Franz Liszt Franz Liszt |
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Franz Liszt
Idan ba tare da Liszt a duniya ba, gaba ɗaya makomar sabon kiɗan zai bambanta. V. Stasov
Ayyukan tsarawa na F. Liszt ba shi da bambanci da kowane nau'i na nau'i daban-daban kuma mafi tsanani na wannan mai sha'awar gaske a cikin fasaha. Mawaƙin piano da madugu, mai sukar kiɗa kuma jigo a bainar jama'a, ya kasance “mai haɗama ne da kula da kowane abu sabo, sabo, mai mahimmanci; abokan gaba na kowane abu na al'ada, tafiya, na yau da kullum" (A. Borodin).
F. Liszt an haife shi ne a cikin dangin Adam Liszt, makiyayi mai tsaron gida a gidan Yarima Esterhazy, mawaƙin mai son wanda ya jagoranci darussan piano na farko na ɗansa, wanda ya fara yin wasan kwaikwayo a bainar jama'a yana ɗan shekara 9, kuma a cikin 1821- 22. yayi karatu a Vienna tare da K. Czerny (piano) da A. Salieri (haɗin gwiwa). Bayan nasarar kide kide da wake-wake a Vienna da Pest (1823), A. Liszt ya dauki dansa zuwa Paris, amma asalin kasashen waje ya zama cikas ga shiga cikin dakin ajiyar kaya, kuma ilimin kida na Liszt ya kara darussa masu zaman kansu a cikin abun da ke ciki daga F. Paer da A. Reicha. Matashin virtuoso ya ci Paris da London tare da wasan kwaikwayonsa, ya tsara abubuwa da yawa (wasan kwaikwayo na wasan opera Don Sancho, ko Castle of Love, piano guda).
Mutuwar mahaifinsa a shekara ta 1827, wanda ya tilasta Liszt da wuri don kula da rayuwarsa, ya fuskanci matsala na wulakanci na matsayin mai zane a cikin al'umma. An kafa ra'ayin saurayin na duniya a ƙarƙashin rinjayar ra'ayoyin gurguzu na utopian ta A. Saint-Simon, Kiristanci na zamantakewa na Abbé F. Lamennay, da falsafar Faransanci na karni na 1830. da dai sauransu Juyin Juli na 1834 a Paris ya haifar da ra'ayin "Revolutionary Symphony" (wanda ba a gama ba), tashin masu saƙa a Lyon (1835) - yanki na piano "Lyon" (tare da epigraph - da taken 'yan tawaye "Don rayuwa, aiki, ko mutu suna fada"). An kafa manufofin zane-zane na Liszt daidai da romanticism na Faransanci, a cikin sadarwa tare da V. Hugo, O. Balzac, G. Heine, a ƙarƙashin rinjayar fasahar N. Paganini, F. Chopin, G. Berlioz. An tsara su a cikin jerin labaran "A kan matsayi na mutanen fasaha da kuma yanayin rayuwarsu a cikin al'umma" (1837) da kuma a cikin "Haruffa na Bachelor of Music" (39-1835), da aka rubuta tare da haɗin gwiwar M. d'Agout (daga baya ta rubuta a ƙarƙashin sunan mai suna Daniel Stern), wanda Liszt ya yi tafiya mai tsawo zuwa Switzerland (37-1837), inda ya koyar a Geneva Conservatory, da Italiya (39-XNUMX).
"Shekarun yawo" da suka fara a 1835 sun ci gaba da yin balaguro mai zurfi na nau'ikan nau'ikan Turai (1839-47). Zuwan Liszt a ƙasarsa ta Hungary, inda aka karrama shi a matsayin gwarzon ƙasa, wani babban nasara ne na gaske (an aike da kuɗin da aka samu daga wasannin kide-kide don taimaka wa waɗanda ambaliyar ruwa ta shafa a ƙasar). Sau uku (1842, 1843, 1847) Liszt ya ziyarci Rasha, inda ya kulla abota ta rayuwa tare da mawakan Rasha, inda ya rubuta Maris na Chernomor daga M. Glinka's Ruslan da Lyudmila, A. Alyabyev's romance The Nightingale, da dai sauransu. Rubuce-rubuce masu yawa, fantasies, ƙirƙira ta hanyar fasikanci, fantasies, ƙirƙira ta hanyar kwatance. Liszt a cikin waɗannan shekarun, ya nuna ba kawai dandano na jama'a ba, amma har ma sun kasance shaida na ayyukan kiɗa da ilimi. A wurin kide-kide na piano na Liszt, wasan kwaikwayo na L. Beethoven da "Fantastic Symphony" na G. Berlioz, ya wuce "William Tell" na G. Rossini da "The Magic Shooter" na KM Weber, waƙoƙin F. Schubert, organ preludes. da fugues na JS Bach, da kuma fassarorin opera da fantasies (a kan jigogi daga Don Giovanni na WA Mozart, operas na V. Bellini, G. Donizetti, G. Meyerbeer, kuma daga baya ta G. Verdi), fassarar gutsuttsura. daga Wagner operas da dai sauransu. Piano a hannun Liszt ya zama kayan aiki na duniya wanda ke da ikon sake haifar da duk wadatar sautin opera da maƙarƙashiya, ƙarfin sashin jiki da jin daɗin muryar ɗan adam.
A halin yanzu, nasarorin da babban ɗan wasan piano ya yi, wanda ya ci dukan Turai da ƙarfin halinsa na fasaha, ya kawo masa gamsuwa da gaske. Ya kasance da wahala ga Liszt ya ba da sha'awar jama'a, wanda kyawunsa na ban mamaki da kuma nuna ayyukansa na zahiri yakan ɓoye ainihin manufar malamin, wanda ya nemi "yanke wuta daga zukatan mutane." Bayan ya ba da kide-kide na bankwana a Elizavetgrad a Ukraine a 1847, Liszt ya koma Jamus, don yin shiru Weimar, wanda al'adun Bach, Schiller da Goethe ke tsarkakewa, inda ya rike matsayin mawaƙa a kotun sarki, ya jagoranci ƙungiyar makaɗa da opera. gida.
Lokacin Weimar (1848-61) - lokacin "tattaunawar tunani", kamar yadda mawaƙin da kansa ya kira shi - shine, sama da duka, lokaci ne na kerawa. Liszt ya gama kuma ya sake yin aiki da yawa waɗanda aka ƙirƙira ko fara abubuwan ƙirƙira a baya, kuma suna aiwatar da sabbin dabaru. Don haka daga halitta a cikin 30s. "Album na matafiyi" yana girma "Shekaru na yawo" - hawan keke na piano (shekara 1 - Switzerland, 1835-54; shekara 2 - Italiya, 1838-49, tare da ƙari na "Venice da Naples", 1840-59) ; karbi Ƙarshen Ƙarshe Ƙarshen Ƙwararrun Ƙwararrun Ƙwararru ("Etudes of transcendent performance", 1851); "Babban karatu a kan caprices na Paganini" (1851); "Shayari da Harmonies na Addini" ( guda 10 don pianoforte, 1852). Ci gaba da aiki akan waƙoƙin Hungarian (Melodies na ƙasar Hungary don Piano, 1840-43; "Hungary Rhapsodies", 1846), Liszt ya ƙirƙira 15 "Rhapsodies Hungary" (1847-53). Yin aiwatar da sababbin ra'ayoyin yana haifar da fitowar ayyukan tsakiyar Liszt, yana ƙaddamar da ra'ayoyinsa a cikin sababbin nau'o'i - Sonatas a cikin ƙananan B (1852-53), wakoki na 12 (1847-57), "Faust Symphonies" by Goethe (1854). -57) da Symphony zuwa Dante's Divine Comedy (1856). Suna haɗuwa da 2 concertos (1849-56 da 1839-61), "Dance of Death" don piano da orchestra (1838-49), "Mephisto-Waltz" (bisa "Faust" na N. Lenau, 1860), da dai sauransu.
A cikin Weimar, Liszt yana shirya wasan kwaikwayon mafi kyawun ayyukan opera da na gargajiya, sabbin abubuwan ƙira. Ya fara shirya Lohengrin ta R. Wagner, Manfred ta J. Byron tare da kiɗa na R. Schumann, gudanar da wasan kwaikwayo da wasan kwaikwayo ta G. Berlioz, da dai sauransu. makasudin tabbatar da sababbin ka'idoji na fasahar soyayya ta ci gaba (littafin F. Chopin, 1850; labaran Berlioz da Harold Symphony, Robert Schumann, R. Wagner's Flying Dutchman, da dai sauransu). Irin waɗannan ra'ayoyin suna ƙarƙashin ƙungiyar "New Weimar Union" da "Ƙungiyar Ƙwararrun Ƙwararrun Ƙwararrun Jamus", a lokacin ƙirƙirar abin da Liszt ya dogara da goyon bayan fitattun mawakan da ke tattare da shi a Weimar (I. Raff, P. Cornelius, K). Tausig, G. Bulow da sauransu).
Sai dai kuma rashin fahimtar juna da kuma makircin kotun Weimar, wanda ke dada hana aiwatar da manyan tsare-tsare na List, ya tilasta masa yin murabus. Daga 1861, Liszt ya rayu na dogon lokaci a Roma, inda ya yi ƙoƙari na gyara kiɗan coci, ya rubuta oratorio "Kristi" (1866), kuma a cikin 1865 ya sami matsayi na abbot (wani ɓangare a ƙarƙashin rinjayar Princess K. Wittgenstein). , wanda ya kasance kusa da shi a farkon 1847 G.). Har ila yau, hasara mai yawa ya ba da gudummawa ga yanayin rashin jin daɗi da shakku - mutuwar ɗansa Daniel (1860) da 'yarsa Blandina (1862), wanda ya ci gaba da girma a tsawon shekaru, jin dadi da rashin fahimtar burinsa na fasaha da zamantakewa. An nuna su a cikin ayyuka da yawa daga baya - na uku "Shekara ta Wanderings" (Rome; wasan kwaikwayo "Cypresses na Villa d'Este", 1 da 2, 1867-77), piano guda ("Grey Clouds", 1881; " Jana'izar Gondola", "Mutuwar Czardas", 1882), na biyu (1881) da na uku (1883) "Mephisto Waltzes", a cikin waƙa ta ƙarshe "Daga shimfiɗar jariri zuwa kabari" (1882).
Koyaya, a cikin 60s da 80s Liszt yana ba da ƙarfi da ƙarfi musamman ga gina al'adun kiɗan Hungary. Yana zaune akai-akai a cikin Pest, yana yin ayyukansa a can, gami da waɗanda ke da alaƙa da jigogi na ƙasa (the oratorio The Legend of Saint Elizabeth, 1862; The Hungarian Coronation Mass, 1867, da dai sauransu), yana ba da gudummawa ga kafa Kwalejin Kiɗa a cikin kwaro. (shi ne shugabanta na farko), ya rubuta zagayowar piano "Hanyarin Tarihi Portraits", 1870-86), na karshe "Hungarian Rhapsodies" (16-19), da dai sauransu A Weimar, inda Liszt ya dawo a 1869, ya tsunduma da yawa. dalibai daga kasashe daban-daban (A. Siloti, V. Timanova, E. d'Albert, E. Sauer da sauransu). Mawaƙa kuma sun ziyarce shi, musamman Borodin, wanda ya bar abubuwan ban sha'awa da fa'ida na Liszt.
Liszt ko da yaushe kama da goyan bayan sabon da asali a cikin art tare da na kwarai ji na ƙwarai, da gudummawar ga ci gaban da music na kasa Turai makarantu (Czech, Norwegian, Spanish, da dai sauransu), musamman nuna Rasha music - aikin M. Glinka, A. Dargomyzhsky, mawaƙa na The Mighty Handful, wasan kwaikwayo A. da N. Rubinsteinov. Domin shekaru masu yawa, Liszt inganta aikin Wagner.
Masanin ilimin pianistic na Liszt ya ƙaddara fifikon kiɗan piano, inda a karon farko ra'ayoyinsa na fasaha suka yi kama da ra'ayin buƙatun buƙatar tasiri na ruhaniya a kan mutane. Sha'awar tabbatar da manufa ta ilimi na fasaha, don haɗa duk nau'ikansa don wannan, haɓaka kiɗa zuwa matakin falsafanci da adabi, don haɗa zurfin ilimin falsafa da abubuwan shayari tare da kyawawan halaye, ya ƙunshi ra'ayin Liszt na . shirye-shirye a cikin kiɗa. Ya bayyana shi a matsayin "sabuntawa na kiɗa ta hanyar haɗin kai na ciki tare da waƙa, a matsayin 'yantar da abubuwan fasaha daga zane-zane", wanda ke haifar da ƙirƙirar sababbin nau'o'i da siffofi. Wasan kwaikwayo na Listov daga shekarun yawo, yana nuna hotuna kusa da ayyukan wallafe-wallafe, zane-zane, sassakaki, almara na jama'a (sonata-fantasy "Bayan karanta Dante", "Petrarch's Sonnets", "Betrothal" bisa zanen Raphael, "Mai tunani" " bisa wani sassaka na Michelangelo, "The Chapel of William Tell", hade da siffar gwarzo na kasa na Switzerland), ko hotuna na yanayi ("A kan tafkin Wallenstadt", "A lokacin bazara"), wakoki ne na kiɗa. na ma'auni daban-daban. Liszt da kansa ya gabatar da wannan suna dangane da manyan ayyukansa na motsa jiki na motsa jiki. Lakabin su suna jagorantar mai sauraro zuwa wakokin A. Lamartine ("Preludes"), V. Hugo ("Abin da ake ji a kan dutse", "Mazeppa" - akwai kuma nazarin piano tare da wannan lakabi), F. Schiller. ("Ideals"); zuwa ga bala'o'in W. Shakespeare ("Hamlet"), J. Herder ("Prometheus"), zuwa tsohuwar labari ("Orpheus"), zanen W. Kaulbach ("Battle of the Huns"), wasan kwaikwayo na wasan kwaikwayo. JW Goethe (“Tasso” , waƙar tana kusa da waƙar Byron “Ƙorafin Tasso”).
Lokacin zabar tushe, Liszt ya zauna akan ayyukan da suka ƙunshi ra'ayoyin ma'anar rayuwa, asirin kasancewa ("Preludes", "Faust Symphony"), mummunan makoma na mai zane da ɗaukakarsa bayan mutuwa ("Tasso", tare da subtitle "Koka da Nasara"). Har ila yau, yana janyo hankalinsa da hotuna na jama'a kashi ("Tarantella" daga sake zagayowar "Venice da Naples", "Spanish Rhapsody" ga piano), musamman dangane da 'yan qasar Hungary ("Hungarian Rhapsodies", symphonic waka "Hungary" ). Taken jarumta da jarumta-mai ban tausayi na gwagwarmayar 'yantar da al'ummar kasar Hungary, juyin juya hali na 1848-49, ya yi sauti da karfi mai ban mamaki a cikin aikin Liszt. da kuma cin nasararta ("Rakoczi Maris", "Tsarin Jana'izar" don piano; waƙar waƙa "Makoki don Heroes", da dai sauransu).
Liszt ya sauka a cikin tarihin kiɗa a matsayin mai ƙididdigewa mai ƙididdigewa a fagen kade-kade, jituwa, wadatar da sautin piano da ƙungiyar makaɗa tare da sabbin launuka, ya ba da misalai masu ban sha'awa na warware nau'ikan oratorio, waƙar soyayya ("Lorelei" a kan. H. Heine's art, "Kamar Ruhun Laura" akan st. V. Hugo, "Gypsies Uku" akan st. N. Lenau, da dai sauransu), ayyukan gabobin. Da yake ɗaukar abubuwa da yawa daga al'adun Faransa da Jamus, kasancewarsa na al'ada na kiɗan Hungarian na ƙasa, ya yi tasiri sosai kan haɓaka al'adun kiɗan a cikin Turai.
E. Tsareva
- Rayuwar Liszt da hanyar kirkira →
Liszt - babban mawaƙi na karni na 30, ƙwararren ɗan wasan pianist kuma jagora, fitaccen mai kida da jama'a - shine babban abin alfahari na ƙasar Hungary. Amma abin da Liszt ya yi ya zama kamar yadda ya bar ƙasarsa da wuri, ya yi shekaru da yawa a Faransa da Jamus, kawai yana ziyartar Hungary a wasu lokuta, kuma a ƙarshen rayuwarsa ya zauna a cikinta na dogon lokaci. Wannan ya ƙaddara ƙayyadaddun hoton zane na Liszt, dangantakarsa ta kut da kut da al'adun Faransanci da Jamusanci, wanda ya ɗauki abubuwa da yawa, amma ga wanda ya ba da yawa tare da ayyukansa mai ƙarfi. Babu tarihin rayuwar kiɗa a cikin Paris a cikin XNUMXs, ko tarihin kiɗan Jamus a tsakiyar karni na XNUMX, ba zai cika ba tare da sunan Liszt ba. Duk da haka, yana cikin al'adun Hungary, kuma gudummawar da yake bayarwa ga tarihin ci gaban ƙasarsa yana da yawa.
Liszt da kansa ya ce, da ya yi ƙuruciyarsa a Faransa, ya kasance yana ɗaukan ƙasarsa ta haihuwa: “Ga tokar mahaifina, a nan, a kabari mai tsarki, baƙin cikina na farko ya sami mafaka. Yaya ba zan ji kamar ɗan ƙasar da na sha wahala ba, kuma na ƙaunaci sosai? Ta yaya zan yi tunanin an haife ni a wata ƙasa? Wannan jinin da ke gudana a cikin jijiyata, cewa ƙaunatattuna suna zaune a wani wuri dabam? Da yake koya a cikin 1838 game da mummunan bala'i - ambaliya da ta faɗo Hungary, ya yi mamaki sosai: "Waɗannan abubuwan da kuma ji sun bayyana mani ma'anar kalmar" ƙasar uwa ".
Liszt ya yi alfahari da mutanensa, ƙasarsa, kuma yana jaddada cewa shi ɗan Hungarian ne. "Daga cikin dukan masu fasaha masu rai," in ji shi a cikin 1847, "Ni kaɗai ne wanda ke yin fahariya don nuna ƙasarsa ta asali. Yayin da wasu ke tsiro a cikin tafkuna masu zurfi, koyaushe ina tafiya gaba a kan teku mai cike da ruwa na babbar al'umma. Na yi imani da gaske ga tauraro mai jagora; Manufar rayuwata ita ce, wata rana Hungary za ta iya nuna mini girman kai." Kuma ya sake maimaita irin wannan kwata kwata bayan haka: “Bari a bar ni in yarda cewa, duk da jahilcin da na yi na yaren Hungarian, na kasance Magyar tun daga jariri zuwa kabari a jiki da rai kuma, bisa ga wannan mafi muni. hanya, Ina ƙoƙari don tallafawa da haɓaka al'adun kiɗan Hungarian".
A cikin aikinsa, Liszt ya juya zuwa jigon Hungarian. A 1840, ya rubuta Jarumi Maris a cikin Hungarian Style, sa'an nan Cantata Hungary, sanannen Jana'izar Procession (don girmama auku jarumai) da kuma, a karshe, da dama littafin rubutu na Hungarian National Melodies da Rhapsodies (guda ashirin da daya a duka). . A cikin tsakiyar lokacin - 1850s, an halicci waƙoƙin wakoki guda uku tare da hotuna na mahaifa ("Makoki don Heroes", "Hungary", "Battle of Huns") da kuma rhapsodies na Hungary goma sha biyar, waɗanda suke shirye-shiryen kyauta na jama'a. waƙoƙi. Hakanan ana iya jin jigogin Hungarian a cikin ayyukan ruhaniya na Liszt, waɗanda aka rubuta musamman don Hungary – “Grand Mass”, “Legend of St. Elizabeth”, “Mass Coronation na Hungary”. Ko da sau da yawa yakan juya zuwa jigon Hungarian a cikin 70-80s a cikin waƙoƙinsa, piano guda, shirye-shirye da fantasy akan jigogi na ayyukan mawaƙa na Hungary.
Amma waɗannan ayyukan Hungarian, da yawa a cikin kansu (yawan su ya kai ɗari da talatin), ba su keɓe a cikin aikin Liszt ba. Sauran ayyuka, musamman na jarumai, suna da siffofi na gama gari tare da su, keɓance takamaiman juzu'i da ƙa'idodin ci gaba iri ɗaya. Babu wani kaifi layi tsakanin Hungarian da "kasashen waje" ayyukan Liszt - an rubuta su a cikin wannan salon kuma an wadatar da su tare da nasarorin fasahar gargajiya na Turai da na soyayya. Shi ya sa Liszt ta kasance mawaƙin farko da ya kawo waƙar Hungary zuwa fage na duniya.
Duk da haka, ba kawai makomar ƙasar uwa ta damu da shi ba.
Ko a lokacin ƙuruciyarsa, ya yi mafarkin ba da ilimin kiɗan waƙa ga mafi girman sassan jama'a, ta yadda mawaƙa za su ƙirƙira wakoki a kan abin koyi na Marseillaise da sauran waƙoƙin juyin juya hali waɗanda suka tayar da talakawa don fafutukar 'yantar da su. Liszt yana da ra'ayi na zanga-zangar jama'a (ya rera shi a cikin guntun piano "Lyon") kuma ya bukaci mawaƙa da kada su iyakance kansu ga kide-kide don amfanin matalauta. “Tun da yawa a cikin fadoji suna kallon su (ga mawaƙa.-) MD) a matsayinsu na ma’aikatan kotu da ‘yan-sha-ruwa, sun dade suna daukaka al’amuran soyayyar masu karfi da jin dadin masu hannu da shuni: daga karshe lokaci ya yi da za su farkar da jajircewa a cikin raunana da rage radadin wadanda ake zalunta! Ya kamata fasaha ta sanya kyakkyawa a cikin mutane, ta zaburar da yanke shawara na jaruntaka, tada bil'adama, nuna kanmu!" A tsawon shekaru, wannan imani a cikin babban ɗabi'a rawar da art a cikin rayuwar al'umma ya haifar da wani ilimi aiki a kan babban sikelin: Liszt yi aiki a matsayin pianist, shugaba, mai sukar - m farfaganda na mafi kyau ayyukan da suka gabata da kuma na yanzu. Haka ya kasance karkashin aikinsa na malami. Kuma, a zahiri, tare da aikinsa, yana so ya kafa manyan manufofin fasaha. Wadannan akidu, duk da haka, ba koyaushe aka gabatar masa a fili ba.
Liszt shine mafi kyawun wakilin romanticism a cikin kiɗa. Haƙiƙa, mai kishi, rashin kwanciyar hankali, neman sha'awa, shi, kamar sauran mawaƙa na soyayya, ya shiga cikin gwaji da yawa: hanyarsa ta kirkira ta kasance mai sarƙaƙƙiya da sabani. Liszt ya rayu a cikin lokuta masu wahala kuma, kamar Berlioz da Wagner, bai tsira daga shakku da shakku ba, ra'ayinsa na siyasa ba su da fa'ida da ruɗani, yana sha'awar falsafar manufa, wani lokacin ma ya nemi kwanciyar hankali a cikin addini. "Shekarunmu ba su da lafiya, kuma muna rashin lafiya tare da shi," Liszt ya ba da amsa ga zargi game da canjin ra'ayinsa. Amma yanayin ci gaba na aikinsa da ayyukan zamantakewa, kyawawan dabi'un kyawawan dabi'u na bayyanarsa a matsayin mai zane da mutum ya kasance ba canzawa a tsawon rayuwarsa.
"Don zama alamar tsarkin ɗabi'a da ɗan adam, bayan samun wannan a kan tsadar wahala, sadaukarwa mai raɗaɗi, don zama makasudin ba'a da hassada - wannan shine yawancin masanan fasaha na yau da kullun," in ji ashirin da huɗu. Liszt mai shekaru. Kuma haka ya kasance koyaushe. Tsananin bincike da gwagwarmaya, aikin titanic da jajircewa wajen shawo kan cikas suna tare da shi duk tsawon rayuwarsa.
Tunani game da babban manufar zamantakewa na kiɗa sun ƙarfafa aikin Liszt. Ya yi ƙoƙari ya sa ayyukansa su isa ga mafi yawan masu sauraro, kuma wannan ya bayyana taurin kai ga shirye-shirye. A baya a cikin 1837, Liszt a takaice ya tabbatar da buƙatar shirye-shirye a cikin kiɗa da ka'idodin da zai bi a duk tsawon aikinsa: "Ga wasu masu fasaha, aikinsu shine rayuwarsu… shi , yana bayyana a cikin surutu na sirrin makomarsa. Yana tunani a cikin su, ya ƙunshi ji, yana magana, amma harshensa ya fi kowa son rai kuma mara iyaka, kuma, kamar kyawawan gizagizai na zinariya waɗanda suke ɗaukar lokacin faɗuwar rana duk wani nau'i da aka ba su ta hanyar fantasy mai yawo, shi ma yana ba da kansa. a saukake zuwa mafi bambancin fassarori. Saboda haka, ba shi da wani amfani kuma a kowane hali ba mai ban dariya ba - kamar yadda sukan so su ce - idan mawallafin ya zayyana zane na aikinsa a cikin 'yan layi daya kuma, ba tare da fadowa cikin cikakkun bayanai da cikakkun bayanai ba, ya bayyana ra'ayin da ya yi aiki. shi a matsayin tushen abun da ke ciki. Sa'an nan zargi zai zama 'yanci don yabo ko zargi da yawa ko žasa nasarar tsarin wannan ra'ayi.
Juyawar Liszt zuwa shirye-shirye wani lamari ne mai ci gaba, saboda dukkan alkiblar burinsa na kirkire-kirkire. Liszt ya so ya yi magana ta hanyar fasaharsa ba tare da kunkuntar da'irar masana ba, amma tare da ɗimbin masu sauraro, don tada hankalin miliyoyin mutane da kiɗansa. Hakika, shirye-shiryen Liszt ya sabawa juna: a kokarinsa na nuna manyan tunani da jin dadi, sau da yawa ya fada cikin rudani, cikin rugujewar falsafa, kuma ta haka ne ya iyakance iyakokin ayyukansa ba da gangan ba. Amma mafi kyawun su sun shawo kan wannan rashin tabbas da rashin tabbas na shirin: hotunan kide-kide da Liszt ya kirkira suna da kankare, masu hankali, jigogi suna bayyanawa da kuma ɓoyewa, sigar ta bayyana a sarari.
Dangane da ka'idodin shirye-shirye, yana tabbatar da abubuwan da ke cikin akida na fasaha tare da ayyukansa na kirkire-kirkire, Liszt ya haɓaka albarkatun kiɗan da ba a saba gani ba, kafin Wagner ta wannan fannin. Tare da kyawawan abubuwan da ya samo, Liszt ya fadada ikon waƙar; a lokaci guda kuma, za a iya la'akari da shi a matsayin daya daga cikin masu yin kirkire-kirkire na karni na XNUMX a fagen jituwa. Liszt kuma shi ne mahaliccin sabon nau'in "waƙar symphonic" da kuma hanyar ci gaban kiɗan da ake kira "monothematism". A ƙarshe, nasarorin da ya samu a fagen fasahar piano da rubutu suna da mahimmanci musamman, domin Liszt ƙwararren ɗan wasan piano ne, wanda tarihi ba a san shi ba.
Gadon waƙar da ya bari a baya yana da girma, amma ba duka ayyuka ne daidai ba. Yankunan da ke kan gaba a cikin ayyukan Liszt sune piano da kade-kade - a nan sabon burinsa na akida da fasaha ya kasance da karfi. Babu shakka akwai kimar muryar Liszt, daga cikinsu akwai waƙoƙi; bai nuna sha'awar wasan opera da kidan kayan kida ba.
Jigogi, hotunan kerawa Liszt. Muhimmancinsa a cikin tarihin Hungarian da fasahar kiɗan duniya
Gadon kiɗan Liszt yana da wadata da bambanta. Ya rayu bisa bukatu na lokacinsa kuma ya yi ƙoƙari don amsa ƙirƙira ga ainihin buƙatun gaskiya. Saboda haka da jaruntaka sito na kida, ta na asali wasan kwaikwayo, m makamashi, m pathos. Halayen akida da ke cikin ra'ayin duniya na Liszt, duk da haka, sun shafi ayyuka da yawa, wanda ya haifar da wani rashin iyaka na magana, ɓarna ko ɓarna na abun ciki. Amma a cikin mafi kyawun ayyukansa an shawo kan waɗannan lokuta marasa kyau - a cikinsu, don amfani da furucin Cui, "rayuwa ta tafasa."
Salon mutum ɗaya na Liszt ya narkar da tasirin ƙirƙira da yawa. Jarumtaka da wasan kwaikwayo mai ƙarfi na Beethoven, tare da tashin hankali romanticism da launin launi na Berlioz, aljanu da kyawawan halaye na Paganini, suna da tasiri mai mahimmanci akan samuwar ɗanɗano na fasaha da kyawawan ra'ayoyi na matashin Liszt. Ci gaban juyin halittarsa ya ci gaba a ƙarƙashin alamar soyayya. Mawaƙin ya shagaltu da rayuwa, adabi, fasaha da kuma ainihin abubuwan kida.
Wani sabon tarihin rayuwa ya ba da gudummawa ga gaskiyar cewa an haɗa al'adun ƙasa daban-daban a cikin kiɗan Liszt. Daga makarantar soyayya ta Faransa, ya ɗauki bambance-bambance masu haske a cikin juxtaposition na hotuna, kyawun su; daga kiɗan opera na Italiyanci na karni na XNUMX (Rossini, Bellini, Donizetti, Verdi) - sha'awar sha'awa da jin dadi na cantilena, karatun murya mai tsanani; daga makarantar Jamus - zurfafawa da fadada hanyoyin bayyana daidaituwa, gwaji a fagen tsari. Dole ne a kara da abin da aka ce a cikin lokacin balagagge na aikinsa, List kuma ya sami tasiri ga makarantun matasa na kasa, musamman Rasha, wanda ya yi nazarin nasarorin da ya dace.
Duk waɗannan an haɗa su ta zahiri a cikin salon fasaha na Liszt, wanda ke cikin tsarin kida na ƙasa-Hungary. Yana da wasu sassa na hotuna; Daga cikin su, ana iya bambanta manyan ƙungiyoyi biyar:
1) Hotunan jarumtaka na babban haske mai haske, halayen kira suna da alamar babban asali. An kwatanta su da wani ɗakin ajiya mai girman kai na chivalrous, haske da haske na gabatarwa, sautin haske na jan karfe. Ƙwaƙwalwar waƙa, ɗigon kari ana "tsara" ta hanyar tafiya. Wannan shine yadda jarumin jarumi ya bayyana a zuciyar Liszt, yana gwagwarmaya don farin ciki da 'yanci. Asalin kiɗa na waɗannan hotuna suna cikin jigogi na jaruntaka na Beethoven, wani ɓangare na Weber, amma mafi mahimmanci, a nan, a wannan yanki, an fi ganin tasirin waƙar ƙasar Hungary.
Daga cikin hotunan muzaharar, akwai kuma wasu abubuwan da ba su dace ba, kananun jigogi, da ake kallonsu a matsayin labari ko kuma balaguro kan abubuwan da suka faru a kasar nan. Juxtaposition na ƙananan - manyan layi daya da kuma yawan amfani da melismatics suna jaddada wadatar sauti da nau'in launi.
2) Hotunan ban tausayi wani nau'i ne na kamanceceniya da jaruman. Irin wannan jerin gwanon makoki ne da Liszt ta fi so ko kuma wakokin makoki (waɗanda ake kira “Trenody”), waɗanda waƙarsu ta samo asali ne daga mumunan abubuwan da suka faru a gwagwarmayar ‘yantar da jama’a a Hungary ko kuma mutuwar manyan ƴan siyasa da jama’a. Ƙwaƙwalwar tafiya a nan ya zama mai kaifi, ya zama mai firgita, mai ban tsoro, kuma sau da yawa maimakon
akwai
or
(misali, jigo na biyu daga motsi na farko na Concerto Piano na Biyu). Mun tuna da tattakin jana'izar Beethoven da ire-iren su a cikin kidan juyin juya halin Faransa a ƙarshen karni na XNUMX (duba, alal misali, Shahararren Jana'izar Maris na Gossek). Amma Liszt yana rinjaye da sautin trombones, zurfi, "ƙananan" basses, karrarawa na jana'izar. Kamar yadda masanin kiɗan ɗan ƙasar Hungary, Bence Szabolczy ya lura, “waɗannan ayyuka suna rawar jiki da sha’awa mai ban tausayi, waɗanda muke samu kawai a cikin waƙoƙin Vörösmarty na ƙarshe da kuma a zanen ƙarshe na mai zane Laszlo Paal.”
Asalin ƙasa-Hungary na irin waɗannan hotuna ba su da tabbas. Don ganin wannan, ya isa a koma ga waƙar ƙungiyar makaɗa "Makoki don Jarumai" ("Heroi'de funebre", 1854) ko kuma mashahurin yanki na piano "The Funeral Procession" ("Funerailles", 1849). Tuni jigon farko, sannu a hankali buɗe taken "Tsarin Jana'izar" ya ƙunshi fasalin juzu'i na haɓaka na biyu, wanda ke ba da haske na musamman ga tattakin jana'izar. Astringency na sauti (harmonic manyan) ana kiyaye shi a cikin makoki na lyrical cantilena na gaba. Kuma, kamar yadda sau da yawa tare da Liszt, hotuna na makoki sun canza zuwa jaruntaka - zuwa gagarumin motsi mai karfi, zuwa sabon gwagwarmaya, mutuwar jarumi na kasa yana kira.
3) Wani fanni na tunani da na ma'ana yana da alaƙa da hotuna waɗanda ke nuna shakku, yanayin damuwa. Wannan hadadden tsari na tunani da ji a cikin romantics an hade da ra'ayin Goethe's Faust (kwatanta da Berlioz, Wagner) ko Byron's Manfred (kwatanta Schumann, Tchaikovsky). Shakespeare's Hamlet sau da yawa ana haɗa shi cikin da'irar waɗannan hotuna (kwatanta da Tchaikovsky, tare da waƙar Liszt). Siffar irin waɗannan hotuna na buƙatar sabbin hanyoyin bayyanawa, musamman a fagen jituwa: Liszt yakan yi amfani da ƙararrawa da raguwar tazara, chromatisms, har ma da jituwa mara-tonal, haɗaɗɗiyar quart, m modulations. "Wani irin zazzaɓi, rashin haƙuri mai raɗaɗi yana ƙonewa a cikin wannan duniyar jituwa," in ji Sabolci. Waɗannan su ne kalmomin buɗewa na sonatas na piano ko Faust Symphony.
4) Sau da yawa ana amfani da hanyoyin magana kusa da ma'ana a fagen alama inda ba'a da ba'a suka fi yawa, ana isar da ruhin ƙaryatawa da halaka. Wannan “shaidan” wanda Berlioz ya zayyana a cikin “Sabbath of Witches” daga “Fantastic Symphony” ya sami halin da ba za a iya jurewa ba a cikin Liszt. Wannan ita ce siffanta siffofin mugunta. Tushen nau'in - rawa - yanzu yana bayyana a cikin karkatacciyar haske, tare da lafazi mai kaifi, a cikin baƙar magana, an jaddada ta bayanin alheri. Misali mafi bayyane na wannan shine Mephisto Waltzes guda uku, ƙarshen Faust Symphony.
5) Har ila yau, takardar ta ɗauki nau'ikan jin daɗin soyayya: buguwa tare da sha'awa, sha'awar sha'awa ko jin daɗin mafarki, raɗaɗi. Yanzu cantilena na numfashi mai tsauri a cikin ruhin wasan operas na Italiya, yanzu karatun ban sha'awa ne mai ban sha'awa, yanzu kyakkyawan yanayin jituwa na "Tristan", wanda aka ba da shi tare da sauye-sauye da chromaticism.
Tabbas, babu bayyanannen shaci tsakanin alamomin alama. Jigogi na jaruntaka suna kusa da ban tausayi, "Faustian" motifs sau da yawa ana canza su zuwa "Mephistopheles", da kuma "batsa" jigogi sun haɗa da jigogi masu daraja da maɗaukaki da kuma gwaji na lalata "shaidan". Bugu da ƙari, palette na bayyana Liszt ba ya gajiya da wannan: a cikin "Hungarian Rhapsodies" Hotunan raye-raye na al'adun gargajiya sun mamaye, a cikin "Shekaru na Wanderings" akwai zane-zane da yawa, a cikin tudes (ko kide-kide) akwai scherzo fantastic wahayi. Duk da haka, nasarorin List a waɗannan fagagen sune mafi asali. Su ne suka yi tasiri mai karfi a kan ayyukan al'ummomi na gaba na mawaƙa.
* * * *
A lokacin babban ranar ayyukan List - a cikin 50-60s - tasirinsa ya iyakance ga kunkuntar da'irar ɗalibai da abokai. Duk da haka, a cikin shekaru da yawa, an ƙara fahimtar nasarorin da Liszt ta samu a hidimar majagaba.
A zahiri, da farko, tasirin su ya shafi wasan piano da ƙirƙira. Da son rai ko kuma ba da gangan ba, duk wanda ya juya zuwa piano ba zai iya wucewa ta gagarumin nasara na Liszt a cikin wannan yanki ba, wanda ya nuna duka a cikin fassarar kayan aiki da kuma rubutun abubuwan da aka tsara. Bayan lokaci, ƙa'idodin akida da fasaha na Liszt sun sami karɓuwa a aikin mawaƙa, kuma wakilan makarantun ƙasa daban-daban sun haɗa su.
Babban ka'idar shirye-shirye, wanda Liszt ya gabatar a matsayin mai daidaitawa ga Berlioz, wanda ya fi dacewa da fassarar hoto-"Theatrical" na makircin da aka zaɓa, ya zama tartsatsi. Musamman mawaƙan Rasha, musamman Tchaikovsky sun fi amfani da ka'idodin Liszt fiye da na Berlioz (ko da yake na ƙarshe bai rasa ba, misali, Mussorgsky a Night on Bald Mountain ko Rimsky-Korsakov a Scheherazade).
Salon waqoqin waqoqin shirin ya yadu daidai gwargwado, damar fasahar fasahar da mawa}anta ke tasowa har zuwa yau. Nan da nan bayan Liszt, Saint-Saens da Franck suka rubuta wakoki na ban mamaki a Faransa; a cikin Jamhuriyar Czech - kirim mai tsami; a Jamus, R. Strauss ya samu mafi girman nasarori a wannan nau'in. Hakika, irin waɗannan ayyukan sun kasance da nisa daga koyaushe bisa tauhidi. Ka'idodin ci gaban waƙar symphonic a hade tare da sonata allegro sau da yawa ana fassara su daban-daban, da 'yanci. Duk da haka, ka'idar monothematic - a cikin fassararsa kyauta - duk da haka, an yi amfani da shi, haka kuma, a cikin abubuwan da ba a tsara ba ("ka'idar cyclic" a cikin wasan kwaikwayo da kayan aiki na Frank, Taneyev's c-moll symphony da sauransu). A ƙarshe, mawaƙa na gaba sukan juya zuwa nau'in wasan kide-kide na Piano na Liszt (duba Rimsky-Korsakov's Piano Concerto, Prokofiev's First Piano Concerto, Glazunov's Second Piano Concerto, da sauransu).
Ba wai kawai ka'idodin ƙa'idodin Liszt sun haɓaka ba, har ma da ma'anar kiɗan sa, musamman ma gwarzo, "Faustian", "Mephistopheles". Bari mu tuna, alal misali, “jigogi na tabbatar da kai” masu fahariya a cikin waƙoƙin Scriabin. Amma ga hukuncin mugunta a cikin hotuna "Mephistophelian", kamar dai an gurbata shi ta hanyar izgili, ya ci gaba a cikin ruhun "raye-rayen mutuwa", ana samun ci gaba da ci gaba har ma a cikin kiɗa na zamaninmu (duba ayyukan Shostakovich). Taken shakku na “Faustian”, lalata “shaidan” shima ya yadu. Waɗannan sassa daban-daban suna bayyana cikakke a cikin aikin R. Strauss.
Yaren kida mai launi na Liszt, mai wadatar da hankali, shima ya sami ci gaba mai mahimmanci. Musamman ma, haskakawar jituwarsa ya zama tushen dalilin nema na Faransanci Impressionists: ba tare da nasarorin fasaha na Liszt ba, ba Debussy ko Ravel ba ne wanda ba za a iya la'akari da shi ba (bayan nan, ban da haka, ya yi amfani da nasarorin pianism na Liszt a cikin ayyukansa). ).
“hasken” Liszt na ƙarshen zamani na ƙirƙira a fagen haɗin kai ya sami goyon baya kuma ya ƙarfafa shi ta hanyar karuwar sha'awarsa ga makarantun ƙasa. Yana cikin su - kuma sama da duka a cikin Kuchkists - cewa Liszt ya sami dama don wadatar da harshen kiɗa tare da sabon juzu'in modal, melodic da rhythmic.
M. Druskin
- Piano na Liszt yana aiki →
- Ayyukan Symphonic na Liszt →
Ayyukan muryar Liszt →
Jerin ayyukan Liszt →
