Baku to host concert of world’s musical masterpieces

By: Victoria Moiseyeva

The concert of Azerbaijan State Symphonic Orchestra named after U. Hajibeyli will take place in the Azerbaijan State Philharmonic Hall on December 19.

Musical compositions by famous Austrian composer Arnold Schoenberg and Russian-American composer Arthur Lourie will be performed under the arrangement of honored artist Faraj Garayev.

State Symphonic Orchestra will perform Arnold Schoenberg’s “Expectation”, Arthur Lourie’s “Synthesis” and Faraj Garayev’s “Vingt ans après – nostalgie”.

Arthur Lourie was completely self-taught as a musician. His earliest known works, dating from 1908, are late Romantic in style.

Moreover, he played an important role in the earliest stages of the organization of Soviet music after the 1917 Revolution but later went into exile. His music reflects his close connections with contemporary writers and artists, and also his close relationship with Igor Stravinsky.

In addition, Arnold Schoenberg was one of the founders of musical Modernism and an incredibly influential figure from the early twentieth century to at least twenty-five years after his death – with Stravinsky, one of the two most influential composers of his time.

Schoenberg was considered a leading light of the younger generation, attracting the attention of people no less than Gustav Mahler. He kept up a steady stream of composition, extending the language of the day as well as striking out in new directions.

Concerning our national composer, Faraj Garayev is one of the leading composers of the post Soviet era. The chronology of his creative works resembles more the typical avant-guard cardiogram than a classical gradual growth.

It is more important for Garayev to mark music and absurdity than to demonstrate any compositional practice, technology or style. He easily operates within any musical sign, style, technology or image.

In the period of total rule of social realism in Soviet art, one party dictatorship and censorship, Garayev wrote differently from conventional music, and totally opposed to the accepted composing tradition and practice.

To picture him as an ardent opponent to the Soviet system, a radical oppositionist would be a bit of an exaggeration. But he could always keep his integrity intact, saving his inner freedom and right to artistic choice in any situation.