A Musical Dialogue at the Pashkov House: Moscow Hosts a Conference for the "Sounds of the Dutar" Anniversary Festival
On October 26, the historic heart of Moscow — the majestic Pashkov House, which crowns a hill near the Kremlin walls and stands as a pinnacle of Russian Classicism — was filled with sounds that wove together the traditions of the Turkmen and Russian peoples. Within the Department of Sheet Music and Sound Recordings of the Russian State Library, an international academic and practical conference-concert titled "Art in the Cultural Commonwealth of Peoples" took place as part of the tenth-anniversary "Sounds of the Dutar" International Arts Festival, named after Nury Halmamedov.
From its inception, this festival was conceived not merely as a showcase for talent, but as a profound philosophical and aesthetic statement on how music can dissolve boundaries and bridge different eras. The uniqueness of the project — created by composer Mamed Guseynov — lies in its rare balance: rigorous academic scholarship meets vibrant performance art, and the archival research of musicologists resonates in harmony with the fresh voices of the young and the masterful skill of virtuosos.
The event did not begin with the customary presentations; instead, it opened with an immersion into the library’s own environment. The architecture of the Pashkov House, the panoramic views of Moscow in autumn, and the hushed atmosphere of the book repositories set a distinct, intimate tone — an ideal prologue to the musical journey that followed. The spoken poetry that opened the event wove verse and sound into a seamless tapestry, reminding guests of enduring values: love for one’s homeland, hope, and inner freedom.
The musical palette of the conference was striking in its depth and variety. Works by the pioneers of professional Turkmen music — Nury Halmammedov, Dangatar Ovezov, and Chary Nurymov — resonated alongside the classical legacy of Dmitri Shostakovich and Sergei Prokofiev, as well as the poignant melodies of Alexandra Pakhmutova.
The melody of the dutar, presented in an academic performance, took on new meanings, showcasing the flexibility and versatility of this national musical idiom. Musical performances alternated with profound scholarly presentations, in which researchers from Turkmenistan and Russia examined the evolution of symphonic language, the continuity of compositional schools, and the preservation of folklore traditions within contemporary culture.
Forum participants took a special interest in presentations dedicated to the creative legacies of prominent masters and figures being honored for their milestone anniversaries this year. The scholarly insights shared by opera directors, music theorists, and educators were complemented by rare archival recordings, creating a sense of immediate presence and a dialogue between generations.
Looking ahead, an authoritative academic collection — to be indexed in the Russian Science Citation Index (RSCI) — will document the findings of this extensive research. Yet, one thing is already clear: the anniversary "Sounds of the Dutar" festival has once again reaffirmed its mission as a living bridge of friendship. In a space where academic inquiry meets artistic inspiration, music has once again proven itself to be the most accessible and pure language of intercultural harmony.
