The evolution of programness in the symphonies by J. Hajiev (the 1950–1980s)
The article is devoted to programness as fundamental characteristic of symphonic thinking by J. Hajiev (1917–2002) – one of the greatest Azerbaijan composers in the second half of the XXth century. As the researcher thinks, evolution of programness in the symphonies by Hajiev clearly corresponds with analogous processes in the late symphonic work by D. Shostakovich (he was the tutor and spiritual mentor for the Azerbaijan maestro). Moreover, the significant tendency towards more detailed and obvious realization of composer’s program conceptions is correlated by the author of the article with the certain dynamics which is noted in «communicative space» of the former USSR. In particular the inclination of Shostakovich and his followers to the «great symphony» genre model to be interpreted from a position of peculiar «narration» or «sermon» about the Motherland and the whole world fates is observed. The researcher establishes the priority roles of «intonation-plot» dramaturgy, and the «represented» or «veiled» quotations, and various symbols-codes in the capacity of constitutive elements as applied to «allegorical poetics» which became firmly established in the Soviet symphonicism. «A free dialogue over barriers» initiated by composers finds the marks of publicism and chronicleness. As the author of the article notes the afore-said processes obtain the distinctive transubstantiation in Hajiev’s symphonies.
J. Hajiev, national symphonicism, D. Shostakovich, programness, «great symphony», music dramaturgy.