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Composer Must Be Versatile

The composer Dilorom Omonullayeva always keeps verses on her piano so that any time she could find the right words to the newly composed music. She is known as the author of serious, academic works and popular pop songs. Although at the beginning of her professional career she could not imagine what would become the composer-songwriter.

Dilorom Omonullayeva, one of the foremost composers of Uzbekistan, and innovator in music, is the author of the hymns of the Sharq Taronalari Festival and Tashkent, over 200 pop songs, including more than 100 children, and among the major ones are two symphonies, a concert for piano with orchestra, two orchestra vocal-symphonic ode, and three sonatas for piano. Last year, she was awarded the title of professor of the State Conservatory of Uzbekistan. And that was not in the area she proved herself as a composer.

Dilorom Darvinovna how you came into the world of the composition, when they realized that you want to write music?

“I grew up in a family, whose members talked only about music. My mother’s father Muhammadjon Holmuhammedov was one of the first actors at the Muqimiy Musical Theater. After his death, when he was only 41, my mom San’atkhon in her 12 began to sing in the same theater. However, she performed complex traditional songs and lost her voice, because she did not take care of it. She graduated from the department of folk instruments of the Conservatory and worked as a teacher for music. My father Darvin Omonullayev many years headed the department of methods of teaching music at the Pedagogical Institute. Of course, it is a great merit of my parents and of the environment of the great artists in which I grew up that I became a composer. Our house was always full of guests, including Botir Zokirov, Tamara Khonum, composers Mutal Burhonov, Doni Zokirov, Nabijon Khasanov, Mardon Nasimov and many others. I remember how Mutal Burhanov writing a new work, came to my father to play his work. Mom was laying the table, and we all participated in the discussion.

In my five, I started to study at the Uspensky School, at the piano department. At the same age I began to write music. It was my short fantasies that I composed for my toys sitting on the instrument. I started composing music professionally at 12, when started getting classes at a wonderful teacher, Professor Boris Zeidman.”

When you wrote your first serious work?

“I think that one who can put his/her composition in music notes can be considered the composer. Many can imagine, but the most difficult thing - all this put into music book. Therefore, the first serious work of mine was waltz for piano, which I wrote in 12. The first major opus can be considered a suite for piano, chamber orchestra and percussion - symphonic work of five parts. I was 16 at that time, and I played the piano party myself at the premiere. It was a traditional concert of the Union of Composers, during which new works by local authors performed. I was pleased that my work was played on a par with the works of other composers.

Up to my 30, I wrote mostly academic music. I never thought that I would become a pop composer. And it all started with the fact that my husband, who worked on the radio as a music editor, asked me to write a song for the contest about Navruz. When my music ‘Sumalak’ on the poem by Pulat Mumin was recorded with the Variety-Symphonic Orchestra, I started receiving lots of offers. I got attracted to this area so that still live and create in it. Actually, I loved to sing since my childhood. I was even invited to one of the most popular ensembles. But then my father said I should choose one direction. “There are lots of singers, but composers – not,” said my father, and I followed his advice. I fully devote myself to composing.”

Last year you were awarded the title of Professor…

“Yes, this is another creative period in my life - work in the Conservatory as head of the pop singing department. I created a curriculum and literature on this new direction. I have written seven textbooks, including ‘Manual for masters and bachelors’, textbook on vocal singing for the first course of master’s. They are introduced in the educational process of musical colleges, lyceums and universities of the country. In 2015, I presented ‘Variety and Jazz vocalize’, the songs without words, a kind of sketches for a voice. It accumulates a variety of styles, and each vocalize I dedicate to one of my cult figures or teachers. In addition, I am proud of my students, including Sevara Nazarkhan, Sogdiana, Matin, Dilnoza Ismiaminova and others.”

Do you write music in rather diverse genres. Which one do you prefer?

“I believe that the composer should be able to write in any genre. I am in huge demand of pop singers, thus in recent years I have worked in pop music. However, I always find some time for the academic music. For example, the work ‘Ko’ngil Sohili’ on the poem by Sirojiddin Sayyid I wrote in a new genre - a symphony for chorus a cappella.

I am dreaming is to write a symphony, musical, opera, and ballet. The work in the Conservatory takes a lot of my time. I really want to write about the age of Amir Temur, Bibikhonim.”

Dilorom Omonullayeva really has plenty of ideas. Some of them have even been born at the time of our conversation. You can only envy her activity and vitality, which, of course, lead her to even greater success. Who knows, probably very soon the audience will be presented with new works of the composer.

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