Genre-dramaturgical features of Tolibkhon Shahidi’s instrumental concertos (as exemplified by Piano Concerto No. 3 and the Concerto for Viola and Orchestra)

The aim of the article is to identify the distinctive features of the genre-dramaturgical model of the instrumental concerto in the works of Tolibkhon Shahidi, based on Concerto for Piano and Orchestra No. 3 (1994) and the Concerto for Viola and Orchestra (2017). The study examines the principles of pitch organization, meter-rhythmic structure, orchestral thinking, and the interpretation of the solo part, as well as the ways in which intonational elements of the Tajik musical tradition are integrated into the context of contemporary academic composition. The scientific novelty of the study lies in identifying the characteristic features of Shahidi’s authorial approach to the concerto genre, including one-movement poem-like dramaturgy, the rejection of virtuosity as an end in itself, the special mediative role of the soloist, and the use of modal-intonational thinking in combination with elements of serial and sonoristic techniques. The findings make it possible to regard the composer’s instrumental concertos as an integral artistic model in which a synthesis of the intonational tradition of Tajikistan and Western compositional strategies of the 20th-21st centuries is realized.