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Almost as a synthesis of late Scriabin tracking through Ives and Varèse to meet Hans Zimmer, the idiom was nurtured by much cinematic wonder and grandeur. Points of contact gradually developed with all the various instruments and sections of the orchestra to build a sequence of teeming climaxes interspersed with plateaus of consolidation to draw breath before going further towards the unanswerable question of “where to…?”. The opening of the work evoked a compelling sense of the vastness of space waiting to be filled. Nizami has been an inspiration for both Azerbaijani musicians, especially his writings exploring the influence of the sky, comets and the stars upon the development of different peoples on our planet and how they link to Franghiz Ali-Zadeh’s own aspiration to build stylistic musical bridges between Eastern and Western culture (the composer pictured below with Karabits).Ī very large orchestra was deployed within the context of a substantial electronic soundscape designed to evoke the mysteries of the cosmos with a technical operator assisted by the composer herself. The conductor very helpfully introduced the music from the podium as well as drawing a pertinent line of inheritance from Shostakovich through Karayev to the present-day composer. Karabits ( pictured above) persuaded the orchestra to relish the alluring and pungently coloured textures to the full in the three short extracts that opened the concert.Ĭue the world premiere of Franghiz Ali-Zadeh’s new work NIZAMI Cosmology commissioned by Karabits and the BSO. Karayev, however, steers a fairy-tale course back towards Rimsky and the Thousand and One Nights, drawing on balletic inspiration from Azerbaijani folk material dressed in his own distinctive Eastern voice with a stylistic nod more towards Khachaturian’s Masquerade than Tchaikovsky or Prokofiev.
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By the mid-20th century, this might have stirred a queasy cocktail from the legend of Bluebeard shaken with Dorian Gray and a dash of Ruddigore.
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Subsequently spurned in love by one of his down-at-heel subjects, he returns to The Beauties seeking atonement and oblivion but finds them ugly and distorted.
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Although he died in 1982, he remains renowned there and in the countries of the former Soviet Union for opera, ballet and symphonic works as well as ensemble, instrumental and film music.ĭeveloped from a symphonic suite composed in 1949, his most celebrated work is The Seven Beauties, a full-length ballet from 1952 with a scenario taken from an epic poem by the 12th century Persian poet Ganjavi Nizami involving the tale of a corrupt ruler bewitched by paintings of seven beautiful women from different countries coming to life. Born in Baku in 1918, Karayev spent hard times in Moscow in 1942-46 as a student of Shostakovich before returning to his homeland to become one of its most distinguished composers.
![Oblivion song 25](https://kumkoniak.com/22.jpg)