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Taktakishvili flute sonata pdf Continue Otar Takakishvili (born July 27, 1924) is a Soviet composer, teacher, writer and conductor. At the beginning of his career, he gained national notoriety by composing the official anthem of the Georgian Soviet Socialist Republic while he was still a student of compositions of Sarkis Barhudaryan at the Tbilisi Conservatory. The Conservatory later appointed him professor of choral literature and choir director in 1949, just two years after its graduation. In later years he also taught composition and served as rector. Outside the conservatory, he served as a rehearsal pianist, conductor and, ultimately, artistic director of the State Choral Chapel of Georgia. Taktakishvili has achieved incredible political recognition during his lifetime. State awards included three separate State Prizes of the USSR in addition to the Lenin Prize of 1982 - one of the highest awards of the USSR (previous laureates - Sergei Prokofiev and Dmitry Shostakovich). Political appointments included: Deputy Supreme Council of the USSR, deputy of the Supreme Council of the GRUKOVOY SSR, member of the Presidium of the International Music Council of the United Nations, Minister of Culture of Georgia (1965-84), Chairman of the Union of Composers of Georgia (1962), secretary and board member of the Union of Composers of the USSR (1957-89), member of the jury/chairman of various international competitions. Taktakishvili's music covered many genres, but his main work was vocal music with an emphasis on folk material. Many Soviet composers of Taktakishvili's generation turned to regional folk music as a source of material. These composers were born around 1920 and received traditional training in the theory of Russian music in the Soviet conservatories, which followed the standard curriculum. These composers were aware of Western techniques, but they remained relatively isolated. While previous-generation composers, including Prokofiev and Shostakovich, were the victims of censure because of their very complex musical language, composers such as Taktakishvili used a simpler, more accessible style without fear of condemnation from their Western and Moscow counterparts. Takkaxishvili even reprimanded the composers using a 12-tone system. Dodekaphonic and serial music is associated with a well-defined ideology, which spreads diligently and is supported by big money... So the fight against dodecaphony and serial music is more than a struggle between styles: it's an ideological struggle and it's very sharp in it. Sonata appears to be the only one publisher in the United States, Associated Music Publishers, copyright 1977. This edition, edited by flutist Louis Moyes (son of Marcel Moyes), is authorised Russian-Soviet music. It is interesting to note that this composition took 11 years to get to the United States due to the Soviet Union's lack of international authorial relations until the 1970s. Taktakishvili's music often resembles Caucasian music, a broad classification of music from Armenia, Azerbaijan, Chechnya and Georgia. This influence is immediately manifested in the flute sonata. It is not clear whether Takkaishvili drew these themes from specific Georgian folk songs or whether they simply resemble this style. Traditional Caucasian music in the clip below contains many folk idioms found in flute sonata: repetition of diatonic melodies with small tessituras, repetition of rhythms that convincingly demonstrate the meter, and dance-oriented rhythms in the composite meter. The melodic and rhythmic devices demonstrated in this video are the hallmarks of the flute sonata. The diatonic first traffic theme one is in Major C and moves in the main step-wise movement. The range is technically ninth from the G5 to the A6, but if we ignore the foreign heyday of pickup eighth notes in m. 10, the range decreases to the sixth from the C6 to the A6. The repetition of rhythm and melodic content in the subsequent phrase emphasizes a simple duplicitous meter. Takakishvili, Otar. Flute and piano sonata: mvt. 1, m. 7-14. The second theme begins with similar melodic characteristics, including diatonic large-scale movement and limited tessitura, but this material is taken on a skerzo-like quality. The previous phrase range is an octave from D5 to D6 and involves G Major. The accented quarter notes continue to show a convincing 2/2 signature time. The subsequent phrase deviates from this model by introducing a larger range and chromatic changes. Takakishvili, Otar. Flute and piano sonata: mvt. 1, m. 43-46. The simplified, less technically active theme of the opening of movement 2 is more vocal than instrumental in nature, hence the name of the Aria movement. A long, flowing melodic line in a minor diatonic manner with a small range, a few big jumps, and minimal embellishments. The range of the first E4 phrase to E5. Takakishvili, Otar. Flute and piano sonata: mvt. 2, m. 2-9. The B section of this movement has a drone accompaniment, another common characteristic of folk songs. The piano supports the tonic pedal on C with m. 26-32 as chromatic changes are introduced to both melody and accompaniment. Takakishvili, Otar. Flute and piano sonata: mvt. 2, m. 26-32. With m. 42-49, the left hand of the piano supports the pedal on D with two dimensions repeating osstinato in the rest of the accompaniment. This passage is perhaps the most tonally ambiguous of the whole part. Takakishvili, Otar. Flute and piano sonata: mvt. 2, m. 42-49. The third movement begins with a dance like a as part of the time. The C Major melody is mostly diatonic, but contains chromatic passing tones and elusive tones. The range is limited to one octave from C5 to C6 in the first statement of the theme, but expands to two octaves (C5 to C7) when the material is repeated. Another interesting similarity between the video above and the third movement of this part is the simultaneous use of the connection and the simple meter. The song in the video begins as part of a meter and continues as such through the first statement of the vocal melody. At the second entrance of the voice, vocal and bass lines switch to a simple meter, while the string and percussion accompaniment continues in the composite time. The third part of the flute sonata has contrasting passages in both 6/8 and 2/4, but syncopated accents in the 6/8 material create a sense of polymeter. Takakishvili, Otar. Flute and piano sonata: mvt. 3, m. 5-12. The theme of the 2/4 third movement is perhaps the most popular theme of the entire Sonata. The melody ranges from A4 to B5 and moves mostly pitch-wise movements. The piano has a pedal tone in the bass with a osstinato figure in the right hand. The only chromatic change in the melodic line that deviates from A Aeolian is FE, which sets half of the cadence on E at the end of the previous phrase. Repeated rhythms in both melodic accompanying content emphasize the simple rhythm of the duple, and graceful notes suggest a dance feel. Takakishvili, Otar. Flute and piano sonata: mvt. 3, m. 132-147. From the American point of view, it is difficult to get a significant picture of the life and work of Otar Taktakishvili. There is an acute shortage of English scholarships for this composer. Although the Sonata flute is a staple of the 20th century repertoire and is often performed in the United States, little is known about the composition. Any further information on this matter would be very appreciated! The newsletter, the Union of Soviet Composers, 1960: page 44, as quoted by Schwartz, Boris. Musical and musical life in Soviet Russia 1917-1970. New York: W.W. Norton and Company, 1972, page 346. Machavari, Eugene and Toradze, Gulbat. Takakishvili, Otar. Grove Music Online. Oxford Music Online. Oxford University Press, accessed May 27, 2013, . Otar Taktakishvili (1924-1989) was a Georgian composer who worked behind the Iron Curtain. His socialist-realistic compositions and political differences brought him a place of fame in the musical history of Georgia. Taktakishvili's work is not well known outside Georgia, with the exception of the Flute and Piano Sonata, often performed by American flutists. Despite the fact that the play has been performed countless times, there is little literature that dissects it and seeks Sonata. While there are articles, articles and sections of books that delve into the biographical information about Takkafishvili and his overall compositional style, there is even less literature about the analysis of sonatas for flute and piano. I combined existing biographical studies and information about Taktakashvili's compositional style with an in-depth analysis of the entire sonata to illustrate the link between the above literature. My research serves as a starting point in Taktakishvili's compositional style and helps to demonstrate that it corresponds to the features of socialist realism. I achieved this by extensive analysis of the harmonic idioms and organizational forms of the Sonata for flute and piano, and compared the formal models used in traditional forms common to the classical period. I also give the appropriate historical context to put this piece in Taktakishvili's compositional output and demonstrate the external factors that influenced the composition of the sonata. This article needs additional quotes to verify. Please help improve this article by adding quotes to reliable sources. Non-sources of materials can be challenged and removed. Find sources: Otar Taktakishvili - News newspaper book scientist JSTOR (February 2018) (Learn how and when to remove this template of messages) Otar Taktakishvili27 July 1924Tbilisi, Georgian SSR, Transcaucasian SFSR, USSR21 February 1989 (1989-02-21) (64) Moscow, Moscow SFSR, USSROccupation of composer-musician Teacher Let actively1957-1989 from Otar Vasilisdze Taktakishvili (Georgian: ოთარ თაქთაქიშვილი; Russian: zubkov; July 27, 1924-February 21, 1989) was a Georgian composer, teacher, conductor and musicologist of the Soviet period.
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