Rahilia Hasanova

for solo piano

ca. 19'10" 

The fall foliage is a natural yearly but not simple event of the play of the colors. At the same time this is a mystical process of the work of solar energy producing chemicals for plants. Less sun energy means less chlorophyll, or green pigment. Less transportation of green pigment means more appearance of the hot register of thelight spectrum:red, orange, yellow, pink, purple, and brown pigments gradually playing bronze, gold, and silver. Autumn's palette is always vibrating unexpectedly different colors and depends on how sunny, dry, or rainy a previous summer has been. Nobody knows what the palette of the next foliage will be. And any color will have its own story.

Click here to view the score.

Click here to listen to a recording of Umber.

Click here to listen to a recording of Yellow.

Click here to listen to a recording of Ochre (alternate title Amaranthe).

Click here to listen to a recording of Terracotta.

Click here to listen to a recording of Sienna.

Rahila Hasanova

for solo piano

ca. 17'00"

Monad means "Unit," and everything is connected in this Unit via frequencies, vibrations, numbers, forms, forces that are building and shaping the Unit–Monad where all of us and everyone exists.

The recording is of performer Rena Rzayeva.

Click here to view the score.

Click here to listen to the recording.

Rahilia Hasanova

for solo piano

ca. 1hr 7'00"

New Baroque Fugues and Postludes is a cycle of 22 polyphonic piece for solo piano. This cycle consists 11 Fugues and accompanying to each fugue 11 Postludes. Each pair of Fugues and Postludes has to be regarded as a unit that expresses individual characters, forms and structures, and emotional states. 

Why the forgotten fugue form? Because I found inside of this ancient antique composition form a great and maybe not seen potential for the future development, reconstruction, and kind of rehabilitation. By my new vision I was trying to bring this baroque form to a new level of an unconventional contemporary approach. Therefore, I named my piano cycle New Baroque Fugues and Postludes.

Why not traditional preludes? Because concluding each fugue by its own Postlude I was highlighted my idea and my new vision of updated polyphonic cycling. Why not 24 or 48? And again, because, not regarding to their colorfulness and rhythmical differences, compositional techniques, representation of different feelings and conditions between them, I wanted all of them to be performed during the one concert event. Because... New Baroque Fugues and Postludes would speak with an audience in new undivided mixed classical, neoclassical, polyphonic, harmonic but contemporary language.

The piece was recorded by Ruth Rose and Francesca Hurst, and can be heard when viewing the score.

Click here to view the score and listen to the recording.