Claude Debussy |

Claude Debussy

Ina ƙoƙarin nemo sabbin haƙiƙanin gaskiya… wawaye suna kiransa impressionism. C. Rashin hankali

Mawaƙin Faransa C. Debussy ana kiransa da yawa uban kiɗa na karni na XNUMX. Ya nuna cewa kowane sauti, ƙwaƙƙwalwa, tonality za a iya ji ta sabuwar hanya, za a iya rayuwa mai 'yanci, rayuwa mai launi iri-iri, kamar ana jin daɗin sautinta, sannu-sannu, ruɗewar asiri cikin shiru. Da gaske yana sa Debussy yana da alaƙa da ra'ayi na hoto: isar da haske mai ban sha'awa, lokacin motsa jiki, ƙauna ga shimfidar wuri, girgizar iska. Ba daidaituwa ba ne cewa Debussy yana dauke da babban wakilin impressionism a cikin kiɗa. Duk da haka, ya fi masu fasaha na Impressionist, ya tafi daga nau'o'in gargajiya, an tsara waƙarsa zuwa karninmu fiye da zanen C. Monet, O. Renoir ko C. Pissarro.

Debussy ya yi imanin cewa kiɗa yana kama da yanayi a cikin yanayinsa, rashin iyaka mara iyaka da bambancin nau'i: "Kiɗa shine ainihin fasahar da ke kusa da yanayi ... Mawaƙa kawai suna da damar ɗaukar duk waƙoƙin dare da rana, ƙasa da sararin sama, suna sake sakewa. yanayin su da rhythmically isar da gagarumin bugunsu. Dukansu yanayi da kiɗa suna jin Debussy azaman abin asiri, kuma sama da duka, sirrin haihuwa, abin da ba zato ba tsammani, ƙirar musamman na wasan damammaki. Don haka, halin shakku da ban haushi da mawakin ya yi game da kowane nau'i na ƙwaƙƙwaran ƙa'idodi da lakabi dangane da ƙirƙira fasaha, ba da son rai ba yana zayyana gaskiyar rayuwa ta fasaha.

Debussy ya fara nazarin kiɗa yana da shekaru 9 kuma ya riga ya shiga cikin 1872 ya shiga ƙaramin sashen na Conservatory na Paris. Tuni a cikin shekaru masu ra'ayin mazan jiya, rashin daidaituwa na tunaninsa ya bayyana kansa, wanda ya haifar da rikici da malamai masu jituwa. A gefe guda kuma, mawaƙin novice ya sami gamsuwa ta gaske a cikin azuzuwan E. Guiraud (haɗawa) da A. Mapmontel (piano).

A cikin 1881, Debussy, a matsayin mai wasan pianist, tare da mai ba da taimako na Rasha N. von Meck (babban abokin P. Tchaikovsky) a kan tafiya zuwa Turai, sa'an nan kuma, a gayyatar ta, ya ziyarci Rasha sau biyu (1881, 1882). Ta haka ne aka fara sanin Debussy da kiɗan Rasha, wanda ya yi tasiri sosai ga samuwar salon nasa. "Mutanen Rasha za su ba mu sabon sha'awa don 'yantar da kanmu daga mawuyacin hali. Suka ... buɗe taga tana kallon faɗuwar filayen. Debussy ya burge shi da hazakar timbres da zane mai hankali, kyawun kidan N. Rimsky-Korsakov, sabo da jituwar A. Borodin. Ya kira M. Mussorgsky mawakin da ya fi so: “Ba wanda ya yi magana da mafi kyawun abin da muke da shi, tare da tausayi da zurfin zurfi. Shi na musamman ne kuma zai kasance na musamman godiya ga fasaharsa ba tare da dabaru masu nisa ba, ba tare da bushewar ƙa'idodi ba. Da sassaucin ra'ayi na vocal-magana intonation na Rasha m, 'yanci daga pre-kafa, "Gudanarwa", a cikin kalmomin Debussy, siffofin da aka aiwatar a nasu hanya ta Faransa mawaki, ya zama wani muhimmin alama na music. "Je ka saurari Boris. Yana da dukan Pelléas, "Debussy ya taɓa faɗi game da asalin harshen kiɗan opera ɗinsa.

Bayan kammala karatunsa daga Conservatory a 1884, Debussy yana shiga cikin gasa don Babban Kyautar Rome, wanda ke ba da haƙƙin haɓaka shekaru huɗu a Rome, a Villa Medici. A cikin shekarun da aka kashe a Italiya (1885-87), Debussy yayi nazarin kiɗan kiɗa na Renaissance (G. Palestrina, O. Lasso), da kuma nesa (da kuma asalin kiɗan Rasha) ya kawo sabon rafi, sabunta. tunaninsa na jituwa. Ayyukan symphonic da aka aika zuwa Paris don rahoto ("Zuleima", "Spring") ba su faranta wa masu ra'ayin mazan jiya ba "masu kula da makomar kiɗa".

Komawa gaba da tsarawa zuwa Paris, Debussy yana kusantar da'irar mawaƙan mawaƙa waɗanda S. Mallarme ke jagoranta. The musicality na alama shaya, da search for m alaka tsakanin rayuwar rai da kuma na halitta duniya, da juna rushe juna - duk wannan ya janyo hankalin Debussy sosai da kuma sun fi mayar da siffar da aesthetics. Ba daidaituwa ba ne cewa mafi asali kuma cikakke na ayyukan farko na mawaki sun kasance soyayya ga kalmomin P. Verdun, P. Bourget, P. Louis, da kuma C. Baudelaire. Wasu daga cikinsu ("Maraice Mai Al'ajabi", "Mandolin") an rubuta su a cikin shekarun karatu a ɗakin ajiya. Mawallafin waƙar ya yi wahayi zuwa ga aikin ƙungiyar mawaƙa na farko - farkon "Bayan Faun" (1894). A cikin wannan hoton kiɗan na Mallarmé's eclogue, Debussy na musamman, salon ƙungiyar makaɗa da dabara ya haɓaka.

An fi jin tasirin alamar alama a cikin wasan opera kawai na Debussy Pelléas et Mélisande (1892-1902), wanda aka rubuta zuwa ga rubutun ra'ayin wasan kwaikwayo na M. Maeterlinck. Wannan labarin soyayya ne, inda, a cewar mawaƙin, haruffan “ba sa gardama, amma sun jure rayuwarsu da kaddara.” Debussy a nan, kamar yadda yake, ya yi jayayya da R. Wagner, marubucin Tristan da Isolde, har ma ya so ya rubuta nasa Tristan, duk da cewa a lokacin ƙuruciyarsa ya kasance mai matukar sha'awar wasan opera Wagner kuma ya san ta da zuciya ɗaya. Maimakon buɗaɗɗen sha'awar kiɗan Wagnerian, a nan ne bayanin ingantaccen wasan sauti, mai cike da zato da alamomi. “Music ya wanzu ga wanda ba a iya faɗi ba; Ina so ta fito daga magriba, kamar yadda take, kuma nan da nan ta koma cikin magriba; domin ta kasance mai tawali'u, "in ji Debussy.

Ba shi yiwuwa a yi tunanin Debussy ba tare da kiɗan piano ba. Mawaƙin da kansa ya kasance ƙwararren ɗan wasan pian ne (kazalika mai gudanarwa); "Kusan koyaushe yana wasa a cikin sautin sauti, ba tare da wani kaifi ba, amma tare da irin wannan cikawa da yawan sauti kamar yadda Chopin ya buga," in ji wani ɗan wasan pian na Faransa M. Long. Ya fito ne daga iskancin Chopin, sararin sautin kifin piano wanda Debussy ya kori a cikin bincikensa masu launi. Amma akwai wata tushe. Ƙuntatawa, daidaitaccen sautin motsin rai na kiɗan Debussy ba zato ba tsammani ya kawo shi kusa da tsohuwar kiɗan kafin-romantic - musamman mawaƙin Faransanci na zamanin Rococo (F. Couperin, JF Rameau). Tsoffin nau'ikan nau'ikan nau'ikan nau'ikan "Suite Bergamasco" da Suite don Piano (Prelude, Minuet, Passpier, Sarabande, Toccata) suna wakiltar sigar musamman, sigar "sha'awa" ta neoclassicism. Debussy ba ya yin amfani da salo kwata-kwata, amma ya haifar da nasa hoton kiɗan farko, maimakon abin burgewa fiye da “hotonsa”.

Salon mawakin da ya fi so shi ne rukunin shirin (Orchestral da piano), kamar jerin zane-zane iri-iri, inda aka saita shimfidar wurare masu tsayi ta hanyar motsi da sauri, sau da yawa na rawa. Irin su suites ga makada "Nocturnes" (1899), "The Sea" (1905) da "Images" (1912). Domin piano, "Prints", 2 littafin rubutu na "Images", "Children's Corner", wanda Debussy sadaukar ga 'yarsa, an halitta. A cikin Prints, mawaki a karon farko yayi ƙoƙari ya saba da duniyar kiɗa na al'adu da al'ummomi daban-daban: hoton sauti na Gabas ("Pagodas"), Spain ("Maraice a Grenada") da wuri mai faɗi mai cike da motsi, wasan haske da inuwa tare da waƙar gargajiya ta Faransa ("Garden a cikin ruwan sama").

A cikin litattafai guda biyu na preludes (1910, 1913) an bayyana dukan duniya ta alama na mawaƙi. Sautunan launukan ruwa na Yarinya mai Gashin Flaxen da Heather sun bambanta da wadatar palette mai sauti a cikin Terrace Haunted by Hasken Wata, a cikin gabatarwar Aromas da Sauti a cikin Iskar Maraice. Tsohon labari ya zo rayuwa a cikin sautin almara na Sunken Cathedral (wannan shine inda aka bayyana tasirin Mussorgsky da Borodin musamman!). Kuma a cikin "Delphian Dancers" mawallafin ya sami wani nau'i na tsohuwar haɗin gwiwa na tsananin tsananin haikalin da al'ada tare da sha'awar arna. A cikin zaɓin samfura don shigar da kiɗan kiɗa, Debussy ya sami cikakkiyar 'yanci. Tare da wannan dabarar, alal misali, ya shiga duniyar kiɗan Mutanen Espanya (Ƙofar Alhambra, The Interrupted Serenade) kuma ya sake yin (ta yin amfani da rhythm na tafiya) ruhun gidan wasan kwaikwayo na Amurka (General Lavin the Eccentric, The Minstrels). ).

A cikin share fage, Debussy yana gabatar da duniyar kiɗan sa gabaɗaya a cikin taƙaitaccen tsari, mai da hankali, ya daidaita shi kuma yayi bankwana da shi ta fuskoki da yawa - tare da tsohon tsarin sa na wasiƙar gani-music. Bayan haka, a cikin shekaru 5 na ƙarshe na rayuwarsa, kiɗan sa, ya zama mafi rikitarwa, yana faɗaɗa hangen nesa na nau'in, wani nau'in juyayi, baƙin ciki mai ban tsoro ya fara jin a ciki. Ƙara sha'awar nau'ikan mataki. Waɗannan su ne ballets ("Kamma", "Wasanni", wanda V. Nijinsky ya shirya da ƙungiyar S. Diaghilev a 1912, da kuma ɗan wasan ƙwallon ƙafa ga yara "Akwatin wasan yara", 1913), kiɗa don asiri na ɗan gaba na Italiya G. d'Annunzio "Shahadar Saint Sebastian" (1911). Dan wasan ballerina Ida Rubinshtein, mawaƙin mawaƙa M. Fokin, mai fasaha L. Bakst ya shiga cikin samar da abin da aka ɓoye. Bayan ƙirƙirar Pelléas, Debussy akai-akai ya yi ƙoƙari ya fara sabon wasan opera: makircin E. Poe (Iblis a cikin Hasumiyar Bell, Fall of the House of Escher) ya jawo hankalinsa, amma waɗannan tsare-tsaren ba su kasance ba. Mawaƙin ya shirya rubuta 6 sonatas ga jam'iyya ensembles, amma gudanar ya haifar da 3: for cello da piano (1915), for sarewa, viola da garaya (1915) da kuma violin da piano (1917). Gyara ayyukan F. Chopin ya sa Debussy ya rubuta Etudes goma sha biyu (1915), wanda aka sadaukar don ƙwaƙwalwar ajiyar babban mawaki. Debussy ya kirkiro ayyukansa na ƙarshe lokacin da yake fama da rashin lafiya: a cikin 1915 an yi masa tiyata, bayan haka ya rayu fiye da shekaru biyu.

A wasu daga cikin abubuwan da Debussy ya yi, an nuna abubuwan da suka faru na yakin duniya na farko: a cikin "Heroic Lullaby", a cikin waƙar "Nativity na Yara marasa Gida", a cikin "Ode zuwa Faransanci" wanda ba a gama ba. Lissafin lakabi kawai ya nuna cewa a cikin 'yan shekarun nan an sami karuwar sha'awar jigogi da hotuna masu ban mamaki. A daya bangaren kuma, ra’ayin mawallafin game da duniya ya zama abin ban tsoro. Barkwanci da ban dariya koyaushe sun tashi kuma, kamar yadda suke, sun dace da laushin yanayin Debussy, buɗewarta ga abubuwan gani. Sun bayyana kansu ba kawai a cikin kiɗa ba, har ma a cikin maganganun da suka dace game da mawaƙa, a cikin haruffa, da kuma a cikin mahimman bayanai. Shekaru 14 Debussy ya kasance ƙwararren mai sukar kiɗa; sakamakon wannan aikin shine littafin "Mr. Krosh - Antidilettante" (1914).

A cikin shekarun baya-bayan nan, Debussy, tare da irin waɗannan masu lalata kayan ado na soyayya kamar I. Stravinsky, S. Prokofiev, P. Hindemith, mutane da yawa sun gane a matsayin wakilin mai ra'ayi jiya. Amma daga baya, kuma musamman a zamaninmu, babban mahimmancin mai kirkiro na Faransa ya fara bayyana, wanda ke da tasiri kai tsaye a kan Stravinsky, B. Bartok, O. Messiaen, wanda ya yi tsammanin fasahar sonor kuma, a gaba ɗaya, sabon ma'ana. na sararin samaniya da lokaci - kuma a cikin wannan sabon yanayin da aka tabbatar Adam a matsayin ainihin fasaha.

K. Zankin

Rayuwa da kuma hanyar kirkira

Yarantaka da shekarun karatu. An haifi Claude Achille Debussy a ranar 22 ga Agusta, 1862 a Saint-Germain, Paris. Iyayensa - ƙananan bourgeois - suna son kiɗa, amma sun yi nisa daga fasaha na ƙwararru. Ra'ayin kiɗan da ba a taɓa gani ba na ƙuruciyar ƙuruciya ya ba da gudummawa kaɗan ga haɓaka fasaha na mawaƙi na gaba. Mafi ban sha'awa daga cikin waɗannan sune ziyarar opera da ba kasafai ba. Sai yana ɗan shekara tara Debussy ya fara koyon wasan piano. Dangane da nacewar wani dan wasan pian na kusa da danginsu, wanda ya gane iyawar Claude na ban mamaki, iyayensa sun tura shi a cikin 1873 zuwa Conservatory na Paris. A cikin 70s da 80s na karni na XNUMX, wannan cibiyar ilimi ta kasance ƙaƙƙarfan mafi kyawun ra'ayin mazan jiya da hanyoyin koyar da matasa mawaƙa. Bayan Salvador Daniel, kwamishinan kiɗa na Ƙungiyar Paris, wanda aka harbe shi a lokacin da aka sha kashi, darektan ɗakin ajiyar shi ne mawaki Ambroise Thomas, mutumin da ke da iyaka a cikin al'amuran da suka shafi ilimin kiɗa.

Daga cikin malaman makarantar Conservatory akwai kuma fitattun mawakan - S. Frank, L. Delibes, E. Giro. Iyakar iyawarsu, sun goyi bayan kowane sabon al'amari a cikin rayuwar kiɗan Paris, kowane nau'in wasan kwaikwayo na asali da tsara iyawa.

Nazarin ƙwazo na shekaru na farko ya kawo lambobin yabo na shekara-shekara na Debussy Solfeggio. A cikin azuzuwan solfeggio da rakiyar (ayyukan darussan da ake amfani da su don piano cikin jituwa), a karon farko, sha'awar sa ga sabbin juzu'i na jituwa daban-daban da hadaddun rhythms sun bayyana. Kyawawan yuwuwar yaren jituwa ya buɗe a gabansa.

Debussy gwanin wasan pian ɗin ya haɓaka cikin sauri. Tuni a cikin shekarun ɗalibinsa, wasansa ya bambanta ta hanyar abun ciki na ciki, motsin rai, dabarar nuance, iri-iri da yawa da wadatar palette mai sauti. Amma asalin salon wasansa, wanda ba shi da kyawawan halaye na waje da hazaka, bai sami karɓuwa ba ko dai a tsakanin malaman ɗakin karatu ko kuma tsakanin abokan aikin Debussy. A karo na farko, an ba shi kyautar pianistic kyauta ne kawai a cikin 1877 don wasan kwaikwayo na Schumann's sonata.

Rikici na farko mai tsanani tare da hanyoyin koyarwar da ake da su suna faruwa tare da Debussy a cikin ajin jituwa. Tunanin jituwa mai zaman kansa na Debussy ya kasa jurewa hane-hane na al'ada wanda ya yi mulki a cikin tsarin jituwa. Mawaƙin E. Guiraud ne kaɗai, wanda Debussy ya yi nazari tare da shi, ya cika burin ɗalibinsa da gaske kuma ya sami haɗin kai tare da shi a cikin zane-zane da ra'ayi mai kyau da dandano na kiɗa.

Tuni farkon muryar murya na Debussy, tun daga ƙarshen 70s da farkon 80s ("Maraice mai ban mamaki" ga kalmomin Paul Bourget kuma musamman "Mandolin" ga kalmomin Paul Verlaine), ya bayyana ainihin basirarsa.

Ko da kafin ya kammala karatu daga Conservatory Debussy gudanar da farko balaguro zuwa kasashen waje zuwa yammacin Turai bisa gayyatar da Rasha philanthropist NF von Meck, wanda shekaru da yawa na cikin adadin na kud abokai na PI Tchaikovsky. A cikin 1881 Debussy ya zo Rasha a matsayin dan wasan pian don shiga cikin kide-kide na gida na von Meck. Wannan tafiya ta farko zuwa Rasha (sannan ya tafi can sau biyu - a cikin 1882 da 1913) ya tada sha'awar mawakin ga kiɗan Rasha, wanda bai raunana ba har zuwa ƙarshen rayuwarsa.

Tun 1883 Debussy ya fara shiga a matsayin mawaki a gasa ga Grand Prize na Roma. A shekara ta gaba an ba shi kyautar don cantata The Prodigal Son. Wannan aikin, wanda a cikin hanyoyi da yawa har yanzu yana da tasirin wasan opera na Faransanci, ya fito fili ga ainihin wasan kwaikwayo na fage guda ɗaya (misali, Leah's aria). Zaman Debussy a Italiya (1885-1887) ya zama mai albarka a gare shi: ya saba da tsohuwar mawaƙin Italiyanci na ƙarni na XNUMX (Palestrina) kuma a lokaci guda tare da aikin Wagner (musamman, tare da kiɗan kiɗan). wasan kwaikwayo "Tristan da Isolde").

A lokaci guda, lokacin zaman Debussy a Italiya ya kasance alama ce ta rikici mai kaifi tare da ƙungiyoyin fasaha na Faransa. An gabatar da rahotannin wadanda suka lashe kyautar a gaban makarantar ta hanyar ayyukan da aka yi la'akari da su a Paris ta hanyar alkali na musamman. Reviews na mawaƙa ta ayyukan - symphonic ode "Zuleima", da symphonic suite "Spring" da cantata "Zaɓaɓɓen One" (wanda aka riga aka rubuta a kan isowa a Paris) - wannan lokacin gano wani m gulf tsakanin Debussy ta m buri da inertia cewa. yayi sarauta a babbar cibiyar fasaha ta Faransa. An zargi mawallafin da son rai na gangan don "yin wani abu mai ban mamaki, wanda ba a fahimta ba, wanda ba zai iya yiwuwa ba", na "ƙananan ma'anar launi na kiɗa", wanda ya sa ya manta da "muhimmancin zane mai kyau da tsari". An zargi Debussy da yin amfani da "rufe" muryoyin ɗan adam da maɓallin F-sharp manyan, wanda ake zargin ba a yarda da shi ba a cikin aikin wasan kwaikwayo. Iyakar adalci, watakila, shine ra'ayin game da rashin "juyawa mai laushi da banality" a cikin ayyukansa.

Duk abubuwan da Debussy ya aika zuwa Paris har yanzu sun kasance da nisa daga balagaggen salon mawaki, amma sun riga sun nuna sabbin fasahohi, waɗanda suka bayyana kansu da farko a cikin yare masu jituwa da ƙungiyar kade-kade. Debussy a fili ya bayyana sha'awar sa na kirkire-kirkire a cikin wata wasika zuwa ga daya daga cikin abokansa a Paris: “Ba zan iya rufe kida na a cikin madaidaitan firam… hanyar…”. Bayan ya dawo daga Italiya zuwa Paris, Debussy ƙarshe ya karya tare da makarantar.

90s. Furen farko na kerawa. Sha'awar samun kusanci da sabbin abubuwa a cikin fasaha, sha'awar faɗaɗa alaƙarsu da saninsu a cikin duniyar fasaha ya jagoranci Debussy a ƙarshen 80s zuwa salon babban mawaƙin Faransanci na ƙarshen 80th kuma jagoran akida na Symbolists. – Stefan Mallarmé. A ranar "Talata" Mallarme ya tara fitattun marubuta, mawaƙa, masu fasaha - wakilai na mafi yawan al'amuran fasaha na Faransanci na zamani (mawaƙa Paul Verlaine, Pierre Louis, Henri de Regnier, artist James Whistler da sauransu). Anan Debussy ya sadu da marubuta da mawaƙa, waɗanda ayyukansu suka kafa tushen yawancin waƙoƙinsa, waɗanda aka kirkira a cikin 90-50s. Daga cikin su tsaya waje: "Mandolin", "Ariettes", "Belgian shimfidar wurare", "Watercolors", "Moonlights" ga kalmomin Paul Verlaine, "Songs na Bilitis" ga kalmomin Pierre Louis, "Wakoki biyar" zuwa ga kalmomin Paul Verlaine. kalmomi na babban mawaƙin Faransanci 60- Charles Baudelaire's XNUMXs (musamman "Bacony", "Maraice Harmonies", "A Fountain") da sauransu.

Ko da jerin sunaye masu sauƙi na waɗannan ayyukan suna ba da damar yin hukunci game da tsinkayar mawaƙin don rubutun adabi, waɗanda ke ƙunshe da abubuwan da suka shafi yanayin ƙasa ko waƙoƙin soyayya. Wannan fanni na hotunan kade-kade ya zama abin da aka fi so ga Debussy a tsawon aikinsa.

Fitaccen fifikon da aka ba wa kiɗan murya a farkon lokacin aikinsa an bayyana shi da yawa ta wurin sha'awar mawaƙi don waƙar Symbolist. A cikin ayoyin mawallafin mawaƙa, Debussy ya jawo hankalin batutuwan da ke kusa da shi da kuma sababbin fasahohin fasaha - ikon yin magana da laconicly, rashin maganganun maganganu da pathos, yawancin kwatancen siffofi masu launi, sabon hali ga rhyme, a cikin abin da m ana kama haduwar kalmomi. Irin wannan gefen alamar alama kamar sha'awar isar da yanayin rashin tsoro, tsoron abin da ba a sani ba, bai taɓa kama Debussy ba.

A yawancin ayyukan waɗannan shekarun, Debussy yayi ƙoƙari ya guje wa rashin tabbas na alama da rashin fahimta a cikin maganganun tunaninsa. Dalilin wannan shi ne aminci ga dimokuradiyya al'adun gargajiya na kasar Faransa music, dukan da lafiya m yanayi na mawaki (ba kwatsam cewa ya fi sau da yawa yana nufin Verlaine ta wakoki, wanda intricately hada da poetic hadisai na tsohon masters, tare da. sha'awar su don bayyananniyar tunani da sauƙi na salo, tare da gyare-gyaren da ke cikin fasahar salon salon aristocratic na zamani). A cikin waƙoƙin muryarsa na farko, Debussy yayi ƙoƙari ya ƙunshi irin waɗannan hotuna na kiɗa waɗanda ke da alaƙa da nau'ikan kiɗan da ake da su - waƙa, rawa. Amma wannan haɗin yana bayyana sau da yawa, kamar yadda yake a cikin Verlaine, a cikin ɗan tsantsar tsaftataccen ɗanɗano. Irin wannan ita ce soyayya "Mandolin" zuwa kalmomin Verlaine. A cikin waƙar soyayya, muna jin waƙoƙin waƙoƙin Faransanci na birane daga repertoire na "chansonnier", wanda aka yi ba tare da ƙararrawa ba, kamar dai "waƙa". Ƙaƙwalwar piano tana isar da sifa mai banƙyama, sauti mai kama da mandolin ko guitar. Haɗin maɗaukaki na kashi biyar na “ba komai” yayi kama da sautin buɗaɗɗen kirtani na waɗannan kayan kida:

Tuni a cikin wannan aikin, Debussy yana amfani da wasu fasahohin launuka masu kama da salon sa na balaga cikin jituwa - "jerin" na abubuwan da ba a warware su ba, kwatancen asali na manyan triads da jujjuyawar su a cikin maɓallan nesa,

Shekaru 90 sune farkon lokacin kere kere na Debussy a fagen ba wai kawai murya ba, har ma da kiɗan piano (“Suite Bergamas”, “Little Suite” don piano hannaye huɗu), kayan ɗaki (ƙirƙira quartet) kuma musamman kiɗan kiɗa ( A wannan lokacin, an ƙirƙiri biyu daga cikin manyan ayyukan wasan kwaikwayo - jigon “Bayan Faun” da “Rana”).

An rubuta farkon “Bayan Faun” bisa wata waƙa ta Stéphane Mallarmé a shekara ta 1892. Aikin Mallarme ya ja hankalin mawaƙin da farko ta hanyar kyakykyawan kyawu na wata halitta ta tatsuniyoyi da ta yi mafarki a rana mai zafi game da kyawawan ƙwai.

A cikin share fage, kamar yadda yake a cikin waƙar Mallarmé, babu wani ci gaba mai ƙima, babu ci gaba mai ƙarfi na aikin. A cikin zuciyar abun da ke ciki ya ta'allaka ne, a zahiri, hoto mai ban dariya na "languor", wanda aka gina akan "mai rarrafe" chromatic intonations. Debussy yana amfani da jikin kade-kade kusan kowane lokaci takamaiman kayan aikin kayan aiki iri ɗaya - sarewa a cikin ƙaramin rajista:

Gabaɗayan ci gaban jigon jigon jigon ya zo ne don sãɓãwar launukansa na jigon jigon da ƙungiyarsa. Ci gaban a tsaye yana barata ta yanayin hoton kanta.

Abubuwan da ke cikin aikin shine kashi uku. Sai kawai a cikin ƙaramin yanki na prelude, lokacin da sabon jigon diatonic ke aiwatar da ƙungiyar kirtani na ƙungiyar mawaƙa, yanayin gabaɗaya ya zama mai ƙarfi, bayyananne (ɗaukakin ya kai matsakaicin girman sonority a cikin prelude). ff, kawai lokacin da ake amfani da tutti na dukan ƙungiyar makaɗa). Tashin hankali ya ƙare tare da ɓacewa a hankali, kamar yadda yake, narkar da jigon "languor".

Siffofin balagaggen salon Debussy sun bayyana a cikin wannan aikin da farko a cikin ƙungiyar makaɗa. Matsanancin bambance-bambancen ƙungiyoyin ƙungiyar makaɗa da sassan kayan kida guda ɗaya a cikin ƙungiyoyi yana ba ku damar haɗawa da haɗa launukan ƙungiyar makaɗa ta hanyoyi da yawa kuma yana ba ku damar cimma mafi kyawun nuances. Yawancin nasarorin da aka samu na rubuce-rubucen ƙungiyar makaɗa a cikin wannan aikin daga baya sun zama kwatankwacin mafi yawan ayyukan wasan kwaikwayo na Debussy.

Sai kawai bayan wasan kwaikwayo na "Faun" a 1894 Debussy mawaki yayi magana a cikin da'irar kiɗa na Paris. Amma keɓewa da ƙayyadaddun yanayin yanayin fasahar da Debussy ya ke da shi, da kuma ainihin ainihin salon salon abubuwan da ya yi, sun hana waƙar mawakin fitowa a kan dandalin wasan kwaikwayo.

Ko da irin wannan fitaccen aikin wasan kwaikwayo na Debussy kamar zagayowar Nocturnes, wanda aka kirkira a cikin 1897-1899, ya sadu da halin kamewa. A cikin "Nocturnes" Debussy tsananin sha'awar hotuna na fasaha na rayuwa ya bayyana. A karo na farko a cikin aikin symphonic na Debussy, zanen nau'i mai ɗorewa (ɓangare na biyu na Nocturnes - "Biki") da hotuna na yanayi mai wadatar launuka (ɓangare na farko - "girgije") sun sami kyakkyawan yanayin kida.

A cikin shekarun 90s, Debussy yayi aiki akan wasan opera ɗin sa kawai da aka kammala, Pelleas et Mélisande. Mawaƙin ya kasance yana neman wani makirci kusa da shi na dogon lokaci (Ya fara kuma ya watsar da aikin a kan wasan opera "Rodrigo da Jimena" bisa ga bala'in Corneille "Sid". "Tsarin aiki", ci gabansa mai ƙarfi, ya jaddada tasiri mai tasiri na ji, da ƙarfin hali ya zayyana hotunan wallafe-wallafen jarumai.) Daga ƙarshe kuma ya daidaita kan wasan kwaikwayo na marubucin alamar Belgian Maurice Maeterlinck "Pelléas et Mélisande". Akwai ƙananan aikin waje a cikin wannan aikin, wurinsa da lokacinsa ba sa canzawa. Dukkan hankalin marubucin ya mayar da hankali ne kan canja wurin mafi kyawun tunanin tunani a cikin abubuwan da suka faru na haruffa: Golo, matarsa ​​​​Mélisande, ɗan'uwan Golo Pelléas6. Makircin wannan aikin ya jawo hankalin Debussy, a cikin kalmominsa, ta hanyar gaskiyar cewa a cikinsa "halayen ba su yi jayayya ba, amma sun jure rayuwa da rabo." Yawancin rubutun kalmomi, tunani, kamar dai, “da kansa” ya sa ya yiwu mawallafin ya fahimci takensa: “Kiɗa yana farawa daga inda kalmar ba ta da ƙarfi.”

Debussy ya kasance a cikin wasan opera ɗaya daga cikin manyan abubuwan da ke cikin yawancin wasan kwaikwayo na Maeterlinck - mummunan halakar jaruman kafin mummunan kisa, rashin imani da nasa farin ciki. A cikin wannan aikin na Maeterlinck, ra'ayoyin zamantakewa da kyawawan halaye na wani muhimmin sashi na masu hankali na bourgeois a farkon karni na XNUMX da na XNUMX sun kasance a bayyane. Romain Rolland ya ba da cikakken kima na tarihi da zamantakewa game da wasan kwaikwayo a cikin littafinsa "Mawakan Kwanakinmu": "Yanayin da wasan kwaikwayo na Maeterlinck ke tasowa shine gajiyawar tawali'u wanda ke ba da nufin rayuwa cikin ikon Rock. Babu wani abu da zai iya canza tsarin al'amura. […] Babu wanda ke da alhakin abin da yake so, ga abin da yake so. […] Suna rayuwa kuma suna mutuwa ba tare da sanin dalilin ba. Wannan kisa, wanda ke nuna gajiyawar ruhin ruhi na Turai, kiɗan Debussy ne ya isar da shi ta hanyar mu'ujiza, wanda ya ƙara masa waƙarsa da fara'a ta sha'awa… “. Debussy, har zuwa wani lokaci, ya sami damar tausasa sautin wasan kwaikwayo mara bege tare da takurawa da kamun kai, ikhlasi da gaskiya a cikin tsarin kiɗan na ainihin bala'i na ƙauna da kishi.

Sabon salo na wasan opera ya samo asali ne saboda gaskiyar cewa an rubuta ta cikin larabci. Sassan muryar wasan opera na Debussy sun ƙunshi inuwa da hankali da lamurra na magana ta faransanci. Ci gaban opera na wasan opera sannu a hankali (ba tare da tsalle-tsalle na dogon lokaci ba), amma layi mai bayyana farin ciki-bayani. Yawancin caesuras, ƙwanƙwasa sassauƙa na musamman da sauye-sauye na yau da kullun a cikin yin sauti suna ba wa mawaki damar isar da ma'anar daidai da daidaitaccen ma'anar kusan kowace jumlar magana tare da kiɗa. Duk wani gagarumin tashin hankali a cikin layin waƙa ba ya nan ko da a cikin yanayin yanayi na opera. A lokacin mafi girman tashin hankali na aiki, Debussy ya kasance mai gaskiya ga ka'idarsa - matsakaicin hani da rashin cikakkiyar bayyanar bayyanar da ji. Don haka, wurin da Pelléas ya bayyana ƙaunarsa ga Melisande, ya saba wa duk al'adun aiki, ana yin shi ba tare da wani tasiri ba, kamar dai a cikin "rabin raɗaɗi". An warware wurin mutuwar Mélisande ta hanya ɗaya. Akwai al'amuran da yawa a cikin wasan opera inda Debussy ya sami damar isar da shi da dabara mai ban mamaki yana nufin hadaddun da wadataccen kewayon inuwa daban-daban na abubuwan ɗan adam: yanayin tare da zobe ta maɓuɓɓugar a cikin wasan kwaikwayo na biyu, yanayin tare da gashin Mélisande a cikin na uku, abin da ya faru a maɓuɓɓugar ruwa na huɗu da kuma wurin mutuwar Mélisande a mataki na biyar.

An yi wasan opera ne a ranar 30 ga Afrilu, 1902 a Opera mai ban dariya. Duk da kyakyawan wasan kwaikwayon, wasan opera bai sami nasara ta gaske tare da ɗimbin masu sauraro ba. Sukar gabaɗaya rashin abokantaka ne kuma ya ba wa kanta kaifin kai hari bayan wasan kwaikwayo na farko. Manyan mawaka kaɗan ne kawai suka yaba da cancantar wannan aikin.

Bayan shirya Pelléas, Debussy ya yi ƙoƙari da yawa don shirya wasan kwaikwayo daban-daban a nau'i da salo daga farkon. An rubuta Libretto don wasan opera guda biyu bisa tatsuniyoyi na Edgar Allan Poe - Mutuwar Gidan Escher da Iblis a Hasumiyar Bell - an yi zane-zane, wanda mawaƙin da kansa ya lalata jim kaɗan kafin mutuwarsa. Har ila yau, manufar Debussy na ƙirƙirar wasan opera bisa makircin bala'in Shakespeare King Lear bai tabbata ba. Bayan ya yi watsi da ƙa'idodin fasaha na Pelléas et Mélisande, Debussy bai taɓa samun kansa a cikin wasu nau'ikan opera ba kusa da al'adun gargajiyar opera na Faransanci da wasan kwaikwayo na wasan kwaikwayo.

1900-1918 - kololuwar furen halittar Debussy. Ayyukan kiɗa-mahimmanci. Ba da daɗewa ba kafin samar da Pelléas, wani muhimmin al'amari ya faru a rayuwar Debussy - daga 1901 ya zama ƙwararren mai sukar kiɗa. Wannan sabon aiki a gare shi ya ci gaba a lokaci guda a cikin 1901, 1903 da 1912-1914. Mafi mahimmancin labarai da maganganun Debussy an tattara shi a cikin 1914 a cikin littafin "Mr. Krosh anti-amateur ne. " Ayyuka masu mahimmanci sun ba da gudummawa ga samuwar kyawawan ra'ayoyin Debussy, ma'auni na fasaha. Yana ba mu damar yin hukunci da ra'ayi mai ci gaba na mawallafin game da ayyukan fasaha a cikin samuwar mutane, a kan halinsa ga fasaha na gargajiya da na zamani. A lokaci guda kuma, ba tare da wani gefe ɗaya ba da rashin daidaituwa a cikin kimanta abubuwan al'amura daban-daban da kuma hukunce-hukuncen kyawawan halaye.

Rashin hankali yana adawa da son zuciya, jahilci da jahilci waɗanda ke mamaye sukar wannan zamani. Amma Debussy kuma yana ƙin yin nazari na musamman, na fasaha lokacin kimanta aikin kiɗa. Ya kare matsayin babban inganci da mutunci na zargi - watsawa "gaskiya, gaskiya da ra'ayi na zuciya." Babban aikin zargi na Debussy shine yaki da "ilimi" na hukumomin Faransa a wancan lokacin. Ya ba da kaifi da tsattsauran ra'ayi, manyan maganganu masu kyau game da Grand Opera, inda "an lalata fata mafi kyau a kan bango mai ƙarfi kuma mara lalacewa na ƙa'ida mai taurin kai wanda baya barin kowane irin haske mai haske ya shiga."

Ka'idodinsa na ado da ra'ayoyinsa an bayyana su a fili a cikin labaran da littafin Debussy. Ɗaya daga cikin mafi mahimmanci shi ne haƙiƙanin haƙiƙanin mawaƙin ga duniyar da ke kewaye da shi. Yana ganin tushen kiɗa a cikin yanayi: "Kiɗa ya fi kusa da yanayi ...". "Mawaƙa ne kaɗai ke da damar rungumar waƙoƙin dare da rana, ƙasa da sama - suna sake haifar da yanayi da raye-raye na rawar jiki mai girma." Wadannan kalmomi babu shakka suna bayyana wani bangare guda na kyawawan ra'ayoyin mawaki game da kebantacciyar rawar da kida ke takawa a tsakanin sauran nau'ikan fasaha.

A lokaci guda kuma, Debussy ya ba da hujjar cewa bai kamata a keɓance fasaha ga ƙunƙuntaccen ra'ayoyin ra'ayoyin da ke isa ga iyakantaccen adadin masu sauraro ba: "Aikin mawaƙin ba shine ya nishadantar da ƴan tsirarun masoyan waƙa ko ƙwararrun waƙa ba." Abin mamaki ya dace da maganganun Debussy game da lalacewar al'adun ƙasa a cikin fasahar Faransa a farkon karni na XNUMX: "Mutum zai iya yin nadama kawai cewa kiɗan Faransanci ya bi hanyoyin da suka ja da baya daga irin waɗannan halaye na musamman na Faransanci kamar bayyanannen magana. , daidaito da kwanciyar hankali na tsari." A lokaci guda, Debussy ya saba wa iyakokin ƙasa a cikin fasaha: "Na san ka'idar musayar kyauta a cikin fasaha kuma na san abin da sakamako mai mahimmanci ya haifar." Farfagandarsa mai ƙwazo na fasahar kiɗan Rasha a Faransa ita ce mafi kyawun tabbacin wannan ka'idar.

Ayyukan manyan mawaƙa na Rasha - Borodin, Balakirev, musamman Mussorgsky da Rimsky-Korsakov - Debussy ya yi nazari sosai a cikin 90s kuma yana da tasiri a kan wasu nau'o'in salonsa. Debussy ya fi sha'awar haske da kyan gani na rubutun makada na Rimsky-Korsakov. Debussy ya rubuta game da wasan kwaikwayo na Antar na Rimsky-Korsakov ya ce: "Babu wani abu da zai iya isar da fara'a na jigogi da ƙwaƙƙwaran ƙungiyar makaɗa. A cikin ayyukan symphonic na Debussy, akwai dabarun kade-kade kusa da Rimsky-Korsakov, musamman, tsinkaya ga timbres "tsabta", halaye na musamman na kowane kayan kida, da sauransu.

A cikin waƙoƙin Mussorgsky da opera Boris Godunov, Debussy ya yaba da zurfin tunani na kiɗan, ikonsa na isar da duk wadatar ruhaniyar mutum. "Babu wanda har yanzu ya koma ga mafi kyau a cikinmu, zuwa mafi taushi da zurfafa tunani," mun samu a cikin furucin mawallafin. Daga baya, a cikin waƙoƙin muryar Debussy da yawa da kuma a cikin wasan opera Pelléas et Mélisande, mutum na iya jin tasirin harshen Mussorgsky matuƙar bayyanawa da sassauƙar waƙa, wanda ke isar da inuwar magana mai rai da ɗan adam tare da taimakon karin magana.

Amma Debussy ya gane kawai wasu al'amurran da style da kuma hanya na mafi girma Rasha artists. Ya kasance baƙon ra'ayin dimokuradiyya da zamantakewa a cikin aikin Mussorgsky. Debussy ya kasance mai nisa daga zurfin ɗan adam da mahimmancin falsafa na wasan kwaikwayo na Rimsky-Korsakov, daga alaƙar da ba ta dace ba tsakanin aikin waɗannan mawaƙa da asalin jama'a.

Siffofin rashin daidaituwa na ciki da kuma wasu gefe guda ɗaya a cikin ayyuka masu mahimmanci na Debussy sun bayyana a bayyane a cikin rashin saninsa game da rawar tarihi da mahimmancin fasaha na aikin mawaƙa kamar Handel, Gluck, Schubert, Schumann.

A cikin jawabansa masu mahimmanci, Debussy wani lokaci ya ɗauki matsayi mai ma'ana, yana jayayya cewa "waƙar kida ce mai ban mamaki, abubuwan da ke tattare da rashin iyaka."

Da yake magana a cikin wasu labarai da yawa don tallafawa ra'ayin ƙirƙirar gidan wasan kwaikwayo na jama'a, Debussy kusan lokaci guda yana bayyana ra'ayi mai ban sha'awa cewa "babban fasaha shine makomar kawai aristocracy na ruhaniya." Wannan haɗin ra'ayi na dimokuradiyya da kuma sanannen aristocracy ya kasance daidai da masu fasaha na Faransanci a farkon karni na XNUMX da na XNUMX.

Shekarun 1900 sune mataki mafi girma a cikin ayyukan kirkire-kirkire na mawaki. Ayyukan da Debussy ya ƙirƙira a wannan lokacin suna magana ne game da sababbin abubuwan da ke faruwa a cikin kerawa kuma, da farko, Debussy ya tashi daga kyawawan dabi'un alama. Ana ƙara jan hankalin mai yin waƙa ta yanayin yanayi, hotuna na kiɗa da hotuna na yanayi. Tare da sababbin jigogi da makirci, fasali na sabon salo ya bayyana a cikin aikinsa. Shaidar hakan ita ce irin waɗannan ayyukan piano kamar “An Maraice a Grenada” (1902), “Gardens in the Rain” (1902), “Island of Joy” (1904). A cikin waɗannan abubuwan da aka tsara, Debussy ya sami alaƙa mai ƙarfi tare da asalin kiɗa na ƙasa (a cikin "An Maraice a Grenada" - tare da tarihin Mutanen Espanya), yana adana nau'ikan tushen kiɗan a cikin nau'in rawa. A cikinsu, mawallafin ya ƙara faɗaɗa iyakar ikon kundi mai launi da fasaha na piano. Yana amfani da mafi kyawun ƙwaƙƙwaran launuka masu ƙarfi a cikin sautin sauti ɗaya ko juxtaposes bambance-bambance masu ƙarfi. Rhythm a cikin waɗannan ƙagaggun ya fara taka rawa sosai wajen ƙirƙirar hoto mai fasaha. Wani lokaci yana zama mai sassauƙa, kyauta, kusan ingantacce. A lokaci guda, a cikin ayyukan waɗannan shekarun, Debussy yana nuna sabon sha'awar tsayayyen tsari mai tsauri na ƙungiyar gabaɗaya ta maimaita maimaita "core" guda ɗaya a cikin duka aikin ko babban sashinsa (gabatarwa a cikin ƙaramin ƙarami, "Gardens in the Rain", "Maraice a Grenada", inda rhythm na habanera shine "core" na dukan abun da ke ciki).

Ayyukan wannan lokacin suna bambanta ta hanyar fahimtar rayuwa mai ban mamaki mai cike da jini, da ƙarfin zuciya da aka zayyana, kusan gani da gani, hotuna da aka rufe a cikin tsari mai jituwa. The "impressionism" na wadannan ayyuka ne kawai a cikin girma ma'anar launi, a cikin yin amfani da m jitu "flare da spots", a cikin dabara wasa na timbres. Amma wannan dabara ba ta keta mutuncin ra'ayin kiɗa na hoton ba. Yana ba shi ƙarin kumbura.

Daga cikin ayyukan wasan kwaikwayo da Debussy ya yi a cikin 900s, "Sea" (1903-1905) da "Hotuna" (1909) sun fito waje, wanda ya hada da sanannen "Iberia".

Suite "Sea" ya ƙunshi sassa uku: "A kan teku daga fitowar alfijir zuwa tsakar rana", "Wasannin raƙuman ruwa" da "Tattaunawar iska da teku". Hotunan teku a ko da yaushe suna jan hankalin mawaƙa na al'adu daban-daban da makarantun ƙasa. Misalai da yawa na ayyukan wasan kwaikwayo na shirye-shirye akan jigogin "marine" na mawakan Yammacin Turai za a iya buga su (mafi girman "Kogon Fingal" na Mendelssohn, wasan kwaikwayo daga "The Flying Dutchman" na Wagner, da sauransu). Amma hotuna na teku sun kasance mafi bayyane kuma sun kasance cikakke a cikin kiɗa na Rasha, musamman ma a cikin Rimsky-Korsakov (hoton symphonic Sadko, opera na wannan sunan, Scheherazade suite, tsaka-tsakin aiki na biyu na wasan opera The Tale of opera). Tsar Saltan),

Ba kamar ayyukan kade-kade na Rimsky-Korsakov ba, Debussy ya kafa a cikin aikinsa ba makirci ba, amma ayyukan hoto ne kawai. Yana neman isar da ta hanyar kiɗan canjin tasirin haske da launuka akan teku a lokuta daban-daban na rana, yanayi daban-daban na teku - natsuwa, tashin hankali da hadari. A fahimtar mawallafin game da zane-zane na teku, babu kwata-kwata irin wannan dalili da zai iya ba da wani sirrin faɗuwar rana ga launinsu. Debussy yana mamaye hasken rana mai haske, launuka masu cikakken jini. Mawaƙin da ƙarfin hali yana amfani da duka waƙoƙin raye-raye da faffadan almara don isar da hotunan kiɗan taimako.

A kashi na farko, hoto na farkawa a hankali a hankali na teku da wayewar gari, raƙuman ruwa masu raɗaɗi, da hasken hasken rana na farko a kansu ya bayyana. Mafarin mawaƙa na wannan motsi yana da launi musamman, inda, a kan bangon "tsatsa" na timpani, "drip" octaves na garayu biyu da "daskararre" tremolo violin a cikin babban rajista, gajerun kalmomi na waƙa daga oboe. bayyana kamar hasken rana a kan raƙuman ruwa. Bayyanar rawar rawa ba ya karya fara'a na cikakkiyar kwanciyar hankali da tunani na mafarki.

Mafi kyawun sashi na aikin shine na uku - "Tattaunawar Iska da Teku". Daga mara motsi, daskararre hoto na teku mai sanyi a farkon sashin, yana tunawa da na farko, hoton hadari ya bayyana. Debussy yana amfani da duk hanyoyin kiɗa don haɓakawa da haɓaka mai ƙarfi - melodic-rhythmic, mai ƙarfi kuma musamman mawaƙa.

A farkon motsin, an ji taƙaitaccen abubuwan da ke faruwa a cikin hanyar tattaunawa tsakanin cellos tare da basses biyu da oboes guda biyu a kan bangon sonority na bass drum, timpani da tom-tom. Bugu da ƙari, a hankali dangane da sababbin ƙungiyoyi na ƙungiyar mawaƙa da haɓakar haɓaka a cikin sonority, Debussy yana amfani da ka'idar ci gaban rhythmic a nan: yana gabatar da sababbin raye-rayen raye-raye, ya saturates masana'anta na aikin tare da m hade da dama rhythmic. alamu.

Ƙarshen dukan abun da ke ciki ana tsinkayar ba kawai a matsayin biki na ɓangaren teku ba, amma a matsayin yabo mai ban sha'awa ga teku, rana.

Da yawa a cikin sifa na "Teku", ka'idodin kade-kade, sun shirya bayyanar simintin simintin "Iberia" - daya daga cikin muhimman ayyuka da asali na Debussy. Yana faruwa tare da kusanci mafi kusa da rayuwar mutanen Spain, waƙarsu da al'adun raye-raye. A cikin 900s, Debussy ya juya sau da yawa zuwa batutuwan da suka shafi Spain: "Wani Maraice a Grenada", preludes "Ƙofar Alhambra" da "Serenade Ta Katse". Amma "Iberia" yana daga cikin mafi kyawun ayyukan mawaƙa waɗanda suka zana daga bazara na kiɗan Mutanen Espanya (Glinka a cikin "Aragonese Jota" da "Dare a Madrid", Rimsky-Korsakov a cikin "Capriccio Mutanen Espanya", Bizet a cikin "Carmen". Ravel a cikin "Bolero" da uku, ban da mawallafin Mutanen Espanya de Falla da Albeniz).

"Iberia" ya ƙunshi sassa uku: "A kan tituna da hanyoyi na Spain", "Fragrances na dare" da "Morning na biki". Sashe na biyu ya bayyana zane-zanen da Debussy ya fi so na yanayi, wanda ya cika da wani ƙamshi na musamman, mai ƙanshi na daren Mutanen Espanya, "an rubuta" tare da zane-zane na mawallafi, saurin canji na flickering da hotuna masu ɓacewa. Sashe na farko da na uku suna zana hotunan rayuwar mutanen Spain. Musamman m shi ne kashi na uku, wanda ya ƙunshi adadi mai yawa na waƙoƙi da raye-rayen waƙoƙin Mutanen Espanya, waɗanda ke ƙirƙirar hoto mai ban sha'awa na hutun jama'a masu ban sha'awa ta hanyar canza juna da sauri. Babban mawaƙin Mutanen Espanya de Falla ya faɗi haka game da Iberia: “Maganar ƙauyen a matsayin babban dalilin aikin gabaɗayan (“Sevillana”) yana da alama yana girgiza a cikin iska mai haske ko kuma cikin hasken rawar jiki. Sihiri mai sa maye na dare na Andalusian, raye-rayen taron biki, wanda ke rawa ga sautin kida na "gungun" na guitarists da 'yan bindiga… - duk wannan yana cikin iska mai iska, yanzu yana gabatowa, sannan ya koma baya. , kuma tunaninmu na yau da kullun yana makantar da kyawawan halaye na kida mai ƙarfi tare da ɗimbin abubuwan da ke tattare da su.”

Shekaru goma na ƙarshe a cikin rayuwar Debussy an bambanta su ta hanyar ƙirƙira da aiwatar da ayyuka har zuwa barkewar yakin duniya na farko. Tafiyar kide kide a matsayin jagora zuwa Ostiryia-Hungary ya kawo shaharar mawakin a kasashen waje. An karɓe shi sosai a Rasha a shekara ta 1913. An yi nasara sosai a wasannin kade-kade a St. Petersburg da Moscow. Tuntuɓar Debussy na sirri tare da mawakan Rasha da yawa sun ƙara ƙarfafa dangantakarsa da al'adun kiɗan Rasha.

Farkon yakin ya sa Debussy ya tashi cikin kishin kasa. A cikin bayanan da aka buga, ya kira kansa da ƙarfi: "Claude Debussy mawaƙin Faransa ne." Yawancin ayyukan waɗannan shekarun suna da wahayi daga jigon kishin ƙasa: "Jarumi Lullaby", waƙar "Kirsimeti na Yara marasa Gida"; a cikin suite na biyu pianos "White and Black" Debussy ya so ya isar da ra'ayoyinsa game da abubuwan ban tsoro na yakin daular. Ode zuwa Faransa da cantata Joan na Arc sun kasance ba a gane su ba.

A cikin aikin deBiShy a cikin 'yan shekarun nan, mutum zai iya samun nau'ikan nau'ikan nau'ikan da bai gamsar da su ba. A cikin kiɗan murya na ɗakin, Debussy ya sami kusanci ga tsohuwar waƙar Faransa ta Francois Villon, Charles na Orleans da sauransu. Tare da waɗannan mawaƙa, yana so ya sami tushen sabuntawa na batun kuma a lokaci guda ya ba da kyauta ga tsohuwar fasahar Faransanci wanda ya kasance yana ƙauna. A fagen kiɗan kayan aiki na ɗakin ɗakin, Debussy yana ɗaukar zagayowar sonatas shida don kayan kida daban-daban. Abin baƙin ciki, ya gudanar ya rubuta kawai uku - sonata ga cello da piano (1915), sonata for sarewa, garaya da viola (1915) da kuma sonata ga violin da piano (1916-1917). A cikin waɗannan abubuwan ƙirƙira, Debussy yana manne da ƙa'idodin tsarin suite maimakon abubuwan sonata, don haka sake farfado da al'adun mawakan Faransa na ƙarni na XNUMX. A lokaci guda, waɗannan abubuwan da aka tsara suna ba da shaida ga ci gaba da neman sabbin fasahohin fasaha, haɗaɗɗun launuka masu launi na kayan kida (a cikin sonata don sarewa, garaya da viola).

Musamman mai girma shine nasarorin fasaha na Debussy a cikin shekaru goma na ƙarshe na rayuwarsa a cikin aikin piano: "Cibiyar Yara" (1906-1908), "Box Toy" (1910), preludes ashirin da huɗu (1910 da 1913), "Six Antique". Epigraphs" a cikin hannaye hudu (1914), karatu goma sha biyu (1915).

Piano suite "Kusurwar Yara" an sadaukar da ita ga 'yar Debussy. Sha'awar bayyana duniya a cikin kiɗa ta hanyar idanun yaro a cikin hotunansa na yau da kullun - malami mai tsauri, ɗan tsana, ƙaramin makiyayi, giwa abin wasa - ya sa Debussy ya yadu amfani da raye-raye na yau da kullun da nau'ikan waƙoƙi, da nau'ikan kiɗan ƙwararru. a cikin wani abin ban sha'awa, sigar caricatured - a lullaby a cikin "The Elephant's Lullaby", waƙar makiyayi a cikin "Ƙananan Shepherd", rawan biki wanda ya kasance na zamani a wancan lokacin, a cikin wasan kwaikwayo mai suna iri ɗaya. Kusa da su, nazari na yau da kullum a cikin "Doctor Gradus ad Parnassum" yana ba da damar Debussy don ƙirƙirar hoton malamin makaranta da kuma ɗalibin gundura ta hanyar zane mai laushi.

Etudes goma sha biyu na Debussy suna da alaƙa da gwajin dogon lokaci da ya yi a fagen salon piano, neman sabbin nau'ikan fasahar piano da hanyoyin magana. Amma ko da a cikin wadannan ayyukan, ya yi ƙoƙari ya warware ba kawai virtuoso kawai ba, amma har ma da matsalolin sauti (ana kiran na goma tude: "Don contrasting sonorities"). Abin takaici, ba duk zane-zane na Debussy ba ne suka iya shigar da tunanin fasaha. Wasu daga cikinsu suna da ka'ida mai mahimmanci.

Littattafan rubutu guda biyu na sharuɗɗan sharuɗɗansa na piano yakamata a yi la'akari da su a matsayin abin da ya dace ga duk hanyar ƙirƙirar Debussy. A nan, kamar yadda ya kasance, mafi yawan halaye da kuma al'amuran da suka fi dacewa na zane-zane na duniya, hanyar kirkira da salon mawallafin sun mayar da hankali. Zagayowar ta ƙunshi cikakken kewayon yanayin siffa da waƙa na aikin Debussy.

Har zuwa kwanakin ƙarshe na rayuwarsa (ya mutu a ranar 26 ga Maris, 1918 a lokacin harin bam na Paris da Jamusawa), duk da rashin lafiya mai tsanani, Debussy bai daina bincikensa na kirkira ba. Ya nemo sabbin jigogi da makirci, yana juyawa zuwa nau'ikan al'ada, kuma ya hana su ta wata hanya ta musamman. Duk waɗannan binciken ba su taɓa haɓakawa a cikin Debussy zuwa ƙarshen kanta ba - "sabon saboda sabo." A cikin ayyuka da maganganu masu mahimmanci na 'yan shekarun nan game da aikin sauran mawaƙa na zamani, ya ci gaba da adawa da rashin abun ciki, ƙayyadaddun tsari, da gangan na harshen kiɗa, halayyar yawancin wakilai na fasahar zamani na Yammacin Turai a ƙarshen XNUMXth. da farkon ƙarni na XNUMX. Ya ce da kyau: “A matsayinka na gama-gari, duk wani niyya na rikitar da tsari da ji yana nuna cewa marubucin ba shi da abin da zai ce.” "Kiɗa yana zama da wahala a duk lokacin da ba a wurin." Hankalin mai rai da kirkire-kirkire na mawaƙi yana ƙoƙarin neman alaƙa da rayuwa ta hanyar nau'ikan kiɗan da ba busasshiyar ilimin ilimi da ƙazamin ƙayatarwa ba ta hana su. Wadannan buri ba su sami ci gaba na gaske daga Debussy ba saboda wasu ƙayyadaddun akida na yanayin bourgeois a cikin wannan lokacin rikicin, saboda ƙarancin abubuwan ƙirƙira, halayen har ma da manyan masu fasaha kamar yadda shi kansa ya kasance.

B. Iwon

• Ayyukan Piano na Debussy →
• Ayyukan Symphonic na Debussy →
• Ra'ayin kiɗan Faransa →

Abubuwan da aka tsara:

wasan kwaikwayo – Rodrigue da Jimena (1891-92, ba su ƙare ba), Pelléas da Mélisande (wasan kwaikwayo na waƙa bayan M. Maeterlinck, 1893-1902, wanda aka yi a 1902, Opera Comic, Paris); ballet - Wasanni (Jeux, lib. V. Nijinsky, 1912, post. 1913, tr Champs Elysees, Paris), Kamma (Khamma, 1912, piano score; orchestrated by Ch. Kouklen, wasan karshe 1924, Paris), Toy Box (La boîte à joujoux, wasan ballet na yara, 1913, wanda aka shirya don 2 fp., wanda A. Caplet ya tsara, c. 1923); ga mawakan solo, mawaka da makada - Daniel (cantata, 1880-84), Spring (Printemps, 1882), Kira (Kira, 1883; kiyaye piano da sassan murya), Prodigal Son (L'enfant prodigue, lyrical scene, 1884), Diana a cikin gandun daji (cantata). , bisa jarumtakar wasan barkwanci ta T. de Banville, 1884-1886, ba a gama ba), Zaɓaɓɓen Zaɓaɓɓen (La damoiselle élue, waƙar waƙa, bisa tsarin waƙar da mawaƙin Ingilishi DG Rossetti ya yi, fassarar Faransanci ta G. Sarrazin, 1887-88), Ode zuwa Faransa (Ode à la France, cantata, 1916-17, ba a gama ba, bayan mutuwar Debussy an kammala zane-zane kuma MF Gaillard ya buga); don makada - The Triumph of Bacchus (divertimento, 1882), Intermezzo (1882), Spring (Printemps, symphonic suite a karfe 2, 1887; re-orchestrated bisa ga umarnin Debussy, Faransa mawaki da madugu A. Busset, 1907) , Prelude zuwa Afternoon of a Faun (Prélude à l'après-midi d'un faune, bisa ga eclogue na wannan sunan ta S. Mallarme, 1892-94), Nocturnes: Clouds, Festivities, Sirens (Nocturnes: Nuages , Fêtes; Sirènes, tare da ƙungiyar mawaƙa na mata; 1897-99), Tekun (La mer, 3 symphonic sketches, 1903-05), Hotuna: Gigues (Orchestration kammala ta Caplet), Iberia, Spring Dances (Hotuna: Gigues, Ibéria, Rondes de printemps, 1906-12); don kayan aiki da makada - Suite for cello (Intermezzo, c. 1880-84), Fantasia don piano (1889-90), Rhapsody don saxophone (1903-05, wanda ba a gama ba, wanda JJ Roger-Ducas ya kammala, publ. 1919), Rawa (don garaya da string Orchestra, 1904), Farko Rhapsody don clarinet (1909-10, asali don clarinet da piano); dakin kayan aiki ensembles - piano trio (G-dur, 1880), string quartet (g-moll, op. 10, 1893), sonata don sarewa, viola da garaya (1915), sonata don cello da piano (d-moll, 1915), sonata na violin da piano (g-moll, 1916); don piano 2 hannu - Gypsy rawa (Danse bohémienne, 1880), Arabarabesques biyu (1888), Bergamas suite (1890-1905), Dreams (Rêverie), Ballad (Ballade bawa), Dance (Styrian tarantella), Romantic waltz, Nocturne, Mazurka (duk 6 plays – 1890), Suite (1901), Prints (1903), Island of Joy (L'isle joyeuse, 1904), Masks (Masques, 1904), Images (Images, 1st series, 1905; 2nd series, 1907), Children's Corner (Kusurwar Yara, Piano suite, 1906-08), Ashirin da Hudu Preludes (littafin rubutu na farko, 1; littafin rubutu na 1910, 2-1910), Jarumi lullaby (Berceuse héroïque, 13; bugu na orchestral, 1914) (1914) da sauransu; don piano 4 hannu – Divertimento da Andante cantabile (c. 1880), symphony (h-moll, 1 hour, 1880, found and published in Moscow, 1933), Little Suite (1889), Scotland March on a Folk Jigo (Marche écossaise sur un thème populaire). , 1891, kuma an rubuta shi don ƙungiyar mawaƙa ta Debussy), Six Antique Epigraphs (Addinin epigraphes shida, 1914), da sauransu; don 2 pianos 4 hannaye - Lindaraja (Lindaraja, 1901), A kan fari da baki (En blanc et noir, suite na guda 3, 1915); ga sarewa – Giwa ta Pan (Syrinx, 1912); don mawaƙa cappella - waƙoƙi uku na Charles d'Orleans (1898-1908); don murya da piano - Waƙoƙi da soyayya (waƙoƙi na T. de Banville, P. Bourget, A. Musset, M. Bouchor, c. 1876), Ƙauyen soyayya guda uku (waƙar L. de Lisle, 1880-84), Waƙoƙi biyar na Baudelaire (1887) - 89), Ariettes da aka manta (Ariettes oubliées, waƙoƙin P. Verlaine, 1886-88), Romance guda biyu (kalmomi ta Bourget, 1891), waƙoƙin waƙa guda uku (kalmomin Verlaine, 1891), Lyric prose (Proses lyriques, lyrics by D . , 1892-93), Waƙoƙin Bilitis (Chansons de Bilitis, waƙoƙin P. Louis, 1897), Waƙoƙi Uku na Faransa (Trois chansons de France, waƙoƙin C. Orleans da T. Hermite, 1904), ballads uku akan. wakokin. F. Villon (1910), Wakoki guda uku na S. Mallarmé (1913), Kirsimeti na yaran da ba su da matsuguni (Noël des enfants qui n'ont plus de maison, lyrics by Debussy, 1915), da dai sauransu; kiɗa don wasan kwaikwayo na wasan kwaikwayo - King Lear (zane-zane da zane-zane, 1897-99), Shahadar St. Sebastian (waƙar don oratorio-asiri na wannan suna ta G. D'Annunzio, 1911); rubuce-rubuce - aiki ta KV Gluck, R. Schumann, C. Saint-Saens, R. Wagner, E. Satie, PI Tchaikovsky (3 rawa daga ballet "Swan Lake"), da dai sauransu.