KIRISH: XX asrda boshqa yirik musiqiy shakllarni qamrab olgan konsert janri inqirozdan muvaffaqiyatli qutulib, yangi uslublarga moslashgan holda keng koʻlamli evolyutsiyani boshidan kechirdi. Oʻzbekistonda ushbu janrning shakllanishi 1940-yillarda boshlangan. Dastlabki yillardagi klassik namunalardan tortib, mazkur janr 1960–1980- yillardagi cholgʻular bazasining kengayishi hamda falsafiy-dramatik teranlikkacha boʻlgan yoʻlni bosib oʻtib, mustaqillik davrida kompozitorlik ijodiyotining izlanishlarida yangi faol bosqichiga koʼtarildi. MAQSAD: oʻzbekiston zamonaviy kompozitorlik ijodiyotida konsert janri evolyutsiyasi oʻziga xosligini oʻrganish hamda Habibullo Rahimovning fortepiano va kamer orkestri uchun yozilgan “Concertino” asari tahlili misolida milliy musiqiy tilning zamonaviy ifoda vositalari bilan sintezlanish jarayonini aniqlash. MATERIALLAR VA METODLAR: ishda majmuaviy musiqashunoslik tahlili metodlari qo‘llaniladi: tarkibiy-kompozitsion (murakkab uch qismli va variatsion shaklni o‘rganish), intonatsion-ritmik tahlil, shuningdek, musiqiy dramaturgiya va orkestrovkaning uslubiy tahlili. NATIJALAR VA MUHOKAMA: X. Rahimov “Concertino”sining noyob musiqiy dramaturgiyasini batafsil ochib berish. Asarning milliy jozibasi xalq kuylaridan to‘g‘ridanto‘g‘ri iqtibos keltirish orqali emas, balki chuqur mualliflik qayta ishlashi: o‘zbek zarbli cholg‘ularining o‘ziga xos ritmikasini fortepiano fakturasiga kiritish orqali erishilganligi isbotlanadi. Shuningdek, asarning tarkibiy novatorligi (turli xarakterdagi 8 ta variatsiyani oʻz ichiga olgan bir qism) va lirik oʻrta qismda impressionistik boʻyoqlardan foydalanilganligi ochib berish. XULOSA: X. Rahimovning “Concertino” asari o‘zbek simfonik musiqasida yangi ufqlarni ochib beradi. O‘zbek milliy an’analarining zamonaviy orkestr va fortepiano yozuvi bilan uzviy uyg‘unlashuvi orqali janrni yangicha talqin qilish borasidagi ushbu dadil tajriba O‘zbekistonda konsert janrining yuqori salohiyati va kelgusidagi rivojlanish istiqbollarini tasdiqlaydi.
INTRODUCTION: in the 20th century, the concerto genre underwent a large-scale evolution, successfully avoiding the crisis that affected other major musical forms and adapting to new styles. In Uzbekistan, the formation of this genre began in the 1940s. Having progressed from the classical models of the early years to the expansion of the instrumental base and philosophical-dramatic depth in the 1960s–1980s, the genre entered a new phase of active compositional exploration during the period of independence. PURPOSE: to study the specifics of the concerto genre's evolution in the modern compositional work of Uzbekistan and to identify the process of synthesizing the national musical language with modern means of expression, using the example of Habibullo Rakhimov's "Concertino" for piano and chamber orchestra. MATERIALS AND METHODS: the paper applies methods of comprehensive musicological analysis: structural-compositional (investigation of complex three-part and variational forms), intonational-rhythmic analysis, as well as stylistic examination of musical dramaturgy and orchestration. RESULTS AND DISCUSSION: revealing the unique musical dramaturgy of H. Rakhimov's "Concertino". It will be proven that the national flavor of the work is achieved not through direct quotation of folk melodies, but through deep authorial reworking: the introduction of the specific rhythm of Uzbek percussion into the piano texture. The structural innovation of the work (a single movement comprising 8 diverse variations) and the use of impressionistic colors in the lyrical middle section are demonstrated. CONCLUSION: H. Rakhimov's "Concertino" opens new horizons in Uzbek symphonic music. A bold experiment in rethinking the genre, in which Uzbek national traditions organically merge with modern orchestral and piano writing, confirms the high potential and promising future for the further development of the concerto genre in Uzbekistan.
ResearcherUz