticeable. Naturally, in this opera, written in a modern style, wordless vocals and more static. Such choirs are given shortly modern writing techniques also leave their mark on many and concisely, as if symbolic in the development of events, not choral scenes. The speech choirs in opera Intisar are a real very large in volume (19; 20, p. 67). In particular, the example of this. Polyphonic style is widely used in choral characterization of folk areal performances directly leads to scenes of patriotic operas. In general, male choirs are the use of several genres of folk music in opera. The recitative- preferred in patriotic operas, while female choirs are in the reciting style of choirs, the use of ethnic music, on the one minority, which is directly related to the content. Static female hand, and the type of opera buffs, on the other, are reflected in choirs, active male choirs play a decisive role in the the original dramaturgy of the kinds of the music scene. It dramaturgy of these operas. In this sense, the choral scenes of should also be noted that in national satirical operas, the patriotic operas play a leading role in the development of drama is multifaceted and attracts attention, providing more events, increasing the dramatic load, and the opera stimulates space for everyday scenes. In general, the function of the the growth of choral music. choirs is different and, depending on the situation, performs a static, reference, explanatory and explanatory function. METHODOLOGY In the presented article, questions of studying the musical and Choral scenes in patriotic Azerbaijani operas. dramatic features of choral scenes in Azerbaijani operas were The theme of patriotism has always been one of the most carried out on the basis of the principle of inheritance and pressing issues on the agenda in the history of Azerbaijani traditions. In general, the main essence of studying the music. This theme is adapted to the idea of historical heroism musical-dramatic solution of choral scenes in the national and is embodied in different genres, especially in opera. At operas of Azerbaijan is based on historical and theoretical various points in history, at turning points, when the national research methods, formed by applying comparative and self-awareness of the people grew, the theme of patriotism mutual analysis. A review of the history of the formation of acquired special significance in the formation of the liberation Azerbaijani national operas and the study of these operas in movement and found its solution in works of art. Works on the context of the musical and dramatic solution of choral nationalism in the history of Azerbaijani opera cover a scenes was the main determining process and was of great significant period from the opera of U. Hajibeyli "Koroglu" to importance. The decision of the musical dramaturgy of choral the opera F. Alizadeh "Intisar" in the XXI century. Although scenes in Azerbaijani operas can be seen as a continuation of these operas are united by one idea, the theme is embodied in the heritage. In turn, the application of traditions and different ways. The role of choral scenes in the dramaturgy of principles of continuity is reflected in the enrichment of operas on the subject of patriotism and heroism, the European musical genres at a new level, with new patterns of embodiment of the masses is more noticeable and has its the vocal system for them. Thus, the traditions of the great means of expression. Thus, the major feature of the folk epic in Azerbaijani composer U. Hajibeyli, who managed to apply the opera Koroglu, the transformation of choirs into an elements of opera music, including mugam, to the opera genre, essential component that defines the narrative genre of this as well as create the mugam opera genre, which has no opera, is the main feature of the dramatic art of the choral analogues in world music, are based on the development of the scenes of the opera. It was the traditions derived from national opera genre. At the same time, the study of the Koroghlu that influenced other operas on the theme of musical and dramatic features of choral scenes in Azerbaijani patriotism. In operas dedicated to the embodiment of the operas was based on scientific methods, based on vocal patriotic theme, there are many choral scenes, mass scenes, as samples essential for the development of this genre in our well as the fact that events often take place with the national music. participation of the choir, which gives the opera splendor. In patriotic operas, the poster style of choirs, intonation of the RESULTS bell, and features of the march genre are more reflected. In Thus, the progressive ideas of that time, humanism, personal these operas, choirs are actively involved in drama, interfering freedom, feelings of love and loyalty, justice and kindness, in the course of events. patriotism and heroism, which are the main content of Azerbaijani operas, are directly reflected in the musical and Most importantly, the choir's scenes are performed in different dramatic decision of choral scenes, which play an important emotional situations, in different locations, and the role in revealing the content operas. The renewal of combination of ensemble scenes with the choir creates the Azerbaijani operas at the level of content and musical language

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