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Abstract. The paper aims to identify specificity of Azon (Azantin Nurtynovich) Fattakh’s chamber compositions, to reveal their figurative filling and style features. The article examines chamber music genres in the composer’s creative work: pieces for solo instruments, program cycles. Special attention is paid to analyzing two Azon Fattakh’s opuses: the Korean Suite and the Lyrical Piece for the French Horn and the Piano. The researcher’s attention is focused on their structural peculiarities, specificity of musical language. The author mentions the following typical characteristics of Azon Fattakh’s style: dominance of folkloric motives, reliance on tonal and melodic features of the Tatar folklore, observation of romantic harmony principles, tendency for the romantic type in chamber instrumental music. Scientific originality of the study is conditioned by the fact that the researcher analyzes creative work of a composer whose heritage is still poorly studied; the material includes Azon Fattakh’s opuses which have not been previously investigated in domestic musicology. The Korean Suite preserved in the draft version is subjected to a comprehensive analysis. The research findings are as follows: the author provides a survey of Azon Fattakh’s chamber instrumental works (the analyzed compositions occupy a special place among them), which broadens general understanding of his music.
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Key words and phrases: Азон Фаттах, Рейнгольд Глиэр, инструментальное творчество, татарская музыка, корейская музыка, камерные сочинения, миниатюры, композиторский стиль, Azon Fattakh, Reinhold Gli?re, instrumental creative work, Tatar music, Korean music, chamber compositions, miniatures, composer’s style
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Русский
