A musical analysis of the “Mizan” cycle: the 24 preludes and fugues by Azerbaijani composer Yashar Sufi

Abstract

The presented article examines the emergence and development of polyphonic cycles, focusing on how various composers, particularly Azerbaijani composers, have utilized these. The article discusses the significance of J.S. Bach’s “Well-Tempered Clavier” in the field of polyphonic cycles, a masterpiece not only of the composer himself but also of world music literature. It highlights how this genre was adopted and developed by Azerbaijani composers. The article also delves into how Azerbaijani composer Yashar Sufi’s “Mizan” cycle integrates national modes within polyphonic structures and how these elements are presented in a polyphonic form. The study also explores the innovations brought by Sufi’s work in applying polyphonic cycles within Azerbaijani music and how this form is synthesized with national modes. Additionally, the article highlights the continued influence of polyphonic cycles from Bach to the present day. Since Yashar Sufi’s “Mizan” is one of the first examples of polyphonic cycles in Azerbaijani music, analyzing this work helps us understand the composer’s creative approach. This article also contributes significantly by showing how the polyphonic form in Azerbaijani music can blend national elements with traditional polyphonic techniques. The research was conducted using both descriptive and analytical methods. Yashar Sufi’s “Mizan” cycle was studied in detail from a music theory perspective, and theoretical analyses of the prelude and fugue structures were carried out. The data collection process involved examining the sheet music of Yashar Sufi’s “Mizan” cycle and relevant music works. The sheet music of Sufi’s work served as the primary data source for the structural analysis of the preludes and fugues. The article underscores the pedagogical and historical significance of polyphonic cycles as a music form, showing that this genre thrives in the 21st century. Sufi’s work offers a new perspective on Azerbaijan’s musical identity, illustrating the vital role of local elements in polyphonic music.

Keywords

• Azerbaijani music
• Bach
• fugue
• prelude
• polyphonic cycle
• Yashar Sufi

References

1. Abbasova, N. (2023). Investigation of the modal-tonal features of mugham in the short- form piano works of Azerbaijani composers. World of Music, (2), 9138–9146.
2. Akhundov, A. (2005). Explanatory dictionary of the Azerbaijani language (451 pages). Baku: Elm.
3. Asadova, Y. (2015). Yashar Khalilov. (30 p.). Baku: Sharg-Garb Publishing House.
4. Chernyavska, M., & Mengzhe, Z. (2021). Preludes and fugues for piano in the polyphonic works of Chinese composers. Rast Muzikoloji Dergisi, 9(3, Special Issue), 2943–2960.
5. Dadashova, E. (1991). A short course of lectures on polyphony (111 p.). Baku: Elm.
6. Dadashova, E. (2010). 21 prelude and fugues (68 p.). Baku: Elm.
7. Dolzhansky, A. (1970). 24 preludes and fugues by D. Shostakovich (258 p.). Leningrad.
8. Eminova, N. (2023). Polyphonic cycle “12 Fugues” for piano by Gara Garaev. Erciyes Akademi, 7(2), 806–831. https://doi. org/10.48070/erciyesakademi.1301579

9. Garayev, G. (1982). 12 fugues (40 p.). Moscow: Sovetskiy Kompozitor.
10. Gadimova, N. (2000). The intonational features of piano fugues in Asaf Zeynally’s compositions. World of Music, Baku.
11. Hajibeyli, U. (2019). Fundamentals of Azerbaijani folk music (360 p.). Baku: Sharg- Garb.
12. Huseynova, R. (2024). The historical development path of polyphonic series and its implementation in the creativity of Azerbaijan. Scientific Reports of Bukhara State University, (6), 221–233.
13. Huseynova, R. (2017). Polyphony: The history of polyphony in Western European music from the 9th to the 17th century (263 p.). Nakhchivan: Ajami.
14. Ivanova, N. A. (2015). Short lectures for a course in polyphony (56 p.). Saratov. [Publisher not specified]
15. Makarova, N. (2024). Vsevolod Zaderatsky’s “24 preludes and fugues”: Return from oblivion. Aspects of Historical Musicology, 36(36), 62–80. https://doi.org/10.34064/ khnum2-36.04
16. Mazullo, M. (2010). Shostakovich’s preludes and fugues: Contexts, style, performance. Yale University Press. https://doi.org/978- 0-300-14943-2
17. Mushel, G. (1978). Twenty-four preludes and fugues for piano (116 pages). Moscow: Soviet Composer.
18. Lowrance, R. A. (2013). Instruction, devotion, and affection: Three roles of Bach’s Well- Tempered Clavier. Musical Offerings, 4(1), Article 2, 15–30.
19. Skrebkov, S. (2020). Analysis of musical works (302 p.). Moscow: Urayt.
20. Sufi, Y. (2023). Mizan: 24 preludes and fugues (193 p.). Nakhchivan: Ajami.
21. Ursova, T. (2009). Interpreting cycles of preludes and fugues by Soviet composers: Problems of performance and perception. Doctoral dissertation. Goldsmiths College, University of London.
22. Vlahopol, G. (2010). Baroque reflections in Ludus Tonalis by Paul Hindemith. Recent Advances in Acoustics & Music.