Arno Babadjanian |

Arno Babadjan

Ayyukan A. Babadzhanyan, da haɗin gwiwa tare da al'adun gargajiya na Rasha da Armeniya, ya zama wani abu mai mahimmanci a cikin kiɗa na Soviet. An haifi mawaki a cikin dangin malamai: mahaifinsa ya koyar da ilimin lissafi, mahaifiyarsa kuma ta koyar da Rashanci. A lokacin kuruciyarsa, Babajanyan ya sami cikakkiyar ilimin waka. Ya fara karatu a Yerevan Conservatory a cikin ajin abun da ke ciki tare da S. Barkhudaryan da V. Talyan, sa'an nan ya koma Moscow, inda ya sauke karatu daga Musical College. Gnesins; a nan malamansa su ne E. Gnesina (piano) da V. Shebalin (composition). A 1947, Babajanyan sauke karatu a matsayin waje dalibi daga cikin abun da ke ciki sashen na Yerevan Conservatory, da kuma a 1948 daga Moscow Conservatory, piano class K. Igumnov. A lokaci guda, ya inganta a cikin abun da ke ciki tare da G. Litinsky a cikin ɗakin studio a House of Culture na Armenian SSR a Moscow. Tun shekarar 1950, Babajanyan ya koyar da piano a Yerevan Conservatory, kuma a 1956 ya koma Moscow, inda ya sadaukar da kansa gaba daya ga hada da music.

Mutumin Babajanian a matsayin mawaki ya rinjayi aikin P. Tchaikovsky, S. Rachmaninov, A. Khachaturian, da kuma litattafan kiɗa na Armenia - Komitas, A. Spendiarov. Daga al'adun gargajiya na Rasha da Armeniya, Babajanyan ya shayar da abin da ya fi dacewa da ma'anarsa na duniyar da ke kewaye da shi: jin daɗin soyayya, buɗaɗɗen motsin rai, pathos, wasan kwaikwayo, waƙoƙin waƙoƙi, launi.

Rubutun 50s - "Heroic Ballad" don piano da orchestra (1950), Piano Trio (1952) - an bambanta su ta hanyar karimci na magana, waƙar cantilena na numfashi mai faɗi, m da sabbin launuka masu jituwa. A cikin 60s - 70s. a cikin salon kirkire-kirkire na Babadzhanyan an sami juyowa zuwa sabbin hotuna, sabbin hanyoyin magana. Ayyukan waɗannan shekarun suna bambanta ta hanyar hana maganganun motsin rai, zurfin tunani. An maye gurbin tsohuwar waƙar-romancin cantilena da waƙar maɗaukakiyar magana mai ma'ana, ƙaƙƙarfan maganganun magana. Waɗannan fasalulluka sune halayen Cello Concerto (1962), Quartet na Uku wanda aka sadaukar don ƙwaƙwalwar Shostakovich (1976). Babajanyan a zahiri ya haɗu da sabbin fasahohin ƙirƙira tare da shigar da launin ƙabilanci.

Musamman girmamawa da aka samu da Babadzhanyan pianist, m fassara na qagaggun, kazalika da ayyukan duniya litattafan: R. Schumann, F. Chopin, S. Rachmaninov, S. Prokofiev. D. Shostakovich ya kira shi babban dan wasan pianist, mai yin wasan kwaikwayo a kan babban sikelin. Ba daidaituwa ba ne cewa kiɗan piano ya mamaye wani muhimmin wuri a cikin aikin Babajanyan. An fara haske a cikin 40s. Tare da Vagharshapat Dance, Polyphonic Sonata, mawallafin ya ƙirƙiri wasu ƙididdiga waɗanda daga baya suka zama "repertoire" (Prelude, Capriccio, Reflections, Poem, Six Pictures). Ɗaya daga cikin abubuwan da ya yi na ƙarshe, Dreams (Memories, 1982), an kuma rubuta shi don piano da ƙungiyar makaɗa.

Babajanyan mawaki ne na asali kuma mai ban mamaki. Ya keɓe wani muhimmin sashi na aikinsa ga waƙar da ta kawo masa babbar daraja. A cikin wakokin Babajanyan, ana jan hankalinsa ne ta hanyar sanin zamani, da kyakkyawar fahimta ta rayuwa, da budaddiyar magana, a asirce ga mai sauraro, da wakoki masu haske da karimci. "A kusa da Moscow da dare", "Kada ku yi sauri", "Mafi kyawun Birni a Duniya", "Tunawa", "Bikin aure", "Haske", "Kira Ni", "Ferris Wheel" da sauransu sun sami karbuwa sosai. Mawallafin ya yi aiki da yawa kuma cikin nasara a fagen cinema, kiɗan pop, kiɗan kiɗa da wasan kwaikwayo. Ya kirkiro kidan "Baghdasar Ya Saki Matarsa", Kida na fina-finan "In Neman Addressee", "Wakar Soyayya ta Farko", "Amarya daga Arewa", "Zuciyata tana cikin Duwatsu", da dai sauransu Nasarar. da kuma sanin aikin Babajanyan ba kawai abin farin ciki ba ne. Ya mallaki basirar gaskiya don sadarwa tare da jama'a, yana iya haifar da amsa kai tsaye da karfi mai karfi, ba tare da rarraba masu sauraro zuwa masu sha'awar kiɗa mai mahimmanci ko haske ba.

M. Katunyan