Arnold Schoenberg |

Arnold Schoenberg

Duk duhu da laifin duniya sabuwar waƙar ta ɗauki kanta. Duk farin cikinta yana cikin sanin masifa; Duk kyawunsa yana cikin barin kamannin kyau. T. Adorno

A. Schoenberg ya shiga tarihin kiɗa na karni na XNUMX. a matsayin mahaliccin tsarin dodecaphone na abun da ke ciki. Amma mahimmanci da sikelin aikin maigidan Austrian bai iyakance ga wannan gaskiyar ba. Schoenberg mutum ne mai hazaka da yawa. Ya kasance ƙwararren malami wanda ya kawo dukan galaxy na mawaƙa na zamani, ciki har da irin waɗannan sanannun mashahuran kamar A. Webern da A. Berg (tare da malaminsu, sun kafa makarantar Novovensk). Ya kasance mai zane mai ban sha'awa, abokin O. Kokoschka; zane-zanensa ya bayyana akai-akai a nune-nunen kuma an buga su a cikin reproductions a cikin mujallar Munich "The Blue Rider" kusa da ayyukan P. Cezanne, A. Matisse, V. Van Gogh, B. Kandinsky, P. Picasso. Schoenberg marubuci ne, mawaƙi kuma mawallafi, marubucin rubutun yawancin ayyukansa. Amma sama da duka, shi mawaki ne wanda ya bar tarihi mai ma’ana, mawakin da ya bi ta hanya mai wahala, amma gaskiya da rashin daidaito.

Ayyukan Schoenberg yana da alaƙa da haɗin kai tare da furci na kiɗa. An yi masa alama da tashin hankali na ji da kaifin martani ga duniyar da ke kewaye da mu, wanda ke nuna yawancin masu fasaha na zamani waɗanda suka yi aiki a cikin yanayi na damuwa, jira da cimma mummunan bala'in zamantakewa (Schoenberg ya haɗu da su ta hanyar rayuwa ta yau da kullun). kaddara – yawo, rashin lafiya, fatan rayuwa da mutuwa nesa da mahaifarsu). Wataƙila mafi kusancin kwatankwacin halin Schoenberg shine ɗan ƙasa kuma na zamani na mawaki, marubucin Austriya F. Kafka. Kamar dai yadda a cikin litattafan Kafka da gajerun labarai, a cikin kiɗan Schoenberg, haɓakar fahimtar rayuwa a wasu lokuta yakan haifar da zazzaɓi, ƙayyadaddun kalmomin kalmomin kan iyaka, suna juya cikin mafarki mai ban tsoro a zahiri.

Samar da fasaha mai wuya da wahala mai zurfi, Schoenberg ya dage a cikin hukuncinsa har ya kai ga tsatsauran ra'ayi. Duk rayuwarsa ya bi hanyar mafi girman tsayin daka, yana gwagwarmaya da ba'a, zagi, rashin fahimtar kurma, jure zagi, buƙatu mai ɗaci. "A Vienna a cikin 1908 - birnin operettas, litattafai da kuma romanticism mai ban sha'awa - Schoenberg ya yi iyo a kan halin yanzu," in ji G. Eisler. Ba daidai ba ne sabani da aka saba yi tsakanin ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun mutane. Bai isa ba a ce Schoenberg wani mai kirkire-kirkire ne wanda ya sanya doka ta ce a cikin fasaha kawai abin da ba a fada a gabansa ba. A cewar wasu masu bincike na aikinsa, sabon ya bayyana a nan a cikin wani musamman na musamman, nau'i mai mahimmanci, a cikin nau'i na nau'i na ainihi. Matsakaicin ra'ayi mai yawa, wanda ke buƙatar ingantacciyar inganci daga mai sauraro, ya bayyana takamaiman wahalar waƙar Schoenberg don fahimta: ko da a kan tushen zamaninsa na tsattsauran ra'ayi, Schoenberg shine mafi "mafi wahala" mawaki. Amma wannan baya hana darajar fasahar sa, mai gaskiya da gaske, yana tawaye da zaƙi mara nauyi da tinsel mara nauyi.

Schoenberg ya haɗu da ƙarfin ji mai ƙarfi tare da hankali mai ladabi mara tausayi. Yana binta wannan haɗin zuwa wani juyi. Matsalolin rayuwar mawaƙin suna nuna madaidaicin buri daga kalaman soyayya na gargajiya a cikin ruhun R. Wagner (kayayyakin kayan aikin “Enlightened Night”, “Pelleas and Mélisande”, cantata “Songs of Gurre”) zuwa sabon salo, tabbataccen ingantaccen ƙirƙira. hanya. Duk da haka, Schoenberg's romantic pedigree ya kuma shafi daga baya, yana ba da sha'awa ga ƙara yawan jin dadi, hypertrophied bayyana ayyukansa a lokacin 1900-10. Irin wannan, alal misali, ita ce monodrama Waiting (1909, kalma ɗaya na macen da ta zo daji don saduwa da masoyinta kuma ta same shi ya mutu).

Ƙungiyoyin bayan-romantic na abin rufe fuska, tasiri mai ladabi a cikin salon " cabaret mai ban tausayi " ana iya jin shi a cikin melodrama "Moon Pierrot" (1912) don muryar mace da tarin kayan aiki. A cikin wannan aikin, Schoenberg ya fara ƙaddamar da ƙa'idar abin da ake kira waƙar magana (Sprechgesang): ko da yake ɓangaren solo yana daidaitawa a cikin ma'auni tare da bayanin kula, tsarin filinsa yana da kimanin - kamar yadda a cikin karatun. Dukansu "Jira" da "Lunar Pierrot" an rubuta su cikin tsari mai kyau, daidai da sabon, babban ɗakin ajiyar hotuna. Amma bambanci tsakanin ayyukan yana da mahimmanci: ƙungiyar makaɗa tare da ƙarancinsa, amma launuka masu ban sha'awa daga yanzu suna jan hankalin mawaki fiye da cikakken nau'in ƙungiyar makaɗa na ƙarshen Romantic.

Koyaya, mataki na gaba kuma mai yanke hukunci zuwa tsantsar rubutu na tattalin arziƙi shine ƙirƙirar tsarin haɗakar sautin goma sha biyu (dodecaphone). Shirye-shiryen kayan aikin Schoenberg na 20s da 40s, kamar Piano Suite, Variations for Orchestra, Concertos, String Quartets, sun dogara ne akan jerin sautuna 12 marasa maimaitawa, waɗanda aka ɗauka cikin manyan nau'ikan guda huɗu (dabarun da ta dawo zuwa tsohuwar polyphonic). bambancin).

Hanyar dodecaphonic na abun da ke ciki ya sami yawancin masu sha'awar. Shaidar da ke nuni da tasirin abin da Schoenberg ya kirkira a duniyar al'adu shi ne T. Mann ya “nakalto shi” a cikin labari “Doctor Faustus”; yana kuma magana game da haɗarin “sanyi na hankali” da ke jiran mawaƙin da ke amfani da irin wannan salon kere kere. Wannan hanyar ba ta zama duniya ba kuma tana dogaro da kanta - har ma ga mahaliccinta. Hakazalika, ya kasance ne kawai idan ba ya tsoma baki tare da bayyanar da fahimtar dabi'ar maigidan da kuma tarin kide-kide da kwarewa, wani lokaci yana haifar da - akasin duk "ka'idodin gujewa" - ƙungiyoyi daban-daban tare da kiɗan tonal. Rabuwar marubucin tare da al'adar tonal ba abu ne mai yuwuwa ba kwata-kwata: sanannen maximcin “marigayi” Schoenberg cewa da yawa za a iya faɗi a cikin C babba ya tabbatar da haka. Nitsewa cikin matsalolin fasaha na tsarawa, Schoenberg a lokaci guda ya yi nisa da keɓewar kujera.

Abubuwan da suka faru a yakin duniya na biyu - wahala da mutuwar miliyoyin mutane, ƙiyayyar mutane ga farkisanci - sun sake maimaita shi tare da ra'ayoyin mawaƙa masu mahimmanci. Don haka, "Ode to Napoleon" (1942, a kan ayar J. Byron) wani ɗan littafin fushi ne game da ikon zalunci, aikin yana cike da zagi na kisan kai. Rubutun Cantata Survivor daga Warsaw (1947), watakila aikin da ya fi shahara na Schoenberg, ya sake buga labarin gaskiya na ɗaya daga cikin mutane kaɗan da suka tsira daga bala'in Warsaw ghetto. Aikin yana nuna tsoro da yanke ƙauna na kwanakin ƙarshe na fursunonin ghetto, suna ƙarewa da tsohuwar addu'a. Dukansu ayyukan biyu suna da haske na jama'a kuma ana ganin su azaman takaddun zamanin. To amma fa'idar aikin jarida na wannan sanarwa ba ta lulluɓe tunanin mawaƙin na dabi'ar falsafa ba, ga matsalolin sautin transtemporal, waɗanda ya haɓaka tare da taimakon makircin tatsuniyoyi. Sha'awar sha'awar wakoki da alamar tatsuniyar Littafi Mai Tsarki ta samo asali tun a farkon shekarun 30s, dangane da aikin oratorio “Matsayin Yakubu”.

Sa'an nan Schoenberg ya fara aiki a kan wani ma fi monumental aiki, wanda ya sadaukar da dukan na karshe shekaru na rayuwarsa (duk da haka, ba tare da kammala shi). Muna magana ne game da wasan opera "Musa da Haruna". Tushen tatsuniyoyi ya yi aiki ga mawaƙi ne kawai a matsayin hujja don tunani a kan batutuwan da suka shafi lokacinmu. Babban manufar wannan "wasan kwaikwayo na ra'ayi" shine mutum da kuma mutane, ra'ayi da fahimtarsa ​​ta hanyar talakawa. Mutuwar magana ta Musa da Haruna da aka ci gaba da nunawa a cikin wasan opera ita ce sabani na har abada tsakanin “mai tunani” da “mai aikatawa”, tsakanin mai neman gaskiya na annabi da yake kokarin jagorantar mutanensa daga bauta, da kuma mai magana-demagogue wanda, a cikin yunƙurinsa na ganin ra'ayin a bayyane kuma mai isa ya ci amanar ta (rushewar ra'ayin yana tare da tarzomar runduna ta farko, wacce marubucin ya ƙunshi haske mai ban mamaki a cikin orgiistic "Dance of the Golden Calf"). An jaddada rashin daidaituwar matsayin jarumai ta hanyar kida: kyakkyawan sashin wasan opera na Haruna ya sha bamban da bangaren Musa mai ban mamaki da kuma bayyanawa, wanda ya saba wa wakar wasan kwaikwayo na gargajiya. Oratorio yana wakilta sosai a cikin aikin. Wasan opera na wasan opera, tare da manyan zane-zanen polyphonic, suna komawa zuwa Bach's Passions. Anan, zurfin alaƙar Schoenberg tare da al'adar kiɗan Austro-Jamus an bayyana. Wannan haɗin kai, da kuma gadon Schoenberg na kwarewar ruhaniya na al'adun Turai gaba ɗaya, yana fitowa da ƙari a cikin lokaci. Anan shine tushen tantance haƙiƙanin aikin Schoenberg da fatan cewa fasahar mawaƙin "mawuyaci" za ta sami dama ga mafi girman kewayon masu sauraro.

T. Hagu

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