Sulkhan
Nasidze
Sulkhan Nasidze
(1927 – 1996)
Sulkhan Nasidze, outstanding Georgian Composer, Pianist, Teacher, Public Figure. One of the prominent and brilliant representatives of the Georgian school of composition, the generation of the 60s, the most important period of Georgian culture of the 20th century. Sulkhan Nasidze’s creations are considered to be of world importance today, because the philosophical-aesthetic beliefs and independent style of his music are another new word in the musical thinking of the last century.
Knight of the “Order of Honor” (1958), laureate of the Shota Rustaveli State Prize (1978), People’s Artist of Georgia (1979), laureate of the State Prize of the Soviet Union (1986)…
Date of birth – March 17, 1927
Place of birth – Tbilisi, Georgia
Date of death – September 21, 1996
He is buried in Didube Pantheon of Writers and Public Figures – Tbilisi
BIOGRAPHICAL DATA
1950 – Graduated from the piano faculty of Vano Sarajishvili Tbilisi State Conservatory (A. Svanidze’s class);
1955 – Faculty of composition (class of I. Tuskia);
1951 – 1956 – Teacher of the V music school (piano);
1974 – 1990 – Artistic director of the State Philharmonic of Georgia;
1963 – 1994 – Engages in teaching activities: in Tbilisi V. Sarajishvili Conservatory – from 1963 – teacher, 1968 – senior teacher, 1972 – docent, 1979 – professor;
1969 – 1974 – Tbilisi V. Sarajishvili house Dean of the theoretical and compositional faculty of the State Conservatory;
1979 – Tbilisi V. Sarajishvili house Head of the Department of Composition of the State Conservatory;
His students were composers: Giorgi Shaverzashvili, Giorgi Tsintsadze;
1992 – 1996 – Chairman of the Union of Composers of Georgia;
LITERATURE
2007 – “Sulkhan Nasidze” – a collection of letters of Georgian musicologists about the work of composer Sulkhan Nasidze – Tbilisi State Conservatory, Tbilisi, 2007.
2022 – “… Sand will remain” – Givi Orjonikidze’s scientific work “Thoughts on Sulkhan Nasidze’s Symphonic Triad” and Sulkhan Nasidze’s publicist letters – book editors and compilers – Tamar Nasidze-Makashvili, Tamar Kerechashvili – Tbilisi, Publishing House “Saari”, 2022.
AWARDS AND RECOGNITION
1986 – State Prize of the Soviet Union
for Concerto for violin, cello and symphony orchestra
1979 – People’s Artist of Georgia
1978 – Shota Rustaveli State Prize
1966 – Honored Art Worker of Georgia
1958 – Knight of the “Order of Honor”.
1956 – Member of the Union of Composers of the Soviet Union
1992 – 1996 – Chairman of the Union of Composers of Georgia;
Sulkhan Nasidze
(1927 – 1996)
SELECTED WORKS
MUSIC FOR THE THEATER
1971 – “Orpheus And Eurydice” – Ballet in 2 Acts – (libretto – Z. Kikaleishvili)
1988 – “King Lear” – Ballet in 2 Acts – (libretto – G. Aleksidze)
ORCHESTRAL MUSIC
1957 – Symphony N 1
1959 – “Rhapsody on Old Tbilisi Themes” – for Symphony Orchestra
1966 – “Ostinato” – Piece for Symphony Orchestra
1969 – “Chamber Symphony” N 3
1975 – Symphony N4 “Kolkhuri”
1977 – Symphony N5 “Firosmani”
1978 – Symphony N6 “Passione”
1979 – Symphony N7 “Dalai”
1982 – “Symphony-Fresco”
1986 – “Six Dances” – Symphonic Suite
1989 – Symphony “Mizgva Bach”
1991 – “Liturgical Symphony”
1992 – Symphony “Infinity”
1955 – 1961 – Concerto for Piano and Symphony Orchestra N1, N2
1984 – Concerto for Piano and Symphony Orchestra, N3 “Autumn Music”
1968 – Concerto for Violin and Symphonic Orchestra
1979 – Concerto for 2 Violins and Symphonic Orchestra
1982 – Concerto for Violin, Cello and Chamber Orchestra
1984 – Concerto for Oboe and Chamber Orchestra
1985 – Concerto for Cello and Symphonic Orchestra
1985 – Concerto for 2 Violins and Symphonic Orchestra
1987 – Concerto for Viola and and Symphonic Orchestra
VOCAL MUSIC
1969 – “From folk poetry” – Vocal Cycle for Piano and Piano – (text – folk)
1980 – “Vedreba” (“Prayer”) – Choral Poem for Mixed Choir – (text – D. Guramishvili)
1990 – “From Persian Poetry” – Choir Concert a Cappella – (text – Rudaki)
CHAMBER-INSTRUMENTAL MUSIC
1968 – String Quartet N 1
1970 – String Quartet N 2
1980 – String Quartet N 3 “Epitaph”
1984 – String Quartet N 4
1992 – String Quartet N 5 Con sordino
1987 – Piano Quintet
1993 – Piano Quartet “Metamorphoses”
1994 – Piano Trio “Antiphonie”
1968 – Wind quartet – for Flute, Oboe, Clarinet in B, Bassoon
1990 – Wind Quintet – for Flute, Oboe, Clarinet in B, Horn in F, Bassoon
1957 – Ballad – for Piano
1957 – Toccata – for Piano
1962 – Polyphonic Sonata – Prelude and Fugue; Passacaglia; Toccata
1971 – 4 Improvisations for Violin and Piano
1973 – 2 Improvisations for Piano
1991 – “From an old diary” – for Piano and Cello
1991 – “Lento di Molto” – 4 Pieces for Piano
1979 – Three Dances – for Two Pianos
1986 – Piano Sonata
1964 – Nonet (for Elementary Grades)
1968 – 12 Children’s Pieces for Piano
1971 – 20 Polyphonic Plays – for Music School Students
FILM AND THEATER MUSIC
MUSIC FOR PERFORMANCES:
“The first swallow”, “Children of the sea”, “A fuss over nothing”, “Kikvidze”, “Two on a swing”
FILMOGRAPHY
1962 – “April” – director – Otar Yoseliani
1965 – “Mimino” – director – Temur Palavandishvili
1974 – “Air Bridge” – director – David Rondeli
1975 – “The case was handed over to the court” – director – Valerian Kvatchadze
1965 – “Shevardeni” (“Falcon”) – director – Temur Palavandishvili
1965 – “The Abduction of the Moon” – director – Tamaz Meliava
ANIMATION
1959 – “Concert of the right-handed master” – director – Vakhtang Bakhtadze
1959 – “After The Hoot” – director – Vakhtang Bakhtadze
1962 – “The right-handed master sportsman” – director – Vakhtang Bakhtadze
1965 – “Brave Vazha” – director – Boris Starikovsky
1966 – “Three Neighbours” – director – Vakhtang Bakhtadze
1967 – “The Girl And The Fonatin” – director – Karlo Sulakauri
1968 – “The Adventures of Superstitious Man” – director – Boris Starikovsky
1971 – “The right-handed In The Outerspace” – director – Vakhtang Bakhtadze
1972 – “Natsarkekia” (“Ash-Blower”) – director – Boris Starikovsky
1973 – “The New Adventures Of Ash-Blower ” – director – Boris Starikovsky
1973 – “The Lion and The Cat ” – director – Boris Starikovsky
1977 – “Once Upon A Time There Lived A Little Mouse” – director – Boris Starikovsky
1980 – “The right-handed On the Exhibition” – director – Vakhtang Bakhtadze
1981 – “A Multicolored Butterfly” – director – Shadiman Chavchavadze
Sulkhan Nasidze
(1927 – 1996)
“Sulkhan Nasidze lived and died in the twentieth century, but he composed music for the twenty- first century. I believe that time will prove these remarks are right.” Wrote musicologist Gulbat Toradze.
Sulkhan Nasidze’s artistic formation occurred in the 1950s and 1960s. This was the period when the “Iron Curtain” was torn down in the cultural lives of the former USSR countries, as well as in the viewpoints of artists from many fields of art. In Georgia, a new wave of artists emerged, bringing with them new ideas, new visions, concepts, and styles… Sulkhan Nasidze appeared as one of the movement’s significant faces in Georgian professional music.
Sulkhan Nasidze is widely regarded today as the founder of intellectual-philosophical symphonism. Nasidze’s wide and various works are infused with intellectual-philosophical thinking. This is reflected in its theme, which is a conceptual exposition of the idea-artistic universe. The intellectual beginning guides the composer’s comprehension of the work’s dramaturgy and structure, the construction of the musical framework, and everything else that creates the “Nasidze system” as a whole. One of the sources of this “system” was found in the depths of ancient national music, where the composer, armed with a modern technical arsenal, explored new ways of expressing himself. As a result, it is not surprising that the composer’s attitude towards folklore has received special attention in Georgian musicology (R. Tsurtsumia, D. Gogua, L. Maruashvili). Not any less intriguing Nasidze-playwright (N. Zhgenti, M. Kavtaradze) no less fascinating, with his filigree abilities, unexpected consequences, and ultimately shaping everything into a mould of iron-like logic.
The most noteworthy pieces from Nasidze’s early time are two different genres: Symphony N3 “Chamber” (1969) and vocal cycle “Georgian folk poetry” (1970). (1969). The need for a philosophical view of the world, a modern approach to creative ways, and the desire to draw musical components from the national heart are all evident in these pieces. Nasidze’s vocal cycle from “Georgian folk poetry” established the platform for another composing style. This is the principle of giving the word an emotional depth. It is worth noting that these two works, composer’s individual attitude towards mountain folklore was underlined on a great scale in the titled piece, which had previously been expressed in various works and eventually became one of the main themes of his creativity.
That composer’s individual attitude towards mountain folklore was underlined on a great scale in the titled piece, which had previously been expressed in various works and eventually became one of the main themes of his creativity. “With this symphony alone, Sulkhan Nasidze added a piece to Georgian music, which would be enough to name it’s author one of the noteworthy representatives of the national professional composing school,” musicologist Rusudan Kutateladze said about chamber symphony N3. However, the composer’s creative road continued with searches, aspiration, and from time to time, he offered the audience fresh discoveries.
Nasidze’s thoughts and observations on existence, everlasting ideals, and the connection between the temporary and the ephemeral resulted in a variety of large-scale, remarkable canvases. This is the situation when a national achievement gains on a worldwide connotation, as in the “symphonic triad”: N5, N6, N7.
Symphony No. 5 “Pirosmani” (1977) was well appreciated in Georgia and beyond. The pain caused by the artist’s misery was felt by the listeners of this work, hidden beneath the nostalgia of the great Georgian artist, the old Tbilisi bohemian’s lonely, solitude existence. The symphony’s emotions were also influenced by the fantastic modes of presentation: painting, colouring, the incorporation of the collage method, or the effects of cinematic shots. “Nasidze is an artist We are attracted to his compositions by the artistically and professionally prepared intriguing lines,” musicologist Givi Orjonikidze wrote. It’s not surprising that the symphony “Pirosmani” inspired choreographer Giorgi Aleksidze to produce a ballet performance based on it. The contemplation of everlasting ideals inspired Symphony No. 6 “Passione” (1978), in which the confrontation with exterior reality assumed the form of a psychological drama. This work’s construction process is unique. The composer uses the concept of verbal interpretation of the word, invoking the great poet and thinker Vazha-Pshavela, who came from the heart of Georgia’s mountains. The world of Vazha-Pshavela was already established in Georgian professional music as the source of the mountain’s symbolic embodiment and rituals, but Sulkhan Nasidze takes a completely new – generalized-philosophical – approach to this writer. It’s possible that the composer’s intense involvement in the enormous creative and philosophical world of Vazha-Pshavela inspired Symphony No. 7 “Dalai” (1979). The words Vazha or his name do not appear precisely here, but the philosophical approach to his existence persists. The ritual of weeping in the mountain is the emotional and intellectual focus of the work this time. Against this theme, a conflict with human destiny evolves, the dramaturgical colouring of which differs significantly from the previous symphonies. Nasidze’s intellectual-philosophical symphony, which is evident in the works mentioned above, continues in works of other genres. This is a reference to the choral poem “Vedreba” (1980), a concerto for violin, cello, and string orchestra (1983), string quartets No. 3 “Epitafia” (1980) and No. 4 “In memoriam” (1985), piano quintet (1986), and other works. Thus, the author leads the desire to expose the hidden depths of existence to genre interpenetration and synthesis. The understanding of the choral poem “Vedreba” as a symphonic canvas is generated not only by the dramaturgical flow, but also by the imitation of timbral sounds, for which the composer uses the most recent unique approach.
Apart from that, concerto for violin and cello inside which conflicting openings are represented with various forms of internal conflict between the primary parties or orchestral voices, the conflict situation is resolved by the romantic beginning’s supremacy. Chamber-instrumental works open new philosophical-intellectual possibilities. Nasidze’s Quartets No. 3 “Epitafia” and No. 4 “In memoriam” show a distinct approach to the issues presented in the symphonies. “Epitaphia” is a continuation of the emotional field of “Dalai” with the profound expansion of mourning-wailing intonation, and the symphony, using the compositing principle, is comparable to “Pirosmani,” but unlike symphonies, the venue here is dedicated to the personal-intimate world.
Quartet No. 4 “In memoriam” was composed after the death of musicologist Givi Orjonikidze.
The piece was dedicated to him – a person, a composer’s colleague, one of the first reviewers of Sulkhan Nasidze’s works, who played a significant role in his life. As a result, the work features powerful concerns, which the author expresses while emphasising moderation. The composer expands a person’s path and the feelings caused by his loss in the quartet. Both quartets (N 3 and N 4) offer a special view on the matter of life and death.
The 1990s are known as the most difficult decade in Georgian history. It was hard to remain indifferent to what was going on in the country. Sulkhan Nasidze’s work is entering a new phase. The dramatic vision of external reality reaches a new phase, yet the quantity of catharsis increases, emphasising the casual attitude towards the romantic beginning. This global view shows up in the concerto for oboe and chamber orchestra written in the late 1980s (1984) and culminates in the last symphony “Infinity. InBnitas” (1992).
The majority of Sulkhan Nasidze’s works, which represented the most significant events in Georgian musical life from the 1960s to the 1990s, have now become masterpieces, regarded as the works that established Georgian professional music in the international arena. We think composer Ioseb Kechakmadze’s remarks are noteworthy, “If Sulkhan Nasidze had not been in Georgian music, and not just only in Georgian music – an emptiness would have remained.”
Musicologist
Tamar Tsulukidze
English Language Translator
Tamar Kharadze