Edison Vasilyevich Denisov |

Edison Denisov

Kyawawan da ba za a iya lalacewa ba na manyan ayyukan fasaha na rayuwa a cikin girman lokacin sa, ya zama gaskiya mafi girma. E. Denisov

Kiɗa na Rasha na zamaninmu yana wakiltar manyan mutane da yawa. Daga cikin na farko daga cikinsu akwai Muscovite E. Denisov. Bayan karanta piano wasa (Tomsk Music College, 1950) da kuma jami'a ilimi (Physics da Mathematics Faculty na Tomsk University, 1951), da ashirin da biyu m mawaki shiga Moscow Conservatory zuwa V. Shebalin. Shekaru na bincike bayan kammala karatu daga Conservatory (1956) da kuma digiri na biyu School (1959) sun kasance alama da tasiri na D. Shostakovich, wanda ya goyi bayan basira na matasa mawaki da kuma wanda Denisov zama abokai a lokacin. Ganin cewa makarantar ta koyar da shi yadda ake rubutu, ba yadda ake rubutu ba, sai matashin mawakin ya fara ƙware da dabarun zamani na haɗawa da neman hanyarsa. Denisov yayi nazarin I. Stravinsky, B. Bartok (Quartet na biyu - 1961 an sadaukar da shi don ƙwaƙwalwarsa), P. Hindemith ("kuma ya kawo ƙarshensa"), C. Debussy, A. Schoenberg, A. Webern.

Denisov kansa style daukan siffar a hankali a cikin abun da ke ciki na farkon 60s. Farko mai haske na farko na sabon salon shine "Rana na Incas" don soprano da kayan kida 11 (1964, rubutu na G. Mistral): waƙar yanayi, tare da amsawa na tsoffin hotunan raye-raye, ya bayyana a cikin kaya na sonorous iridescent m m launuka. Wani bangare na salon yana cikin Pieces guda uku don cello da piano (1967): a cikin matsanancin sassa shi ne kida na maida hankali mai zurfi, wani cantilena mai tsauri tare da mafi kyawun sauti na piano a cikin babban rajista, da bambanci da mafi girman kuzarin rhythmic na asymmetrical “maki, tsini, mari”, har ma da “harbi” na matsakaicin wasa. Piano Trio na Biyu (1971) shima yana hade anan - kiɗan zuciya, dabara, waƙa, mahimmancin fahimta.

Denisov style ne m. Amma ya ƙi da yawa na halin yanzu, gaye a cikin kiɗan zamani - kwaikwayo na salon wani, neo-primitivism, aestheticization of banality, conformist omnivorousness. Mawaƙin ya ce: “Kyakkyawa na ɗaya daga cikin mahimman ra’ayoyi a fasaha.” A zamaninmu, yawancin mawaƙa suna da sha'awar gaske don neman sabon kyau. A cikin guda 5 don sarewa, pianos biyu da kaɗa, Silhouettes (1969), hotuna na shahararrun hotunan mata suna fitowa daga masana'antar sauti - Donna Anna (daga WA Mozart Don Juan), Glinka's Lyudmila, Lisa (daga Sarauniyar Sarauniya). Spades) P. Tchaikovsky), Lorelei (daga waƙar F. Liszt), Maria (daga A. Berg's Wozzeck). Waƙar Bird don shirye-shiryen piano da tef (1969) yana kawo ƙanshin gandun daji na Rasha, muryoyin tsuntsu, chirps da sauran sautunan yanayi a cikin zauren kide-kide, tushen rayuwa mai tsabta da kyauta. "Na yarda da Debussy cewa ganin fitowar rana na iya ba wa mawaƙa fiye da sauraron Symphony na Pastoral Beethoven." A cikin wasan kwaikwayo "DSCH" (1969), da aka rubuta don girmama Shostakovich (laƙabin shine farkonsa), ana amfani da jigon wasiƙar (Josquin Despres, JS Bach, Shostakovich kansa ya haɗa kiɗa akan irin waɗannan jigogi). A cikin wasu ayyukan, Denisov yadu yana amfani da chromatic intonation EDS, wanda sau biyu a cikin sunansa da sunan mahaifi: EDiSon DEniSov. Denisov ya sami tasiri sosai ta hanyar hulɗar kai tsaye tare da tarihin Rasha. Game da sake zagayowar "Makoki" don soprano, percussion da piano (1966), mawaƙin ya ce: "Babu waƙar waƙar jama'a guda ɗaya a nan, amma dukan layin murya (a gaba ɗaya, har ma da kayan aiki) an haɗa su ta hanyar kai tsaye tare da Tatsuniyar Rasha ba tare da wani lokaci na salo ba kuma ba tare da wani ambato ba”.

Haɗe-haɗe mai ban sha'awa na kyawawan kyawawan sauti mai ladabi da rubutu maras kyau shine babban sautin zagaye na motsi goma "Littafin Rubutun Rubutun" (a kan layin A. Vvedensky da D. Kharms, 1984) don soprano, mai karatu, violin, cello. , piano biyu da rukuni uku na karrarawa. Ta hanyar ban mamaki grotesque da cizon alogism ("Allah ya lalace a cikin keji a can ba tare da idanu ba, ba tare da makamai, ba tare da kafafu ba ..." - No. 3), dalilai masu ban tsoro ba zato ba tsammani sun shiga ("Na ga duniyar da ba ta dace ba, na ji raɗaɗi na muffled). lyres" - Na 10).

Tun daga 70s. ƙara Denisov ya juya zuwa manyan siffofin. Waɗannan waƙoƙin kide-kide ne na kayan aiki (St. 10), Requiem mai ban mamaki (1980), amma waƙar falsafa ce mai ɗaukaka game da rayuwar ɗan adam. Mafi kyawun nasarorin sun haɗa da Concerto Violin (1977), Cello Concerto (1972), mafi asali Concerto piccolo (1977) don saxophonist (wasa saxophones daban-daban) da babbar ƙungiyar mawaƙa (kungiyoyi 6), ballet "Confession. "Na A. Musset (post. 1984), wasan opera "Kumfa na Days" (dangane da labari na B. Vian, 1981), wanda aka yi tare da babban nasara a Paris a cikin Maris 1986, "'Yan mata hudu" (dangane da P. Picasso, 1987). Gabaɗaya salon balagagge shine Symphony don manyan makaɗa (1987). Kalmomin mawaƙin za su iya zama almara a gare shi: “A cikin waƙara, lyricism shine abu mafi mahimmanci.” Faɗin numfashin jin daɗi yana samuwa ta nau'ikan sonorities na waƙa - daga mafi ƙarancin numfashi zuwa raƙuman ruwa na matsi. A dangane da 1000th ranar tunawa da baftisma na Rasha, Denisov ya halicci babban aiki ga mawaƙa cappella "Quiet Light" (1988).

Aikin Denisov yana da alaƙa da ruhaniya da layin "Petrine" na al'adun Rasha, al'adar A. Pushkin, I. Turgenev, L. Tolstoy. Ƙoƙarin haɓaka kyakkyawa mai girma, yana adawa da halayen sauƙaƙawa waɗanda suke akai-akai a zamaninmu, sauƙin samun sauƙin amfani da tunani mai fa'ida.

Y. Kholopov