André Jolivet |

André Jolivet ne adam wata

Ina so in mayar da kiɗa zuwa asalin ma'anarta ta farko, lokacin da ta kasance nuni ne na sihiri da ka'idar addini wanda ke haɗa mutane. A. Zholyve

Mawaƙin Faransa na zamani A. Jolivet ya ce yana ƙoƙari ya zama “mutum na gaske na duniya, mutum mai sararin samaniya.” Ya ɗauki kiɗa a matsayin ƙarfin sihiri da ke shafar mutane ta hanyar sihiri. Don haɓaka wannan tasirin, Jolivet ya kasance koyaushe yana neman abubuwan haɗin timbre. Waɗannan za su iya zama m halaye da rhythms na mutanen Afirka, Asiya da Oceania, sonorous effects (lokacin da sauti rinjayar da launi ba tare da bayyananne bambanci tsakanin mutum sautunan) da sauran dabaru.

Sunan Jolivet ya bayyana a duniyar kiɗa a tsakiyar 30s, lokacin da ya yi aiki a matsayin memba na ƙungiyar matasa Faransa (1936), wanda ya haɗa da O. Messiaen, I. Baudrier da D. Lesure. Wadannan mawallafan sun yi kira ga ƙirƙirar "kiɗa mai rai" cike da "dumi na ruhaniya", sun yi mafarkin "sabon ɗan adam" da "sabon romanticism" (wanda ya kasance wani nau'i na amsawa ga sha'awar ginawa a cikin 20s). A cikin 1939, al'ummar ta watse, kuma kowane ɗayanta ya bi hanyarsa, ya ci gaba da kasancewa da aminci ga manufofin matasa. An haifi Jolivet a cikin iyali na kiɗa (mahaifiyarsa ta kasance mai kyau pianist). Ya yi nazarin abubuwan da ke tattare da abubuwan da ke ciki tare da P. Le Flem, sannan - tare da E. Varèse (1929-33) a cikin kayan aiki. Daga Varèse, kakan sonor da kiɗan lantarki, ra'ayin Jolivet don gwaje-gwajen sauti masu launi ta fuskoki da yawa. A farkon aikinsa a matsayin mawaki, Jolivet ya kasance a cikin ra'ayin "sanin ainihin" sihirin sihiri "na kiɗa." Wannan shi ne yadda sake zagayowar piano guda "Mana" (1935) ya bayyana. Kalmar “mana” a ɗaya daga cikin harsunan Afirka tana nufin wani ƙarfi mai ban mamaki da ke rayuwa a cikin abubuwa. An ci gaba da wannan layi ta hanyar "Incantations" don solo na sarewa, "Ritual Dances" don ƙungiyar makaɗa, "Symphony of Dances da Delphic Suite" don tagulla, igiyoyin Martenot, garaya da kaɗa. Jolivet yakan yi amfani da igiyoyin Martenot - ƙirƙira a cikin 20s. kayan kida na lantarki wanda ke samar da santsi, kamar sautin da ba a gani ba.

A lokacin yakin duniya na biyu, Jolivet ya tattara kuma ya shafe kusan shekara guda da rabi a cikin soja. Abubuwan da suka faru na lokacin yakin ya haifar da "Korafe-korafe guda uku na soja" - aikin murya na ɗakin ɗakin a kan waƙoƙinsa (Jolivet yana da kyakkyawar basirar wallafe-wallafen har ma ya yi shakka a cikin ƙuruciyarsa wanda na fasaha ya ba da fifiko ga). 40s - lokacin canji a cikin salon Jolivet. Piano Sonata na Farko (1945), wanda aka sadaukar da shi ga mawallafin Hungarian B. Bartok, ya bambanta da farkon "haruffa" a cikin makamashi da tsabta na rhythm. Da'irar nau'ikan nau'ikan suna haɓaka anan da wasan opera ("Dolores, ko Mu'ujiza na Mummuna Mace"), da 4 ballets. Mafi kyawun su, "Guignol da Pandora" (1944), yana tayar da ruhun wasan kwaikwayo na tsana. Jolivet ya rubuta 3 symphonies, Orchestral suites ("Transoceanic" da "Faransa"), amma ya fi so nau'i a cikin 40-60s. wani shagali ne. Jerin kayan kidan solo a cikin wasannin kide-kide na Jolivet kadai yana magana game da neman bayyanan timbre. Jolivet ya rubuta concerto na farko don raƙuman ruwa ta Martenot da ƙungiyar makaɗa (1947). Wannan ya biyo bayan kade-kade na kaho (2), sarewa, piano, garaya, bassoon, cello (An sadaukar da Concerto na biyu ga M. Rostropovich). Akwai ma wani wasan kwaikwayo inda kayan kidan solo! A cikin kade-kade na biyu na kakaki da kade-kade, ana jin kidan jazz, kuma a cikin kide-kide na piano, tare da jazz, ana jin kararrakin kade-kaden Afirka da na Polynesia. Mawakan Faransa da yawa (C. Debussy, A. Roussel, O. Messiaen) sun kalli al'adu masu ban mamaki. Amma yana da wuya cewa kowa zai iya kwatanta da Jolivet a cikin kullun wannan sha'awa, yana yiwuwa a kira shi "Gauguin a cikin kiɗa."

Ayyukan Jolivet a matsayin mawaƙa sun bambanta sosai. Na dogon lokaci (1945-59) ya kasance darektan kiɗa na gidan wasan kwaikwayo na Paris Comedie Francaise; A cikin shekarun da suka gabata ya kirkiro kiɗa don wasanni 13 (daga cikinsu "The Imaginary Sick" na JB Moliere, "Iphigenia a Aulis" na Euripides). A matsayin jagora, Jolivet ya yi a cikin ƙasashe da yawa na duniya kuma ya ziyarci USSR akai-akai. Hazakarsa ta adabi ta bayyana kanta a cikin wani littafi game da L. Beethoven (1955); kullum yana ƙoƙari don sadarwa tare da jama'a, Jolivet ya zama malami kuma ɗan jarida, shine babban mai ba da shawara kan batutuwan kiɗa a Ma'aikatar Al'adu ta Faransa.

A cikin shekaru na ƙarshe na rayuwarsa, Jolivet ya sadaukar da kansa ga ilimin koyarwa. Tun daga 1966 har zuwa ƙarshen kwanakinsa, mawakin yana riƙe da matsayin farfesa a cikin Conservatory na Paris, inda yake koyar da ajin abun ciki.

Da yake magana game da kiɗa da tasirinsa na sihiri, Jolivet ya mayar da hankali kan sadarwa, fahimtar haɗin kai tsakanin mutane da dukan sararin samaniya: "Kiɗa shine aikin sadarwa na farko ... Sadarwa tsakanin mawallafi da yanayi ... a lokacin ƙirƙirar aiki, sa'an nan kuma. sadarwa tsakanin mawaƙa da jama'a a lokacin da ake gudanar da ayyuka". Mawaƙin ya sami nasarar cimma irin wannan haɗin kai a cikin ɗayan manyan ayyukansa - oratorio "Gaskiya game da Jeanne". An yi shi a karon farko a cikin 1956 (shekaru 500 bayan shari'ar da ta wanke Joan na Arc) a cikin mahaifar jarumar - a ƙauyen Domremy. Jolivet ya yi amfani da rubutun ka'idojin wannan tsari, da kuma wakoki na mawaƙa na zamanin da (ciki har da Charles na Orleans). An yi oratorio ba a cikin zauren kide-kide ba, amma a sararin sama, a gaban mutane dubu da dama.

K. Zankin