Ferruccio Busoni |

Ferruccio Busoni

Busoni daya ne daga cikin jiga-jigan tarihin duniya na pianism, mai fasaha mai haske da kuma buri mai fa'ida. Mawaƙin ya haɗu da siffofi na "Mohicans na ƙarshe" na fasaha na karni na XNUMX da kuma hangen nesa mai zurfi game da hanyoyin da za a bunkasa al'adun fasaha na gaba.

An haifi Ferruccio Benvenuto Busoni a ranar 1 ga Afrilu, 1866 a arewacin Italiya, a yankin Tuscan a garin Empoli. Shi kaɗai ne ɗan clarinetist ɗan ƙasar Italiya Ferdinando Busoni da ɗan wasan pian Anna Weiss, uwa ɗan Italiya kuma mahaifin Jamus. Iyayen yaron sun tsunduma cikin ayyukan kide-kide kuma sun yi rayuwa ta yawo, wanda yaron ya raba.

Uban shine malami na farko kuma mai zaɓen na gaba virtuoso. "Mahaifina ya fahimci kadan a cikin wasan piano kuma, ban da haka, ba shi da tsayin daka a cikin raye-raye, amma ya biya diyya ga waɗannan kurakuran da kuzarin da ba za a iya misalta shi ba, tsangwama da motsa jiki. Ya iya zama kusa da ni tsawon sa'o'i hudu a rana, yana sarrafa kowane rubutu da kowane yatsa. A lokaci guda kuma, ba za a yi la'akari da wani sha'awa, hutu, ko 'yar kula da shi ba. Dakatawar kawai ta faru ne sakamakon fashe-fashe na yanayin da ba a saba gani ba, tare da zargi, annabce-annabce masu duhu, barazana, mari da hawaye.

Duk wannan ya ƙare tare da tuba, ta'aziyya ta uba da kuma tabbatar da cewa abubuwa masu kyau ne kawai ake so a gare ni, kuma washegari duk ya fara sabon. Gabatar da Ferruccio zuwa hanyar Mozartian, mahaifinsa ya tilasta yaron ɗan shekara bakwai ya fara wasan kwaikwayo na jama'a. Ya faru a cikin 1873 a Trieste. Ranar Fabrairu 8, 1876, Ferruccio ya ba da kide-kide na farko a Vienna.

Kwanaki biyar bayan haka, cikakken bita ta Eduard Hanslick ya bayyana a cikin Neue Freie Presse. Wani mai sukar ɗan ƙasar Austriya ya lura da “babban nasara” da kuma “babban iyawa” na yaron, inda ya bambanta shi da taron waɗancan “’ya’yan al’ajabi” waɗanda mu’ujiza ta ƙare da ƙuruciya. "Tsawon lokaci," mai bitar ya rubuta, "babu wani yaro mai girman kai da ya tada min tausayi kamar ƙaramin Ferruccio Busoni. Kuma daidai saboda akwai kadan daga cikin yaro prodigy a cikinsa kuma, akasin haka, mai yawa mai kyau mai kida ... Ya taka sabo, ta halitta, tare da cewa wuya-to-bayyana, amma nan da nan a fili m ilhami, godiya ga wanda daidai lokacin, madaidaitan lafazin suna ko'ina, ana fahimtar ruhin rhythm, an bambanta muryoyin a fili a cikin shirye-shiryen polyphonic…”

Har ila yau, mai sukar ya lura da "abin mamaki mai mahimmanci da ƙarfin hali" na gwaje-gwajen ƙididdiga na concerto, wanda, tare da tsinkayarsa don "cikakken al'amuran rayuwa da ƙananan dabaru," ya shaida "binciken ƙauna na Bach"; fantasy na kyauta, wanda Ferruccio ya inganta fiye da shirin, "mafi yawa a cikin ruhin kwaikwayo ko contrapuntal" an bambanta su da siffofi iri ɗaya, akan batutuwan da marubucin bita ya gabatar nan da nan.

Bayan ya yi karatu tare da W. Mayer-Remy, matashin ɗan wasan piano ya fara yawon buɗe ido sosai. A cikin shekara ta goma sha biyar ta rayuwarsa, an zabe shi a shahararriyar Kwalejin Filharmonic da ke Bologna. Bayan nasarar cin nasara mafi wuya jarrabawa, a 1881 ya zama memba na Bologna Academy - na farko da shari'ar bayan Mozart cewa wannan girmamawa take da aka bayar a irin wannan lokacin yaro.

A lokaci guda, ya yi rubutu da yawa, ya buga labarai a jaridu da mujallu daban-daban.

A lokacin, Busoni ya bar gidan iyayensa ya zauna a Leipzig. Ba shi da sauƙi ya zauna a wurin. Ga daya daga cikin wasikunsa:

"... Abincin, ba kawai a cikin inganci ba, har ma da yawa, ya bar abubuwa da yawa da za a so ... My Bechstein ya isa kwanakin baya, kuma washegari da safe dole ne in ba da taler ta ƙarshe ga 'yan dako. Da daddare, ina tafiya a kan titi na sadu da Schwalm (mai gidan wallafe-wallafe – marubuci), wanda nan da nan na dakatar da shi: “Ka ɗauki rubuce-rubucena – Ina bukatan kuɗi.” "Ba zan iya yin wannan ba a yanzu, amma idan kun yarda ku rubuta mini ɗan fantasy a kan Barber na Bagadaza, to, ku zo wurina da safe, zan ba ku maki hamsin a gaba da maki ɗari bayan aikin ya ƙare. shirye." - "Deal!" Kuma muka yi bankwana.”

A Leipzig, Tchaikovsky ya nuna sha'awar ayyukansa, yana tsinkayar kyakkyawar makoma ga abokin aikinsa mai shekaru 22.

A cikin 1889, bayan ya ƙaura zuwa Helsingfors, Busoni ya sadu da 'yar wani sculptor na Sweden, Gerda Shestrand. Bayan shekara guda, ta zama matarsa.

Wani muhimmin ci gaba a cikin rayuwar Busoni shine 1890, lokacin da ya shiga cikin Gasar Duniya ta Farko na Pianists da Mawaƙa mai suna Rubinstein. An bayar da kyauta ɗaya a kowane sashe. Kuma mawaki Busoni yayi nasarar lashe ta. Ba abin mamaki ba ne cewa lambar yabo a cikin pianists ta sami N. Dubasov, wanda sunansa ya ɓace a cikin rafi na gabaɗaya ... Duk da haka, nan da nan Busoni ya zama farfesa a Conservatory Moscow, inda Anton Rubinstein ya ba shi shawarar kansa.

Abin takaici, darektan Moscow Conservatory VI Safonov ya ƙi mawaƙin Italiyanci. Wannan ya tilasta wa Busoni ya koma Amurka a 1891. A can ne aka samu sauyi a cikinsa, wanda sakamakonsa ya haifar da sabon Busoni - wani babban mai fasaha wanda ya ba duniya mamaki kuma ya kafa wani zamani a cikin zamani. tarihi na pianistic art.

Kamar yadda AD Alekseev ya rubuta: “Busoni pianism ya sami gagarumin juyin halitta. Da farko, salon wasan virtuoso na matasa yana da halayen fasahar soyayya ta ilimi, daidai, amma babu abin mamaki musamman. A farkon rabin shekarun 1890, Busoni ya canza yanayin kyawunsa sosai. Ya zama ɗan tawaye-mai fasaha, wanda ya bijire wa ruɓaɓɓen al'adu, mai ba da shawara na ingantaccen sabunta fasaha… "

Babban nasara ta farko ta zo Busoni a cikin 1898, bayan zagayowar Berlin, wanda aka sadaukar don "ci gaban tarihi na kide-kiden piano". Bayan wasan kwaikwayo a cikin da'irar kiɗa, sun fara magana game da sabon tauraro wanda ya tashi a cikin sararin pianistic. Tun daga wannan lokacin, ayyukan kide-kide na Busoni ya sami babban fa'ida.

Shaharar dan wasan pian ya ninka kuma an amince da shi ta hanyar tafiye-tafiyen kide kide da yawa zuwa garuruwa daban-daban a Jamus, Italiya, Faransa, Ingila, Kanada, Amurka da sauran ƙasashe. A cikin 1912 da 1913, bayan dogon hutu, Busoni ya sake bayyana a kan matakan St.

MN Barinova ya rubuta: “Idan a cikin wasan kwaikwayon Hoffmann na yi mamakin yadda zanen kida da dabara, da fayyace fasaha da daidaiton bin rubutu,” in ji MN Barinova, “a cikin wasan kwaikwayon Busoni na ji kusanci da fasaha mai kyau. A cikin aikinsa, tsare-tsare na farko, na biyu, na uku sun bayyana a sarari, zuwa mafi ƙarancin layin sararin sama da hazo da ke ɓoye kwalayen. Mafi bambance-bambancen inuwa na piano sun kasance, kamar yadda suke, damuwa, tare da abin da duk inuwar forte ya zama kamar taimako. A cikin wannan sculptural shirin ne Busoni ya yi "Sposalizio", "II penseroso" da "Canzonetta del Salvator Rosa" daga Liszt ta biyu "Shekarar Yawo".

"Sposalizio" ya yi sauti a cikin kwanciyar hankali, yana sake sakewa a gaban masu sauraro hoto mai ban sha'awa na Raphael. Octaves a cikin wannan aikin da Busoni ya yi ba su da halin kirki. An kawo siririn yanar gizo na polyphonic masana'anta zuwa mafi kyawu, velvety pianissimo. Manya-manyan abubuwan da suka bambanta ba su katse haɗin kai na tunani na daƙiƙa guda ba.

Waɗannan su ne tarurruka na ƙarshe na masu sauraron Rasha tare da babban mai zane. Ba da da ewa aka fara yakin duniya na farko, kuma Busoni bai sake zuwa Rasha ba.

Ƙarfin wannan mutumin ba shi da iyaka. A farkon karni, a tsakanin sauran abubuwa, ya shirya "karshen maraice" a Berlin, wanda da yawa sababbin kuma da wuya yi ayyukan Rimsky-Korsakov, Franck, Saint-Saens, Fauré, Debussy, Sibelius, Bartok, Nielsen, Sindinga. , Isa...

Ya ba da hankali sosai ga abun da ke ciki. Jerin ayyukansa suna da girma sosai kuma sun haɗa da ayyuka na nau'ikan nau'ikan daban-daban.

Matasa masu hazaka sun taru a kusa da sanannen maestro. A garuruwa daban-daban, ya koyar da darussan piano kuma yana koyarwa a wuraren ajiyar kayayyaki. Yawancin masu wasan kwaikwayo na farko sun yi karatu tare da shi, ciki har da E. Petri, M. Zadora, I. Turchinsky, D. Tagliapetra, G. Beklemishev, L. Grunberg da sauransu.

Ayyukan adabin Busoni da yawa da suka keɓe ga kiɗa da kayan aikin da ya fi so, piano, ba su rasa ƙima ba.

Koyaya, a lokaci guda, Busoni ya rubuta shafi mafi mahimmanci a tarihin pianism na duniya. A lokaci guda, gwanin Eugene d'Albert ya haskaka a kan matakan kide-kide tare da shi. Da yake kwatanta waɗannan mawaƙa guda biyu, fitaccen ɗan wasan pian ɗan ƙasar Jamus W. Kempf ya rubuta: “Hakika, akwai kibiya fiye da ɗaya a cikin ƙwanƙwasa na d’Albert: wannan babban mai sihirin piano ya kuma kawar da sha’awarsa ga wasan kwaikwayo na wasan opera. Amma, in kwatanta shi da siffa na Italo-Jamus Busoni, daidai da jimillar kimar duka biyun, na ba da ma'auni don goyon bayan Busoni, mai fasaha wanda ya wuce kwatantawa. D'Albert a piano ya ba da ra'ayi na wani matakin farko wanda ya faɗo kamar walƙiya, tare da wani muguwar tsawa, a kan kawunan masu saurare da mamaki. Busoni ya bambanta. Shi ma mayen piano ne. Amma bai gamsu da cewa, albarkacin kunnensa mara misaltuwa, da rashin kuskure na fasaha da yalwar ilimi, ya bar tambarinsa a kan ayyukan da ya yi. Duk a matsayinsa na mai wasan piano da mawaƙa, hanyoyin da har yanzu ba a bi su ba, sun fi jan hankalinsa, kasancewar kasancewarsu ya ja hankalinsa sosai, har ya kai ga sha’awar sa, ya tashi don neman sababbin ƙasashe. Duk da yake d'Albert, ɗan ɗabi'a na gaskiya, bai san kowace matsala ba, tare da sauran ƙwararrun “masu fassara” na ƙwararrun ƙwararru (mai fassara, ta hanya, cikin harshe mai wuyar gaske), daga farkon sandunan ku. ji da kanka an canza shi zuwa duniyar ra'ayoyi na tushen ruhaniya sosai. Don haka abu ne da za a iya fahimta cewa masu hangen nesa - mafi yawa, babu shakka - wani ɓangare na jama'a sun yaba da cikakkiyar cikakkiyar dabarar maigidan. Inda wannan fasaha ba ta bayyana kanta ba, mai zane ya yi sarauta a cikin ƙaƙƙarfan kaɗaici, an lulluɓe shi cikin tsaftataccen iska, mai haske, kamar wani allah mai nisa, wanda languor, sha'awa da wahalar mutane ba za su iya yin wani tasiri ba.

Ƙarin mai fasaha - a cikin ma'anar kalmar - fiye da sauran masu fasaha na zamaninsa, ba kwatsam ba ne ya dauki matsalar Faust a hanyarsa. Shin, ba shi da kansa wani lokaci ya ba da ra'ayi na wani Faust, ya canza tare da taimakon tsarin sihiri daga nazarinsa zuwa mataki, kuma, ba tare da tsufa ba Faust ba, amma a cikin dukan ƙawancin kyawunsa na namiji? Domin tun lokacin Liszt - mafi girman kololuwa - wanene kuma zai iya yin gasa a piano tare da wannan mai zane? Fuskarsa, bayanin martabarsa mai ban sha'awa, ta ɗauki tambarin abin ban mamaki. Haƙiƙa, haɗin Italiya da Jamus, wanda sau da yawa ana ƙoƙarin aiwatar da shi tare da taimakon waje da tashin hankali, an same shi a cikinsa, ta wurin alherin alloli, bayyanarsa mai rai.

Alekseev ya lura da baiwar Busoni a matsayin mai haɓakawa: "Busoni ya kare 'yancin ɗan adam na fassarar, ya yi imanin cewa bayanin an yi niyya ne kawai don "gyara haɓakawa" kuma mai yin wasan ya kamata ya 'yantar da kansa daga "burbushin alamun", "ya saita su. cikin motsi". A cikin wasan kwaikwayo na wasan kwaikwayo, sau da yawa yakan canza rubutun abubuwan da aka tsara, yana buga su da gaske a cikin nasa sigar.

Busoni ya kasance na musamman na kirki wanda ya ci gaba da haɓaka al'adun pianism na kirki na Liszt. Da yake mallaki kowane nau'in fasaha na piano, ya ba masu sauraro mamaki da hazakar wasan kwaikwayo, korar ƙarewa da ƙarfin sautin sautin yatsa, bayanin kula biyu da octaves a cikin sauri mafi sauri. Musamman abin da ya ja hankali shi ne hazakar palette na sautinsa, wanda da alama yana ɗaukar mafi kyawun kayan kaɗe-kaɗe na ƙungiyar mawaƙa da gabobin ... "

MN Barinova, wanda ya ziyarci babban ɗan wasan pian a gida a Berlin jim kaɗan kafin yaƙin duniya na farko, ya tuna: “Busoni mutum ne mai ilimi sosai. Ya san adabi sosai, ya kasance masanin kida da harshe, masanin fasaha, masanin tarihi kuma masanin falsafa. Na tuna yadda wasu masana harsunan Sipaniya suka taɓa zuwa wurinsa don warware takaddamarsu game da bambancin yarukan Mutanen Espanya. Iliminsa yana da girma. Sai kawai mutum ya yi mamakin inda ya ɗauki lokaci don ƙara iliminsa.

Ferruccio Busoni ya mutu a ranar 27 ga Yuli, 1924.