Interpretation of National Traditions in Landscape Lyrics by M. Khalitova
Demonstrated with the Instance of Chamber Instrumental Works. The article examines the distinctive tendencies of Merzie Khalitova’s style, which are closely connected with the folk-national origins of the Crimean Tatar music, by the example of landscape-lyrical images in the author’s chamber-instrumental artwork. Merzie Ibraimova Khalitova is a marked Crimean Tatar composer whose works are performed at international festivals held in Ukraine, Russia and other countries. Composer’s creative diversity is represented by various genres: symphonic, chamber-instrumental, chamber-vocal and piano genre. Merzie Khalitova is a laureate of the Lysenko Award, Choban-Zade Award, Lyatoshinsky Award, the ARC Prize, and also she was recognized as Honored Artist of Ukraine. Despite the fact that the landscape lyrics are represented in all sorts of composer’s work genres, within the context of the article the author singles out chamberinstrumental works - "Sounds of Beshuya" for flute and piano, "Ay-Petri’s boomand- flash" for clarinet and piano, "Singsongs of Chatyr-Dag and Haytarma" for violin and pianoforte, as they variedly disclose the goals and objectives set out. The object of the work is to display the specificity of national traditions in the landscape-lyric works of the composer. The issue of interaction between folk and professional music always excited composers and musicologists. Numerous profound works and articles are devoted to this matter. Among the basic authors G. Ordzhonikidze, I. Zemtsovsky, N. Shakhnazarov, I. Golovinsky, V. Gusev and others should be noted. Over the span of the last decade musicologists (F. Aliyev, G. Mambetova, E. Alimova, K. Rikman and others) pay considerable attention to the folklore traditions of Crimean Tatar music and their aspect in the works of present-day composers. A significant stand falls to the studies of G. Mambetova and E. Alimova which are dedicated to the composer creative work of Merzie Khalitova and the individual features of the author’s symphonic and chamber-vocal works’ style. Scientific novelty. For the first time the issue of the interpretation of national traditions in chamber-instrumental creativity by Merzie Khalitova on the example of landscape-lyrical works is elaborated. Inadequate elucidation of the creative multiplicity of M. Khalitova leads the present author to the necessity of considering the problem of folkloric traditions in the chamber-instrumental genre interpretation. The material of the study is the chamber-instrumental heritage of M. Khalitova. The tendencies in the genre’s development those were typical for the 20th and 21st centuries’ turn (namely style multiformity and reliance on the national specifics of thinking) were clearly reflected in the composer’s works at issue. It is remarkable that in the chamber-instrumental compositions of M. Khalitova modern principles of composer thinking interact with folklore traditions and raise the Crimean Tatar music to a new level of progress. There’s the new concept of the musical form peculiar to modern music is introduced in chamber-instrumental compositions of M.Khalitova. Aforesaid form reveals itself in the individuality and uniqueness of the structure of each work, that is, according to the definition of contemporary composers (S. Gubaidullina, E. Denisov, T. Lighetti, P. Bulega and others) are inimitable for each single case. Khalitova’s chamber-instrumental works are relevant and up-to-date. They reflect the evolutionary processes of modern musical thinking. The national distinctness of her work that is embodied through the present-day stylistics of complex musical expressive means raises the creativity of Crimean Tatar composers to a new peak. In each work the composer finds individually distinctive ways of revealing the musical intention. Sometimes these are traditional major-minor formulas, but frequently they are dominated by modern chromaticity in synthesis with a pronounced national basis, which emphasizes the individual style of Merzie Khalitova. The works of M. Khalitova expand the range of musical expressive means uncovering the increased interest in folk music and developing in course of current trends. Pictorial graphicity is present in works of various genres. Amongst them are a concert for the symphony orchestra "Necklace of the Crimean Cities" in four parts, a concert for the trumpet and orchestra "At the foot of Demerdzhi", vocal compositions - "Wormwood" based on verse by K. Voloshin, "Arykbash eteginde" ("At the bottom of Arykbash") on verse E. Shemyi-Zadeh, "Sounds of Beshuya" for flute and piano, "Ay-Petri’s boom-and-flash" for clarinet and piano, "Singsongs of Chatyr-Dag and Haytarma" for violin and piano and collection of piano pieces "Pictures of Beshuya". These program pieces are notable for their vivid imagery and picturesqueness. Music seems to reflect the impressions, thoughts and sentiments of the composer about his native land. The composer’s design of works is exposed by modern musical language with characteristic tonal instability and an abundance of chromatic scales. Modern stylistics harmoniously matches there with typical intonations of the Crimean Tatar folk music. The national manner of thought manifested itself in the freedom of melodic unfolding with a flexible rhythm, plenty of embellishment, the use of elements of a harmonic and double harmonic minor scale. The author reveals the program design by the original musical language and colorful palette of expressive means. In the lush musical colors landscapes of green valleys and mountains, marine distances, the fragrance of flowers, the chirping of birds and the greatness of nature are transferred. Furthermore the composer expressed his feelings through the genre of the popular Crimean Tatar dance named "Haytarma". Suggestive role in the structure of these works play the bridges, developmental moments, the continuity of the musical material presentation. Khalitova’s works expand the range of musical expressive means revealing the increased interest in folk music and developing in course of modern trends. The propositions formulated in this paper can serve as a stimulus to generalization of similar studies