“Melody. Narrative. Tango and Dance” by Azamat Khasanshin: Between Composition and Improvisation
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Abstract
The composition “Melody. Narrative. Tango and Dance” (2014) by Bashkir composer Azamat Khasanshin presents
a chamber cycle for three-string domra, bayan, contrabass balalaika and percussion instruments. On the example
of this composition the article examines the utilized expressive means of the domra. The composer in his oeuvre
expands the horizons of penetration of the Eastern, Oriental (or, to take it more broadly – the non-European) element
into music for the domra. This is manifested by the specific rendition of the instrument’s timbre (for example,
imitation of the sound of the oud is planned), stylistic and compositional peculiarities, as well as implementation of
elements of improvisation (thus, the percussion part is completely geared on the performer’s fantasy). The part of the
domra is saturated by melismas, microtonal motions and sonoric devices, providing coloristic effect. The composer
emphasizes that he aims to convey the fore-ethnic essence of the domra as a musical tool beyond any specific
cultural, national context. The conception of the composition, as Azamat Khasanshin himself formulates it – the
confluence with the Absolute – is achieved by means of the act of collective performance. The improvisational act
of co-creation is called upon to embody the atmosphere of mysticism and cult peculiar to the process of admission
into the Absolute. The composer deepens the sphere of instrumental meditation. The various movements of the cycle
are representatives of the polar states of being – meditation and dance. According to the author’s intention, they
closely intertwine with each other and penetrate into each other. Azamat Khasanshin’s composition broadens the
possibilities of synthesis of various stylistic directions in music for the domra.
Keywords: Azamat Khasanshin, music for the domra, improvisation, musical orientalism, stylistic pluralism.
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