On the musical language of the concerts of the composer F.Yanov-Yanovsky

Abstract

The article examines the issue of the synthesis of Western and Eastern characteristic musical features in composition, musical language and other areas of musical writing. Attention is paid to how this happens in the works of composers of Uzbekistan. It is known that the east-west synthesis is based on monody, as the basis of melodic development, as well as European polyphony of both homophonic-harmonic and polyphonic stock. This method also characterizes his composition, which belongs to the genre of the concerto "Fabula –4". This work provides an analysis of the stylization of the "usul" rhythm formula, as well as the composer's use of characteristic fret features peculiar to Uzbek traditional classical music. A striking feature of the composer's style is F.Yanov-Yanovsky's goal is to apply the method of the dodecaphonic series in thematism,  which ultimately affects the entire palette of the musical presentation of Concerto grosso -1. Dodecaphony –as you know, originated in the creative style of the composers of the Second Viennese School at the beginning of the 20th century. The analysis of Concerto grosso -1 establishes that a series of 12 sounds of the chromatic scale are used in the musical fabric in the order chosen by the composer. The sequence of selected sounds is changed by various permutations, including vertical consonance. This article concludes that the second intonation is the main core of musical and thematic development, and rhythm formulas are a vivid means of shaping the concerto for voice with the orchestra "Fabula –4". The theme-series is the bearer of the main figurative principle of “Concerto grosso -1". The rhythmic formulas here also have a special semantic meaning.