A series of solo concerts given by graduates of the Turkmen National Conservatory named after Maya Kulieva became a report on the “work done” in the country’s higher music school and, at the same time, a presentation of young performers who embarked on their independent creative path and started their professional career. Stella Faramazova, one of the most experienced teachers at TNC and leading accompanists of the country, diploma winner of international competitions conducted five concerts of her students in the class of the chamber ensemble.
– Stella Vladimirovna, how, in your opinion, have the graduates coped with their thesis?
– Yes, these were diploma concerts where Selbi Rejepova, Aibolek Muhieva, Selbi Mulkamanova, Aigul Silgeldiyeva and Myahri Agajanova presented their creative qualification works in piano and violin. I have the girls’ performing skills development teacher and a concertmaster for five years. Of course, they are all completely different. They cannot be given a single-value assessment. But I can say that all the concerts were “excellent”, and they performed at a high professional level. I am pleased with them and hope that they will not let us down in the future, and will continue perfecting all that the teachers put into them.
– What programs, essays did the graduates submitted? Tell us more about this as an expert…
– Here, for example, a solo piano concert by Aigul Silgeldiyeva. She presented works of various genres and styles. The concert was opened by the “Wanderer’s Aria” from the oratorio “Triumph of Judith”. This is one of the most wonderful arias by Antonio Vivaldi, solemn, full of determination and appeal. It was excellently performed by People’s Artist of Turkmenistan Gulnar Nuriyeva to a perfect accompaniment by Aigul.
Emotional uplifts were continued with a romance by Sergei Rachmaninov to the poem by Vasily Zhukovsky “On the death of a siskin”. This composition is complex in terms of technique, but has an interesting harmony, where the parts of the soloist and piano are equal and complementary. The song “Female disposition” by Spanish composer Fernando Obradors is of a completely different nature. It is bouncy and funny. This technically very complex piano part was played at a high professional level.
The “Canary” composed by Nura Halmammedov from the series “Unheard songs of Hiroshima and Nagasaki” was performed. Dramatic in nature, the music of the vocal part synthesizes recitation and arioso techniques, and the piano contributes to the disclosure of the poetic text of the romance.
The Sonata No. 2 A-Major from the triad by Johannes Brahms was performed. The first part of the sonata was played by graduate Farukhjan Muradov, violin. Aigul played lyrical, elegiac, sometimes temperamental music, and strongly pronounced theme is in the piano part. The third part of the sonata was performed by the graduate Myahri Agajanova. The graceful theme, played at a fast pace, begins with the violin, and then continues with the piano. The girls managed to convey the characteristic features of Brahms solo violin and piano.
These are very hardworking, capable students. Aigul and Myahri have been playing together for five years, exercising tirelessly. The Brahms Sonata is a very complex piece, and yet I am happy with their performance, where everything was of high quality, and the Brahms’ psychologism and style were conveyed.
Gulnar Nuriyeva and Ismail Jumayev performed the “Final Scene” from the opera “Eugene Onegin” by Pyotr Ilyich Tchaikovsky, where the piano part accompanies the solos of the heroes and helps to reveal the deep feelings of love. Aigul Silgeldiyeva did a good job in this respect.
– And what can you say about the solo performance of Myahri Agajanova, who was accompanied at the graduation concert?
– Myahri was taught by Nikolai Artemievich Amiyants, a brilliant musician and a wonderful teacher who educated hundreds of great performers.
Myahri began her solo concert with Sonata No. 2 by Johann Sebastian Bach. The melodious music of the softly contoured outline of the violin play sounded smoothly and leisurely. Andante of the second sonata is a rhythmically even outline of chord accompaniment, where the violin accompanies its melody, which contrasting tonality shades the light calm of these poetic statements.
The finale of the Allegro sonata (A-minor) is written in two-part form, and is perceived by ear primarily as an image of the most vigorous, sequential movement, a sound mass rushing as the flood, blistering and systematic. This is the exact opposite of the light contemplation and easy steps of the first part of Andante. Saturated with real or hidden polyphonic voices, it is partly consonant with fugue. Myahri showed perfect mastery of playing technique.
She played the Adagio by Wolfgang Amadeus Mozart “Concert for Violin and Orchestra” lyrically and subtly. Like in Adagio (E-major) by Wolfgang Amadeus Mozart, it is a slow, canted, light melody for violin solo, played against the background of transparent harmony of the piano part.
Among the most complex works of the violin repertoire is the Concert D-Major (part 1) by Ludwig van Beethoven. In addition to technique difficulties, the depth of content implies performing maturity, which Myahri Agajanova managed to show. The rarely performed Concert for Violin and Orchestra by Ashir Kuliev was performed in the national character, where its 2nd part (joyful Allegretto C-minor) was played by our graduate.
At the end, she played “Gypsy Tunes” by Pablo de Sarasate. This is a masterpiece of violin art that requires emotional effort, endurance and technical training from the performer. Myahri masterly, in an improvisational manner, performed this technically complex composition, all four parts of which are played without a break.
– In addition to you, the vocal masters helped the girls on the stage. What effect has this on their first public success?
– I am very grateful to our soloists-illustrators, People’s Artist Gulnar Nuryyeva and Honored Artist Ismail Jumayev. Gulnar Nuryyeva has been directly working all these years with Aigul, and we invite Ismail Jumayev to participate in vocal ensembles.
Of course, such a vivid performance depends 90% on our illustrators. They inspire our young performers with their skill, temperament, dedication in creativity and serious work, and it is after all a great responsibility to play with such masters.
– What do you think about the future of the graduates?
– Aigul, for example, is now going to work as a young specialist in Turkmenabat. I hope that she will apply all the knowledge and skills acquired over the years of education in her work, and will hand these down to her students. She knows the techniques of performing practice, ensemble music and concertmastership, how to deal with a piece of music, behaves well on the stage, and has a clear plan. I think that she will succeed. Aigul is a very serious and thoughtful pianist. This is evident from the way she played her concert program, so different in genres and style. Antonio Vivaldi is an oratorical work, and it was played in the orchestral plan, or how she played Rachmaninov in a very subtle, completely different manner.
Aigul works hard herself and stimulates her violinists to serious work. Myahri Agajanova and Faruhjan Muradov are other students who worked hard on Saturdays and Sundays. I would advise all students to take the lead from such students, pianists from Aiguli, violinists from Myahri and Faruhjan. Their responsible attitude can be an example for young musicians and this is also important in the work of the performer.
– Stella Vladimirovna, what would you like to wish your graduates?
– We wish further improvement of performing skills, and, as they say, Good luck! Way to go! I wish them not to stop on pedagogical work, so that to engage in self-development: play, perform at concerts and make new creative progress.
– Thank you for the interview, we wish you further success in concert activities and training young musicians.