Variant-symmetric structures in symphonies by Arif Melikov
The article deals with the research of formative process in A. Melikov’s symphonies. Creating his individual type of symphony, Azerbaijan composer renews not only the content and musical language of composition, but also the methods of thematic works, interpretation of symphonic cycle as a whole. He is searching for ways of synthesis of national and European system of music thinking in his symphonies by approving new ways of composer writing. A. Melikov handles dodecaphonic music, sonority, microtonality, micromonothematism, mugham improvisation and the most complicated polyphonic techniques in his composition, which mainly remind the ancient forms of the XV–XVIth centuries. Based on the theory of variant-symmetric forms (S. Goncharenko), the author analyses the principles of forming in The Second (1969), The Third (1975), The Fourth (1977) and The Sixth («Contrasts», 1985) symphonies. Using regularities of mirror symmetry, Azerbaijan composer enriches the form of his symphonies with the principle of frame, with reprise arches, returns the initial thematic series in reverse order and variant appearance in the final stage of development. The stability of a combination and interaction of the principles of variance and symmetry in different scale levels in A. Melikov’s works allow to distinguish these principles in his creative work and to refer them to the peculiarities of author’s style.
symphonies by A. Melikov, formation, mirror symmetry, variance, variant-symmetric structures.