Charles Gounod |

Charles Gounod

Gounod. Faust. "Le veau dor" (F. Chaliapin)

Art zuciya ce mai iya tunani. Sh. Gono

C. Gounod, marubucin shahararren wasan opera Faust, ya mamaye ɗayan wurare masu daraja a tsakanin mawaƙa na ƙarni na XNUMX. Ya shiga tarihin kiɗa a matsayin daya daga cikin wadanda suka kafa sabon shugabanci a cikin nau'in opera, wanda daga baya ya karbi sunan "wasan kwaikwayo na lyric". A kowane irin nau'in mawaki ya yi aiki, koyaushe ya fi son ci gaban waƙa. Ya yi imani cewa waƙa za ta kasance koyaushe mafi kyawun bayanin tunanin ɗan adam. Tasirin Gounod ya shafi aikin mawaƙa J. Bizet da J. Massenet.

A cikin kiɗa, Gounod koyaushe yana cin nasara akan waƙoƙi; a cikin wasan opera, mawaƙin yana aiki a matsayin ƙwararren Hotunan kiɗa da ƙwararren mai fasaha, yana isar da sahihancin yanayin rayuwa. A cikin salon gabatarwarsa, ikhlasi da sauƙaƙa koyaushe suna tare tare da mafi girman fasaha na rubutawa. Don waɗannan halaye ne P. Tchaikovsky ya yaba wa kiɗan mawaƙin Faransanci, wanda har ma ya gudanar da wasan opera Faust a gidan wasan kwaikwayo na Pryanishnikov a shekara ta 1892. A cewarsa, Gounod yana ɗaya daga cikin 'yan kaɗan waɗanda a zamaninmu suke rubutawa ba daga tunanin da suka rigaya ba. , amma daga cusa ji.

Gounod an fi saninsa da mawakin opera, ya mallaki opera guda 12, bugu da kari ya kirkiro ayyukan choral (oratorios, masses, cantatas), kade-kade 2, gunkin kayan aiki, guntun piano, fiye da 140 na soyayya da wakoki, duets, kida na gidan wasan kwaikwayo. .

An haifi Gounod a cikin dangin mai zane. Tuni a cikin ƙuruciya, iyawar sa don zane da kiɗa sun bayyana kansu. Bayan rasuwar mahaifinsa, mahaifiyarsa ta dauki nauyin karatun dansa (ciki har da kiɗa). Gounod yayi karatun ka'idar kiɗa tare da A. Reicha. Ra'ayi na farko na gidan wasan opera, wanda ya karbi bakuncin wasan opera Otello na G. Rossini, ya ƙaddara zaɓin aiki na gaba. Duk da haka, mahaifiyar, ta koyi game da shawarar danta da kuma fahimtar matsalolin da ke cikin hanyar zane-zane, ya yi ƙoƙari ya tsayayya.

Daraktan lyceum da Gounod ya yi karatu ya yi alkawarin taimaka mata wajen gargadin danta kan wannan matakin na rashin hankali. Lokacin da ake hutu tsakanin azuzuwa, ya kira Gounod ya ba shi takarda mai rubutun Latin. Rubutun soyayya ne daga opera E. Megul. Tabbas, Gounod bai san wannan aikin ba tukuna. "Ta hanyar canji na gaba, an rubuta soyayya ..." mawaƙin ya tuna. “Da kyar na rera rabin wakar farko lokacin da fuskar alkalina ta yi haske. Sa’ad da na gama, darektan ya ce: “To, yanzu bari mu je piano.” Na yi nasara! Yanzu zan samu cikakken kayan aiki. Na sake rasa abin da nake rubutawa, kuma na doke Mista Poirson, cikin kuka, na kama kaina, na sumbace ni kuma na ce: “Yaro, zama mawaƙi!” Malaman Gounod a Conservatory na Paris sune manyan mawakan F. Halévy, J. Lesueur da F.Paer. Sai bayan ƙoƙari na uku a cikin 1839 Gounod ya zama mamallakin babbar lambar yabo ta Roman Cantata Fernand.

Lokacin farko na kerawa yana da alamar fifikon ayyukan ruhaniya. A cikin 1843-48. Gounod shi ne mai shirya taron kuma darektan mawaka na Cocin of Foreign Missions a Paris. Har ma ya yi niyyar ɗaukar umarni masu tsarki, amma a ƙarshen 40s. bayan dogon jinkiri ya koma art. Tun daga wannan lokacin, nau'in operatic ya zama babban nau'i a cikin aikin Gounod.

An yi wasan opera Sappho na farko (libre na E. Ogier) a birnin Paris a Grand Opera a ranar 16 ga Agusta, 1851. An rubuta babban ɓangaren musamman don Pauline Viardot. Koyaya, wasan opera bai tsaya a cikin wasan kwaikwayo na wasan kwaikwayo ba kuma an cire shi bayan wasan kwaikwayo na bakwai. G. Berlioz ya ba da cikakken nazari game da wannan aikin a cikin jarida.

A cikin shekaru masu zuwa, Gounod ya rubuta operas The Bloody Nun (1854), The Reluctant Doctor (1858), Faust (1859). A cikin "Faust" na IV Goethe, Gounod ya jawo hankalinsa daga shirin daga farkon ɓangaren wasan kwaikwayo.

A cikin bugu na farko, wasan opera, wanda aka yi niyya don shiryawa a gidan wasan kwaikwayo Lyrique da ke birnin Paris, yana da jawabai na magana da tattaunawa. Sai a shekara ta 1869 aka saita su don yin kade-kade a Grand Opera, kuma an saka Walpurgis Night na ballet. Duk da gagarumar nasarar da opera ta samu a cikin shekaru masu zuwa, masu sukar sun sha sukan mawaƙin don taƙaita ma'anar adabi da waƙa, suna mai da hankali kan wani labari na rairayi daga rayuwar Faust da Margarita.

Bayan Faust, Philemon da Baucis (1860) sun bayyana, makircin da aka aro daga Ovid's Metamorphoses; "Sarauniyar Sheba" (1862) dangane da tatsuniyar Larabci ta J. de Nerval; Mireil (1864) da wasan opera mai ban dariya The Dove (1860), wanda bai kawo nasara ga mawaki ba. Abin sha'awa, Gounod ya kasance mai shakka game da abubuwan da ya halitta.

Matsayi na biyu na aikin opera na Gounod shine opera Romeo and Juliet (1867) (daga W. Shakespeare). Mawaƙin ya yi aiki a kai da babbar sha’awa. “Ina ganin su duka biyu a gabana: Ina jin su; amma na gani da kyau? Shin gaskiya ne, na ji masoya biyu daidai? mawakin ya rubuta wa matarsa. Romeo da Juliet an yi su ne a cikin 1867 a cikin shekarar nunin nunin duniya a Paris akan matakin wasan kwaikwayo na Lyrique. Abin lura ne cewa a cikin Rasha (a Moscow) an yi shi shekaru 3 daga baya ta hanyar masu fasahar Italiyanci, Desiree Artaud ya rera sashin Juliet.

Wasan kwaikwayo na biyar na Maris, Polievkt, da Zamora's Tribute (1881) da aka rubuta bayan Romeo da Juliet ba su yi nasara sosai ba. Shekarun ƙarshe na rayuwar marubucin sun sake yin alama da tunanin malamai. Ya juya zuwa nau'ikan kiɗan choral - ya ƙirƙiri babban zane mai girma "Kafara" (1882) da oratorio "Mutuwa da Rayuwa" (1886), abun da ke ciki wanda, a matsayin wani ɓangare, ya haɗa da Requiem.

A cikin tarihin Gounod akwai ayyuka guda 2 waɗanda, a ce, suna faɗaɗa fahimtar iyawar marubucin da kuma ba da shaida ga fitattun iyawa na adabi. Ɗaya daga cikinsu an sadaukar da shi ga wasan opera na WA Mozart "Don Giovanni", ɗayan kuma shine memoir "Memoirs of Artist", wanda aka bayyana sabbin fuskokin halayen Gounod da halayensa.

L. Kozhevnikova

Wani muhimmin lokaci na kiɗan Faransanci yana da alaƙa da sunan Gounod. Ba tare da barin ɗaliban kai tsaye ba - Gounod bai tsunduma cikin ilimin koyarwa ba - yana da babban tasiri a kan matasan zamaninsa. Ya shafi, da farko, ci gaban wasan kwaikwayo na kiɗa.

A cikin 50s, lokacin da "babban opera" ya shiga cikin rikici kuma ya fara rayuwa da kansa, sababbin abubuwa sun bayyana a cikin gidan wasan kwaikwayo na kiɗa. A romantic image na karin gishiri, karin gishiri ji na wani kwarai hali aka maye gurbinsu da sha'awa ga rayuwar talakawa, talakawa, a cikin rayuwar da ke kewaye da shi, a cikin Sphere na m ji. A fagen harshe na kida, an nuna wannan ne ta hanyar neman sauƙaƙan rayuwa, ikhlasi, zazzafan magana, waƙa. Saboda haka fadi fiye da baya kira ga dimokuradiyya nau'ikan waƙa, soyayya, rawa, Maris, zuwa tsarin zamani na yau da kullun. Irin wannan shine tasirin ƙwaƙƙwaran dabi'un gaskiya a cikin fasahar Faransa ta zamani.

Neman sababbin ƙa'idodin wasan kwaikwayo na kiɗa da sababbin hanyoyin magana an zayyana su a cikin wasu wasan kwaikwayo na wasan kwaikwayo na lyric-comedy na Boildieu, Herold da Halévy. Amma waɗannan dabi'un sun bayyana cikakke ne kawai a ƙarshen 50s da 60s. Anan akwai jerin shahararrun ayyukan da aka kirkira kafin 70s, wanda zai iya zama misalan sabon nau'in wasan opera na "wasan kwaikwayo" (an nuna kwanakin farko na waɗannan ayyukan):

1859 - "Faust" na Gounod, 1863 - "Masu Neman Lu'u-lu'u" Bizet, 1864 - "Mireille" Gounod, 1866 - "Minion" Thomas, 1867 - "Romeo da Juliet" Gounod, 1867 - "Beauty na Perth" 1868 "Hamlet" da Tom.

Tare da wasu tanadi, ana iya haɗa operas na ƙarshe na Meyerbeer Dinora (1859) da Matar Afirka (1865) a cikin wannan nau'in.

Duk da bambance-bambancen, operas da aka jera suna da fasaloli da yawa. A tsakiya akwai hoton wasan kwaikwayo na sirri. Ana ba da fifikon ra'ayoyin ra'ayoyin waƙar; don watsa shirye-shiryensu, mawaƙa a ko'ina suna jujjuya zuwa sashin soyayya. Halin halin da ake ciki na ainihin aikin yana da matukar mahimmanci, wanda shine dalilin da ya sa rawar da fasahar kerawa ke ƙaruwa.

Amma ga duk mahimmancin mahimmancin waɗannan sabbin nasara, wasan opera lyric, a matsayin wani nau'in nau'in gidan wasan kwaikwayo na Faransanci na karni na XNUMX, ba shi da fa'idar akida da fasahar fasaha. Abubuwan falsafa na litattafan Goethe ko bala'in Shakespeare sun bayyana "raguwa" a kan matakin wasan kwaikwayo, suna samun bayyanar yau da kullun - ayyukan adabi na gargajiya sun hana babban ra'ayi na gabaɗaya, kaifin bayyanar rikice-rikice na rayuwa, da kuma ainihin ikon yinsa. sha'awa. Ga wasan operas na waƙoƙin waƙa, galibi, suna nuna hanyoyin da za a bi don tabbatar da gaskiya maimakon ba da cikakken bayaninta. Duk da haka, nasarar da suka samu ta kasance dimokaradiyya na harshen kiɗa.

Gounod shi ne na farko a cikin mutanen zamaninsa wanda ya sami damar haɓaka waɗannan kyawawan halaye na wasan opera. Wannan shi ne dawwamammen mahimmancin tarihi na aikinsa. A hankali kama da sito da kuma hali na music na birane rayuwa - ba tare da dalili cewa shekaru takwas (1852-1860) ya jagoranci Parisian "Orpheonists", - Gounod gano sabon hanyar m da ban mamaki expressiveness cewa ya cika da bukatun lokacin. Ya gano a cikin wasan opera na Faransa da waƙar soyayya mafi kyawun damar iyakoki na waƙoƙin “sociable”, kai tsaye da burgewa, cike da ra'ayoyin demokradiyya. Tchaikovsky ya lura da kyau cewa Gounod shine "daya daga cikin 'yan mawaƙa waɗanda a zamaninmu ba su rubuta daga ka'idodin da aka riga aka tsara ba, amma daga zurfafa tunani." A cikin shekarun da babban gwaninsa ya bunƙasa, wato, daga rabi na biyu na 50s da kuma a cikin 60s, 'yan'uwan Goncourt sun mamaye wani wuri mai mahimmanci a cikin wallafe-wallafe, waɗanda suka dauki kansu a matsayin wadanda suka kafa sabuwar makarantar fasaha - sun kira shi " makarantar jin tsoro." Gounod za a iya haɗa shi da wani sashi.

Koyaya, “hankali” tushen ƙarfi ba kawai ba ne, har ma da raunin Gounod. Da nervously mayar da martani ga rayuwa ra'ayi, ya sauƙi mika wuya ga daban-daban akida tasiri, ya kasance m a matsayin mutum da kuma artist. Halinsa yana cike da sabani: ko dai ya sunkuyar da kansa kasa a gaban addini, kuma a cikin 1847-1848 ya ma so ya zama sarki, ko kuma ya mika wuya ga sha'awar duniya gaba daya. A cikin 1857, Gounod yana kan gab da kamuwa da cutar tabin hankali, amma a cikin 60s ya yi aiki da yawa, mai fa'ida. A cikin shekaru ashirin masu zuwa, kuma ya sake fadawa ƙarƙashin rinjayar ra'ayoyin malamai, ya kasa tsayawa daidai da al'adun ci gaba.

Gounod ba shi da kwanciyar hankali a matsayinsa na kirkire-kirkire - wannan yana bayyana rashin daidaituwa na nasarorin fasaha. Sama da duka, godiya ga ladabi da sassaucin ra'ayi, ya halicci kiɗa mai rai, mai hankali yana nuna canjin yanayin tunani, cike da alheri da fara'a na sha'awa. Amma sau da yawa tabbataccen ƙarfi da cikar magana wajen nuna sabani na rayuwa, wato mene ne siffa ta. baiwa Bizet, bai isa ba iyawa Gounod. Halayen hankali wani lokaci suna shiga cikin kiɗan na ƙarshe, kuma jin daɗin farin ciki ya maye gurbin zurfin abun ciki.

Duk da haka, bayan gano tushen wahayi na waƙar da ba a bincika ba a baya a cikin kiɗan Faransanci, Gounod ya yi abubuwa da yawa don fasahar Rasha, kuma opera Faust a cikin shahararsa ya sami damar yin gasa tare da mafi girman halittar gidan wasan kwaikwayo na Faransanci na karni na XNUMX - Bizet's Carmen. Tuni da wannan aikin, Gounod ya rubuta sunansa a cikin tarihin ba kawai Faransanci ba, har ma da al'adun kiɗa na duniya.

* * * *

Marubucin wasan kwaikwayo goma sha biyu, fiye da ɗari romances, babban adadin ruhohi na ruhi da abin da ya fara da kuma kawo karshen aikinsa, da dama kayan aiki ayyuka (ciki har da uku symphonies, na karshe na iska kida), Charles Gounod an haife shi a ranar 17 ga Yuni. , 1818. Mahaifinsa mawaki ne, mahaifiyarsa ta kasance fitacciyar mawaƙi. Hanyar rayuwa ta iyali, fa'idodin fasaha na fasaha sun haifar da sha'awar fasaha na Gounod. Ya sami dabarar ƙira mai yawa daga malamai da yawa masu buri iri-iri (Antonin Reicha, Jean-Francois Lesueur, Fromental Halévy). A matsayin wanda ya lashe kyautar Paris Conservatoire (ya zama dalibi yana da shekaru goma sha bakwai), Gounod ya shafe 1839-1842 a Italiya, sannan - a takaice - a Vienna da Jamus. Hotuna masu ban sha'awa daga Italiya sun kasance masu ƙarfi, amma Gounod ya yi takaici da kiɗan Italiyanci na zamani. Amma ya fadi a karkashin sihiri na Schumann da Mendelssohn, wanda tasirinsa bai wuce ba tare da wata alama a gare shi ba.

Tun daga farkon 50s, Gounod ya zama mafi aiki a cikin rayuwar kiɗa na Paris. Wasan opera nasa na farko, Sappho, ya fara fitowa a 1851; biye da wasan opera The Bloodied Nun a 1854. Dukansu ayyukan, waɗanda aka shirya a Grand Opera, ana nuna su da rashin daidaituwa, melodrama, har ma da pretentiousness na salon. Ba su yi nasara ba. Mafi zafi shine "Likita ba tare da son rai ba" (bisa ga Molière), wanda aka nuna a cikin 1858 a "Lyric Theater": makircin ban dariya, ainihin saitin aikin, rayayyun haruffan sun tada sabbin bangarorin basirar Gounod. Sun nuna cikakken ƙarfi a cikin aiki na gaba. Faust ne, wanda aka shirya a wannan gidan wasan kwaikwayo a cikin 1859. Ya ɗauki ɗan lokaci don masu sauraro su kamu da son wasan opera kuma su fahimci sabon yanayinsa. Sai kawai bayan shekaru goma ta shiga cikin Grand Orera, kuma an maye gurbin ainihin maganganun da aka yi da recitatives kuma an kara wuraren wasan ballet. A cikin 1887, an gudanar da wasan kwaikwayon na Faust na ɗari biyar a nan, kuma a cikin 1894 an yi bikin aikinta na dubunnan (a cikin 1932 - dubu biyu). (Farkon samar da Faust a Rasha ya faru a cikin 1869.)

Bayan wannan rubutaccen aikin, a farkon shekarun 60s, Gounod ya shirya wasan kwaikwayo na ban dariya na matsakaici guda biyu, da kuma Sarauniyar Sheba, wanda ya dore a cikin ruhin wasan kwaikwayo na Scribe-Meyerbeer. Juya sannan a cikin 1863 zuwa waƙar mawaƙin Provencal Frederic Mistral "Mireil", Gounod ya ƙirƙira wani aiki, shafuka da yawa waɗanda ke bayyanawa, sha'awa da waƙar waƙa. Hotunan yanayi da rayuwar karkara a kudancin Faransa sun sami sigar waƙa a cikin kiɗa (duba ƙungiyar mawaƙa ta I ko IV). Mawaƙin ya sake fitar da ingantattun waƙoƙin Provencal a cikin makinsa; Misali ita ce tsohuwar waƙar soyayya mai suna “Oh, Magali”, wadda ke taka muhimmiyar rawa a cikin wasan kwaikwayo na opera. Hoton tsakiyar yarinya Mireil, wanda ke mutuwa a cikin gwagwarmayar farin ciki tare da ƙaunataccenta, an kuma bayyana shi sosai. Duk da haka, kiɗan Gounod, wanda a cikinsa akwai ƙarin alheri fiye da m plethora, ya yi ƙasa da gaskiya da haske ga Bizet's Arlesian, inda yanayin Provence ke isar da kamala mai ban mamaki.

Babban nasarorin fasaha na ƙarshe na Gounod shine opera Romeo da Juliet. An fara wasan farko a cikin 1867 kuma an sami babban nasara - a cikin shekaru biyu an gudanar da wasanni casa'in. Ko da yake bala'i Ana fassara Shakespeare anan cikin ruhu wasan kwaikwayo na waka, mafi kyawun lambobi na opera - kuma waɗannan sun haɗa da duets hudu na manyan haruffa (a ball, a baranda, a cikin ɗakin kwana na Juliet da kuma a cikin crypt), Juliet's waltz, Romeo's cavatina - suna da wannan hanzarin tunanin, gaskiyar karatun. da kyan gani na waƙa waɗanda ke da halayen salon mutum guda Gounod.

Ayyukan kade-kade da na wasan kwaikwayo da aka rubuta bayan haka suna nuni ne da farkon rikicin akida da fasaha a cikin aikin mawaki, wanda ke da alaƙa da ƙarfafa abubuwan limamai a cikin mahallinsa na duniya. A cikin shekaru goma sha biyu na rayuwarsa, Gounod bai rubuta wasan kwaikwayo ba. Ya mutu a ranar 18 ga Oktoba, 1893.

Don haka, "Faust" ita ce mafi kyawun halittarsa. Wannan babban misali ne na wasan opera na waƙar Faransa, tare da duk kyawawan halaye da wasu gazawarta.

M. Druskin

makala

Operas (jimlar 12) (kwanakin suna cikin baka)

Sappho, libretto na Ogier (1851, sabbin bugu - 1858, 1881) The Bloodied Nun, libretto by Scribe and Delavigne (1854) The Unwitting Doctor, libretto ta Barbier da Carré (1858) Faust, libretto ta Barbier da Carré (1859) edition - 1869) Dove, libretto ta Barbier da Carré (1860) Philemon da Baucis, libretto ta Barbier da Carré (1860, sabon bugu - 1876) "The Empress of Savskaya", libretto ta Barbier da Carre (1862) Mireille, libretto ta Barbier da Carré (1864, sabon bugu - 1874) Romeo da Juliet, libretto ta Barbier da Carré (1867, sabon bugu - 1888) Saint-Map, libretto ta Barbier da Carré (1877) Polyeuct, libretto ta Barbier da Carré (1878) "Ranar Zamora", libretto ta Barbier and Carré (1881)

Kiɗa a gidan wasan kwaikwayo Mawaka zuwa bala'in Ponsard "Odysseus" (1852) Kiɗa don wasan kwaikwayo na Legouwe "Queens biyu na Faransa" (1872) Kiɗa don wasan Barbier Joan na Arc (1873)

Rubuce-rubucen ruhaniya 14 talakawa, 3 requiems, "Stabat mater", "Te Deum", da dama oratorios (daga cikinsu - "Kafara", 1881; "Mutuwa da Rai", 1884), 50 ruhaniya songs, kan 150 chorales da sauransu.

Kiɗan murya Fiye da waƙoƙi da waƙoƙi 100 (an buga mafi kyawun su a cikin tarin 4 na soyayya 20 kowannensu), duet na vocal, yawancin mawakan maza na murya 4 (na “masu marayu”), cantata “Gallia” da sauransu.

Symphonic yana aiki Symphony na farko a D major (1851) Symphony na biyu Es-dur (1855) Ƙananan Symphony don kayan aikin iska (1888) da sauransu.

Bugu da kari, da dama guda don piano da sauran solo kida, jam'iyya ensembles

Rubutun adabi "Memoirs of an Artist" (bayan an buga shi), labarai da dama