Gага Garayev

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Every time when he was carrying out this, or any other objective, Garayev used the high quality style models: the seriousness his ancient contrapuntal art and energy of Jesse improvisation, obvious structures of baroque music in Azerbaijan lad mugams, style inventions and objective structure of Shostakovich, Stravinsky, logic of Bah polyphony and popular music genres, and also rhythms of roc music were attracting.

Е.g. at the beginning of the 70th years composer creating the musicale "Hot-tempered Qaskonian" coordinated in sharp way the classicist intonation and genres, romantic harmony with rhythms of modern pop-music.

The one of the best successes of 24 piano prelude series could be named the special encyclopedia of Garayev's style. There are а lot of are inventions of the composer. Не combines harmonically various features of music genres, е.g. people dance, lullaby, mourning melody, and the expression of modern music in, elements of classic music or Jazz intonation. The best example of Garayev's neo baroque is using — the ancient forms of music- fuga, variations, passkalya - in last 6 preludes. The consisting of the theme and five variations В prelude the significant intonations was used in Shakarti style. In spite of using any style, the main thing is that the composer has his own one, and he subdues all creation to his own unique writing wish. So all his works of different times have the same features — compactness of forms, emotional seriousness, the safety of music images, and creative attitude toward people and music.

Garayev is very rich in music genre. The composer doesn’t differ between the complicated and simple genres. Не approached with the same seriousness to the scale models of instrumental music — symphony, Symphonic poem, concert and movie, music for the theatre, based on complicated syntheses of various art variants- opera, ballet, musical, and mass sing. In spite of it the main Garayev's quality — symphomizm obviously exist every work. Sometimes Garayev's activity went out of the borders trying to clarify the genre names. Е.g., carrying out the original conception of "Don Khihot" the composer takes the style of the art direction and named this work а symphonic engraving.

The Garayev's composed symphonic engravings on the bases of the music of famous Russian movie-director Grigorу Kozintsev's film "Don Khihot". In general, the composer approaches with responsibility to its activity in the film, creating the examples, which could compete with symphonic work. The best illustration to this is having great power multi-figurative and many-meaning music of the film "In Far costs". The works of the composer very often going out of film began to live independently. Е.g. written by G.Garayev together with his son F.Garayev music for film "Goya" caused the creation of symphony about his tragic life.

Analyzing the Garayev's work it is impossible not to pay attention to the problem: "composer and time". The time full of contradictions, and difficulties has strong influence on his direction of his creativity; direction of discussed by him themes, at least to his fate.

The biography of Garayev externally seems careless and happy. When he was 50 years old, he is awarded by many honoured names, was recognized as one of the prominent person and classic in Soviet music. But under his happy side of live can be seen even tragic fate, the destiny of artisan living in totalitarian country.

The administrative-command system in the art during Stalin's time deprived the possibilities of the political artisan to create independently, to select the wished composition technique and music language. The echo of the decision of 1948 about blaming Prokofyev, Shostakovich, to be artificial innovator, formalist, far from people music artisan came to Azerbaijan. Together with other Azerbaijani composers, Garayev, twice awarded by State honors, was castigated as representative of "formalist direction" in 1948. Inexperienced authors accused him in non-obeying the music traditions, abstractness of melodic materials, abundance of dissonances and in other "sins". Probably, these critics were caused by his two first symphonies. These works by the way of series, novelty of its music language directed to the future not only in Azerbaijan but also in all Soviet space couldn’t be understood easily.

So after 40 years, in 1988 sounded during the "ХХ century music festival" the First symphony wasn’t seemed like "museum exhibit" covered with dust, and was met like original, brave "alive" work. The question, if Garayev wasn’t been turned from its way to "the right direction", how would be the heritage of the artisan's activity, appears.

But 60 years came. The regime became softer; the iron curtain between the West and USSR was taken out, the scope of information coming to the state raised significantly. In 1962 during the visit and excellent tours of Stravinsky to USSR the listeners found the brightness and freshness for themselves. In life, art the values change, many things, even nearest past estimates again, new idols — Shonberg, Вегg, Veber representing the second waive of avant-garde became very popular.