Imaginative World of the Piano Cycle "Dialogue With Khayam" by Dilorom Saidaminova

The article studies one of the largest piano compositions of the Uzbek composer Dilorom Saidaminova "Dialogue with Khayam," which is an eight-part cycle of deep philosophical and symbolic meaning.In connection with the unusual composer's plan of the work, its multilevel and semanticity of the artistic concept, the author of the article concentrates his research attention on a set of issues related to artistic content, the embodiment of images of personalities by Dilorom Saidaminova and Omar Khayam in virtual dialogue, and, most importantly, with the analysis of the most complex modern musical language of the cycle.In the process of analysis, compositional and dramatic features of the cycle are revealed, consisting in the principles of leitmotivity, figurative-thematic contrasts, dynamization of musical development from the first part to the eighth.The author of the article reveals the dramatic role of the system of expressive means in the disclosure of the figurative world of the cycle, the expediency of modern composite technologies, such as sonorica, aleatorics, minimalism, pointillism.Particular attention during the analysis is paid to the composer's use of the possibilities of extended piano and unconventional techniques of playing, acoustic effects, composer's comments in musical text.Based on analytical observations, the author of the article identifies the composer's creative approaches to revealing the artistic idea of the composition, such as philosophical, aesthetic, innovative.As a result of the study of the piano cycle "Dialogue with Khayam" by Dilorom Saidaminova, it is concluded about the depth of the artistic embodiment of the image of the great poet and thinker, whose ideas are consonant with the composer's philosophy and aesthetics.