Anton von Webern |

Anton von Webern asalin

Halin da ake ciki a duniya yana kara ta'azzara, musamman a fannin fasaha. Kuma aikinmu yana kara girma. A. Webern

Mawaƙin Australiya, jagora kuma malami A. Webern yana ɗaya daga cikin fitattun wakilan makarantar New Viennese. Hanyar rayuwarsa ba ta da wadata a cikin abubuwa masu haske. Iyalin Webern sun fito ne daga tsohon dangi mai daraja. Da farko, Webern yayi karatun piano, cello, rudiments na ka'idar kiɗa. A shekara ta 1899, gwajin mawaƙa na farko ya kasance. A cikin 1902-06. Webern ya yi karatu a Cibiyar Tarihin Kiɗa a Jami'ar Vienna, inda ya yi nazarin jituwa tare da G. Gredener, da K. Navratil. Domin karatunsa a kan mawaki G. Isak (ƙarni na XV-XVI), an ba Webern digiri na Doctor of Philosophy.

Tuni na farko abubuwan da aka tsara - waƙar da idyll don ƙungiyar makaɗa "A cikin Iskar bazara" (1901-04) - sun bayyana saurin juyin halitta na farkon salon. A cikin 1904-08. Abubuwan da suka shafi Webern tare da A. Schoenberg. A cikin talifin “Malami”, ya saka kalmomin Schoenberg a matsayin juzu’i: “Ya kamata a halaka bangaskiya cikin dabarar ceto guda ɗaya, kuma ya kamata a ƙarfafa sha’awar gaskiya.” A lokacin 1907-09. An riga an kafa sabon salon Webern a ƙarshe.

Bayan kammala karatunsa, Webern ya yi aiki a matsayin jagoran ƙungiyar makaɗa da mawaƙa a cikin operetta. Yanayin kiɗan haske ya taso a cikin matashin mawakin ƙiyayya da ƙiyayya da ƙiyayya ga nishaɗi, banality, da tsammanin nasara tare da jama'a. Yin aiki a matsayin jagorar wasan kwaikwayo da opera, Webern ya ƙirƙira adadin manyan ayyukansa - guda 5 op. 5 don string quartet (1909), guda 6 orchestral guda op. 6 (1909), 6 bagatelles don quartet op. 9 (1911-13), guda 5 don ƙungiyar makaɗa, op. 10 (1913) - "Kiɗa na sassa, yana fitowa daga zurfin rai", kamar yadda ɗaya daga cikin masu sukar ya amsa daga baya; yawan kiɗan murya (ciki har da waƙoƙi don murya da ƙungiyar makaɗa, op. 13, 1914-18), da dai sauransu A cikin 1913, Webern ya rubuta ƙaramin ƙungiyar makaɗa ta amfani da fasaha na dodecaphonic na serial.

A cikin 1922-34. Webern shi ne mai gudanar da kide-kide na ma'aikata (kade-kade na kade-kade na ma'aikatan Viennese, da kuma kungiyar ma'aikata ta rera waka). Shirye-shiryen waɗannan kide-kide, waɗanda ke da nufin fahimtar da ma'aikata tare da manyan fasahar kiɗa, sun haɗa da ayyukan L. Beethoven, F. Schubert, J. Brahms, G. Wolf, G. Mahler, A. Schoenberg, da mawaƙa na mawaƙa na G. Eisler. Ƙarshen wannan aiki na Webern bai faru da nufinsa ba, amma sakamakon yadda sojojin Fashistiyawa suka yi a Ostiriya, shan kashi na ƙungiyoyin ma'aikata a cikin Fabrairu 1934.

Malamin Webern ya koyar da (yawanci ga ɗalibai masu zaman kansu) gudanarwa, yawan magana, jituwa, da abun da ke amfani da su. Daga cikin almajiransa, mawaƙa da masana kida, KA Hartmal, XE Apostel, E. Ratz, W. Reich, X. Searle, F. Gershkovich. Daga cikin ayyukan Webern 20-30-ies. - 5 waƙoƙi na ruhaniya, op. 15, 5 canons akan rubutun Latin, kirtani uku, symphony don ƙungiyar mawaƙa, concerto don kayan kida 9, cantata “Hasken Idanu”, kawai aikin piano mai alama tare da lambar opus - Variations op. 27 (1936). Farawa da waƙoƙi op. 17 Webern ya rubuta kawai a cikin fasahar dodecaphone.

A cikin 1932 da 1933 Webern ya ba da laccoci sau 2 a kan jigon “Hanya zuwa Sabuwar Waƙa” a wani gida mai zaman kansa na Viennese. Ta sabon kiɗa, malamin yana nufin dodecaphony na makarantar New Viennese kuma yayi nazarin abin da ke kaiwa gare shi tare da hanyoyin tarihi na juyin halittar kiɗa.

Hawan Hitler akan mulki da “Anschluss” na Ostiriya (1938) sun sanya matsayin Webern ya zama bala’i, ban tausayi. Ya daina samun damar daukar wani matsayi, kusan ba shi da dalibai. A cikin wani yanayi na tsananta wa mawaƙa na sabon kiɗa a matsayin "lalacewa" da "al'adu-Bolshevik", tsayin daka na Webern wajen tabbatar da manufofin manyan fasaha ya kasance ainihin lokacin juriya na ruhaniya ga "Kulturpolitik" na farkisanci. A cikin ayyukan ƙarshe na Webern - quartet op. 28 (1936-38), Bambance-bambancen mawaƙa op. 30 (1940), Cantata na biyu op. 31 (1943) - mutum na iya kama wani inuwar kaɗaicin marubucin da keɓewar ruhi, amma babu alamar sulhu ko ma shakku. A cikin kalmomin mawaƙin X. Jone, Webern ya yi kira ga "ƙararrawa na zukata" - ƙauna: "zata iya zama a faɗake inda rayuwa ke haskakawa don tada ta" (3 hours na Cantata na biyu). Cikin natsuwa yana jefa rayuwarsa cikin haɗari, Webern bai rubuta ko ɗaya rubutu ba don amincewa da ƙa'idodin masu akidar fasikanci. Mutuwar mawakin kuma tana da ban tausayi: bayan karshen yakin, sakamakon kuskuren ban dariya, wani soja na sojojin mamaya na Amurka ya harbe Webern.

Cibiyar ra'ayin duniya ta Webern ita ce ra'ayin 'yan Adam, kiyaye manufofin haske, tunani, da al'adu. A cikin halin da ake ciki na rikice-rikicen zamantakewa, mawaƙin ya nuna kin amincewa da mummunan al'amura na gaskiya na bourgeois da ke kewaye da shi, kuma daga baya ya ɗauki matsayi mai adawa da farkisanci: "Wace babbar halaka ce wannan yakin da al'adu ya kawo tare da shi!" ya furta a cikin ɗaya daga cikin laccocinsa a cikin 1933. Webern mawallafin maƙiyi ne na banality, lalata, da lalata a cikin fasaha.

Duniyar alama ta fasahar Webern ta yi nisa da kiɗan yau da kullun, waƙoƙi masu sauƙi da raye-raye, yana da rikitarwa kuma ba sabon abu ba. A tsakiyar tsarin zane-zanensa shine hoto na jituwa na duniya, saboda haka kusancinsa na dabi'a zuwa wasu bangarori na koyarwar IV Goethe akan ci gaba da siffofin halitta. Ma'anar ɗabi'a na Webern ya dogara ne akan manyan manufofi na gaskiya, nagarta da kyau, wanda ra'ayin mawallafin duniya ya dace da Kant, bisa ga abin da "kyakkyawan alama ce mai kyau da kyau." Webern's aesthetics ya haɗu da buƙatun mahimmancin abun ciki dangane da dabi'un ɗabi'a (mawallafin ya haɗa da abubuwan addini na gargajiya da na Kirista a cikinsu), da ingantaccen gogewa, wadatar fasahar fasaha.

Daga bayanan kula a cikin rubutun quartet tare da saxophone op. 22 za ka iya ganin abin da images shagaltar da Webern a kan aiwatar da composing: "Rondo (Dachstein)", "Snow da kankara, crystal bayyana iska", na biyu na biyu jigo "flowers na tsaunuka", kara - "yara a kan kankara da kuma dusar ƙanƙara, haske, sama ", a cikin lambar - "kallon tsaunuka". Amma tare da wannan maɗaukakin hotuna, kiɗan Webern yana da alaƙa da haɗuwa da matsananciyar taushi da tsantsar sauti, gyaran layi da katako, tsauri, wani lokacin kusan sautin ascetic, kamar an saka shi daga zaren ƙarfe mafi ƙarancin haske. Webern ba shi da "zubewa" mai ƙarfi da haɓakar haɓakar son kai na dogon lokaci, bambance-bambance na alama sun kasance baƙo gare shi, musamman nunin abubuwan yau da kullun na gaskiya.

A cikin sabuwar fasaharsa, Webern ya zama mafi ƙarfin hali na mawaƙa na makarantar Novovensk, ya tafi fiye da Berg da Schoenberg. Nasarorin fasaha na Webern ne ya yi tasiri mai mahimmanci kan sabbin abubuwan da ake yi a cikin kiɗa a rabin na biyu na ƙarni na XNUMX. P. Boulez ma ya ce Webern shine "mafificin kida na gaba." Duniyar fasaha ta Webern ta kasance a cikin tarihin kiɗa a matsayin maɗaukakin maɗaukaki na ra'ayoyin haske, tsabta, ƙarfin halin kirki, kyakkyawa mai dorewa.

Y. Kholopov

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