Clarinet Concerto by Tolibkhon Shakhidi: Poetics of the Genre

Orzubonu N. Nurulloyeva

Abstract


The article presents an analysis of the Clarinet Concerto by Tolibkhon Shakhidi, created in 2009–2010. The work’s dramaturgic, orchestration and composition features are considered in the context of contemporary trends in the development of the clarinet concerto genre. The interpretation of the solo clarinet as a multifaceted “chameleon” instrument, capable of organically synthesising academic, jazz and national performance traditions, is examined. The principles of interaction between the soloist and the orchestra, the specifics of the sonorous organisation of sound, as well as the role of the extended cadence as the semantic and dramatic centre of the composition are analysed. A conclusion is made about the synthetic nature of the musical language, which combines elements of dodecaphony, modality and ethnically coloured thematism in the work. Shakhidi’s concerto is interpreted as an example of a contemporary rethinking of the genre canon combining the classical logic of a form with poetry and the principle of continuous development.

Keywords: Tolibkhon Shakhidi, clarinet concerto, genre poetics, 21st-century instrumental concerto, contemporary academic music


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References


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DOI: http://dx.doi.org/10.56620/RM.2026.2.019-032

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