WORKS FOR PIANO IN THE WORK OF COMPOSER RUSTAM ABDULLAYEV

Аннотация

Музыкальные произведения бывают для различных музыкальных инструментов. Композиторы часто обращаются к фортепиано, особенно это актуально сейчас, в наше время, когда красоту ценят в миниатюрах. В этой статье будут рассматриваться произведения малой формы для фортепиано Рустама Абдуллаева - пьесы «Алла», «Страница из жизни» и «Скерцо». Ключевые слова:Рустам Абдуллаев, творчество, миниатюры, циклы, народная музыка, ритмы,усульность. Annotatsiya:Turli musiqa asboblari uchun musiqa asarlari mavjud. Bastakorlar ko'pincha pianinoga murojaat qilishadi, bu, ayniqsa, miniatyuralarda go'zallik qadrlanadigan bizning davrimizda. Ushbu maqolada Rustam Abdullaevning fortepiano uchun mo'ljallangan kichik shakldagiasarlari-"Alla","Hayotdansahifa" va "Scherzo"pyesalari ko'rib chiqiladi. Kalit so'zlar: Rustam Abdullaev, ijod, miniatyura, sikl, xalq musiqasi, ritm, an'ana. Annotation: There are musical works for various musical instruments. Composers oftenturntothepiano,thisis especiallytruenow, in ourtime, when beautyis valued inminiatures. This articlewillexaminethe works of small form for piano by Rustam Abdullaev - the plays “Alla”, “Page from Life” and “Scherzo”. Keywords:RustamAbdullayev,creativity,miniatures,cycles,folkmusic,rhythms, obsolete. RustamAbdullaevwas born on February12, 1947inthecityof Khiva. In 1972 he graduated from the composition department of the Tashkent State Conservatory in the class of Professor B.F. Gienko, and in 1976 - in the class of Professor B.I. Zaidman. Currently he is the Chairman of the Union of Composers and Bastakors of Uzbekistan (since 1995). Honored Artist of the Republic of Uzbekistan, professor of the Department of Composition and Instrumentation, leading composer page941 INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE ISSN:2692-5206,ImpactFactor:12,23 AmericanAcademicpublishers,volume05,issue02,2025 Journal: https://www.academicpublishers.org/journals/index.php/ijai working in all genres ofmusic. Each of thecomposer’s works ischaracterizedbynationalidentity, the idea of contrast, the comparison of images of ideas and thoughts with artistic style, which gives thewholework acertain originality. Considering his chamber-instrumental work “Alla” (Des major), it should be noted that he writes mainlyforvocalsandpiano,whichisnoticeableintheuniquestyle of thework. Thework iswritten in a simplethree-part form with an expanded middle. The first part represents the period which in turn consistsof 2parts. The melody as a whole is melodic, with an interesting meter structure that alternates with the structure of the phrase, moving from three beats at once to two and vice versa. The main theme develops from G-dur to D-dur in the fourth interval. Full development occurs in the violin part, gradually the melody moves to the piano part and approaches the middle, where there is a relatively bright contrast with the first. Interestingly, in the middle part - the violin part - there is a cadenza, and in general it can bedivided intothreewonderful virtuoso elements. Toperform these passages, themusical instrument uses many technical techniques and features. Atthebeginning of thecadence, thetonality changes (Gminor), the element of the first movement develops with double notes - in the first technical device, the melody turns into a pulsation of sixteenth-note ostinatos, the repeated low note G creates a hidden double-voice and. adds nervous tension to the movement, creates dynamics and climax of the middle part. The next 3 techniques introducenewshades oftrillintothenewthematicmaterial,based inpartontherhythmicimitation of the first part, and pizzicato adds breath between phrases. The movement of the melody then moves in waves across the eighth notes, creating an internal acceleration and approaching repetition. The theme in the first movement is performed by the piano in an octave, and theviolin trills in theupper register are replaced byglissando, and the continuation of the melody rises. The piece ends with a faux harmonica, a very unusual move that also demonstrates knowledge of violintechnique. The violin part imitates singing, with the exception of the middle part. The instrumental nature of the violin is clearly visible here. This allows for melody to emerge in the first and third movements, as well as rapid flight and virtuosity in the middle movement, where virtuosity emerges intheviolinpart,andrepetition attheend. “Scherzo” (E-minor) 2019. The word “Scherzo” itself is translated from Italian as “joke” and was originally a small instrumental piece that took a strong place in the sonata; at the same time, it began to develop as an independent genre. Scherzos demonstrate all possible shades of musical humor. Often three-lobed in size. Rustam Abdullaev's "Scherzo" opens with a violin solo, followed by a piano solo that immediately pulsates and gives the entire piece an energetic tone. From bar 6, the theme begins to emerge in the violin part and takes the form of a repeated construction of a cyc