Classical Traditions of the Piano Concerto by Ruslan Agababayev

The article is devoted to the analysis of the concert for piano and symphony orchestra by the modern Azerbaijani composer R. Agababayev. The article is very relevant from the point of view of identifying ways to implement classical traditions in a modern piano concerto of the 21st century. It must be said that in this issue we have found many such stylistic features that testify to the strong reliance of Azerbaijani composers on classical traditions. This article is devoted to the study of identifying the stylistic features of R. Agababayev’s piano concerto in the context of the historical development of this genre. Research methodology. The choice of the methodological basis for this study is due to the above goals and tasks that we set ourselves in the framework of this work. Based on the subject matter of the article, the methodological basis of this scientific work is a complex analysis, which implies the interaction of several research methods at different levels. The basis for the analytical analysis of the piano concerto was a theoretical approach, in which such aspects of the work as the problem of form formation, stylistic features of individual elements of the musical language are subject to research. The scientific novelty of the research lies in the fact that for the first time as special research work is the study and detailed analysis of R. Agababayev’s piano concerto. Conclusions. The main conclusion of our scientific research was to determine the stylistic features of the Azerbaijani piano concert created in the 21st century. Based on the data obtained during the analysis, we were able to determine the main trends and ways of development of this genre at the present stage of the development of Azerbaijani academic music. One of the important, if not decisive, aspect in achieving this kind of goal is to identify issues of preserving and transforming traditions, as well as innovative tendencies in the composer’s solution of a particular work. Single-movement piano concertos have become widespread in academic music since the beginning of the era of romanticism. And in the Azerbaijani one-part piano concerts, connections with romantic traditions are deeply felt. Moreover, in each specific work, these traditions are reflected especially. Since the concert by R. Agababayev demonstrates an interesting and original one-part interpretation, combined with an inner poly-part one, this is a typically romantic tendency associated with the composers’ desire to compress the cycle