Christoph Willibald Gluck |

Christopher Willibald Gluck

KV Gluck babban mawaki ne na opera wanda aka gudanar a cikin rabin na biyu na karni na XNUMX. sake fasalin wasan opera-seria na Italiya da bala'in waƙar Faransa. Babban wasan opera na tatsuniyoyi, wanda ke fama da mummunan rikici, ya samu a cikin aikin Gluck halaye na bala'in kiɗa na gaske, cike da sha'awa mai ƙarfi, haɓaka kyawawan halaye na aminci, aiki, shirye-shiryen sadaukar da kai. Bayyanar wasan opera na farko na gyarawa "Orpheus" ya riga ya kasance mai nisa - gwagwarmayar 'yancin zama mawaƙa, yawo, ƙwarewar nau'ikan opera daban-daban na wancan lokacin. Gluck ya yi rayuwa mai ban mamaki, yana mai da kansa gaba ɗaya ga wasan kwaikwayo na kiɗa.

An haifi Gluck a cikin dangin gandun daji. Uban ya ɗauki sana'ar mawaƙa a matsayin sana'ar da ba ta dace ba kuma ta kowace hanya ya tsoma baki tare da sha'awar kiɗa na babban ɗansa. Saboda haka, yayin da yake matashi, Gluck ya bar gida, yawo, yana mafarkin samun ilimi mai kyau (a wannan lokacin ya sauke karatu daga kwalejin Jesuit a Kommotau). A 1731 Gluck ya shiga Jami'ar Prague. Wani dalibi na Faculty of Falsafa ya ba da lokaci mai yawa don karatun kiɗa - ya ɗauki darussa daga shahararren mawakin Czech Boguslav Chernogorsky, ya rera waƙa a cikin mawaƙa na Cocin St. Jacob. Yawo a cikin kewayen Prague (Gluk da son rai ya buga violin musamman ma ƙaunataccensa a cikin gungun masu yawo) ya taimaka masa ya ƙara sanin kiɗan mutanen Czech.

A 1735 Gluck, wanda ya riga ya kafa ƙwararrun mawaƙa, ya yi tafiya zuwa Vienna kuma ya shiga hidimar mawaƙa na Count Lobkowitz. Ba da daɗewa ba ɗan ƙasar Italiya A. Melzi ya ba Gluck aiki a matsayin mawaƙin ɗaki a ɗakin sujada na kotu a Milan. A Italiya, hanyar Gluck a matsayin mawaƙin opera ya fara; ya saba da aikin manyan mashawartan Italiyanci, yana shiga cikin abun da ke ciki a karkashin jagorancin G. Sammartini. Matakin shirye-shiryen ya ci gaba da kusan shekaru 5; sai a watan Disamba 1741 aka yi nasarar shirya wasan opera na farko na Gluck Artaxerxes (libre P. Metastasio) a Milan. Gluck yana karɓar umarni da yawa daga gidajen wasan kwaikwayo na Venice, Turin, Milan, kuma a cikin shekaru huɗu ya ƙirƙira wasu ƙarin wasan opera ("Demetrius", "Poro", "Demofont", "Hypermnestra", da dai sauransu), wanda ya ba shi shahara da karɓuwa. daga wajen sophisticated da kuma bukatar Italian jama'a.

A cikin 1745 mawaƙin ya zagaya London. Oratorios na GF Handel sun burge shi sosai. Wannan maɗaukakin, babban abin tarihi, fasaha na jaruntaka ya zama ga Gluck mafi mahimmancin ma'anar ƙirƙira. Kasancewa a Ingila, da kuma wasan kwaikwayo tare da ƙungiyar opera ta Italiya na 'yan'uwan Mingotti a cikin manyan biranen Turai (Dresden, Vienna, Prague, Copenhagen) sun wadatar da kwarewar mawaƙa, sun taimaka wajen kafa abokan hulɗa masu ban sha'awa, da kuma sanin nau'o'i daban-daban. opera makarantu mafi kyau. An gane ikon Gluck a duniyar kiɗa ta hanyar ba da lambar yabo ta Papal Order na Golden Spur. "Cavalier Glitch" - an sanya wannan lakabi ga mawaki. (Bari mu tuna da ɗan gajeren labari mai ban mamaki ta TA Hoffmann "Cavalier Gluck").

Wani sabon mataki a cikin rayuwa da aiki na mawaki ya fara da tafiya zuwa Vienna (1752), inda nan da nan Gluck ya dauki matsayi na madugu da kuma mawaki na opera kotu, kuma a 1774 ya samu lakabi na "ainihin sarki da kuma sarki kotu mawaki. .” Ci gaba da shirya wasan operas na seria, Gluck kuma ya juya zuwa sabbin nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan kiwo ne. Wasan kwaikwayo na wasan barkwanci na Faransanci (Tsibirin Merlin, Bawan Hakimin, Mai Gyaran Buga, Wawaye Cady, da sauransu), da aka rubuta zuwa ga rubutun shahararrun mawakan wasan kwaikwayo na Faransa A. Lesage, C. Favard da J. Seden, sun wadatar da salon mawakin da sabon salo. intonations, dabarun haɗawa, amsa buƙatun masu sauraro a cikin fasaha mai mahimmanci kai tsaye, dimokuradiyya. Ayyukan Gluck a cikin nau'in ballet yana da sha'awa sosai. Tare da haɗin gwiwar ƙwararren mawaƙin Viennese G. Angiolini, an ƙirƙiri ballet pantomime Don Giovanni. Sabon sabon wasan kwaikwayo - wasan kwaikwayo na gaske na choreographic - an ƙaddara shi ta hanyar yanayin makircin: ba al'ada ba ne mai ban mamaki, almara, amma mai ban tsoro, mai rikice-rikice, yana shafar matsalolin har abada na rayuwar ɗan adam. (An rubuta rubutun ballet bisa ga wasan JB Molière.)

Abu mafi mahimmanci a cikin juyin halitta na mawaƙa da kuma a cikin rayuwar kiɗa na Vienna shine farkon wasan opera na farko na gyarawa, Orpheus (1762). matsananci kuma daukaka tsohon wasan kwaikwayo. Kyakkyawan fasahar Orpheus da ikon ƙaunarsa suna iya shawo kan duk wani cikas - wannan madawwamin ra'ayi mai ban sha'awa yana ta'allaka ne a zuciyar opera, ɗaya daga cikin mafi kyawun halitta na mawaƙa. A cikin arias na Orpheus, a cikin sanannen solo na sarewa, wanda kuma aka sani a cikin nau'ikan kayan aiki da yawa a ƙarƙashin sunan "Melody", kyautar waƙa ta asali ta mawallafin ta bayyana; da kuma yanayin da ke bakin ƙofofin Hades - duel mai ban mamaki tsakanin Orpheus da Furies - ya kasance babban misali na gina babban nau'i na opera, wanda aka samu cikakkiyar haɗin kai na kiɗa da ci gaban mataki.

Orpheus ya biyo bayan 2 ƙarin wasan operas na kawo sauyi - Alcesta (1767) da Paris da Helena (1770) (dukansu a cikin libre. Calcabidgi). A cikin gabatarwar "Alceste", wanda aka rubuta a lokacin sadaukar da wasan opera ga Duke na Tuscany, Gluck ya tsara ka'idodin fasaha waɗanda ke jagorantar duk ayyukansa na kere kere. Rashin samun ingantaccen tallafi daga jama'ar Viennese da Italiyanci. Gluck yana zuwa Paris. Shekarun da aka shafe a babban birnin Faransa (1773-79) lokaci ne na ayyukan kirkire-kirkire na mawakin. Gluck ya rubuta kuma ya ƙaddamar da sababbin operas na kawo sauyi a Royal Academy of Music - Iphigenia at Aulis (libre na L. du Roulle bayan bala'i na J. Racine, 1774), Armida (libre ta F. Kino bisa waƙar Urushalima ta 'Yantar da T) Tasso ", 1777), "Iphigenia a Taurida" (libre. N. Gniyar da L. du Roulle bisa ga wasan kwaikwayo na G. de la Touche, 1779), "Echo da Narcissus" (libre. L. Chudi, 1779). ), sake yin aikin "Orpheus" da "Alceste", daidai da al'adun gidan wasan kwaikwayo na Faransa. Ayyukan Gluck sun tayar da rayuwar kiɗan na Paris kuma sun tsokani tattaunawa mai kyau. A gefen mawaƙin akwai masu faɗakarwa na Faransa, masana ilmin halitta (D. Diderot, J. Rousseau, J. d'Alembert, M. Grimm), waɗanda suka yi maraba da haifuwar salon jarumtaka na gaske a wasan opera; Abokan hamayyarsa mabiyin tsohon bala'in wakokin Faransa ne da kuma wasan opera. A ƙoƙarin girgiza matsayin Gluck, sun gayyaci mawaƙin Italiyanci N. Piccinni, wanda ya ji daɗin amincewa da Turai a lokacin, zuwa Paris. Rigima tsakanin magoya bayan Gluck da Piccinni sun shiga tarihin wasan opera na Faransa a ƙarƙashin sunan "yaƙe-yaƙe na Glucks da Piccinnis". Mawakan da kansu, waɗanda suka yi wa juna tausayi na gaske, sun kasance nesa da waɗannan "yaƙe-yaƙe masu kyau".

A cikin shekaru na ƙarshe na rayuwarsa, wanda aka kashe a Vienna, Gluck ya yi mafarkin ƙirƙirar wasan opera na ƙasar Jamus bisa makircin F. Klopstock na "Battle of Hermann". Duk da haka, rashin lafiya mai tsanani da shekaru sun hana aiwatar da wannan shirin. A lokacin jana'izar Glucks a Vienna, an yi aikinsa na ƙarshe "De profundls" ("Ina kira daga abyss ...") don mawaƙa da ƙungiyar mawaƙa. dalibin Gluck A. Salieri ya gudanar da wannan bukata ta asali.

G. Berlioz, mai sha'awar aikinsa, wanda ake kira Gluck "Aeschylus of Music". Salon abubuwan bala'o'in kida na Gluck - kyakkyawan kyakkyawa da girman hotuna, ɗanɗano mara kyau da haɗin kai na gabaɗaya, monumentality na abun da ke ciki, dangane da hulɗar solo da nau'ikan choral - yana komawa ga al'adun tsohuwar bala'i. An ƙirƙira su ne a lokacin faɗuwar faɗuwar faɗuwar rana a jajibirin juyin juya halin Faransa, sun amsa buƙatun lokacin cikin manyan fasahar jaruntaka. Don haka, Diderot ya rubuta jim kaɗan kafin zuwan Gluck a Paris: "Bari mai hazaka ya bayyana wanda zai kafa bala'i na gaske… a kan matakin lyrical." Bayan da ya kafa a matsayin manufarsa "kore daga opera duk waɗancan munanan wuce gona da iri waɗanda hankali da ɗanɗanonsu suka daɗe suna nuna rashin amincewarsu a banza," Gluck ya ƙirƙira wasan kwaikwayon wanda duk abubuwan wasan kwaikwayo suke da amfani a zahiri kuma suna aiwatar da wasu, ayyuka masu mahimmanci a cikin abun da ke ciki gabaɗaya. “… Na guje wa nuna tarin matsaloli masu ban mamaki don ɓatar da tsabta,” in ji sadaukarwar Alceste, “kuma ban haɗa wata ƙima ga gano sabuwar dabara ba idan ba ta bi ta zahiri ba daga yanayin kuma ba a haɗa ta ba. tare da bayyanawa.” Don haka, ƙungiyar mawaƙa da ballet sun zama cikakkun mahalarta cikin aikin; recitatives masu bayyana ra'ayi a zahiri suna haɗuwa tare da arias, waƙar da ba ta da ƙetarewa na salon kirki; overture yana tsammanin tsarin tunanin aikin gaba; In mun gwada da cikakken lambobin kiɗa ana haɗa su cikin manyan fage, da dai sauransu. Zaɓuɓɓukan da aka ba da umarni da tattara hanyoyin kiɗa da ban mamaki, ƙayyadaddun bin duk hanyoyin haɗin babban abun da ke ciki - waɗannan su ne mafi mahimmancin binciken Gluck, waɗanda ke da mahimmanci duka biyu don sabunta aikin operatic. dramaturgy da kuma kafa wani sabon daya, symphonic tunani. (Ranar da Gluck's operatic kerawa ya faɗi a lokacin mafi girman ci gaban manyan nau'ikan cyclic - siphony, sonata, ra'ayi.) Wani tsofaffi na I. Haydn da WA Mozart, suna da alaƙa da alaƙa da rayuwar kiɗa da fasaha. yanayi na Vienna. Gluck, da kuma cikin sharuddan sito na sa na halitta mutum, kuma cikin sharuddan general fuskantarwa na bincikensa, adjoins daidai da Viennese classical makaranta. Al'adun "Babban bala'i" na Gluck, sababbin ka'idodin wasan kwaikwayo na wasan kwaikwayo sun samo asali a cikin wasan kwaikwayo na opera na karni na XNUMX: a cikin ayyukan L. Cherubini, L. Beethoven, G. Berlioz da R. Wagner; kuma a cikin kiɗan Rasha - M. Glinka, wanda ya daraja Gluck a matsayin mawallafin opera na farko na karni na XNUMX.

I. Okhalova

Dan mai gadon gandun daji, tun yana karami ya kan raka mahaifinsa a yawan tafiye-tafiyensa. A shekara ta 1731 ya shiga Jami'ar Prague, inda ya karanta fasahar murya da kida daban-daban. Kasancewa cikin hidimar Yarima Melzi, yana zaune a Milan, yana ɗaukar darussan ƙira daga Sammartini kuma yana sanya operas da yawa. A cikin 1745, a London, ya sadu da Handel da Arne kuma ya shirya wasan kwaikwayo. Kasancewar mai kula da makada na kungiyar Mingotti ta Italiya, ya ziyarci Hamburg, Dresden da sauran garuruwa. A cikin 1750 ya auri Marianne Pergin, 'yar wani ma'aikacin banki na Viennese mai arziki; a 1754 ya zama bandmaster na Vienna Kotun Opera kuma yana cikin tawagar Count Durazzo, wanda ya gudanar da gidan wasan kwaikwayo. A cikin 1762, Calzabidgi ya shirya wasan opera na Gluck Orpheus da Eurydice zuwa libretto. A 1774, bayan da yawa kudi koma baya, ya bi Marie Antoinette (wanda ya kasance malamin kiɗa), wanda ya zama sarauniya Faransa, zuwa Paris kuma ya sami tagomashi ga jama'a duk da juriya na picinnists. Duk da haka, ya damu da gazawar opera "Echo da Narcissus" (1779), ya bar Faransa ya tafi Vienna. A cikin 1781, mawaki ya gurgunce kuma ya daina duk ayyukan.

An gano sunan Gluck a cikin tarihin kiɗa tare da abin da ake kira gyara na wasan kwaikwayo na kiɗa na Italiyanci, wanda kawai aka sani kuma ya yadu a Turai a lokacinsa. An yi la'akari da shi ba kawai babban mawaƙa ba, amma sama da duk mai ceton nau'in nau'i wanda aka gurbata a farkon rabin karni na XNUMX ta hanyar kayan ado na virtuosic na mawaƙa da ka'idodin al'ada, na'ura na liberttos. A zamanin yau, matsayin Gluck ba ya zama na musamman, tun da mawaƙin ba shine kawai mahaliccin gyara ba, buƙatar da wasu mawaƙan opera da libertists suka ji, musamman na Italiyanci. Bugu da ƙari, ra'ayi na raguwar wasan kwaikwayo na kiɗa ba zai iya amfani da koli na nau'in ba, amma kawai ga ƙananan ƙididdiga da mawallafa na ƙananan basira (yana da wuya a zargi irin wannan maigidan kamar Handel don raguwa).

Kamar yadda mai karatu Calzabigi da sauran membobin tawagar Count Giacomo Durazzo, manajan gidan wasan kwaikwayo na daular Vienna suka sa Gluck ya gabatar da sabbin abubuwa da dama a aikace, wanda babu shakka ya haifar da babban sakamako a fagen wasan kwaikwayo na kida. . Calcabidgi ya tuna: “Ba zai yiwu Mista Gluck, wanda yake jin yarenmu [wato, Italiyanci], ya karanta waƙa ba. Na karanta masa Orpheus kuma sau da yawa na karanta guntuwa da yawa, yana mai da hankali kan inuwar karatun, tsayawa, raguwa, saurin sauri, sauti yanzu nauyi, yanzu santsi, wanda nake so ya yi amfani da shi a cikin abun da ke ciki. A lokaci guda, na tambaye shi ya cire dukan fioritas, cadenzas, ritornellos, da duk wannan dabbanci da almubazzaranci da suka shiga cikin waƙarmu.

Ƙarfafawa da kuzari ta yanayi, Gluck ya aiwatar da aiwatar da shirin da aka tsara kuma, yana dogara ga libretto Calzabidgi, ya bayyana shi a cikin gabatarwar Alceste, wanda aka sadaukar da Grand Duke na Tuscany Pietro Leopoldo, Sarkin sarakuna Leopold II na gaba.

Babban ka'idojin wannan ma'anar su ne kamar haka: don guje wa wuce gona da iri, ban dariya da ban sha'awa, sanya kiɗa ya zama hidimar waƙa, don haɓaka ma'anar overture, wanda ya kamata ya gabatar da masu sauraro ga abubuwan da ke cikin opera, don tausasa bambance-bambance tsakanin karatun. da aria don kada su "katsewa da dampen aikin."

Tsabtatawa da sauƙi ya kamata su zama makasudin mawaƙa da mawaƙa, ya kamata su fi son "harshen zuciya, sha'awar sha'awa, yanayi mai ban sha'awa" zuwa halin kirki mai sanyi. Wadannan tanade-tanaden yanzu suna kama da mu, ba su canza ba a cikin gidan wasan kwaikwayo na kiɗa daga Monteverdi zuwa Puccini, amma ba haka ba ne a lokacin Gluck, wanda mutanen zamaninsa "har ma da ƙananan karkata daga yarda sun zama babban sabon abu" (a cikin kalmomin Massimo Mila).

A sakamakon haka, mafi mahimmanci a cikin sake fasalin shine nasarorin ban mamaki da na kiɗa na Gluck, wanda ya bayyana a cikin dukan girmansa. Waɗannan nasarorin sun haɗa da: kutsawa cikin jin daɗin haruffa, ɗaukaka na gargajiya, musamman na shafukan choral, zurfin tunani wanda ke bambanta shahararrun aria. Bayan rabuwa da Calzabidgi, wanda, a tsakanin sauran abubuwa, ya yi rashin nasara a kotu, Gluck ya sami goyon baya a Paris shekaru da yawa daga masu sassaucin ra'ayi na Faransa. A nan, duk da m compromises tare da gida mai ladabi amma babu makawa na sama gidan wasan kwaikwayo (a kalla daga mai gyara ra'ayi), da mawaki duk da haka ya kasance cancanci nasa ka'idodin, musamman a operas Iphigenia a Aulis da Iphigenia a Tauris.

G. Marchesi (E. Greceanii ya fassara)

kuskure. Melody (Sergei Rachmaninov)