Ernst Krenek (Ernst Krenek) |

Ernst Krenek

A ranar 23 ga Agusta, 2000, jama'ar mawaƙa sun yi bikin cika shekaru ɗari na haihuwar ɗaya daga cikin mawaƙa na asali, Ernst Krenek, wanda har yanzu masu sukar da masu sauraro ke tantance aikinsa. Ernst Krenek, mawaƙin Austro-Amurke, ɗan Austriya ne mai cikakken jini duk da sunansa na Slavic. A shekara ta 1916 ya zama dalibi na Franz Schreker, mawaki wanda ayyukansa suna da batsa da yawa kuma sun shahara da sababbin abubuwa (musical). A lokacin, Schreker ya koyar da abun da ke ciki a Vienna Academy of Music. Aikin farko na Krenek (daga 1916 zuwa 1920) ya siffanta shi a matsayin mawaƙi don neman salon sa na musamman. Yana mai da hankali sosai ga counterpoint.

A 1920, Schreker ya zama darektan Cibiyar Kiɗa a Berlin, kuma matashi Krenek ya ci gaba da karatunsa a nan. Mawaƙin yana yin abokai, gami da sanannun sunaye kamar Ferruccio Busoni, Eduard Erdman, Artur Schnabel. Wannan yana ba Krenek damar samun takamaiman haɓakawa ga wanda ya riga ya kasance, godiya ga Schreker, ra'ayoyin kiɗa. A 1923, Krenek daina haɗin gwiwa tare da Schreker.

Lokacin farkon Berlin na aikin mawaƙi ana kiransa “atonal”, an yi masa alama da ayyuka masu ban mamaki, waɗanda suka haɗa da kaɗe-kaɗe masu bayyanawa guda uku (op. 7, 12, 16), da kuma wasan opera na farko, wanda aka rubuta a cikin nau'in wasan opera mai ban dariya. "Shadow Jump" . An ƙirƙiri wannan aikin a cikin 1923 kuma ya haɗa abubuwa na jazz na zamani da kiɗan atonal. Wataƙila wannan lokacin ana iya kiran shi farkon aikin Krenek.

A cikin 1923, Krenek ya auri 'yar Gustav Mahler, Anna. Hankalinsa na sha'awa yana fadadawa, amma a cikin kiɗa yana bin hanyar m, rashin daidaituwa, sababbin ra'ayoyi. Mawaƙin yana son kiɗan Bartok da Hindemith, yana haɓaka fasaharsa. Kidan maestro a zahiri cike take da abubuwan zamani, kuma, da farko, wannan ya shafi opera. Gwaji tare da nau'in opera, Krenek ya cika shi da abubuwan da ba su da halayen ƙirar gargajiya.

Lokacin daga 1925 zuwa 1927 ya kasance alamar ƙaura ta Krenek zuwa Kassel sannan zuwa Weisbaden, inda ya koyi tushen wasan kwaikwayo na kiɗa. Ba da daɗewa ba mawaƙin ya sadu da Paul Becker, jagoran da ya yi wasa a manyan gidajen opera. Becker yana nuna sha'awar aikin Krenek kuma yana ƙarfafa shi ya rubuta wani opera. Wannan shine yadda Orpheus da Eurydice suka bayyana. Marubucin libretto shine Oskar Kokoschka, fitaccen mawaki kuma mawaƙi wanda ya rubuta rubutu mai ma'ana. Aikin yana cike da ɗimbin raunin rauni, duk da haka, kamar wasan opera da ta gabata, ana yin ta ne ta musamman, ba kamar yadda wani ya ke ba, cike da furuci da rashin haƙuri ga mawaƙin ga kowane irin rangwame da sunan shaharar arha. Anan kuma lafiyayyen son zuciya, da makirci mai ban mamaki, da kuma tushen addini da siyasa. Duk wannan yana ba da damar yin magana game da Krenek a matsayin ɗan adam mai haske.

Yayin da yake zaune a Weisbaden, Krenek ya tsara ɗayan mafi kyawunsa, kuma a lokaci guda operas masu rikitarwa "Johnny yana wasa“. Mawallafin mawaƙa ne ya rubuta libretto. A cikin samarwa, Krenek yana amfani da mafi kyawun nasarorin fasaha (wayar waya mara igiyar waya da ainihin locomotive (!)). Babban halayen wasan opera shine mawaƙin jazz Negro. An gudanar da wasan opera a Leipzig a ranar 11 ga Fabrairu, 1927 kuma jama'a sun karbe shi cikin sha'awa, irin wannan martanin ya jira opera a wasu gidajen wasan opera, inda aka yi ta daga baya, kuma wannan shine matakai daban-daban sama da 100, gami da Maly Opera da Ballet. Gidan wasan kwaikwayo a Leningrad (1928, wanda S. Samosud ya rubuta). Duk da haka, masu sukar opera ba su yaba wa wasan opera a haƙiƙanin ƙimarta ba, suna ganin a cikinta yanayin zamantakewa da jin daɗi. An fassara aikin zuwa harsuna 18. Nasarar wasan opera ta canza rayuwar maestro sosai. Krenek ya bar Weisbaden, ya sake auren Anna Mahler kuma ya auri 'yar wasan kwaikwayo Bertha Hermann. Tun 1928, mawaki yana zaune a Vienna, yawon shakatawa a Turai a kan hanya a matsayin mai raka na nasa ayyukan. Ƙoƙarin maimaita nasarar "Johnny", ya rubuta 3 siyasa satirical operas, Bugu da kari, babban opera "The Life of Orestes" (1930). Duk waɗannan ayyukan suna burge tare da kyakkyawan ingancin ƙungiyar makaɗa. Ba da daɗewa ba zagayowar waƙoƙin ya bayyana (op. 62), wanda, a cewar masu suka da yawa, ba kome ba ne face misalin “Winterreise” na Schubert.

A Vienna, Krenek ya sake ɗaukar hanyar sake tunani game da ra'ayin kiɗan nasa.

A wancan lokacin, yanayin mabiyan Schoenberg ya yi mulki a nan, wadanda suka fi shahara a cikinsu su ne: Berg da Webern, wadanda aka san su da alakarsu da masanin satirist na Viennese Karl Kraus, wanda ke da da'irar manyan aminai.

Bayan wasu tunani, Krenek ya yanke shawarar yin nazarin ka'idodin fasaha na Schoenberg. Gabatarwarsa ga salon dodecaphone an bayyana shi a cikin ƙirƙirar bambance-bambance a kan jigo na ƙungiyar makaɗa (op. 69), da kuma tsarin da aka tsara, abin lura da sake zagayowar waƙar "Durch die Nacht" (op. 67) zuwa kalmomin Kraus. . Duk da nasarar da ya samu a wannan fanni, Krenek ya yi imanin cewa aikinsa na opera ne. Ya yanke shawarar yin canje-canje ga opera Orestes kuma ya nuna wa jama'a. Wannan shirin ya zama gaskiya, amma Krenek ya ji takaici, masu sauraro sun gaishe da wasan opera sosai. Krenek ya ci gaba da nazarinsa a hankali game da fasahar abun ciki, daga baya ya bayyana abin da ya koya a cikin kyakkyawan aikin "Uber neue musik" (Vienna, 1937). A aikace, yana amfani da wannan fasaha a cikin "Wasa da Kiɗa" (opera "Charles V"). An shirya wannan aikin a Jamus daga 1930 zuwa 1933. Abin lura na musamman shi ne abin da Karl Renkl ya yi a Prague a shekara ta 1938. A cikin wannan wasan kwaikwayo mai ban sha'awa na kiɗa, Krenek ya haɗa pantomime, fim, opera da nasa tunanin. Libretto da mawaki ya rubuta yana cike da kishin Ostiriya da kuma imanin Roman Katolika. Krenek yana ƙara yin nuni ga rawar da al'umma ke takawa a cikin ayyukansa, wanda yawancin masu sukar lokacin suka fassara shi. Rashin jituwa tare da tantancewa ya tilasta wa mawaƙin barin Vienna, kuma a cikin 1937 mawaƙin ya koma Amurka. Bayan ya zauna a can, Krenek na ɗan lokaci ya tsunduma cikin rubuce-rubuce, tsarawa, da lacca. A cikin 1939 Krenek ya koyar da abun da ke ciki a Kwalejin Vassar (New York). A cikin 1942 ya bar wannan matsayi kuma ya zama shugaban Sashen Fine Arts School of Music a Minnesota, bayan 1947 ya koma California. A cikin Janairu 1945, ya zama ɗan ƙasar Amurka a hukumance.

A lokacin zamansa a Amurka daga 1938 zuwa 1948, mawakin ya rubuta a kalla ayyuka 30, wadanda suka hada da wasan kwaikwayo na chamber, ballets, na mawaka, da kade-kade (4 da 5). Waɗannan ayyukan sun dogara ne akan tsayayyen salon dodecaphonic, yayin da wasu ayyukan da aka rubuta da gangan ba tare da amfani da fasahar dodecaphonic ba. Tun daga 1937, Krenek ya bayyana nasa ra'ayoyin a cikin jerin ƙasidu.

Tun daga farkon shekarun 50s, an sami nasarar shirya wasan kwaikwayo na farko na Krenek akan matakan wasan kwaikwayo a Austria da Jamus. Na biyu, abin da ake kira lokaci na "free atonality" an bayyana a farkon kirtani quartet (op. 6), da kuma a cikin monumental farko symphony (op. 7), yayin da culmination na girma, watakila, za a iya la'akari. wasan kwaikwayo na 2 da na 3 na maestro.

Lokaci na uku na ra'ayoyin neo-romantic na mawaƙin ya kasance alama ta opera "The Life of Orestes", aikin an rubuta shi a cikin fasahar sautin layuka. "Charles V" - aikin farko na Krenek, wanda aka haifa a cikin fasaha na sautin goma sha biyu, don haka yana cikin ayyukan na hudu. A shekara ta 1950, Krenek ya kammala tarihin rayuwarsa, wanda asalinsa yana cikin ɗakin karatu na Congress (Amurka). A cikin 1963, maestro ya lashe Grand Prix na Austrian. Duk kiɗan Krenek kamar kundin sani ne da ke jera abubuwan kiɗan na lokacin cikin tsari na lokaci.

Dmitry Lipuntsov, 2000