Carl Maria von Weber |

Carl Maria von Weber asalin

"Duniya - mawallafin ya halitta a cikinta!" - wannan shine yadda KM Weber ya bayyana filin aikin mai fasaha - fitaccen mawaƙin Jamus: mawaki, mai suka, mai yin wasan kwaikwayo, marubuci, mai tallata jama'a, jama'a na farkon karni na XNUMX. Kuma lalle ne, mun sami Czech, Faransanci, Mutanen Espanya, Gabas mãkirci a cikin kide-kide da ban mamaki ayyukansu, a cikin kayan aiki qagaggun - stylistic alamomin gypsy, Sinanci, Norwegian, Rashanci, Hungarian tatsuniyoyi. Amma babban kasuwancin rayuwarsa shine wasan opera na Jamus. A cikin littafin da ba a gama ba The Life of a Musician, wanda ke da siffofi na tarihi na zahiri, Weber ya fayyace, ta bakin ɗayan haruffa, yanayin wannan nau'in a Jamus:

A gaskiya ma, halin da ake ciki tare da wasan opera na Jamus yana da matukar damuwa, yana fama da damuwa kuma ba zai iya tsayawa da ƙafafu ba. Taron mataimaka ne suka taho da ita. Amma duk da haka, da kyar ta murmure daga zawarcinta, ta sake fadawa cikin wani. Bugu da kari, ta hanyar yi mata bukatu iri-iri, ta yi ta kumbura ta yadda babu wata riga daya dace da ita kuma. A banza, maza, masu gyarawa, a cikin bege na kayan ado, sun sanya shi ko dai Faransanci ko Italiyanci. Bai dace da gaba da baya ba. Kuma idan aka dinka masa sabbin rigunan hannu kuma aka gajarta benaye da wutsiya, mafi muni zai daure. A ƙarshe, wasu ƴan tela na soyayya sun zo da ra'ayin farin ciki na zabar al'amuransu na asali kuma, idan zai yiwu, saka shi cikin duk abin da fantasy, bangaskiya, bambance-bambance da ji da suka taɓa halitta a cikin sauran ƙasashe.

An haifi Weber a cikin dangin mawaƙa - mahaifinsa ma'aikacin opera ne kuma ya buga kida da yawa. Mawaƙin nan gaba an tsara shi ta yanayin da ya kasance tun daga ƙuruciya. Franz Anton Weber (kawun Constance Weber, matar WA ​​Mozart) ya ƙarfafa sha'awar ɗansa ga kiɗa da zane, ya gabatar da shi ga ɓarna na wasan kwaikwayo. Azuzuwa tare da shahararrun malamai - Michael Haydn, ɗan'uwan mashahurin mawakin duniya Joseph Haydn, da Abbot Vogler - sun yi tasiri a kan matashin mawaki. A lokacin, gwaje-gwajen farko na rubuce-rubuce su ma sun kasance. A kan shawarar Vogler, Weber ya shiga Breslau Opera House a matsayin mai kula da bandeji (1804). Rayuwarsa mai zaman kanta a cikin fasaha ya fara, dandana, imani an kafa, manyan ayyuka suna da ciki.

Tun 1804, Weber yana aiki a gidajen wasan kwaikwayo daban-daban a Jamus, Switzerland, kuma ya kasance darektan gidan wasan opera a Prague (tun 1813). A daidai wannan lokacin, Weber ya kafa haɗin gwiwa tare da manyan wakilai na rayuwar fasaha na Jamus, waɗanda suka yi tasiri sosai ga ƙa'idodinsa (JW Goethe, K. Wieland, K. Zelter, TA Hoffmann, L. Tieck, K. Brentano, L. Spohr). Weber yana samun shahara ba kawai a matsayin fitaccen ɗan wasan pianist da jagora ba, har ma a matsayin mai shiryawa, mai ƙarfin hali na sake fasalin gidan wasan kwaikwayo na kiɗa, wanda ya amince da sabbin ka'idoji don sanya mawaƙa a cikin ƙungiyar makaɗa ta opera (bisa ga ƙungiyoyin kayan kida), sabon tsarin. aikin maimaitawa a cikin gidan wasan kwaikwayo. Godiya ga ayyukansa, matsayi na mai gudanarwa ya canza - Weber, yana daukar nauyin darakta, shugaban samar da kayayyaki, ya shiga cikin dukkan matakai na shirye-shiryen wasan kwaikwayo na opera. Wani muhimmin fasali na manufofin repertory na gidajen wasan kwaikwayo da ya jagoranta shi ne fifikon wasannin operas na Jamus da Faransa, sabanin yadda aka saba yi a Italiya. A cikin ayyukan farko na kerawa, siffofin salon suna crystallize, wanda daga baya ya zama yanke shawara - jigogi na waƙa da raye-raye, asali da launi na jituwa, sabo na launi na orchestral da fassarar kayan aikin mutum. Ga abin da G. Berlioz ya rubuta, misali:

Kuma menene ƙungiyar makaɗa da ke tare da waɗannan waƙoƙin murya masu daraja! Abin da ƙirƙira! Wane irin basira bincike! Abin da irin wannan wahayi ya buɗe a gabanmu!

Daga cikin mafi muhimmanci ayyukan wannan lokaci ne romantic opera Silvana (1810), da singspiel Abu Hasan (1811), 9 cantatas, 2 symphonies, overtures, 4 piano sonatas da concertos, Gayyatar zuwa Dance, da yawa jam'iyya instrumental da vocal ensembles. waƙoƙi (fiye da 90).

Ƙarshe, lokacin Dresden na rayuwar Weber (1817-26) ya kasance alama ce ta bayyanar shahararrun wasan kwaikwayo na operas, kuma ainihin abin da ya faru shine farkon nasara na The Magic Shooter (1821, Berlin). Wannan opera ba aikin mawaƙi ne kaɗai ba. Anan, kamar yadda aka fi mayar da hankali, an tattara manufofin sabuwar fasahar wasan kwaikwayo ta Jamus, wanda Weber ya amince da shi sannan kuma ya zama tushen ci gaban wannan nau'in.

Ayyukan kiɗa da zamantakewa sun buƙaci maganin matsalolin ba kawai m. Weber, a lokacin da yake aiki a Dresden, ya gudanar da wani babban sikelin gyara na dukan kade-kade da kuma wasan kwaikwayo kasuwanci a Jamus, wanda ya hada da duka biyu manufa repertoire manufofin da kuma horar da wani gidan wasan kwaikwayo gungu mutane masu tunani. An tabbatar da gyare-gyaren ta hanyar aikin kiɗa-mafi mahimmanci na mawaki. ’Yan kasidun da ya rubuta sun ƙunshi, a zahiri, cikakken shirin soyayya, wanda aka kafa a Jamus tare da zuwan The Magic Shooter. Amma baya ga tsarinsa na zahiri kawai, maganganun mawaƙin kuma na musamman ne, kayan kiɗa na asali sanye da sigar fasaha mai haske. littattafai, abubuwan da ke nuni da labarai na R. Schumann da R. Wagner. Ga ɗaya daga cikin gutsuttsuran “Littafin Ƙira” nasa:

Da alama rashin daidaituwa na abin ban mamaki, wanda ba ya tunawa da yawancin kiɗa na yau da kullun da aka rubuta bisa ga ƙa'idodi, kamar wasan kwaikwayo mai ban sha'awa, ana iya ƙirƙira… kawai ta fitaccen hazaka, wanda ya halicci duniyarsa. Rashin hasashe na wannan duniyar a zahiri yana ƙunshe da haɗin kai, wanda ke cike da mafi kyawun ji, kuma kawai kuna buƙatar iya gane ta tare da yadda kuke ji. Duk da haka, da expressiveness na kiɗa ya riga ya ƙunshi mai yawa na rashin iyaka, mutum ji dole ne ya zuba jari mai yawa a cikinta, sabili da haka kawai mutum rayuka, sauraren a zahiri zuwa wannan sautin, za su iya ci gaba da ci gaba da ji, wanda daukan. wuri kamar wannan, kuma ba in ba haka ba, wanda ke tsara irin wannan kuma ba wasu bambance-bambancen da ake bukata ba, wanda kawai wannan ra'ayi gaskiya ne. Don haka, aikin maigida na gaskiya shi ne ya yi mulki ba tare da la’akari da nasa da na sauran mutane ba, da kuma jin da yake bayarwa don haifuwa a matsayin dindindin kuma baiwa kawai. wadanda launuka da nuances waɗanda nan da nan ke haifar da cikakkiyar hoto a cikin ruhin mai sauraro.

Bayan The Magic Shooter, Weber ya juya zuwa nau'in wasan opera mai ban dariya (Pintos uku, libretto ta T. Hell, 1820, ba a gama ba), ya rubuta kiɗa don wasan kwaikwayo na P. Wolf Preciosa (1821). Babban ayyukan wannan lokacin shine wasan opera na soyayya na jaruntaka Euryanta (1823), wanda aka nufa don Vienna, dangane da makircin almara na Faransanci, da kuma wasan opera ta tatsuniyoyi-fantastic opera Oberon, wanda gidan wasan kwaikwayo na London Covent Garden ya ba da izini (1826) ). Mawaƙin da ya riga ya yi fama da rashin lafiya ya kammala maki na ƙarshe har zuwa ranar farko. Ba a taba samun nasarar da aka samu ba a Landan. Duk da haka, Weber ya ɗauki wasu sauye-sauye da canje-canje. Ba shi da lokacin yin su…

Opera ya zama babban aikin rayuwar mawaki. Ya san abin da yake nema, siffarta mai kyau ta sha wahala daga gare shi:

... Ina magana ne game da wasan opera da Jamusawa ke sha'awar, kuma wannan wata halitta ce ta fasaha ta rufe kanta, wanda sassan da sassan da ke da alaƙa da kuma gabaɗaya duk fasahar fasahar da aka yi amfani da su, waɗanda aka yi amfani da su har zuwa ƙarshe, suna ɓacewa kamar haka. har an lalatar da su, amma a daya bangaren gina sabuwar duniya!

Weber ya sami nasarar gina wannan sabon - kuma don kansa - duniya…

V. Barsky

• Rayuwar Weber da aikin →
• Jerin ayyukan Weber →

Weber da kuma National Opera

Weber ya shiga tarihin kiɗa a matsayin wanda ya kirkiro wasan opera na jama'ar Jamus.

Gabaɗayan koma bayan ɗan wasan bourgeoisie na Jamus ya kuma bayyana a cikin ci gaban da aka samu na gidan wasan kwaikwayo na ƙasa. Har zuwa 20s, Ostiriya da Jamus sun mamaye opera na Italiya.

(Jagoran matsayi a duniyar opera ta Jamus da Ostiriya baƙi ne suka mamaye: Salieri a Vienna, Paer da Morlacchi a Dresden, Spontini a Berlin. Yayin da a cikin masu gudanarwa da masu wasan kwaikwayo mutanen Jamus da Austrian suka ci gaba sannu a hankali, a cikin repertoire. na farkon rabin karni na 1832 ya ci gaba da mamaye kiɗan Italiyanci da Faransanci. A Dresden, gidan wasan opera na Italiya ya tsira har zuwa 20, a Munich har zuwa rabin na biyu na karni. Vienna a cikin XNUMXs ya kasance cikin cikakkiyar ma'anar kalmar an. Gidan wasan opera na Italiya, wanda D. Barbaia ke jagoranta, impresario na Milan da Naples (Mawaƙan wasan opera na Jamus da Austrian na zamani Mayr, Winter, Jirovets, Weigl sun yi karatu a Italiya kuma ya rubuta ayyukan Italiyanci ko Italiyanci.)

Sai dai sabuwar makarantar Faransa (Cherubini, Spontini) ta fafata da ita. Kuma idan Weber ya sami nasarar shawo kan al'adun ƙarni biyu da suka gabata, to, babban dalilin nasararsa shi ne faɗaɗɗen gwagwarmayar 'yantar da ƙasa a Jamus a farkon karni na XNUMX, wanda ya rungumi duk nau'ikan ayyukan ƙirƙira a cikin al'ummar Jamus. Weber, wanda ya mallaki basira mai girman kai fiye da Mozart da Beethoven, ya sami damar aiwatarwa a cikin gidan wasan kwaikwayon ka'idodin ƙa'idodin Lessing, wanda a cikin ƙarni na XNUMX ya ɗaga tutar gwagwarmaya don fasahar ƙasa da dimokiradiyya.

Wani ma'aikacin jama'a, mai yada farfaganda kuma mai shelar al'adun ƙasa, ya bayyana irin ƙwararrun masu fasaha na sabon lokaci. Weber ya ƙirƙiro fasahar wasan opera wacce ta samo asali daga al'adun fasahar jama'ar Jamus. Tsoffin almara da tatsuniyoyi, waƙoƙi da raye-raye, wasan kwaikwayo na al'ada, adabin dimokuradiyya na ƙasa - a nan ne ya zana abubuwan da suka fi dacewa a cikin salonsa.

Wasan operas guda biyu da suka bayyana a 1816 – Ondine ta ETA Hoffmann (1776-1822) da Faust ta Spohr (1784-1859) – ana tsammanin juyowar Weber zuwa batutuwan tatsuniya. Amma duka waɗannan ayyukan biyu sun kasance kawai abubuwan da suka faru na haihuwar gidan wasan kwaikwayo na ƙasa. Hotunan mawaƙa na makircinsu ba koyaushe suke daidai da kiɗan ba, waɗanda galibi sun kasance cikin iyakokin abubuwan da suka gabata na baya-bayan nan. Ga Weber, siffar hotunan tatsuniyoyi na da alaƙa da sabuntar tsarin magana ta kiɗan ƙasa, tare da dabarun rubutu kala-kala na salon soyayya.

Amma ko ga mahaliccin wasan opera na al'ummar Jamus, tsarin gano sabbin hotuna na opera, wanda ke da alaƙa da alaƙa da hotuna na sabbin wakoki da wallafe-wallafen soyayya, ya daɗe da wahala. Uku ne kawai daga baya na Weber, mafi balagagge operas - The Magic Shooter, Euryant da Oberon - sun bude sabon shafi a tarihin wasan opera na Jamus.

* * * *

Ci gaban ci gaban gidan wasan kwaikwayo na Jamusanci ya hana shi ta hanyar jama'a na 20s. Ta sanya kanta a cikin aikin Weber da kansa, wanda ya kasa fahimtar shirinsa - don ƙirƙirar wasan opera na jama'a. Bayan mutuwar mawakin, wasan opera na waje mai nishadantarwa ya sake mamaye wani matsayi a cikin repertoire na gidajen wasan kwaikwayo da yawa a Jamus. (Don haka, a tsakanin 1830 zuwa 1849, operas na Faransa arba'in da biyar, operas na Italiya ashirin da biyar, da operas na Jamus ashirin da uku a Jamus.

Wasu ƙananan mawakan Jamus na wancan lokacin - Ludwig Spohr, Heinrich Marschner, Albert Lorzing, Otto Nicolai - sun sami damar yin gasa tare da ayyukan ƙididdiga na makarantun opera na Faransa da Italiya.

Jama'a masu ci gaba ba su yi kuskure ba game da mahimmancin wucin gadi na operas na Jamus na wancan lokacin. A cikin kade-kade na kade-kade na Jamus, an sha jin muryoyin da ke kira ga mawaka da su karya juriya na al'adar wasan kwaikwayo da kuma bin sahun Weber, su kirkiro fasahar wasan kwaikwayo ta kasa ta gaske.

Amma kawai a cikin 40s, a lokacin sabon juyin mulkin demokra] iyya, fasahar Wagner ta ci gaba da haɓaka mafi mahimmancin ka'idodin fasaha, wanda aka fara samu kuma ya ci gaba a cikin operas na soyayya na Weber.

V. Konen

• Rayuwar Weber da aikin →

Dan na tara na wani jami'in sojan sama wanda ya sadaukar da kansa ga kiɗa bayan ɗan'uwansa Constanza ya auri Mozart, Weber yana karɓar darussan kiɗa na farko daga ɗan'uwansa Friedrich, sannan ya yi karatu a Salzburg tare da Michael Haydn da kuma a Munich tare da Kalcher da Valesi (haɗawa da waƙa). ). Yana da shekaru goma sha uku, ya shirya wasan opera na farko (wanda bai zo mana ba). Wani ɗan gajeren lokaci na aiki tare da mahaifinsa a cikin lithography na kiɗa ya biyo baya, sannan ya inganta iliminsa tare da Abbot Vogler a Vienna da Darmstadt. Yana motsawa daga wuri zuwa wuri, yana aiki azaman mai wasan pianist da madugu; a 1817 ya auri mawaƙa Caroline Brand kuma ya shirya gidan wasan kwaikwayo na opera na Jamus a Dresden, sabanin gidan wasan opera na Italiya a ƙarƙashin jagorancin Morlacchi. Ya gaji da babban aikin kungiya da rashin lafiya mai ajali, bayan wani lokaci na jiyya a Marienbad (1824), ya shirya wasan opera Oberon (1826) a Landan, wanda ya sami farin ciki.

Har yanzu Weber shine ɗan karni na XNUMX: shekaru goma sha shida da Beethoven, ya mutu kusan shekara guda kafin shi, amma da alama ya zama mawaƙin zamani fiye da na gargajiya ko Schubert iri ɗaya… haziki, virtuoso pianist, madugu na shahararrun makada amma kuma babban mai shiryawa. A cikin wannan ya kasance kamar Gluck; kawai yana da ɗawainiya mafi wahala, saboda ya yi aiki a cikin ɓacin rai na Prague da Dresden kuma ba shi da ɗabi'a mai ƙarfi ko ɗaukakar Gluck.

"A fagen wasan opera, ya zama wani abu mai wuyar gaske a Jamus - daya daga cikin 'yan tsirarun mawakan opera da aka haifa. An ƙaddara aikinsa ba tare da wahala ba: tun yana ɗan shekara goma sha biyar ya san abin da mataki ke buƙata ... Rayuwarsa ta kasance mai aiki sosai, mai wadata a cikin abubuwan da suka faru wanda ya fi tsayi fiye da rayuwar Mozart, a gaskiya - shekaru hudu kawai "(Einstein).

Lokacin da Weber ya gabatar da The Free Gunner a 1821, ya yi tsammanin soyayyar mawaƙa irin su Bellini da Donizetti waɗanda za su bayyana bayan shekaru goma, ko kuma William Tell na Rossini a 1829. Gabaɗaya, shekara ta 1821 tana da mahimmanci ga shirye-shiryen soyayya a cikin kiɗa. : a wannan lokacin, Beethoven ya hada Sonata op na talatin da ɗaya. 110 don piano, Schubert ya gabatar da waƙar "Sarkin daji" kuma ya fara Symphony na takwas, "Ba a gama ba". Tuni a cikin haɓakar The Free Gunner, Weber yana motsawa zuwa gaba kuma ya 'yantar da kansa daga tasirin gidan wasan kwaikwayo na baya-bayan nan, Spohr's Faust ko Hoffmann's Ondine, ko wasan opera na Faransa wanda ya rinjayi waɗannan magabatan biyu. Lokacin da Weber ya kusanci Euryanta, Einstein ya rubuta cewa, “mafi kyawun maganin sa, Spontini, ya riga ya share masa hanya; a lokaci guda, Spontini kawai ya ba da opera seria mai girma, girma mai girma godiya ga yanayin taron jama'a da tashin hankali. A cikin Evryanta wani sabon sautin soyayya ya bayyana, kuma idan jama'a ba su gamsu da wannan opera nan da nan ba, to, masu tsara al'ummomi na gaba sun yaba sosai.

Ayyukan Weber, wanda ya kafa harsashin ginin opera na Jamus (tare da Mozart's The Magic Flute), ya ƙaddara ma'anar ma'anar gadonsa na biyu, wanda Giulio Confalonieri ya rubuta da kyau game da: "A matsayin amintaccen soyayya, Weber yana samuwa a cikin almara da kuma almara. Hadisai na jama'a tushen kiɗan da ba shi da bayanin kula amma yana shirye don sauti… Tare da waɗannan abubuwan, ya kuma so ya bayyana halinsa cikin yardar kaina: sauye-sauyen da ba zato ba tsammani daga wannan sautin zuwa akasin haka, haɗin kai na wuce gona da iri, tare da juna daidai da juna. tare da sababbin dokoki na kiɗa na Franco-Jamus na romantic, an kawo su zuwa iyaka ta hanyar mawaƙa, na ruhaniya wanda yanayinsa, saboda cinyewa, ya kasance marar natsuwa da zazzaɓi. Wannan duality, wanda ya yi kama da ya saba wa haɗin kai na salo kuma a zahiri ya keta shi, ya haifar da sha'awa mai raɗaɗi don tserewa, ta hanyar zabin rayuwa, daga ma'anar rayuwa ta ƙarshe: daga gaskiya - tare da shi, watakila, sulhu ya kamata kawai a cikin Oberon na sihiri, har ma da ban sha'awa kuma bai cika ba.

G. Marchesi (E. Greceanii ya fassara)