Felix Mendelssohn-Bartholdy (Felix Mendelssohn Bartholdy) |

Felix Mendelssohn Bartholdy

Wannan shi ne Mozart na karni na sha tara, mafi kyawun basirar kiɗa, wanda ya fi fahimtar sabani na zamanin kuma mafi kyau duka ya sulhunta su. R. Schumann

F. Mendelssohn-Bartholdy mawaƙin Bajamushe ne na tsarar Schumann, madugu, malami, pianist, kuma mai koyar da kiɗa. Ayyukansa iri-iri sun kasance ƙarƙashin manyan manufofi masu daraja da mahimmanci - ya ba da gudummawa ga haɓakar rayuwar kiɗan Jamus, ƙarfafa al'adun ƙasa, ilimin ƙwararrun jama'a da masu ilimi.

An haifi Mendelssohn a cikin iyali da ke da dogon al'adar al'ada. Kakan mawaƙin nan gaba sanannen masanin falsafa ne; uba - shugaban gidan banki, mutum mai wayewa, masanin fasaha mai kyau - ya ba dansa kyakkyawar ilimi. A cikin 1811, dangin sun koma Berlin, inda Mendelssohn ya ɗauki darussa daga manyan malamai - L. Berger (piano), K. Zelter (haɗin). G. Heine, F. Hegel, TA Hoffmann, 'yan'uwan Humboldt, KM Weber sun ziyarci gidan Mendelssohn. JW Goethe ya saurari wasan ɗan pian ɗan shekara goma sha biyu. Ganawa da babban mawaƙi a Weimar ya kasance mafi kyawun tunanin ƙuruciyata.

Sadarwa tare da masu fasaha masu mahimmanci, ra'ayoyin kiɗa daban-daban, halartar laccoci a Jami'ar Berlin, yanayi mai haske wanda Mendelssohn ya girma - duk sun ba da gudummawa ga ci gaban ƙwararrunsa da ruhaniya. Tun yana ɗan shekara 9, Mendelssohn yana yin wasan kwaikwayo a matakin wasan kwaikwayo, a farkon 20s. rubuce-rubucensa na farko sun bayyana. Tuni a cikin ƙuruciyarsa, ayyukan ilimi Mendelssohn ya fara. Ayyukan JS Bach's Matthew Passion (1829) a ƙarƙashin jagorancinsa ya zama abin tarihi a cikin rayuwar kiɗa na Jamus, ya zama abin ƙarfafawa don farfado da aikin Bach. A cikin 1833-36. Mendelssohn yana rike da mukamin darektan kiɗa a Düsseldorf. Sha'awar tada matakin wasan kwaikwayon, don sake cika repertoire tare da ayyukan gargajiya (oratorios na GF Handel da I. Haydn, operas ta WA ​​Mozart, L. Cherubini) ya shiga cikin rashin sha'awar hukumomin birni, rashin daidaituwa na Burger Jamus.

Ayyukan Mendelssohn a Leipzig (tun daga 1836) a matsayin jagoran ƙungiyar makaɗa ta Gewandhaus ya ba da gudummawa ga sabuwar bunƙasa rayuwar kiɗan birni, wanda ya riga ya kasance a cikin karni na 100. shahararriyar al'adunsa. Mendelssohn ya nemi jawo hankalin masu sauraro zuwa ga mafi girman ayyukan fasaha na baya (wato oratorios na Bach, Handel, Haydn, Babban Mass da Beethoven's Symphony na tara). Har ila yau, an aiwatar da manufofin ilimi ta hanyar zagayowar kide-kide na tarihi - wani nau'in wasan kwaikwayo na ci gaban kiɗa daga Bach zuwa mawaƙa na zamani Mendelssohn. A Leipzig, Mendelssohn yana ba da kide-kide na kiɗan piano, yana yin ayyukan gaɓoɓin Bach a Cocin St. Thomas, inda “babban cantor” ya yi hidima shekaru 1843 da suka wuce. A cikin 38, a kan himmar Mendelssohn, an buɗe rukunin masu ra'ayin mazan jiya na farko a Jamus a Leipzig, wanda a kan ƙirarsa aka ƙirƙiri ɗakunan ajiya a wasu biranen Jamus. A cikin shekarun Leipzig, aikin Mendelssohn ya kai mafi girman furanninsa, balagagge, gwaninta (Violin Concerto, Scottish Symphony, kiɗa don Mafarkin Mafarkin Dare na Shakespeare, littattafan rubutu na ƙarshe na Waƙoƙi ba tare da Kalmomi ba, oratorio Iliya, da sauransu). Tashin hankali akai-akai, tsananin aiwatarwa da ayyukan koyarwa a hankali sun raunana ƙarfin mawaƙin. Tsananin aiki mai tsanani, rashin 'yan uwa (mutuwar 'yar uwar Fanny) ta kara kusantar mutuwa. Mendelssohn ya mutu yana da shekaru XNUMX.

Mendelssohn ya sami sha'awar nau'o'i da nau'i daban-daban, hanyoyin yin aiki. Tare da daidaitaccen fasaha ya rubuta don ƙungiyar mawaƙa da piano, ƙungiyar mawaƙa da gabobin jiki, gungu na ɗaki da murya, yana bayyana ƙwarewar ƙwarewa na gaskiya, mafi girman ƙwarewa. A farkon aikinsa, yana da shekaru 17, Mendelssohn ya ƙirƙiri "Mafarkin Dare na Tsakanin Summer" - aikin da ya bugi mutanen zamaninsa tare da ra'ayi da tsarin halitta, balagaggen fasaha na mawaƙa da sabo da wadatar tunani. . "Ana jin furannin matasa a nan, kamar yadda, watakila, a cikin wani aikin mawaƙin, wanda ya ƙare ya yi tashin farko a cikin farin ciki." A cikin jujjuyawar shirin motsi guda ɗaya, wanda aka zaburar da shi daga wasan barkwanci na Shakespeare, an fayyace iyakokin duniyar kiɗa da waƙa ta mawaƙin. Wannan hasashe ne mai haske tare da taɓawa na scherzo, jirgin sama, wasan ban mamaki (kyawawan raye-raye na elves); Hotunan waƙoƙin da suka haɗu da sha'awar soyayya, jin daɗi da tsabta, darajar magana; nau'ikan jama'a da na hoto, hotuna na almara. Salon shirin kide-kide da Mendelssohn ya kirkira an ɓullo da shi a cikin kiɗan kiɗan na ƙarni na 40. (G. Berlioz, F. Liszt, M. Glinka, P. Tchaikovsky). A farkon XNUMXs. Mendelssohn ya koma Shakespearean comedy kuma ya rubuta kiɗa don wasan kwaikwayo. Mafi kyawun lambobi sun haɗa da rukunin kade-kade, an kafa su a cikin repertoire na kide-kide (Overture, Scherzo, Intermezzo, Nocturne, Maris Bikin aure).

Abubuwan da ke cikin yawancin ayyukan Mendelssohn suna da alaƙa da ra'ayoyin rayuwa kai tsaye daga tafiye-tafiye zuwa Italiya (rana, cike da hasken kudanci da zafi "Symphony Italiya" - 1833), da kuma ƙasashen arewa - Ingila da Scotland (Hotunan teku kashi, almara na arewa a cikin overtures "Kogon Fingal"("The Hebrides"), "Sea Silence da Happy Sailing" (duka 1832), a cikin "Scottish" Symphony (1830-42).

Tushen aikin piano na Mendelssohn shine "Waƙoƙi ba tare da Kalmomi ba" (guda 48, 1830-45) - misalai masu ban sha'awa na ƙananan waƙoƙi, sabon salo na kiɗan piano na soyayya. Ya bambanta da pianism na bravura mai ban sha'awa wanda ya yadu a wancan lokacin, Mendelssohn ya ƙirƙira guda a cikin salon ɗaki, yana bayyana sama da duk cantilena, damar damar kayan aikin. Mawaƙin ya kuma jawo hankalin abubuwan wasan kide kide da wake-wake - virtuoso haske, festivity, jin daɗin yanayin fasaharsa (2 concertos don piano da orchestra, Brilliant Capriccio, Brilliant Rondo, da sauransu). Shahararren Concerto na Violin a cikin E qananan (1844) ya shiga cikin asusun gargajiya na nau'in tare da kide-kide na P. Tchaikovsky, I. Brahms, A. Glazunov, J. Sibelius. Oratorios “Paul”, “Iliya”, cantata “Daren Walpurgis na Farko” (bisa ga Goethe) sun ba da gudummawa sosai ga tarihin nau'ikan cantata-oratorio. Abubuwan da Mendelssohn ya yi ya ci gaba da haɓaka al'adun gargajiya na Jamusanci ta hanyar preludes da fugues ga gabbai.

Mawaƙin ya yi niyya da yawa ayyukan waƙoƙi don ƙungiyoyin mawaƙa masu son a Berlin, Düsseldorf da Leipzig; da abubuwan da aka tsara na ɗaki (waƙoƙi, muryoyin murya da ƙungiyoyin kayan aiki) - don mai son, yin kiɗan gida, sanannen mashahuri a Jamus koyaushe. Ƙirƙirar irin wannan kiɗan, wanda aka yi wa masu son haskakawa, kuma ba kawai ga masu sana'a ba, ya ba da gudummawa ga aiwatar da babban burin kirkire-kirkire na Mendelssohn - ilmantar da dandano na jama'a, gabatar da shi a hankali zuwa ga mahimmanci, kayan tarihi na fasaha.

I. Okhalova

• Hanyar kirkira →
• Ƙirƙirar Symphonic →
• Matsala →
• Oratorios →
• Ƙirƙirar Piano →
• "Wakoki marasa kalmomi" →
• Zauren quartets →
• Jerin ayyukan →

Wuri da matsayin Mendelssohn a cikin tarihin kiɗan Jamus an gano shi daidai da PI Tchaikovsky. Mendelssohn, a cikin kalmominsa, "zai kasance koyaushe abin koyi na tsafta mara kyau, kuma a bayansa za a san shi da ma'anar ma'anar kiɗan, kodadde kafin annurin hazaka kamar Beethoven - amma babban ci gaba daga taron mawakan fasaha da yawa. na makarantar Jamus."

Mendelssohn yana ɗaya daga cikin masu fasaha waɗanda tunaninsu da aiwatar da su ya kai wani mataki na haɗin kai da mutunci wanda wasu daga cikin mutanen zamaninsa na ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwallo ta ko da yaushe ba su iya cimma burinsu ba.

Hanyar kirkire-kirkire ta Mendelssohn ba ta san rugujewar kwatsam da sabbin abubuwa masu ban tsoro ba, jihohin rikici da hawan tudu. Wannan ba yana nufin ya ci gaba cikin rashin tunani da gajimare ba. “Aikace-aikacensa” na farko na mutum ɗaya don jagora kuma mahalicci mai zaman kansa - “Mafarkin Mafarkin Dare” - lu'u-lu'u ne na kiɗan kiɗan, 'ya'yan itacen babban aiki mai ma'ana, wanda aka shirya ta shekaru na horarwar ƙwararru.

Muhimmancin ilimin musamman da aka samu tun yana ƙuruciya, haɓakar ilimi iri-iri ya taimaka wa Mendelssohn a farkon rayuwarsa ta kirkire-kirkire don fayyace daidai da'irar hotuna da suka burge shi, wanda na dogon lokaci, idan ba har abada ba, ya kama tunaninsa. A cikin duniyar tatsuniyar tatsuniya mai jan hankali, kamar ya tsinci kansa. Zana wasan sihiri na hotuna masu ban mamaki, Mendelssohn ya bayyana hangen nesa na waka na ainihin duniya. Kwarewar rayuwa, ilimin ƙarni na tarin al'adun al'adu sun cika hankali, sun gabatar da "gyare-gyare" a cikin aiwatar da haɓaka fasaha, zurfafa zurfafa abubuwan kiɗa, haɓaka shi da sabbin dalilai da inuwa.

Duk da haka, an haɗe mutuncin haɗin kai na basirar kiɗan Mendelssohn tare da kunkuntar kewayon kere kerensa. Mendelssohn ya yi nisa daga sha'awar Schumann, daɗaɗɗen ɗaukakar Berlioz, bala'i da jarumta na kishin ƙasa na Chopin. Ƙarfin motsin rai, ruhun zanga-zangar, dagewar neman sababbin siffofi, ya yi tsayayya da kwanciyar hankali na tunani da dumin jin daɗin ɗan adam, tsauraran tsari na siffofi.

Hakazalika, tunanin Mendelssohn, da abubuwan da ke cikin waƙarsa, da kuma nau'o'in da ya ƙirƙira a cikin su, ba su wuce abin da ya dace na fasahar soyayya ba.

Mafarkin Daren Midsummer ko Hebrides ba su da ƙarancin soyayya fiye da ayyukan Schumann ko Chopin, Schubert ko Berlioz. Wannan shi ne yanayin salon soyayya mai ban sha'awa mai ban sha'awa, wanda igiyoyin ruwa daban-daban suka shiga tsakani, a kallon farko kamar polar.

Mendelssohn yana hade da reshe na romanticism na Jamus, wanda ya samo asali daga Weber. Halayen ban sha'awa da fantasy na Weber, duniyar yanayi mai rai, waƙar tatsuniyoyi da tatsuniyoyi masu nisa, sabuntawa da faɗaɗawa, haskakawa a cikin kiɗan Mendelssohn tare da sabbin sautuna masu launi.

Daga cikin ɗimbin jigogi na soyayya da Mendelssohn ya taɓa su, jigogin da ke da alaƙa da fantasy sun sami mafi kyawun kammala aikin fasaha. Babu wani abu mai duhu ko aljani a cikin tunanin Mendelssohn. Waɗannan hotuna ne masu haske na yanayi, waɗanda aka haife su daga tunanin jama'a kuma sun warwatse a cikin tatsuniyoyi masu yawa, tatsuniyoyi, ko wahayi daga almara da tatsuniyoyi na tarihi, inda gaskiya da fantasy, gaskiya da almara na waƙa ke da alaƙa da juna.

Daga asalin al'ada na al'ada - launin da ba a ɓoye ba, wanda haske da alheri, da laushin kalmomi da kuma tashi na "kyakkyawan" kiɗan Mendelssohn don haka ya dace da dabi'a.

Jigon soyayya na yanayi ba shi da ƙarancin kusanci da na halitta ga wannan mai zane. Ba kasafai ake amfani da bayanin waje ba, Mendelssohn yana isar da wani “yanayin” na shimfidar wuri tare da mafi kyawun fasahohin bayyanawa, yana haifar da jin daɗin sa.

Mendelssohn, ƙwararren masani na shimfidar waƙa, ya bar kyawawan shafuka na kiɗan hoto a cikin ayyuka irin su The Hebrides, Mafarkin Dare na Tsakar Summer, The Scotland Symphony. Amma hotuna na yanayi, fantasy (sau da yawa ba a saka su ba) suna cike da laushi mai laushi. Lyricism - mafi mahimmancin kayan basirar Mendelssohn - yana canza duk aikinsa.

Duk da jajircewarsa ga fasahar zamanin da, Mendelssohn shine ɗan shekarunsa. Fannin waƙar duniya, jigon waƙar ya ƙaddara alkiblar bincikensa na fasaha. Daidai da wannan yanayin gabaɗaya a cikin kiɗan Romantic shine sha'awar Mendelssohn koyaushe tare da ƙananan kayan aiki. Ya bambanta da fasaha na classicism da Beethoven, wanda ya horar da hadaddun monumental siffofin, daidai da falsafar generalization na rayuwa tafiyar matakai, a cikin art na Romantics, gaba gaba da aka bai wa song, wani karamin kayan aiki dada. Don kama mafi da hankali da inuwa na ji, ƙananan sifofi sun zama mafi kyawun halitta.

Haɗin kai mai ƙarfi tare da fasaha na yau da kullun na dimokiradiyya ya tabbatar da "ƙarfin" sabon nau'in kerawa na kiɗa, ya taimaka wajen haɓaka wata al'ada gare shi. Tun farkon karni na XNUMX, ƙaramin kayan aikin waƙa ya ɗauki matsayi na ɗayan manyan nau'ikan. Yadu da aka wakilta a cikin aikin Weber, Field, kuma musamman Schubert, nau'in nau'in kayan aiki na kayan aiki ya tsaya gwajin lokaci, yana ci gaba da wanzuwa da haɓaka a cikin sababbin yanayi na karni na XNUMX. Mendelssohn shine magajin Schubert kai tsaye. Kyawawan ƴan ƙayatattun ƙa'idodi suna haɗe da impromptu na Schubert - waƙoƙin pianoforte Ba tare da Kalmomi ba. Waɗannan ɓangarorin suna jan hankali da ikhlasi na gaske, sauƙi da ikhlasi, cikar siffofi, alheri na musamman da fasaha.

Anton Grigorievich Rubinshtein ya ba da cikakken bayanin aikin Mendelssohn: “… a kwatanta da sauran manyan marubuta, ya (Mendelssohn. – VG) ba shi da zurfin zurfi, mahimmanci, girma…”, amma “…duk abubuwan da ya halitta abin koyi ne ta fuskar kamala tsari, fasaha da jituwa… “Wakokinsa ba tare da Kalmomi ba” wata taska ce ta fuskar waƙoƙi da fara'ar piano… “Violin nasa Concerto” na musamman ne a cikin sabo, kyakkyawa da kyawawan halaye… Waɗannan ayyukan (a cikin waɗanda Rubinstein ya haɗa da Mafarkin Dare na Tsakar Summer da Kogon Fingal. – VG)… sanya shi a kan daidai da mafi girman wakilan fasahar kiɗan…”

Mendelssohn ya rubuta ayyuka masu yawa a cikin nau'o'i daban-daban. Daga cikin su akwai da yawa ayyuka na manyan siffofin: oratorios, symphonies, concert overtures, sonatas, concertos (piano da violin), da yawa kayan aiki jam'iyya-tarin music: trios, quartets, quintets, octets. Akwai na ruhi da na boko da kade-kade na kayan aiki, da kuma kida don wasan kwaikwayo. Mendelssohn ya ba da babbar girmamawa ga mashahurin nau'in tarin murya; ya rubuta guda solo da yawa don kayan kida guda ɗaya (musamman na piano) da kuma na murya.

Ana ƙunshe da ƙima da ban sha'awa a kowane yanki na aikin Mendelssohn, a cikin kowane nau'ikan da aka jera. Duk iri ɗaya, mafi yawan al'ada, siffofi masu ƙarfi na mawaƙa sun bayyana kansu a cikin wurare guda biyu da ba a haɗa su ba - a cikin waƙoƙin piano miniatures da kuma tunanin ayyukansa na orchestral.

V. Galatskaya

Ayyukan Mendelssohn na ɗaya daga cikin manyan al'amuran al'adun Jamus na karni na 19. Tare da aikin irin waɗannan masu fasaha kamar Heine, Schumann, matashin Wagner, ya nuna haɓakar fasaha da sauye-sauyen zamantakewa da suka faru tsakanin juyin juya hali biyu (1830 da 1848).

Rayuwar al'adun Jamus, wacce duk ayyukan Mendelssohn ke da alaƙa da juna, a cikin 30s da 40s tana da gagarumin farfaɗo da sojojin dimokuradiyya. 'Yan adawar da'irori masu tsattsauran ra'ayi, suna adawa da gwamnatin rikon kwarya, sun dauki karin nau'ikan siyasa a bude da kuma shiga cikin bangarori daban-daban na rayuwar ruhaniya na mutane. Abubuwan da ake zargi na zamantakewar al'umma a cikin wallafe-wallafe (Heine, Berne, Lenau, Gutskov, Immermann) an bayyana a fili, an kafa makarantar "waƙar siyasa" (Weert, Herweg, Freiligrat), tunanin kimiyya ya bunƙasa, da nufin nazarin al'adun ƙasa (nazari a kan tarihin harshen Jamusanci, tatsuniyoyi da adabi na Grimm, Gervinus, Hagen).

Shirya bukukuwan kade-kade na Jamus na farko, shirya wasan kwaikwayo na kasa da Weber, Spohr, Marschner, matashin Wagner, yada aikin jarida na ilimin kida wanda aka gudanar da gwagwarmayar fasahar ci gaba (Jaridar Schumann a Leipzig, A. Marx's in Berlin) - duk wannan, tare da wasu abubuwa masu kama da juna, sunyi magana game da haɓakar fahimtar kai na kasa. Mendelssohn ya rayu kuma ya yi aiki a cikin wannan yanayi na nuna rashin amincewa da ƙwaƙƙwaran tunani, wanda ya bar tambarin al'adar Jamus a cikin 30s da 40s.

A cikin gwagwarmaya da ƙunƙuntar da'irar burgers, tare da raguwar rawar akida na fasaha, masu fasahar ci gaba na wancan lokacin sun zaɓi hanyoyi daban-daban. Mendelssohn ya ga nadin nasa a cikin farfaɗo da manyan manufofin kiɗan gargajiya.

Ba ruwansa da salon gwagwarmayar siyasa, ya yi sakaci da gangan, ba kamar yawancin mutanen zamaninsa ba, makamin aikin jarida na kiɗa, amma Mendelssohn ya kasance fitaccen masanin fasaha.

Duk ayyukansa da yawa a matsayin mawaki, madugu, pianist, mai shiryawa, malami ya cika da tunanin ilimi. A cikin fasahar dimokuradiyya na Beethoven, Handel, Bach, Gluck, ya ga mafi girman bayyanar al'adun ruhaniya kuma ya yi yaƙi da makamashi mara ƙarfi don kafa ƙa'idodin su a cikin rayuwar kiɗan ta zamani ta Jamus.

Burin ci gaba na Mendelssohn ya ƙayyade yanayin aikinsa. A kan bango na gaye haske-nauyi kida na bourgeois salons, sanannen mataki da kuma nisha wasan kwaikwayo, Mendelssohn ayyukansu sun janyo hankalin da muhimmancin su, tsafta, "m tsarkin salon" (Tchaikovsky).

Wani abin ban mamaki na kiɗan Mendelssohn shine samuwarta. Dangane da haka mawaƙin ya sami matsayi na musamman a tsakanin mutanen zamaninsa. Sana'ar Mendelssohn ta yi daidai da ɗanɗanon fasaha na faffadan yanayin dimokraɗiyya (musamman Jamusanci). Jigoginsa, hotuna da nau'ikansa suna da alaƙa da al'adun Jamus na zamani. Ayyukan Mendelssohn sun nuna hotunan tatsuniyoyi na al'adun gargajiya na kasa, sabbin wakoki da adabi na Rasha. Ya dogara sosai kan nau'ikan kiɗan da suka daɗe a cikin yanayin dimokraɗiyya na Jamus.

Babban ayyukan mawaƙa na Mendelssohn suna da alaƙa ta zahiri tare da tsoffin al'adun ƙasa waɗanda ke komawa ba kawai ga Beethoven, Mozart, Haydn ba, har ma da ƙari, cikin zurfin tarihi - zuwa Bach, Handel (har ma da Schutz). Motsi na zamani, sanannen "leaderthafel" ya nuna ba kawai a cikin mawakan Mendelssohn da yawa ba, har ma a cikin kayan kida da yawa, musamman, a kan shahararrun "Wakoki ba tare da ɗaukaka ba". Siffofin kiɗan biranen Jamus na yau da kullun suna jan hankalinsa koyaushe - soyayya, taron ɗaki, nau'ikan kiɗan piano na gida. Halin salon salon yau da kullum na yau da kullum har ma ya shiga cikin ayyukan mawaƙa, wanda aka rubuta a cikin tsari mai mahimmanci-classicist.

A ƙarshe, Mendelssohn ya nuna sha'awar waƙar jama'a. A cikin ayyuka da yawa, musamman a fannin soyayya, ya nemi tuntuɓar abubuwan da ke cikin tatsuniyar Jamusanci.

Rikon Mendelssohn ga al'adun gargajiya ya kawo masa zargi na ra'ayin mazan jiya daga bangaren matasa masu tsattsauran ra'ayi. A halin yanzu, Mendelssohn ya kasance mai nisa da yawa daga waɗancan ɓangarorin da yawa waɗanda, a ƙarƙashin amincin aminci ga manyan litattafai, suka watsa waƙar tare da sake fasalin ayyukan da suka gabata.

Mendelssohn bai yi koyi da litattafai ba, ya yi ƙoƙari ya farfado da ka'idodin da suka dace da ci gaba. Mawallafin mawaƙa daidai gwargwado, Mendelssohn ya ƙirƙiri hotuna na soyayya a cikin ayyukansa. Anan akwai “lokutan kida”, suna nuna yanayin duniyar duniyar mai zane, da dabara, hotuna masu ruhi na yanayi da rayuwa. A lokaci guda, a cikin kiɗan Mendelssohn, babu alamun sufanci, nebula, don haka halayen halayen halayen jima'i na romanticism na Jamus. A cikin fasahar Mendelssohn komai a bayyane yake, mai hankali, mai mahimmanci.

Schumann ya ce game da waƙar Mendelssohn: "Duk inda kuka taka kan ƙasa mai ƙarfi, a kan ƙasar Jamus mai bunƙasa." Hakanan akwai wani abu na Mozartian a cikin kyawunta, kamanninta na gaskiya.

Salon kiɗan Mendelssohn tabbas ɗaya ne. Maɗaukakin waƙar da ke da alaƙa da salon waƙa na yau da kullun, nau'ikan nau'ikan raye-raye da abubuwan raye-raye, halayen haɓaka haɓakawa, kuma a ƙarshe, daidaitattun sifofi masu gogewa suna kawo kiɗan Mendelssohn kusa da fasahar manyan al'adun Jamus. Amma tsarin tunani na classicist yana haɗuwa a cikin aikinsa tare da siffofi na soyayya. Harshensa na jituwa da kayan aiki yana da alaƙa da ƙarin sha'awar launuka. Mendelssohn yana kusa da nau'ikan ɗaki na al'ada na romantic na Jamus. Yana tunani game da sautin sabon piano, sabon ƙungiyar makaɗa.

Tare da duk girman kai, girman kai, da yanayin dimokraɗiyya na kiɗan sa, Mendelssohn har yanzu bai cimma zurfin ƙirƙira da halayyar manyan magabata ba. Yanayin ƙananan-bourgeois, wanda ya yi yaƙi da shi, ya bar tambari mai mahimmanci akan aikinsa. Ga mafi yawancin, ba shi da sha'awa, jarumtaka na gaske, ba shi da zurfin ilimin falsafa da tunani, kuma akwai rashin fahimta mai ban mamaki. Hoton jarumi na zamani, tare da mafi rikitarwa na tunanin mutum da rayuwar tunaninsa, ba a nuna shi a cikin ayyukan mawaki ba. Mendelssohn mafi yawan duka yana son nuna fagagen rayuwa masu haske. Waƙarsa galibi tana da kyan gani, mai hankali, tare da yawan wasan rashin kula da matasa.

Amma a kan yanayin yanayi mai tsanani, zamanin da ya saba wa juna wanda ya wadatar da fasaha tare da soyayyar tawaye na Byron, Berlioz, Schumann, yanayin kwanciyar hankali na kiɗan Mendelssohn yana magana game da ƙayyadaddun iyaka. Mawaƙin ya nuna ba kawai ƙarfin ba, har ma da raunin yanayin yanayin zamantakewa da tarihi. Wannan duality ya ƙaddara keɓancewar makoma ta keɓaɓɓen gadonsa.

A lokacin rayuwarsa da kuma na ɗan lokaci bayan mutuwarsa, ra'ayoyin jama'a sun karkata don tantance mawaƙin a matsayin mawaƙin da ya fi muhimmanci a zamanin bayan Beethoven. A cikin rabin na biyu na karni, wani hali na raini game da gadon Mendelssohn ya bayyana. Wannan ya sami sauƙaƙa sosai daga epigones ɗinsa, waɗanda a cikin ayyukansu sifofin gargajiya na kiɗan Mendelssohn suka rikiɗe zuwa ilimin ilimi, da abubuwan da ke cikin waƙoƙin waƙa, suna jan hankali ga hankali, zuwa zahirin hankali.

Kuma duk da haka, tsakanin Mendelssohn da "Mendelssohnism" ba za a iya sanya alamar daidai ba, ko da yake mutum ba zai iya musanta sanannun iyakokin tunaninsa na fasaha ba. Muhimmancin ra'ayin, daidaitaccen tsari na zamani tare da sabo da sabbin hanyoyin fasaha - duk wannan ya sa aikin Mendelssohn ya shafi ayyukan da suka shiga cikin rayuwar jama'ar Jamus da gaske, cikin al'adunsu na ƙasa.

V. Konen

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