Eurasian music science journal


Felix Markovich Yanov-Yanovsky is one of the most prominent composers of the Republic of Uzbekistan. His creativity has been studied in detail in many musicological works. However, the oeuvre of F. Yanov-Yanovsky also contains pieces unknown to musicology, including the "Romantic Overture" for a symphony orchestra, which became the object of research in this article. The main goal of the study is to replenish the history of the development of the overture genre in Uzbekistan, as well as to supplement the general understanding of the F. Yanov-Yanovsky creativity. The material for the investigation is a previously unstudied manuscript of the overture (which has been kindly given to the author by the composer); also materials from personal conversations between the author and F. Yanov-Yanovsky were used. In the process of researching the "Romantic Overture", the method of comprehensive analysis was used, special attention was paid to intonation, stylistic and semantic types of analysis. On the one hand, the work is researched in the context of the composer's creativity, and, on the other hand, the author shows the place of the "Romantic Overture" and its role in the development of the genre in Uzbekistan.

The title and content of the "Romantic Overture" refers the listener to the era of romanticism. Such a programmatic approach is atypical for the Uzbek overture, which emphasizes its originality, and also expands the general imaginative palette of the genre in the work of Uzbek composers. A three-part structure with a short introduction and conclusion becomes the "constructive idea" of the work. It is quite possible to point to the "general intonation" (V. Medushevsky's term) - a third that permeates the entire texture of the work. The main “expressive method” of the work is threefoldness, which manifesting itself at all the levels of the musical form and turns into a kind of symbol referring to the romantic era.

First Page


Last Page



[1] Abdullaeva, E. (2015). Felix Yanov-Yanovsky. Tashkent: Baktria press.

[2] Azimova, A. (1992) Nit` (Shtrihi k dvoynomu portretu) [A clue. (Touches to the double portrait)]. Muzykalnaya Akademiya, 1992 № 3, pp. 71-74.

[3] Babayev, B. (2019) Avtorskiy koncert v Bol`shom zale konservatorii, posvyaschyonniy 85-letiyu izvestnogo kompozitora Felixa Yanov-Yanovskogo, proshyol kak bol`shoy muzykal`niy prazdnik [The author's concert in the Great Hall of the Conservatory, dedicated to the 85th anniversary of the famous composer Felix Yanov-Yanovsky, was held as a great musical celebration]. Retrieved from https://www.kultura.uz/view_6_r_14106.html.

[4] Galuschenko, I. (1985). Felix Yanov-Yanovsky. Monograficheskiy ocherk. [Felix Yanov-Yanovsky. Monographic sketch]. Tashkent: manuscript.

[5] Golovyanc, T., Mejke, E. (1999). Kompozitory i muzykovedy Uzbekistana. Spravochnik [Composers and musicologists of Uzbekistan]. Tashkent: Katartol kamolot.

[6] Golovyanc, T., Mejke, E. (2018). Kompozitory i muzykovedy Uzbekistana. Spravochnik [Composers and musicologists of Uzbekistan. Second edition, revised and enlarged. 2nd edition]. Tashkent.

[7] Jumaev, A. (2017). Istoriya Uzbekistana. Epoha Amira Temura i Temuridov [History of Uzbekstan. Era of Amir Temur and Temurids]. Muzykal`naya Kul`tura [Music Culture]. pp. 378-415. Tashkent: Fan.

[8] Jabborov, A. (2004). Uzbekiston bastakorlari va musiqashinoslari [Composers and musicologists of Uzbekistan]. Tashkent: Yangi asr avlodi.

[9] Kadyrov, M. (1979). Uzbekskiy tradicionniy teatr kukol [Uzbek traditional puppet theater]. Tashkent: Publishing house after G. Gulyam.

[10] Kadyrova, N. (1989) Tematizm I forma v simfonicheskoy muzyke Uzbekistana [Thematism and form in the symphonic music of Uzbekistan]. Tashkent: Fan.

[11] Karomatov, F. (1972). Uzbekskaya instrumental`naya muzyka (nasledie) [Uzbek instrumental music (heritage)]. Tashkent: Publishing house after G. Gulyam.

[12] Kholopova, V. (2015). Rossiyskaya akademicheskaya muzyka posledney treti XX – nachala XXI vekov (janry i stili) [Russian academic music of the last third of the XX - beginning XXI centuries (genres and styles)]. Moscow.

[13] Kholopova, V. (2002). Teoriya muzyki: melodika, ritmika, faktura, tematizm. [Music theory: melody, rhythm, texture, thematic.]. Saint-Petersburg: Lan`.

[14] Moortele, S. (2017). The Romantic Overture and Musical Form from Rossini to Wagner. Cambridge University Press.

[15] Vorob`yov, I. (2013). Kantatno-oratorial`niy janr v sovetskoy muzyke 1930-1950-h godov: k problem socrealisticheskogo “bol`shogo stilya” [The cantata-oratorio genre in Soviet music of the 1930s – 1950s: on the problem of the social realistic “grand style”]. Abstract of the dissertation for the degree of Doctor of Art History. Rostov-na-Donu.

Included in

Musicology Commons



To view the content in your browser, please download Adobe Reader or, alternately,
you may Download the file to your hard drive.

NOTE: The latest versions of Adobe Reader do not support viewing PDF files within Firefox on Mac OS and if you are using a modern (Intel) Mac, there is no official plugin for viewing PDF files within the browser window.