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In the Rhythms of Tuqay is a vocal-symphonic poem based on the poems of Gabdulla Tukaj, consisting of seven songs for voice and chamber orchestra, which Almas Monasypov composed in 1975.

History
The texts were written by Gabdulla Tukaj (1986-1913). He was one of the most famous exponents of the Tatar renaissance of the early 20th century. Almas Monasypov took the seven poems of Tuqay from different years. The work was completed in 1975 for the poet's 90th birthday [1]. The first edition of the poem, arranged for baritone and piano, was published by Tatar Buchverlag in 1976. The work was premiered in 1976 by the baritone Emil Djalaletdinow with the TASSR chamber orchestra under the direction of the composer.

Synopsis
The composer's interest in jazz is partly due to his collaboration with the Oleg Lundstrem Orchestra. The vocal-symphonic poetry is based on the one hand on features of the Tatar and, to a greater extent, the general Turkish music characteristic of the pre-revolutionary period [2] [3]. On the other hand, the work reflects the techniques of jazz, neoclassicism and even pop music [2]. The work uses the Tatar folk melodies "Täftiläw" and "A couple of horses" [4]. The 5/8 and 7/8 time markings widely used in the poem, i.e. H. the metrical features are characteristics as they are in the folk songs Munadjat and Bajet.

There are two editions of the poem. The first edition was intended for the baritone Emil Djalaletdinow, the second edition appeared in 1993 for the tenor Idris Gasiev. [6] [7] The second edition uses the following instrumentation [8]:


 * Tenor with microphone;
 * two electric guitars;
 * Organ or electronic organ;
 * Piano with microphone;
 * Percussion with microphone;
 * Daira;
 * String orchestra.

Introduction
The poem begins with an introduction to the text of Tukaj on the theme of the folk song “A couple of horses”. This theme, combined with Tukaj's arrival in Kazan, “the city of his fate”, becomes the leitmotif of the fate of the main character. [9] The introductory music is a gradually evolving folk song melody accompanied by a growing rhythmic ostinato. The ostinato rhythm mimics the sounds of the hooves of a running horse. Without using words, “A Few Horses” is in a sense Tukaj's eighth poem in this poetry [10].

To the native land
The richly ornamented melody in a narrow pitch resembles Tatar book chants (a genre of Tatar folklore) [11]. The singing is accompanied by pent chords in the orchestra. Of the nine stanzas of the poem Tukajs, only six are used and form the three verses of the part.

Try to reach people's hearts
In the second part of the poem, G. Tukaj's poem "Das Unnamed" is used in full. Most of the techniques used in this song, including the diatonic fifth case sequence, are in the style of Soviet pop music of the 1970s. [12] The episodes in which the organ sounds solo between the verses are reminiscent of oriental music. [13]

?
In the third part, only three of the four stanzas of Gabdulla Tukaj's poem are used. The second stanza, in which the Koran and the Prophet Mohammed are mentioned, has been deleted. The melody, which with 5/8 time signature is reminiscent of a Munadjat chant, is accompanied by organ chords. [11]

?
The part makes full use of the poem of the same name by Gabdulla Tukaj, which is an answer to Alexander Pushkin's poem "The Tenth Commandment". This poem is written in the genre of oriental poetry Nazire, as a retelling by the author of another author's poem. Small seconds and rhythmic features used in the passage are reminiscent of classical oriental music. [12] In the introduction, the shrill sound of Sornay is imitated with an abundance of small seconds. This duet of Sornay and Daira approximates the song to the popular music of the East (e.g. although the nay is a wind instrument connected to Sufi ideas, it is more often used in the serious music of the East).

?
In the introduction to the part, the leitmotif "A couple of horses" sounds. The song is based on one of Gabdulla Tukaj's most famous poems - “Broken Hope”, sung to the folk melody “Täftiläw”. The richness of the song lies in the fact that sections with singing and recitation alternate here. This part is the lyrical center of vocal-symphonic poetry.

In bars 48–64 in the orchestral section there is a quote from the Tatar folk melody “Täftiläw”. In order to make the counterpoint of the soloist's melody and the quotation sound more distinctive, the composer combines them in different time indications. In other passages the folk song is used in modifications.

In bars 43–46 of the song, the first half of the leitmotif “A couple of horses” appears in the singing part.

?
The sixth part is written on the poem “Voice from the Murid Cemetery” by Gabdulla Tukaj, which was created under the influence of Ayaz İshaki's novel “Disappearance in 200 Years”. One of the main ideas of this poem by G. Tukay is the criticism of Sufism, but not a rejection. [14] Almas Monassypow was forced to use a version of the poem approved by the Soviet censors: The 10th bayet above the novel "Disappearance", which concludes the main idea, was omitted, the word "Koran" in the sixth bayet was replaced by "Tschulpan" ] This part was published with the original words of Gabdulla Tukai and a version adapted to the modern Tatar language by Nuri Arslan. In the repertoire of Idris Gasiew and Emil Djalaletdinow, the song is only performed according to the words of Nuri Arslan. [15]

The music is based on the ascending and descending ostinato movement along the tetrachord.

?
The last part is based on the poem “Tatar Youth”. The form of the song goes back to a variety of the Basso ostinato variations. With each new variation, the changes increase. At the end of the sixth variation, the theme modulates in C minor (or C sharp minor in the 2nd edition). At the end of the seventh variation they return to the tonality. In addition to Basso Ostinato, melisms, figures and textures are close to Baroque music and are therefore reflected in the neoclassicism characteristic of 20th century European music. [8]

?
So far, "In the Rhythms of Tukaj" has been performed in concert halls in Kazan, Ufa, Moscow, Saint Petersburg, Yekaterinburg and other cities. [16] The work with the voice of Emil Djalaletdinov was recorded on the ninth CD of the Tatar musical phonochrestomacy. [17]

The third song "Das Heimatdorf" is used as the main theme of the second movement in Alma Monassypow's "Chamber Concerto for Three Flutes and Harp". [18]

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Emil Djalaletdinow, Bariton; Kammerorchester der TASSR unter der Leitung von Almas Monassypow; 1976 Idris Gasiew, Tenor; Staatliches Akademisches Sinfonieorchester der Tatarstan Republiks unter der Leitung von Almas Monassypow; 1993