Alexander Konstantinovich Glazunov |

Alexander Glazunov

Glazunov ya halicci duniya na farin ciki, nishaɗi, zaman lafiya, jirgin sama, fyaucewa, tunani da yawa, da yawa, koyaushe farin ciki, ko da yaushe bayyananne da zurfi, ko da yaushe sabon abu mai daraja, fuka-fuki ... A. Lunacharsky

Abokin aiki na mawaƙa na The Mighty Handful, abokin A. Borodin, wanda ya kammala abubuwan da ba a gama ba daga ƙwaƙwalwar ajiya, kuma malamin da ya goyi bayan matashi D. Shostakovich a cikin shekarun bayan juyin juya hali ... Sakamakon A. Glazunov a bayyane ya ƙunshi ci gaban kiɗan Rasha da Soviet. Ƙarfin lafiyar hankali, ƙaƙƙarfan ƙarfi na ciki da girman kai mara canzawa - waɗannan halayen halayen mawaki sun jawo hankalin mawaƙa, masu sauraro, da ɗalibai masu yawa zuwa gare shi. An kafa shi tun lokacin ƙuruciyarsa, sun ƙaddara ainihin tsarin aikinsa.

Glazunov ta ci gaban kiɗa ya kasance cikin sauri. An haife shi a cikin dangin sanannen mawallafin littafi, mawakin nan gaba ya girma tun yana yaro a cikin yanayi na kida mai ɗorewa, yana burge danginsa da iyawar sa na ban mamaki - mafi kyawun kunne don kiɗa da ikon haddace kida nan take daki-daki. ya taba ji. Daga baya Glazunov ya tuna: “Mun yi wasa da yawa a gidanmu, kuma na tuna da dukan wasannin kwaikwayo da aka yi. Sau da yawa da dare, farkawa, a hankali na mayar da hankali ga mafi ƙanƙanta daki-daki abin da na ji a baya ... ”Malaman yaron farko sun kasance pianists N. Kholodkova da E. Elenkovsky. An taka muhimmiyar rawa a cikin samuwar mawaƙa ta azuzuwan tare da manyan mawaƙa na makarantar St. Petersburg - M. Balakirev da N. Rimsky-Korsakov. Sadarwa tare da su ya taimaka Glazunov abin mamaki da sauri ya kai ga balagagge kuma ba da daɗewa ba ya zama abokantaka na mutane masu tunani iri ɗaya.

Hanyar matashin mawaki ga mai sauraro ya fara da nasara. Waƙoƙin farko na marubucin ɗan shekara goma sha shida (wanda aka ƙaddamar a cikin 1882) ya haifar da martani mai daɗi daga jama'a da manema labarai, kuma abokan aikinsa sun yaba sosai. A cikin wannan shekara, taron ya faru wanda ya shafi makomar Glazunov. A cikin maimaitawa na Symphony na Farko, matashin mawaƙin ya sadu da M. Belyaev, masanin kide-kide na gaskiya, babban dan kasuwa na katako da mai ba da taimako, wanda ya yi yawa don tallafawa mawaƙa na Rasha. Tun daga wannan lokacin, hanyoyin Glazunov da Belyaev sun ketare kullun. Ba da da ewa, matashin mawaki ya zama na yau da kullum a ranar Jumma'a na Belyaev. Waɗannan maraice na kiɗa na mako-mako sun jawo hankali a cikin 80s da 90s. mafi kyawun dakarun kiɗa na Rasha. Tare da Belyaev Glazunov ya yi tafiya mai tsawo a kasashen waje, ya saba da cibiyoyin al'adu na Jamus, Switzerland, Faransa, rikodin waƙoƙin jama'a a Spain da Maroko (1884). A lokacin wannan tafiya, wani abin tunawa ya faru: Glazunov ya ziyarci F. Liszt a Weimar. A daidai wannan wuri, a bikin da aka sadaukar don aikin Liszt, an yi nasarar gudanar da Symphony na farko na marubucin Rasha.

Shekaru da yawa Glazunov yana da alaƙa da ƙwararrun ƙwararrun ƙwararrun Belyaev - gidan wallafe-wallafen kiɗa da kide-kide na kade-kade na Rasha. Bayan mutuwar wanda ya kafa kamfanin (1904), Glazunov, tare da Rimsky-Korsakov da A. Lyadov, ya zama memba na Board of Trustees don ƙarfafa Rasha composers da mawaƙa, halitta a karkashin wasiyya da kuma kudi na Belyaev. . A cikin kiɗa da jama'a filin Glazunov yana da babban iko. Girmama abokan aiki don fasaha da gogewarsa ya dogara ne akan ingantaccen tushe: amincin mawaƙin, cikakku da gaskiyar gaskiya. Mawaƙin ya kimanta aikinsa da madaidaici na musamman, sau da yawa yana fuskantar shakku masu raɗaɗi. Wadannan halaye sun ba da ƙarfi ga aikin rashin son kai a kan abubuwan da aka yi na abokin da ya mutu: kiɗan Borodin, wanda marubucin ya riga ya yi, amma ba a rubuta shi ba saboda mutuwar kwatsam, godiya ga ƙwaƙwalwar ban mamaki Glazunov. Saboda haka, da opera Prince Igor aka kammala (tare da Rimsky-Korsakov), da 2nd part na uku Symphony aka mayar daga ƙwaƙwalwar ajiya da kuma orchestrated.

A 1899, Glazunov ya zama farfesa, kuma a watan Disamba 1905, shugaban St. Petersburg Conservatory, mafi tsufa a Rasha. Zaben Glazunov a matsayin darekta ya kasance gabanin gwaji na tsawon lokaci. Tarurrukan ɗalibai da yawa sun gabatar da buƙatar yancin cin gashin kai na ƙungiyar masu ra'ayin mazan jiya daga Imperial Russian Musical Society. A cikin wannan halin da ake ciki, wanda ya raba malamai zuwa sansani biyu, Glazunov ya bayyana a fili matsayinsa, yana goyon bayan dalibai. A cikin Maris 1905, lokacin da Rimsky-Korsakov aka zargi da ingiza dalibai zuwa tawaye da kuma sallama, Glazunov, tare da Lyadov, murabus a matsayin farfesa. Bayan 'yan kwanaki, Glazunov gudanar Rimsky-Korsakov's Kashchei dawwama, shirya ta Conservatory dalibai. Wasan, mai cike da ƙungiyoyin siyasa na zahiri, ya ƙare da wani gangami ba zato ba tsammani. Glazunov ya tuna: “Sai na yi kasadar fitar da ni daga St. Petersburg, amma duk da haka na amince da hakan.” A matsayin martani ga abubuwan juyin juya hali na 1905, daidaitawar waƙar "Hey, mu tafi!" ya bayyana. domin mawaka da makada. Sai kawai bayan da Conservatory aka ba da 'yancin kai Glazunov ya koma koyarwa. Ya sake zama darakta, ya bi diddigin duk bayanan da suka shafi harkar ilimi tare da tsaftar da ya saba. Kuma ko da yake mawaƙin ya yi gunaguni a wasiƙu: “Na cika makil da aikin koyarwa har ba ni da lokacin yin tunani a kan wani abu, da zarar game da alhini na yau,” tattaunawa da ɗalibai ya zama bukatarsa ​​na gaggawa. Har ila yau, matasa sun kusantar da Glazunov, suna jin shi a cikinsa na gaskiya da malami.

A hankali, ilimi, ayyukan ilimi sun zama manyan abubuwan Glazunov, suna tura ra'ayoyin mawaƙa. Ayyukansa na ilmantarwa da na zamantakewa da kida sun sami ci gaba musamman a cikin shekarun juyin juya hali da yakin basasa. Maigidan ya kasance mai sha'awar komai: gasa ga masu fasaha masu son, da wasan kwaikwayo, da sadarwa tare da ɗalibai, da tabbatar da rayuwar al'ada na furofesoshi da ɗalibai a cikin yanayin lalacewa. Ayyukan Glazunov sun sami karɓuwa a duniya: a 1921 ya sami lambar yabo ta Artist.

Ba a katse sadarwa tare da ɗakin ajiya ba har zuwa ƙarshen rayuwar maigidan. Shekaru na ƙarshe (1928-36) mawaƙin tsufa ya kashe a ƙasashen waje. Rashin lafiya ya kama shi, yawon shakatawa ya gaji. Amma Glazunov kullum mayar da tunaninsa zuwa ga Motherland, zuwa ga comrades-in-makamai, ga mazan jiya al'amura. Ya rubuta wa abokan aiki da abokai: “Ina kewar ku duka.” Glazunov ya mutu a Paris. A 1972, toka da aka kai zuwa Leningrad da kuma binne shi a cikin Alexander Nevsky Lavra.

Hanyar Glazunov a cikin kiɗa ya shafi kusan rabin karni. Ya na da sama da kasa. A nesa daga mahaifarsa, Glazunov hada kusan kome ba, ban da biyu instrumental concertos (ga saxophone da cello) da biyu quartets. Babban haɓakar aikinsa ya faɗi akan 80-90s. Karni na 1900 da farkon 5s. Duk da lokuta na m crises, girma yawan m, zamantakewa da kuma ilimi al'amurran da suka shafi, a cikin wadannan shekaru Glazunov halitta da yawa manyan sikelin symphonic ayyukan (waqoqi, overtures, fantasies), ciki har da "Stenka Razin", "Forest", "Sea". "Kremlin", wani ɗakin shakatawa na symphonic "Daga Tsakiyar Tsakiya". A lokaci guda, yawancin kirtani quartets (2 cikin bakwai) da sauran ayyukan gungu sun bayyana. Har ila yau, akwai kide-kide na kayan aiki a cikin abubuwan kirkire-kirkire na Glazunov (ban da wadanda aka ambata - wasan kide-kide na piano na XNUMX da kuma fitacciyar kide kide na violin), soyayya, mawaka, cantatas. Duk da haka, manyan nasarorin da mawaƙin ya samu suna da alaƙa da kiɗan symphonic.

Babu wani daga cikin mawallafin gida na marigayi XIX - farkon karni na XX. Bai mai da hankali sosai ga nau'in wasan kwaikwayo kamar Glazunov ba: waƙoƙinsa guda 8 sun zama babban zagayowar zagayowar, wanda ya yi girma a cikin ayyukan sauran nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan dutsen da ke fuskantar bangon tsaunuka. Haɓaka fassarar al'ada na wasan kwaikwayo a matsayin sake zagayowar ɓangarori da yawa, yana ba da cikakken hoto na duniya ta hanyar kiɗan kayan aiki, Glazunov ya sami damar fahimtar kyautar waƙarsa mai karimci, ma'ana mara kyau a cikin ginin hadaddun tsarin kiɗan da yawa. Bambanci na alama na Glazunov's symphonies a tsakanin su kawai yana jaddada haɗin kai na ciki, wanda ya samo asali ne a cikin sha'awar mawallafin don haɗawa da rassa 2 na wasan kwaikwayo na Rasha wanda ya kasance a layi daya: lyrical-dramatic (P. Tchaikovsky) da kuma hoto-epic (masu tsara The Mighty Handful). ). A sakamakon hada da wadannan al'adu, wani sabon al'amari ya taso - Glazunov's lyrical-epic symphonism, wanda ya jawo hankalin mai sauraro da haske gaskiya da kuma jaruntaka ƙarfi. Fitowar waƙa mai daɗi, matsi mai ban mamaki da kuma yanayin yanayi mai daɗi a cikin kade-kade suna daidaita daidaiton juna, suna kiyaye kyakkyawan kyakkyawan daɗin kiɗan. "Babu rashin jituwa a cikin kiɗan Glazunov. Ita ce madaidaicin tsari na yanayi mai mahimmanci da jin daɗi da ke nunawa cikin sauti…” (B. Asafiev). A cikin kade-kade na Glazunov, an buge mutum da jituwa da tsabtar gine-ginen gine-gine, ƙirƙira marar ƙarewa a cikin aiki tare da jigogi, da nau'ikan karimci na palette na orchestral.

Glazunov's ballets kuma za a iya kira Extended symphonic zane-zane, a cikin abin da daidaituwa na mãkirci koma baya a baya kafin ayyuka na m music hali. Mafi shahara daga cikinsu shine "Raymonda" (1897). Fantas ɗin mawallafin, wanda ya daɗe yana sha'awar hazakar tatsuniyoyi na chivalric, ya haifar da kyawawan zane-zane masu launuka iri-iri - wani biki a cikin katafaren gidan sarauta, raye-rayen Mutanen Espanya-Larabci da Hungarian yanayi… Tsarin kiɗan na ra'ayin yana da matukar girma da ban sha'awa. . Musamman ban sha'awa shine al'amuran taron jama'a, waɗanda aka nuna alamun launin ƙasa a hankali. "Raymonda" ya sami rayuwa mai tsawo duka a cikin gidan wasan kwaikwayo (farawa daga farkon samarwa ta sanannen mawaƙa M. Petipa), da kuma a kan wasan kwaikwayo (a cikin nau'i na suite). Sirrin shahararsa ya ta'allaka ne a cikin kyawawan kyawawan waƙoƙin waƙa, a cikin daidaitattun waƙoƙin kiɗan da sautin kaɗe-kaɗe zuwa filastik na rawa.

A cikin wadannan ballets, Glazunov ya bi hanyar matsawa wasan kwaikwayon. Wannan shi ne yadda The Young Maid, ko Trial of Damis (1898) da kuma Hudu Seasons (1898) bayyana - daya-act ballets kuma halitta tare da haɗin gwiwar Petipa. Makircin ba shi da mahimmanci. Na farko shine kyakkyawar fastoci a cikin ruhun Watteau (mai zanen Faransa na karni na XNUMX), na biyu shine kwatanci game da madawwamin yanayi, wanda ke kunshe a cikin zane-zane na kida da kide-kide guda hudu: "Winter", "Spring", "Summer". "," Kaka". Sha'awar taƙaitawa da kuma jaddada kayan ado na ballet guda ɗaya na Glazunov, roƙon marubucin zuwa zamanin karni na XNUMX, mai launi tare da taɓawa na baƙin ciki - duk wannan yana sa mutum ya tuna da abubuwan sha'awa na masu fasaha na Duniya na Art.

Haɗin gwiwar lokaci, ma'anar hangen nesa na tarihi yana cikin Glazunov a cikin kowane nau'ikan. Daidaitaccen ma'ana da ma'ana na ginin, yin amfani da aiki na polyphony - ba tare da waɗannan halaye ba zai yiwu a yi tunanin bayyanar Glazunov mai ba da labari. Siffofin iri ɗaya a cikin bambance-bambancen salo daban-daban sun zama mafi mahimmancin fasalin kiɗan na ƙarni na XNUMX. Kuma ko da yake Glazunov ya kasance daidai da al'adun gargajiya, yawancin abubuwan da ya samo a hankali sun shirya binciken fasaha na karni na XNUMX. V. Stasov da ake kira Glazunov "Rasha Samson". Lallai, bogatyr ne kawai zai iya kafa alaƙar da ba za a iya rabuwa da ita ba tsakanin al'adun gargajiya na Rasha da kiɗan Soviet masu tasowa, kamar yadda Glazunov ya yi.

N. Zabolotnaya

Alexander Konstantinovich Glazunov (1865-1936), dalibi kuma amintaccen abokin aiki na NA Rimsky-Korsakov, ya mamaye wani wuri mai ban sha'awa a tsakanin wakilan "sabon makarantar kiɗa na Rasha" kuma a matsayin babban mawallafi, wanda a cikin aikinsa ya sami wadata da haske na launuka. an haɗa su tare da mafi girma, mafi cikakkiyar fasaha, kuma a matsayin mai ci gaba da kida da jama'a wanda ya kare bukatun fasahar Rasha. Ba a saba da wuri ba ya jawo hankalin taron Symphony na Farko (1882), abin mamaki ga irin wannan matashin a cikin tsabta da cikar sa, yana da shekaru talatin yana samun shahara sosai da karbuwa a matsayin marubucin ban mamaki biyar na ban mamaki, hudu quartets da sauran su da yawa. ayyuka, alama da wadatar tunani da balaga. aiwatar da shi.

Bayan jawo hankalin mai karimci MP Belyaev, mai sha'awar mawaki nan da nan ya zama ɗan takara mai ban sha'awa, sa'an nan kuma daya daga cikin shugabannin duk ayyukan kiɗa, ilimi da farfaganda, ya jagoranci ayyukan wasan kwaikwayo na Rasha, a cikin abin da ya dace. Shi da kansa yakan yi aiki a matsayin madugu, da kuma gidan buga littattafai na Belyaev, yana bayyana ra'ayinsu mai nauyi game da ba da kyautar Glinkin ga mawaƙan Rasha. Malamin Glazunov kuma mai ba da shawara, Rimsky-Korsakov, sau da yawa fiye da sauran, ya jawo hankalin shi don taimaka masa wajen aiwatar da ayyukan da suka danganci ci gaba da tunawa da manyan 'yan'uwa, yin tsari da buga abubuwan da suka kirkiro. Bayan mutuwar kwatsam na AP Borodin, su biyu sun yi aiki tuƙuru don kammala wasan opera Prince Igor wanda ba a gama ba, godiya ga abin da wannan ƙwararren halitta ya sami damar ganin hasken rana kuma ya sami matakin rayuwa. A cikin 900s, Rimsky-Korsakov, tare da Glazunov, sun shirya wani sabon bincike mai mahimmanci na Glinka's symphonic scores, A Life for the Tsar da Prince Kholmsky, wanda har yanzu yana riƙe da muhimmancinsa. Tun 1899 Glazunov farfesa ne a St.

Bayan mutuwar Rimsky-Korsakov Glazunov ya zama magaji da aka sani da kuma ci gaba da hadisai na babban malaminsa, a cikin rayuwar kida na Petersburg. ikonsa na sirri da na fasaha ya kasance babu shakka. A shekara ta 1915, dangane da cika shekaru hamsin na Glazunov VG Karatygin ya rubuta: “Wane ne ya fi shahara a cikin mawakan Rasha masu rai? Waye sana'ar ajin farko ya wuce ko shakka babu? Game da wanne daga cikin mutanen zamaninmu ya daɗe ya daina yin gardama, ba tare da wata shakka ba saboda fasaharsa ya fahimci mahimmancin abun ciki na fasaha da babbar makarantar fasahar kiɗa? Sunan kawai yana iya kasancewa a zuciyar wanda ya yi irin wannan tambayar kuma a bakin wanda yake son amsa ta. Wannan sunan shine AK Glazunov.

A wancan lokacin mafi m rigingimu da kuma gwagwarmaya na daban-daban igiyoyin ruwa, a lokacin da ba kawai sabon, amma kuma da yawa, da alama, da dadewa assimilated, da tabbaci shiga cikin sani, ya haifar da sabawa hukunce-hukunce da kima, irin wannan "rashin jayayya" ya zama kamar. sabon abu har ma na kwarai. Ya shaida wani babban girmamawa ga hali na mawaki, da kyau kwarai gwaninta da impeccable dandano, amma a lokaci guda, wani tsaka tsaki na hali zuwa ga aikinsa a matsayin wani abu riga m, tsaye ba sosai "sama da fada", amma. "daga fada" . Kiɗa na Glazunov bai burge ba, bai ta da ƙauna da bauta mai daɗi ba, amma bai ƙunshi abubuwan da ba za a yarda da su ba ga kowane ɗayan masu hamayya. Godiya ga hikimar tsabta, jituwa da daidaituwa tare da wanda mawaki ya gudanar da haɗuwa tare daban-daban, wasu lokuta masu adawa da dabi'un, aikinsa zai iya sulhunta "'yan gargajiya" da "masu kirkiro".

Bayan 'yan shekaru kafin bayyanar da aka ambata labarin da Karatygin, wani sanannen mai sukar AV Ossovsky, a kokarin sanin tarihi wurin Glazunov a Rasha music, dangana shi ga irin artists - "Finishers", da bambanci. "Masu juyin juya hali" a cikin zane-zane, masu gano sababbin hanyoyi: "Masu juyin juya hali" an lalata su ta hanyar fasahar da ba ta daɗe ba tare da ɓatanci na bincike, amma a lokaci guda, a cikin rayukan su, akwai wadata da yawa na ƙarfin ƙirƙira don samfurin. na sababbin ra'ayoyi, don ƙirƙirar sababbin nau'o'in fasaha, waɗanda suke hangowa, kamar yadda suke, a cikin abubuwan ban mamaki na alfijir na alfijir <...> Amma akwai wasu lokuta a cikin fasaha - zamanin tsaka-tsakin, ya bambanta da waɗancan na farko. wanda za'a iya bayyana shi azaman lokuta masu yanke hukunci. Masu zane-zane, waɗanda makomar tarihinsu ta ta'allaka ne a cikin haɗakar ra'ayoyi da siffofin da aka kirkira a zamanin fashe fashe, na kira sunan da aka ambata na ƙarshe.

Duality na Glazunov matsayi na tarihi a matsayin mai zane na lokacin mika mulki an ƙaddara, a gefe guda, ta hanyar kusanci da tsarin ra'ayi, ra'ayoyin ado da ka'idoji na zamanin da ya gabata, kuma a daya hannun, ta hanyar maturation. a cikin aikinsa na wasu sababbin abubuwan da suka ci gaba da ci gaba a gaba. Ya fara aikinsa a lokacin da "zamanin zinare" na kiɗa na gargajiya na Rasha, wanda sunayen Glinka, Dargomyzhsky da magajin su na ƙarni na "sittin" ke wakilta, bai riga ya wuce ba. A 1881, Rimsky-Korsakov, a karkashin jagorancin Glazunov ƙware da kayan yau da kullum na composing dabara, hada Snow Maiden, wani aikin da alama farkon high m balagagge na marubucin. Shekaru 80 da farkon 90s sune lokacin mafi girman wadata ga Tchaikovsky kuma. A lokaci guda, Balakirev, komawa zuwa kerawa na kiɗa bayan mummunan rikici na ruhaniya da ya sha wahala, ya haifar da wasu mafi kyawun abubuwan da ya yi.

Yana da dabi'a cewa wani mawaƙi mai son rai, kamar Glazunov ya kasance a lokacin, ya ɗauki siffar a ƙarƙashin rinjayar yanayin kiɗan da ke kewaye da shi kuma bai tsira daga tasirin malamansa da manyan abokansa ba. Ayyukansa na farko suna ɗauke da hatimin sananne na dabi'un "Kuchkist". A lokaci guda, wasu sabbin abubuwa sun riga sun kunno kai a cikinsu. A cikin bita na wasan kwaikwayo na Symphony na farko a cikin wani wasan kwaikwayo na Makarantar Kiɗa na Kyauta a ranar 17 ga Maris, 1882, wanda Balakirev ya jagoranta, Cui ya lura da tsabta, cikawa da isasshen ƙarfin gwiwa kan aiwatar da niyyarsa ta ɗan shekara 16. marubuci: “Yana da cikakken ikon bayyana abin da yake so, kuma soyadda yake so.” Daga baya, Asafiev kusantar da hankali ga m "predetermination, unconditional kwarara" Glazunov music a matsayin wani nau'i na bayar, muhimmi a cikin ainihin yanayin da m tunani: "Kamar dai Glazunov ba ya haifar da music, amma. Yana da halitta, ta yadda mafi hadaddun sautin sauti suna ba da kansu, kuma ba a samo su ba, an rubuta su kawai ("don ƙwaƙwalwar ajiya"), kuma ba a cikin su ba sakamakon gwagwarmaya tare da kayan da ba su da tushe. Wannan m ma'ana akai-akai na kwarara na m tunani bai sha wahala daga sauri da kuma sauƙi na abun da ke ciki, wanda aka musamman daukan hankali a cikin matasa Glazunov a farkon shekaru ashirin da ya composing ayyukan.

Ba daidai ba ne a kammala daga wannan cewa tsarin ƙirƙirar Glazunov ya ci gaba gaba ɗaya ba tare da tunani ba, ba tare da kowane irin ƙoƙari na ciki ba. Samuwar fuskar marubucin nasa ya samu ne sakamakon aiki tuƙuru da himma wajen inganta fasahar mawaƙa da kuma wadatar da hanyoyin rubutun waƙa. Sanin Tchaikovsky da Taneyev sun taimaka wajen shawo kan tsarin fasaha da mawaƙa da yawa suka lura a cikin ayyukan farko na Glazunov. Buɗaɗɗen motsin rai da wasan kwaikwayo mai fashewa na kiɗan Tchaikovsky ya kasance baƙon ga waɗanda aka kame, ɗan rufewa kuma an hana su a cikin wahayinsa na ruhaniya Glazunov. A cikin wani ɗan taƙaitaccen maƙala mai taken “Acquaintance da Tchaikovsky,” da aka rubuta da yawa daga baya, Glazunov ya ce: “Game da kaina, zan ce ra’ayina a fasaha ya bambanta da na Tchaikovsky. Duk da haka, ina nazarin ayyukansa, na ga abubuwa da yawa a cikin su, sababbin abubuwa masu ilmantarwa a gare mu, matasa mawaƙa a lokacin. Na jawo hankali ga gaskiyar cewa, kasancewar farko mawaƙi ne na mawaƙa, Pyotr Ilyich ya gabatar da abubuwan opera a cikin wasan kwaikwayo. Na fara rusuna ba sosai ga jigogi kayan nasa halittun, amma ga wahayin ci gaban tunani, temperament da kamala na rubutu a general.

Haɗin kai tare da Taneyev da Laroche a ƙarshen 80s sun ba da gudummawa ga sha'awar Glazunov ga polyphony, ya umarce shi ya yi nazarin aikin tsofaffin mashawarta na ƙarni na XNUMX-XNUMXth. Daga baya, lokacin da ya kamata ya koyar da azuzuwan polyphony a Conservatory na St. Ɗaya daga cikin ɗaliban da ya fi so, MO Steinberg, ya rubuta, yana tunawa da shekarunsa na rikodi: "A nan mun san ayyukan manyan masu adawa da makarantun Dutch da Italiyanci ... Na tuna da kyau yadda AK Glazunov ya yaba da fasaha maras misali na Josquin, Orlando Lasso. , Palestrina, Gabrieli, yadda ya cutar da mu, matasa kajin, waɗanda har yanzu suna da talauci ƙware a cikin dukan waɗannan dabaru, da sha'awa.

Wadannan sababbin abubuwan sha'awa sun haifar da ƙararrawa da rashin amincewa a tsakanin masu ba da shawara na Glazunov a St. Petersburg, wanda ke cikin "sabuwar makarantar Rasha". Rimsky-Korsakov a cikin "Thronicle" a hankali da kuma hana, amma quite a fili, yayi magana game da sabon trends a cikin Belyaev da'irar, alaka da gidan cin abinci "zaune" na Glazunov da Lyadov tare da Tchaikovsky, wanda aka ja bayan tsakar dare, game da mafi m. ganawa da Laroche. "Sabon lokaci - sababbin tsuntsaye, sababbin tsuntsaye - sababbin waƙoƙi," ya lura game da wannan. Kalamansa na baka a cikin da'irar abokai da masu ra'ayi iri ɗaya sun kasance masu gaskiya da ƙima. A cikin bayanin VV Yastrebtsev, akwai maganganu game da "mafi karfi tasiri na Laroshev's (Taneev's?) ra'ayoyin" a kan Glazunov, game da "Glazunov wanda ya gaba daya ya tafi mahaukaci", zargin cewa ya kasance "karkashin rinjayar S. Taneyev (kuma watakila). Laroche) da ɗan kwantar da hankali zuwa Tchaikovsky.

Irin waɗannan zarge-zargen ba za a iya ɗaukar su daidai ba. Sha'awar Glazunov don faɗaɗa hangen nesa na kiɗan ba a haɗa shi da watsi da tsohon tausayi da ƙauna ba: an haifar da shi ta hanyar sha'awar dabi'a gaba ɗaya don wuce ma'anar "umarni" ko ra'ayi na da'ira, don shawo kan inertia na ƙa'idodin ado da aka rigaya. ma'aunin kimantawa. Glazunov ya tabbatar da kare hakkinsa na 'yancin kai da 'yancin kai na shari'a. Da ya juya ga SN Kruglikov tare da buƙatar bayar da rahoto game da wasan kwaikwayo na Serenade for Orchestra a cikin wani wasan kwaikwayo na Moscow RMO, ya rubuta: "Don Allah a rubuta game da wasan kwaikwayon da sakamakon da na yi da yamma tare da Taneyev. Balakirev da Stasov sun tsawata mini game da wannan, amma na ƙi yarda da su kuma ban yarda ba, akasin haka, na ɗauki wannan wani nau'in tsattsauran ra'ayi akan su. Gabaɗaya, a cikin irin wannan rufaffiyar, da'irori "marasa isa", kamar yadda da'irarmu ta kasance, akwai ƙananan ƙananan ƙarancin da zakara na mata.

A zahirin ma'anar kalmar, sanin Glazunov da Wagner's Der Ring des Nibelungen, wanda wata ƙungiyar opera ta Jamus ta yi da suka ziyarci St. Petersburg a cikin bazara na 1889, ya zama wahayi. Wannan taron ya tilasta masa ya canza halin da ake ciki na shakka game da Wagner, wanda a baya ya raba tare da shugabannin "sabuwar makarantar Rasha". Ana maye gurbin rashin amana da ƙetare da zafi, sha'awar sha'awa. Glazunov, kamar yadda ya shigar a cikin wata wasika zuwa Tchaikovsky, "yi imani da Wagner." An buge shi da "ikon asali" na sautin mawaƙa na Wagner, ya, a cikin kalmominsa, "ya rasa dandano ga kowane kayan aiki", duk da haka, ba tare da manta da yin tanadi mai mahimmanci ba: "hakika, na ɗan lokaci. ” A wannan lokaci, Glazunov ta sha'awar da aka raba da malaminsa Rimsky-Korsakov, wanda ya fadi a karkashin rinjayar da marmari palette mai arziki a cikin launi daban-daban na marubucin The Ring.

Raramar sabon ra'ayi wanda ya mamaye matashin mawaki tare da wani ɗan adam wanda ba shi da tsari kuma mai rauni a wasu lokuta ya kai shi cikin ruɗani: ya ɗauki lokaci don ƙwarewa da fahimtar duk wannan a ciki, don samun hanyarsa a cikin ɗimbin ƙungiyoyin fasaha daban-daban, ra'ayoyi. da kayan ado da suka buɗe gabansa. Matsayi, Wannan ya haifar da waɗannan lokutan shakku da shakku, game da abin da ya rubuta a cikin 1890 zuwa Stasov, wanda ya yi maraba da wasan kwaikwayonsa na farko a matsayin mawaki: "Da farko komai ya kasance mai sauƙi a gare ni. Yanzu, kadan kadan, basirata ta dan dushe, kuma sau da yawa nakan fuskanci lokuta masu raɗaɗi na shakku da rashin yanke shawara, har sai na tsaya a wani abu, sannan komai ya ci gaba kamar da. . . ". A lokaci guda, a cikin wata wasika zuwa ga Tchaikovsky, Glazunov ya yarda da matsalolin da ya fuskanta wajen aiwatar da ra'ayoyinsa na kirkire-kirkire saboda "bambancin ra'ayoyin tsoho da sababbin."

Glazunov ya ji hatsarin makanta da rashin zargi da bin tsarin "Kuchkist" na baya, wanda ya jagoranci aikin mawaƙa na ƙananan basira zuwa maimaita abin da ya riga ya wuce kuma ya ƙware. "Duk abin da yake sabo da basira a cikin 60s da 70s," ya rubuta wa Kruglikov, "yanzu, don sanya shi da wuya (har ma da yawa), an yi watsi da shi, kuma ta haka ne mabiyan tsohuwar makaranta masu basira na Rashanci suka yi na ƙarshe. mummunan sabis”. Rimsky-Korsakov ya bayyana irin wannan hukunce-hukuncen a cikin ma fi buɗaɗɗe da yanke hukunci, yana kwatanta yanayin "sabuwar makarantar Rasha" a farkon 90s tare da "iyali da ke mutuwa" ko "lambu mai bushe." "... Na ga," ya rubuta zuwa ga wannan adireshin wanda Glazunov yayi magana da tunaninsa mara dadi, "cewa sabuwar makarantar Rasha ko wata ƙungiya mai ƙarfi ta mutu, ko kuma ta rikiɗe zuwa wani abu dabam, gaba ɗaya maras so.

Duk waɗannan ƙima mai mahimmanci da tunani sun dogara ne akan sanin gajiyar wasu nau'ikan hotuna da jigogi, buƙatar neman sabbin ra'ayoyi da hanyoyin fasahar fasahar su. Amma hanyoyin cimma wannan manufa, malami da dalibi sun nemi ta hanyoyi daban-daban. Da yake da tabbacin daukakar maƙasudin ruhaniya na fasaha, masanin demokraɗiyya Rimsky-Korsakov, da farko, ya ƙware don ƙware sabbin ayyuka masu ma'ana, don gano sabbin abubuwa a cikin rayuwar mutane da halayen ɗan adam. Ga akida mafi m Glazunov, babban abu ba cewa, as, ayyuka na musamman shirin kida aka kawo a gaba. Ossovsky, wanda ya san mawakin da kyau ya rubuta: “Ayyukan adabi, falsafa, ɗabi’a ko ɗabi’a na addini, ra’ayoyin hoto baƙo ne a gare shi,” in ji Ossovsky. AK Glazunov kawai yana kula da kiɗa kuma kawai waƙarta - kyawawan motsin zuciyar ruhaniya.

Idan a cikin wannan hukunci akwai wani rabo na niyya polemical sharpness, hade da antipathy cewa Glazunov da kansa ya bayyana fiye da sau daya zuwa cikakken fi'ili bayani na m niyya, sa'an nan a kan dukan matsayi na mawaki aka halin da Ossovsky daidai. Bayan samun ɗan lokaci na bincike da sha'awa masu cin karo da juna a cikin shekarun ƙirƙira kai-da-kai, Glazunov a cikin shekarun da ya balaga ya zo ga fasaha na gabaɗaya, ba kyauta daga inertia na ilimi ba, amma mai tsananin ɗanɗano, bayyananne kuma cikin ciki gabaɗaya.

Waƙar Glazunov ta mamaye haske, sautunan maza. Ba a siffanta shi da ko dai taushi m hankali wanda yake shi ne halayyar Tchaikovsky ta epigones, ko zurfi da karfi wasan kwaikwayo na marubucin Pathetique. Idan walƙiya na m ban mamaki tashin hankali wani lokacin bayyana a cikin ayyukansa, sa'an nan su da sauri Fashe bãya, ba da hanya zuwa ga kwanciyar hankali, jituwa tunani na duniya, da kuma wannan jituwa da aka samu ba ta hanyar fada da kuma shawo kan kaifi rikice-rikice na ruhaniya, amma shi ne, kamar yadda yake. , an riga an kafa shi. ("Wannan shine ainihin kishiyar Tchaikovsky!" Ossovsky yayi magana game da Symphony na takwas na Glazunov. "Tsarin abubuwan da suka faru," mai zane ya gaya mana, "an riga an ƙaddara, kuma duk abin da zai zo cikin jituwa a duniya").

Glazunov yawanci ana danganta shi ga masu fasaha na nau'in haƙiƙa, wanda keɓaɓɓen mutum bai taɓa zuwa gaba ba, wanda aka bayyana a cikin tsari mai katsewa. A cikin kanta, haƙiƙanin ra'ayi na duniya na fasaha ba ya ware jin daɗin tafiyar matakai na rayuwa da aiki mai tasiri a kansu. Amma sabanin, misali, Borodin, ba mu sami wadannan halaye a cikin m hali na Glazunov. A cikin madaidaicin motsin tunaninsa na kiɗan, lokaci-lokaci kawai yana damuwa da bayyanar da karin magana mai ƙarfi, wani lokaci wani yakan ji wani hanawa na ciki. Ana maye gurbin ci gaban jigo mai ƙarfi da wani nau'in wasa na ƙananan sassa na melodic, waɗanda ke ƙarƙashin bambance-bambancen rhythmic da timbre-rejistar ko an haɗa su da juna ba tare da izini ba, suna yin ƙayataccen kayan ado na yadin da aka saka.

Matsayin polyphony azaman hanyar haɓaka jigogi da gina sigar da aka gama a cikin Glazunov yana da girma sosai. Yana yin amfani da fasahohinsa daban-daban, har zuwa mafi hadaddun nau'ikan madaidaicin madaidaicin motsi, kasancewar a wannan fannin ɗalibi ne mai aminci kuma mabiyi Taneyev, wanda sau da yawa zai iya yin gasa ta fuskar fasaha ta polyphonic. Da yake kwatanta Glazunov a matsayin "babban mai adawa da Rasha, yana tsaye a kan hanyar wucewa daga karni na XNUMX zuwa karni na XNUMX," Asafiev yana ganin ainihin "hangen duniya na kiɗa" a cikin sha'awar rubuce-rubucen murya. Babban matakin jikewa na masana'anta na kiɗa tare da polyphony yana ba shi sassauci na musamman na kwarara, amma a lokaci guda wani ɗanko da rashin aiki. Kamar yadda Glazunov da kansa ya tuna, lokacin da aka tambaye shi game da gazawar hanyar rubutunsa, Tchaikovsky ya amsa a takaice: "Wasu tsayi da rashin hutu." Dalla-dalla da Tchaikovsky ya kama daidai yana samun ma'ana mai mahimmanci a cikin wannan mahallin: ci gaba da ruwa na masana'antar kiɗa yana haifar da rauni na bambance-bambance da ɓoye layin tsakanin ginin jigogi daban-daban.

Ɗaya daga cikin fasalulluka na kiɗan Glazunov, wanda wani lokaci yana da wuyar fahimta, Karatygin yayi la'akari da "ƙananan 'shawarwari'" ko, kamar yadda mai sukar ya bayyana, "don amfani da kalmar Tolstoy, ƙarancin ikon Glazunov don 'kamuwa' mai sauraro tare da lafuzzan fasaharsa na 'bacin rai'. Ba a zubar da jin daɗin rai na sirri a cikin kiɗan Glazunov kamar tashin hankali da kai tsaye kamar, alal misali, a cikin Tchaikovsky ko Rachmaninoff. Kuma a lokaci guda, da wuya mutum zai yarda da Karatygin cewa motsin zuciyar marubucin "koyaushe yana murƙushe ta da babban kauri na fasaha mai tsabta." Glazunov ta music ba baƙo ga lyrical dumi da ikhlasi, karya ta cikin makamai na mafi hadaddun da kuma m polyphonic plexuses, amma kalmominsa rike da fasali na kamun kai, tsabta da kuma contemplative zaman lafiya muhimmi a cikin dukan m image na mawaki. Waƙarsa, ba tare da kaifi mai faɗin lafazi ba, ana bambanta shi da kyawun filastik da zagaye, kamanni da turawa mara gaggawa.

Abu na farko da ya taso lokacin sauraron kiɗan Glazunov shine ji na lulluɓe da yawa, wadata da wadatar sauti, sannan kawai ikon bin ci gaba na yau da kullun na masana'anta na polyphonic mai rikitarwa kuma duk canje-canjen bambance-bambancen a cikin manyan jigogi sun bayyana. . Ba na karshe rawa a cikin wannan batun taka m m harshe da kuma arziki cikakken sauti Glazunov Orchestra. Mawaƙin-harmonic tunanin mawaƙi, wanda aka kafa a ƙarƙashin rinjayar biyu na kusa Rasha magabata (da farko Borodin da Rimsky-Korsakov), da marubucin Der Ring des Nibelungen, kuma yana da wasu mutum fasali. A cikin tattaunawa game da "Jagora zuwa Kayan aiki," Rimsky-Korsakov ya taɓa cewa: "Ƙaƙa nawa ya fi dacewa kuma ya fi dacewa fiye da na Alexander Konstantinovich, amma a gefe guda, kusan babu misalai na "kyakkyawan symphonic tutti. "Yayin da Glazunov yana da irin waɗannan misalai na kayan aiki. yadda kuke so, domin, a gaba ɗaya, ƙungiyarsa ta ya fi tawa yawa da haske.

Ƙwaƙwalwar ƙungiyar Glazunov ba ta haskakawa da haske, tana haskakawa da launuka daban-daban, kamar Korsakov's: kyawunsa na musamman shine a cikin daidaituwa da kuma sannu-sannu na sauye-sauye, yana haifar da ra'ayi na sauye-sauye masu girma, ƙananan sauti. Mawaƙin ya yi ƙoƙari sosai don bambance-bambance da adawa da katako na kayan aiki, amma don haɗuwa da su, suna tunani a cikin manyan nau'o'in orchestral, wanda kwatanta wanda yayi kama da canji da canji na rajista lokacin wasa da sashin jiki.

Tare da duk nau'ikan tushen salo iri-iri, aikin Glazunov wani abu ne mai mahimmanci kuma na halitta. Duk da abubuwan da ke tattare da shi na sanannen warewar ilimi da kuma nisantar da ainihin matsalolin lokacinsa, yana iya burge shi tare da ƙarfin ciki, kyakkyawan fata da wadatar launuka, ba tare da ma'anar babban fasaha da tunani mai kyau na duk abubuwan ba. cikakkun bayanai.

Mawaƙin bai zo ga wannan haɗin kai da cikar salon nan da nan ba. Shekaru goma bayan taron Symphony na farko ya kasance a gare shi tsawon lokaci na bincike da aiki tukuru a kan kansa, yana yawo a cikin ayyuka daban-daban da manufofin da suka ja hankalinsa ba tare da wani kwakkwaran goyon baya ba, da kuma wasu lokutan rudu da gazawa. A kusan tsakiyar 90s ne kawai ya sami nasarar shawo kan jaraba da jaraba waɗanda suka haifar da matsanancin sha'awa na gefe guda kuma ya shiga babbar hanya ta ayyukan kirkire-kirkire masu zaman kansu. Wani ɗan gajeren ɗan gajeren lokaci na shekaru goma zuwa goma sha biyu a ƙarshen 1905th da 1906th ƙarni shine Glazunov shine lokacin mafi girman furen fure, lokacin da aka halicci mafi kyawunsa, mafi girma da manyan ayyuka. Daga cikinsu akwai kade-kade biyar (daga na hudu zuwa na takwas), na hudu da na biyar, da Concerto na Violin, da sonatas na piano, duka ballets uku da wasu da dama. Kusan bayan XNUMX-XNUMX, raguwa mai gani a cikin ayyukan ƙirƙira ya shiga, wanda ya karu a hankali har zuwa ƙarshen rayuwar mawaƙa. A wani bangare, irin wannan kwatsam kaifi raguwa a yawan aiki za a iya bayyana ta waje yanayi da kuma, fiye da duka, da manyan, lokaci-cinyewa ilimi, kungiya da kuma gudanar da aikin da ya fadi a kan kafadu na Glazunov dangane da zaben da aka yi a matsayin post. darektan St. Petersburg Conservatory. Amma akwai dalilai na tsari na cikin gida, wanda aka samo asali a cikin ƙin yarda da waɗannan sabbin abubuwan da suka tabbatar da kansu a cikin aikin da kuma rayuwar kiɗa na farkon karni na XNUMX, kuma wani ɓangare, wataƙila, a cikin wasu dalilai na sirri waɗanda ke da alaƙa har yanzu ba a yi cikakken bayani ba. .

Dangane da yanayin haɓaka hanyoyin fasaha, matsayi na Glazunov ya sami haɓaka ilimi da halayen kariya. Kusan duk Turai music na post-Wagnerian lokaci da aka categorically ƙi shi: a cikin aikin Richard Strauss, bai sami wani abu sai "cacophony mai banƙyama", Faransanci Impressionists sun kasance kamar baƙo da antipathetic a gare shi. Daga cikin mawaƙa na Rasha Glazunov ya kasance mai tausayi ga Scriabin, wanda aka karɓa sosai a cikin da'irar Belyaev, ya sha'awar Sonata ta Hudu, amma ba zai iya karɓar waƙar Ecstasy ba, wanda ke da tasiri a kansa. Ko da Rimsky-Korsakov Glazunov ya zarge shi saboda gaskiyar cewa a cikin rubuce-rubucensa "ya ba da kyauta ga lokacinsa." Kuma babu abin da ba a yarda da Glazunov ba shine duk abin da matasa Stravinsky da Prokofiev suka yi, ba tare da la'akari da yanayin kiɗa na 20 na baya ba.

Irin wannan hali ga duk wani sabon abu ya kasance dole ne ya ba Glazunov jin daɗin kadaici, wanda bai taimaka wajen samar da yanayi mai kyau ba don aikinsa a matsayin mawaki. A ƙarshe, yana yiwuwa bayan shekaru masu yawa na irin wannan tsanani "ba da kai" a cikin aikin Glazunov, kawai ya kasa samun wani abu da za a ce ba tare da sake rera kansa ba. A karkashin waɗannan yanayi, aiki a ɗakin ajiyar ya iya, zuwa wani matsayi, don raunana da kuma sassaukar da wannan jin dadi, wanda ba zai iya tashi ba amma sakamakon irin wannan raguwar ƙirƙira. Duk da haka, tun daga 1905, a cikin wasiƙunsa, ana jin gunaguni akai-akai game da wahalar rubutawa, rashin sababbin tunani, "shakku akai-akai" har ma da rashin son rubuta kiɗa.

A mayar da martani ga wata wasika daga Rimsky-Korsakov, wanda bai isa gare mu, a fili zargi da ƙaunataccen dalibi ga m aiki, Glazunov ya rubuta a cikin Nuwamba 1905: Kai, ƙaunataccen mutum, wanda na yi hassada ga kagara na ƙarfi, kuma, a karshe. Ina da shekaru har zuwa shekaru 80 kawai… Ina jin cewa a cikin shekarun da suka gabata na ƙara rashin cancantar bauta wa mutane ko ra'ayoyi. Wannan furci mai ɗaci ya nuna sakamakon rashin lafiya mai tsawo na Glazunov da duk abin da ya fuskanta dangane da abubuwan da suka faru na 60. Amma duk da haka, lokacin da kaifi na waɗannan abubuwan ya zama maras ban sha'awa, bai ji buƙatar gaggawa na kerawa na kiɗa ba. A matsayin mawaki Glazunov ya bayyana kansa sosai tun yana da shekaru arba'in, kuma duk abin da ya rubuta a cikin sauran shekaru talatin ya kara kadan ga abin da ya halitta a baya. A cikin wani rahoto a kan Glazunov, karanta a cikin 40, Ossovsky ya lura da "raguwa a cikin ikon m" na mawaki tun 1905, amma a gaskiya wannan raguwa ya zo shekaru goma da suka wuce. Jerin sabbin abubuwan da aka tsara na asali na Glazunov daga ƙarshen Symphony na takwas (1949-1917) zuwa kaka na 1905 an iyakance shi zuwa makin kade-kade dozin, galibi a cikin ƙaramin tsari. (Aiki a kan Symphony na tara, wanda aka ɗauka tun farkon 1904, mai suna iri ɗaya da na takwas, bai ci gaba ba fiye da zane na motsi na farko.), da kiɗa don wasanni biyu masu ban mamaki - "Sarkin Yahudawa" da "Masquerade". Wasan kide-kide na piano guda biyu, kwanan wata 1911 da 1917, sune aiwatar da ra'ayoyin farko.

Bayan Oktoba juyin juya halin Glazunov zauna a matsayin darektan na Petrograd-Leningrad Conservatory, dauki wani m bangare a daban-daban m da ilimi events, kuma ya ci gaba da wasanni a matsayin shugaba. Amma rashin jituwarsa tare da sabbin abubuwa a fagen kerawa ta kiɗan ya zurfafa kuma ya ɗauki mafi girman salo. Sabbin al'amura sun gamu da tausayawa da goyon baya a tsakanin wani bangare na farfesa masu ra'ayin mazan jiya, wadanda suka nemi kawo sauyi a tsarin ilimi da sabunta wakokin da aka reno matasa dalibai. A wannan batun, jayayya da bambance-bambance sun taso, sakamakon haka matsayin Glazunov, wanda ya tabbatar da tsabta da rashin daidaituwa na tushen al'adun gargajiya na makarantar Rimsky-Korsakov, ya zama mafi wuya kuma sau da yawa m.

Wannan shi ne daya daga cikin dalilan da ya sa, da ya tafi Vienna a 1928 a matsayin memba na juri na kasa da kasa Competition da aka shirya don shekaru 26 na mutuwar Schubert, bai sake komawa ƙasarsa ba. Rabuwa daga yanayin da aka saba da kuma tsofaffin abokai Glazunov sun fuskanci wahala. Duk da halin mutuntawa da manyan mawakan ƙasashen waje suka yi masa, jin kaɗaici da keɓantacce bai bar marasa lafiya ba kuma ba matashin mawaki ba, wanda aka tilasta masa yin rayuwa mai cike da gajiyawa a matsayin jagoran yawon buɗe ido. Ƙasashen waje Glazunov ya rubuta ayyuka da yawa, amma ba su kawo masa gamsuwa sosai ba. Halinsa a cikin shekaru na ƙarshe na rayuwarsa yana iya kasancewa ta hanyar layi daga wasiƙar da aka rubuta zuwa MO Steinberg mai kwanan wata Afrilu 1929, XNUMX: "Kamar yadda Poltava ya ce game da Kochubey, Ina kuma da abubuwa guda uku - ƙirƙira, haɗin gwiwa da cibiyar da na fi so da kide kide. wasan kwaikwayo. Wani abu ba daidai ba ne tare da na farko, kuma sha'awar ayyukan na ƙarshe yana sanyaya, watakila a wani ɓangare saboda jinkirin bayyanar su a cikin bugawa. Har ila yau, ikona na mawaƙa ya faɗi sosai ... Akwai sauran bege ga "colporterism" (Daga mawallafin Faransanci - don yadawa, rarrabawa. Glazunov yana nufin kalmomin Glinka, ya ce a cikin tattaunawa da Meyerbeer: "Ba na son rarrabawa. abubuwan nawa”) na waƙara da na wani, wanda na riƙe ƙarfina da ƙarfin aiki. A nan ne na kawo karshensa.”

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Aikin Glazunov ya daɗe a duniya an san shi kuma ya zama wani muhimmin ɓangare na al'adun gargajiya na Rasha. Idan ayyukansa ba su girgiza mai sauraro ba, ba su taɓa zurfin zurfin rai na ruhaniya ba, to suna iya isar da jin daɗi da jin daɗi tare da ikonsu na farko da amincinsu na ciki, haɗe da hikimar fahimta ta tunani, jituwa da cikar kamala. Mawallafin ƙungiyar "canzawa", wanda ke tsakanin shekaru biyu na hasken rana mai haske na kiɗan Rasha, ba shi ne mai kirkiro ba, mai gano sababbin hanyoyi. Amma babban, mafi cikakkiyar fasaha, tare da basirar halitta mai haske, dukiya da karimci na ƙirƙira, ya ba shi damar ƙirƙirar ayyuka masu yawa na darajar fasaha, waɗanda har yanzu ba su rasa sha'awa mai ban sha'awa ba. A matsayin malami da jama'a, Glazunov ya ba da gudummawa sosai ga ci gaba da ƙarfafa tushen al'adun kiɗa na Rasha. Duk wannan yana ƙayyade mahimmancinsa a matsayin ɗaya daga cikin manyan al'adun kiɗa na Rasha a farkon karni na XNUMX.

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