Alexander Nikolaevich Scriabin (Alexander Scriabin).

Alexander Scriabin

Kiɗa na Scriabin shine wanda ba zai iya tsayawa ba, sha'awar ɗan adam don 'yanci, don farin ciki, don jin daɗin rayuwa. … Ta ci gaba da kasancewa a matsayin mai ba da shaida ga mafi kyawun buri na zamaninta, wanda a cikinsa ta kasance “fashewa”, abin sha’awa da rashin natsuwa na al’ada. B. Asafiev

A. Scriabin ya shiga waƙar Rasha a ƙarshen 1890s. kuma nan da nan ya bayyana kansa a matsayin na musamman, mutum mai hazaka. Mai ƙididdigewa mai ƙarfin hali, “kyakkyawan mai neman sababbin hanyoyi,” a cewar N. Myaskovsky, “tare da taimakon sabon harshe, wanda ba a taɓa ganin irinsa ba, ya buɗe mana irin wannan yanayi na ban mamaki… idanunmu ga wani lamari mai mahimmanci a duniya." Ƙirƙirar Scriabin ta bayyana kanta a cikin fagen waƙa, jituwa, rubutu, tsarawa da kuma a cikin takamaiman fassarar zagayowar, da kuma ainihin zane-zane da ra'ayoyin, wanda zuwa ga babban haɗin gwiwa tare da romantic aesthetics da poetics na alamar Rasha. Duk da ɗan gajeren hanya mai ƙirƙira, mawaƙin ya ƙirƙira ayyuka da yawa a cikin nau'ikan kiɗan kiɗan da kiɗan piano. Ya rubuta wasan kwaikwayo na 3, "The Poem of Ecstasy", waƙar "Prometheus" don ƙungiyar makaɗa, Concerto don Piano da Orchestra; 10 sonatas, wakoki, preludes, etudes da sauran abubuwan da aka tsara don pianoforte. Ƙirƙirar Scriabin ya zama mai ma'ana tare da hadaddun zamani da rikice-rikice na juya na ƙarni biyu da farkon sabon karni na XX. Tashin hankali da sautin wuta, buri na titanic don 'yancin ruhu, don ra'ayoyin nagarta da haske, ga 'yan'uwancin duniya na mutane sun mamaye fasahar wannan mawaƙin-falsafa, yana kawo shi kusa da mafi kyawun wakilan al'adun Rasha.

An haifi Scriabin a cikin dangin uba masu hankali. Mahaifiyar da ta mutu da wuri (a hanya, ƙwararren pianist) an maye gurbinta da inna, Lyubov Alexandrovna Skryabina, wanda kuma ya zama malamin kiɗa na farko. Mahaifina ya yi hidima a sashen diflomasiyya. Ƙaunar kiɗa ta bayyana kanta a cikin ƙaramin. Sasha tun yana karami. Duk da haka, bisa ga al'adar iyali, yana da shekaru 10 an aika shi zuwa ga ƙungiyar cadet. Saboda rashin lafiya, an sake Scriabin daga aikin soja mai raɗaɗi, wanda ya ba da damar ba da lokaci mai yawa ga kiɗa. Tun lokacin rani na 1882, an fara darussan piano na yau da kullum (tare da G. Konyus, sanannen masanin ka'idar, mawaki, pianist; daga baya - tare da farfesa a cikin Conservatory N. Zverev) da kuma abun da ke ciki (tare da S. Taneyev). A Janairu 1888, matasa Scriabin shiga Moscow Conservatory a cikin aji na V. Safonov (piano) da S. Taneyev (counterpoint). Bayan kammala wani counterpoint hanya tare da Taneyev Scriabin koma zuwa free abun da ke ciki na A. Arensky, amma dangantakar ba ta aiki. Scriabin da hazaka ya kammala karatun digiri a matsayin mai wasan pianist.

Tsawon shekaru goma (1882-92) mawaƙin ya haɗa nau'ikan kiɗa da yawa, galibi na piano. Daga cikin su akwai waltzes da mazurkas, preludes da etudes, nocturnes da sonatas, wanda aka riga an ji nasu "bayanin kula Scriabin" (ko da yake wani lokacin ana iya jin tasirin F. Chopin, wanda Scriabin matashi ya ƙaunaci sosai kuma, bisa ga memoirs na zamaninsa, yayi daidai). Dukkan wasan kwaikwayo na Scriabin a matsayin mai wasan pian, ko a maraice na ɗalibi ko a cikin da'irar abokantaka, kuma daga baya a kan manyan matakai na duniya, an gudanar da su tare da nasara akai-akai, ya sami damar ɗaukar hankalin masu sauraro daga sauti na farko. piano. Bayan kammala karatu daga Conservatory, wani sabon zamani ya fara a cikin rayuwa da kuma aikin Scriabin (1892-1902). Ya hau kan hanya mai zaman kanta a matsayin mawaƙin pianist. Lokacinsa yana cike da tafiye-tafiye na shagali a gida da waje, yana tsara kiɗa; Ayyukansa sun fara bugawa ta gidan wallafe-wallafen M. Belyaev (dan kasuwa mai arzikin katako da mai ba da taimako), wanda ya yaba da hazaka na matashin mawaki; dangantaka da sauran mawaƙa suna fadada, misali, tare da Belyaevsky Circle a St. Petersburg, wanda ya hada da N. Rimsky-Korsakov, A. Glazunov, A. Lyadov, da sauransu; amincewa yana girma duka a Rasha da kuma kasashen waje. Gwaje-gwajen da ke hade da cutar da hannun dama na "overplay" an bar su a baya. Scriabin yana da hakkin ya ce: "Mai ƙarfi da ƙarfi shi ne wanda ya sami yanke ƙauna kuma ya ci nasara." A cikin jaridu na kasashen waje, an kira shi "mutum na musamman, ƙwararren mawaki kuma ɗan wasan pian, babban hali da falsafa; shi duk abin sha’awa ne da harshen wuta mai tsarki.” A cikin waɗannan shekarun, an tsara nazarin 12 da kuma 47 preludes; 2 guda don hannun hagu, 3 sonatas; Concerto for piano and orchestra (1897), waƙar makaɗa "Mafarki", 2 manyan tarurruka tare da bayyana ra'ayi na falsafa da ɗa'a, da dai sauransu.

Shekaru na bunƙasar ƙirƙira (1903-08) sun zo daidai da haɓakar zamantakewar al'umma a Rasha a jajibirin da aiwatar da juyin juya halin Rasha na farko. Mafi yawan wadannan shekaru Scriabin ya rayu a kasar Switzerland, amma yana matukar sha'awar abubuwan da suka faru na juyin juya hali a kasarsa kuma yana tausayawa 'yan juyin juya hali. Ya nuna karuwar sha'awar falsafa - ya sake komawa ga ra'ayoyin sanannen masanin falsafa S. Trubetskoy, ya sadu da G. Plekhanov a Switzerland (1906), yayi nazarin ayyukan K. Marx, F. Engels, VI Lenin, Plekhanov. Kodayake ra'ayoyin duniya na Scriabin da Plekhanov sun tsaya a sanduna daban-daban, wannan na biyun ya yaba da hali na mawaki. Barin Rasha shekaru da yawa Scriabin ya nemi ya ba da ƙarin lokaci don kerawa, don tserewa daga halin da ake ciki a Moscow (a cikin 1898-1903, a tsakanin sauran abubuwa, ya koyar a Moscow Conservatory). Abubuwan da suka faru na motsin rai na waɗannan shekarun kuma sun haɗu da canje-canje a cikin rayuwarsa na sirri (barin matarsa ​​V. Isakovich, ƙwararren pianist da mai tallata kiɗansa, da kusanci da T. Schlozer, wanda ya taka rawa mai nisa daga rayuwar Scriabin). . Kasancewa galibi a Switzerland, Scriabin ya yi tafiya akai-akai tare da kide-kide zuwa Paris, Amsterdam, Brussels, Liege, da Amurka. Wasannin sun yi babban nasara.

Tsananin yanayin zamantakewar al'umma a Rasha ba zai iya shafar mai zane mai hankali ba. Symphony na Uku ("The Divine Poem", 1904), "The Poem of Ecstasy" (1907), Sonatas na Hudu da na Biyar ya zama haƙiƙanin halitta na gaskiya; ya kuma yi etudes, baituka 5 na pianoforte (daga cikinsu "Masifu" da "Shaidan"), da dai sauransu. Yawancin waɗannan ka'idodin suna kusa da "Waƙar Allah" ta fuskar tsari na alama. An sayar da sassan 3 na wasan kwaikwayo ("Gwagwarmaya", "Abin jin daɗi", "Wasan Allah") tare da godiya ga babban jigon tabbatar da kai daga gabatarwar. Dangane da shirin, wasan kwaikwayo ya ba da labari game da "ci gaban ruhun ɗan adam", wanda, ta hanyar shakku da gwagwarmaya, shawo kan "farin ciki na duniyar sha'awa" da "pantheism", ya zo zuwa "wani nau'in ayyukan kyauta - a wasan allah". Ci gaba da bin sassa, aikace-aikacen ka'idodin leitmotivity da tauhidi, gabatar da ruwa mai ɗorewa, kamar yadda yake, yana kawar da iyakoki na zagayowar symphonic, yana kusantar da shi kusa da babban waƙa mai ban sha'awa. Harshen jituwa ya fi rikitarwa ta hanyar gabatarwar tart da jituwa mai kaifi. Abun da ke cikin ƙungiyar makaɗa yana ƙaruwa sosai saboda ƙarfafa ƙungiyoyin iska da kayan kida. Tare da wannan, keɓaɓɓen kayan kidan solo masu alaƙa da wani hoton kida ya fito waje. Dogara, yafi a kan hadisai na marigayi Romantic symphonism (F. Liszt, R. Wagner), kazalika da P. Tchaikovsky, Scriabin halitta a lokaci guda aikin da ya kafa shi a cikin Rasha da kuma duniya symphonic al'adu a matsayin m mawaki.

"Waƙar farin ciki" aiki ne na ƙarfin hali da ba a taɓa gani ba a cikin ƙira. Yana da shirin wallafe-wallafe, wanda aka bayyana a cikin aya kuma mai kama da ra'ayin ra'ayin Symphony na Uku. A matsayin yabo ga nufin mutum mai nasara duka, kalmomin ƙarshe na rubutun suna sauti:

Kuma duniya ta sake yin kukan Murna Ni!

Yawanci a cikin waƙar motsi guda ɗaya na jigogi-alamomi - laconic express motifs, ci gaban su daban-daban (wani wuri mai mahimmanci a nan yana da na'urorin polyphonic), kuma a ƙarshe, zane-zane mai ban sha'awa tare da haske mai ban sha'awa da ban sha'awa yana nuna wannan yanayin tunani, wanda Scriabin. kira ecstasy. Muhimmiyar rawar bayyanawa tana taka rawa ta hanyar yare mai arziƙi da launuka masu jituwa, inda rikice-rikice da rashin kwanciyar hankali tuni suka mamaye.

Tare da dawowar Scriabin zuwa mahaifarsa a cikin Janairu 1909, lokacin ƙarshe na rayuwarsa da aikinsa ya fara. Mawaƙin ya mayar da hankalinsa ga manufa ɗaya - ƙirƙirar babban aikin da aka tsara don canza duniya, don canza ɗan adam. Wannan shi ne yadda aikin roba ya bayyana - waƙar "Prometheus" tare da halartar babbar ƙungiyar makaɗa, ƙungiyar mawaƙa, ɓangaren solo na piano, sashin jiki, da tasirin hasken wuta (an rubuta ɓangaren haske a cikin maki. ). A cikin St. Prometheus (ko Waƙar Wuta, kamar yadda marubucinsa ya kira ta) ya dogara ne akan tsohuwar tatsuniyar Girkanci na Titan Prometheus. Taken gwagwarmaya da nasara na mutum a kan sojojin mugunta da duhu, ja da baya a gaban hasken wuta, wahayi Scriabin. Anan ya sabunta harshensa na jituwa gaba ɗaya, ya kauce wa tsarin tonal na gargajiya. Jigogi da yawa suna shiga cikin babban ci gaban symphonic. "Prometheus shine makamashi mai aiki na sararin samaniya, ka'idar halitta, wuta, haske, rayuwa, gwagwarmaya, ƙoƙari, tunani," in ji Scriabin game da Waƙarsa ta Wuta. A lokaci guda tare da tunani da tsara Prometheus, Sonatas na shida-goma, waƙar "Zuwa Flame", da dai sauransu, an halicce su don piano. Ayyukan mawaki, mai tsanani a cikin duk shekaru, wasan kwaikwayo na yau da kullum da tafiye-tafiyen da ke hade da su (sau da yawa don manufar samar da iyali) a hankali yana lalata lafiyarsa mai rauni.

Scriabin ya mutu kwatsam daga gubar jini na gabaɗaya. Labarin mutuwarsa a farkon rayuwarsa ya girgiza kowa. Duk Moscow masu fasaha sun gan shi a kan tafiya ta ƙarshe, yawancin dalibai matasa sun kasance. “Alexander Nikolaevich Scriabin,” in ji Plekhanov, “ɗan zamaninsa ne. ... Aikin Scriabin shine lokacinsa, wanda aka bayyana cikin sauti. Amma lokacin da wucin gadi, mai wucewa ya sami furcinsa a cikin aikin babban mai fasaha, ya samu Dindindin ma'ana kuma an yi mai kutsawa".

T. Ershov

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Babban ayyukan Scriabin

Mawaƙa

Piano Concerto a cikin ƙananan ƙananan kaifi, Op. 20 (1896-1897). "Mafarkai", a cikin ƙaramar E, Op. 24 (1898). Symphony na farko, a cikin E manyan, Op. 26 (1899-1900). Symphony ta biyu, a cikin ƙaramin C, Op. 29 (1901). Symphony ta Uku (Waƙar Allah), a cikin C ƙarami, Op. 43 (1902-1904). Waƙar Ecstasy, C babba, Op. 54 (1904-1907). Prometheus (Waƙar Wuta), Op. 60 (1909-1910).

piano

10 sonata: Na 1 a cikin ƙananan F, Op. 6 (1893); Lamba 2 (sonata-fantasy), a cikin ƙaramin G-kaifi, Op. 19 (1892-1897); Lamba 3 a cikin ƙananan ƙananan kaifi F, Op. 23 (1897-1898); Na 4, F babba mai kaifi, Op. 30 (1903); Na 5, Op. 53 (1907); Na 6, Op. 62 (1911-1912); Na 7, Op. 64 (1911-1912); Na 8, Op. 66 (1912-1913); Na 9, Op. 68 (1911-1913): Na 10, Op. 70 (1913).

91 gaba: op. 2 No. 2 (1889), Op. 9 No. 1 (na hannun hagu, 1894), 24 Preludes, Op. 11 (1888-1896), 6 gabatarwa, Op. 13 (1895), 5 gabatarwa, Op. 15 (1895-1896), 5 gabatarwa, Op. 16 (1894-1895), 7 gabatarwa, Op. 17 (1895-1896), Prelude a F-sharp Major (1896), 4 Preludes, Op. 22 (1897-1898), 2 gabatarwa, Op. 27 (1900), 4 gabatarwa, Op. 31 (1903), 4 gabatarwa, Op. 33 (1903), 3 gabatarwa, Op. 35 (1903), 4 gabatarwa, Op. 37 (1903), 4 gabatarwa, Op. 39 (1903), gabatarwa, Op. 45 No. 3 (1905), 4 prelude, Op. 48 (1905), gabatarwa, Op. 49 No. 2 (1905), gabatarwa, Op. 51 No. 2 (1906), gabatarwa, Op. 56 No. 1 (1908), gabatarwa, Op. 59′ No. 2 (1910), 2 prelude, Op. 67 (1912-1913), 5 gabatarwa, Op. 74 (1914).

26 binciken: karatu, op. 2 No. 1 (1887), 12 karatu, Op. 8 (1894-1895), 8 karatu, Op. 42 (1903), karatu, Op. 49 No. 1 (1905), nazari, Op. 56 No. 4 (1908), 3 karatu, Op. 65 (1912).

21 mazurka: 10 Mazurkas, Op. 3 (1888-1890), 9 mazurkas, Op. 25 (1899), 2 mazurkas, Op. 40 (1903).

Wakoki 20: wakoki 2, Op. 32 (1903), Waka mai ban tausayi, Op. 34 (1903), Waƙar Shaidan, Op. 36 (1903), Waka, Op. 41 (1903), wakoki 2, Op. 44 (1904-1905), Waƙar Fanci, Op. 45 No. 2 (1905), "Waƙar Waƙa", Op. 51 No. 3 (1906), Waka, Op. 52 No. 1 (1907), "The Longing Poem", Op. 52 No. 3 (1905), Waka, Op. 59 No. 1 (1910), Waƙar Nocturne, Op. 61 (1911-1912), wakoki 2: "Mask", "Bakon", Op. 63 (1912); wakoki 2, op. 69 (1913), wakoki 2, Op. 71 (1914); waƙar "Zuwa Harshen", op. 72 (1914).

11 impurt: impromptu a cikin siffar mazurki, soch. 2 No. 3 (1889), 2 impromptu in mazurki form, op. 7 (1891), 2 impromptu, op. 10 (1894), 2 bazuwa, op. 12 (1895), 2 bazuwa, op. 14 (1895).

3 dare: 2 dare, Op. 5 (1890), dare, Op. 9 No. 2 na hannun hagu (1894).

3 rawa: "Dance of Longing", op. 51 No. 4 (1906), 2 raye-raye: "Garlands", "Harshen Wuta mai duhu", Op. 73 (1914).

2 waltz: op. 1 (1885-1886), ko. 38 (1903). "Kamar Waltz" ("Quasi valse"), Op. 47 (1905).

2 Album ganye: op. 45 Na 1 (1905), Op. 58 (1910)

"Allegro Appassionato", Op. 4 (1887-1894). Concert Allegro, Op. 18 (1895-1896). Fantasy, op. 28 (1900-1901). Polonaise, Op. 21 (1897-1898). Scherzo, op. 46 (1905). "Mafarkai", op. 49 No. 3 (1905). "Rashin ƙarfi", op. 51 No. 1 (1906). "Asiri", op. 52 No. 2 (1907). "Irony", "Nuances", Op. 56 Lambobi 2 da 3 (1908). "Desire", "Weasel a cikin rawa" - guda 2, Op. 57 (1908).