V. A. Uspensky’s “Lyrical Poem” in the History of Uzbek Orchestral Music
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Abstract
The author focuses attention on the unjustly neglected musical
legacy of the Russian composers who participated in the formation
of the professional musical art of the eastern sections of the Soviet
Union, particularly Uzbekistan. It is indispensable to reevaluate
the role of Russian musicians in the musical development of
those regions counter to the presently widespread tendency of
interpreting their musical legacy merely as a background for
the musical output of the Uzbek composers of the following
generations.
The article examines the vocal-orchestral “Lyrisical
Poem” by V.A. Uspensky, written in 1947. An analysis of this
composition in the context of Uzbek traditional music and
classical poetry makes it possible to demonstrate how for the
first time meditative lyricism reaching back to the professional
genres of national monody demonstrated itself as an independent
representative feature of the national tendency in an orchestral
work by a Russian composer. Uspensky was the first to synthesize
the structural and semantic traits of the Uzbek musical and literary
heritage (the makom, katta-ashur and gazel) with sonata-form
dramaturgy. He anticipated future tendencies, having marked out
the direction which Uzbek symphonic composers followed in the
1970s and 1980s. The greatest amount of direct interconnections
can be discerned upon comparison of the “Lyrical Poem” with
M. Tadjiev’s “The Poet’s Love.” “Symphony-Gazel” by
M. Bofoyev develops the idea suggested by Uspensky of synthesis
of the structural-semantic principles of music and poetry. Uspensky
also anticipates the later appearing image-bearing modifications,
the means of development of the cited makom material, as
well as the genre-related contrapositions in the symphonies of
M. Makhmudov and M. Tadjiev. T. Kurbanov in his Fourth and
Fifth Symphonies reveals the same tendency towards the creation
of open form as does Uspensky.
In this manner, the Uzbek composers have continued the
tradition the beginning of which was set forth by the composer of
the “Lyrical Poem.” This composition reflected the peculiarity of
Eastern artistic thought. It marked out V.A. Uspensky as one of the
founders of the Uzbek symphonic tradition.
Keywords: the makom symphonic genre, the composer and
folk music, V. A. Uspensky, the Uzbek Symphony
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