Frederic Chopin |

Frederic Chopin

Abin ban mamaki, shaidan, mace, jaruntaka, rashin fahimta, kowa ya fahimci Chopin mai ban tausayi. S. Richter

A cewar A. Rubinstein, "Chopin bard ne, rhapsodist, ruhu, ruhin piano." Abu mafi mahimmanci a cikin kiɗan Chopin yana da alaƙa da piano: rawar jiki, gyare-gyare, "rera" na kowane nau'i da jituwa, yana lulluɓe waƙar tare da "hazo" mai iska. Duk multicoloredness na romantic view, duk abin da yawanci bukatar Monumental qagaggun (alamomi ko operas) domin ta embodiment, da aka bayyana da babban Yaren mutanen Poland mawaki da pianist a piano music (Chopin yana da 'yan kaɗan ayyuka tare da sa hannu na sauran kayan kida, mutum murya. ko Orchestra). Bambance-bambance har ma da kishiyar kishiyar soyayya ta Chopin a cikin Chopin ta zama mafi girman jituwa: tsananin zafin rai, haɓakar yanayin “zazzabi” - da tsauraran dabaru na haɓakawa, sirrin sirrin waƙoƙi - da ra'ayi na ma'aunin symphonic, zane-zane, ya kawo wa aristocratic sophistication, da na gaba. zuwa gare shi – farkon tsarkin “hotunan jama’a.” Gabaɗaya, asalin al'adun Yaren mutanen Poland (hanyoyinsa, waƙoƙin waƙa, rhythms) sun mamaye dukan kiɗan Chopin, wanda ya zama sanannen kiɗan Poland.

An haifi Chopin a kusa da Warsaw, a cikin Zhelyazova Wola, inda mahaifinsa, ɗan ƙasar Faransa, ya yi aiki a matsayin malamin gida a cikin dangin ƙididdiga. Ba da daɗewa ba bayan haihuwar Fryderyk, dangin Chopin sun koma Warsaw. Phenomenal m iyawa bayyana kanta a farkon yara, a lokacin da shekaru 6 da yaro ya hada da farko aikinsa (polonaise), da kuma a 7 ya yi a matsayin pianist a karon farko. Chopin yana samun ilimi gabaɗaya a Lyceum, yana kuma ɗaukar darussan piano daga V. Zhivny. An kammala samuwar ƙwararren mawaƙin a Warsaw Conservatory (1826-29) ƙarƙashin jagorancin J. Elsner. Chopin's talent ya bayyana ba kawai a cikin kiɗa ba: tun yana yaro ya tsara waƙa, ya yi wasa a cikin gida, kuma ya zana mai ban mamaki. A cikin sauran rayuwarsa, Chopin ya riƙe kyautar ma'aikacin caricaturist: yana iya zana ko ma kwatanta wani da fuskar fuska ta hanyar da kowa ya gane wannan mutumin ba tare da kuskure ba.

Rayuwar fasaha ta Warsaw ta ba da sha'awa sosai ga mawaƙin farko. Wasan opera na Italiyanci da na Poland, yawon shakatawa na manyan masu fasaha (N. Paganini, J. Hummel) ya zaburar da Chopin, ya buɗe masa sabon hangen nesa. Sau da yawa a lokacin bazara, Fryderyk ya ziyarci yankunan abokansa na ƙasa, inda ba kawai ya saurari wasan kwaikwayo na mawaƙa na ƙauye ba, amma wani lokacin shi da kansa ya buga wasu kayan aiki. Gwaje-gwajen rubutawa na farko na Chopin sune raye-rayen wakoki na rayuwar Yaren mutanen Poland (polonaise, mazurka), waltzes, da nocturnes - ƙananan yanayi na lyric-na tunani. Ya kuma juya zuwa nau'o'in da suka kafa tushen repertoire na 'yan pianists na zamani - bambance-bambancen kide-kide, fantasies, rondos. Abubuwan da aka yi don irin waɗannan ayyukan sune, a matsayin mai mulkin, jigogi daga shahararrun wasan operas ko waƙar Yaren mutanen Poland. Bambance-bambance a kan jigo daga wasan opera WA Mozart “Don Giovanni” sun gamu da amsa mai daɗi daga R. Schumann, wanda ya rubuta wani labari mai daɗi game da su. Schumann kuma ya mallaki kalmomi masu zuwa: "... Idan aka haifi mai hazaka kamar Mozart a zamaninmu, zai rubuta kide-kide kamar Chopin fiye da Mozart." 2 concertos (musamman a cikin ƙananan E) sun kasance mafi girman nasarar aikin farko na Chopin, wanda ke nuna dukkan bangarori na duniyar fasaha na mawaki mai shekaru ashirin. Waƙoƙin ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan soyayya na Rasha na waɗannan shekarun, an saita su ta hanyar haskaka kyawawan halaye da jigogi irin na bazara masu haske. Cikakken siffofin Mozart suna cike da ruhin soyayya.

Yayin rangadin da ya kai Vienna da biranen Jamus, labarin shan kaye na boren Poland (1830-31) ya ci Chopin. Bala'i na Poland ya zama bala'i mafi ƙarfi na sirri, tare da rashin yiwuwar komawa ƙasarsu (Chopin abokin wasu masu shiga cikin gwagwarmayar 'yanci ne). Kamar yadda B. Asafiev ya lura, “haɗin da ya dame shi ya mai da hankali kan matakai daban-daban na ɓacin rai na ƙauna da kuma fashewar rashin bege dangane da mutuwar mahaifinsa.” Daga yanzu, wasan kwaikwayo na gaske yana shiga cikin kiɗan sa (Ballad a cikin G ƙarami, Scherzo a cikin ƙananan B, Etude a cikin ƙananan C, sau da yawa ana kiransa "Revolutionary"). Schumann ya rubuta cewa "...Chopin ya gabatar da ruhun Beethoven a cikin zauren wasan kwaikwayo." Ballad da scherzo sabbin nau'ikan kiɗan piano ne. Ballads ana kiran su dalla-dalla na soyayya na yanayi mai ban mamaki; na Chopin, waɗannan manyan ayyuka ne na nau'in waƙa (an rubuta ƙarƙashin ra'ayin ballads na A. Mickiewicz da Dumas na Poland). Hakanan ana sake yin tunani akan scherzo (yawanci wani ɓangare na sake zagayowar) - yanzu ya fara wanzuwa azaman nau'i mai zaman kansa (ba komi mai ban dariya ba, amma sau da yawa - abun ciki na aljanu ba tare da bata lokaci ba).

Rayuwa ta gaba ta Chopin tana da alaƙa da Paris, inda ya ƙare a shekara ta 1831. A cikin wannan cibiya mai ban sha'awa na fasaha, Chopin ya sadu da masu fasaha daga ƙasashen Turai daban-daban: mawaƙa G. Berlioz, F. Liszt, N. Paganini, V. Bellini, J. Meyerbeer , Pianist F. Kalkbrenner, marubuta G. Heine, A. Mickiewicz, George Sand, mai fasaha E. Delacroix, wanda ya zana hoton mawallafin. Paris a cikin 30s XIX karni - daya daga cikin cibiyoyin sabon, romantic art, tabbatar da kanta a cikin yaki da ilimi. A cewar Liszt, "Chopin ya fito fili ya shiga cikin sahu na Romantics, duk da haka ya rubuta sunan Mozart a kan tutarsa." Lalle ne, ko ta yaya Chopin ya yi nisa a cikin sabonsa (ko da Schumann da Liszt ba koyaushe suke fahimtar shi ba!), Ayyukansa sun kasance a cikin yanayin ci gaban kwayoyin halitta na al'ada, kamar yadda yake, canji na sihiri. Gumakan soyayya na Yaren mutanen Poland sune Mozart kuma, musamman, JS Bach. Chopin gabaɗaya ya ƙi yarda da kiɗan zamani. Wataƙila, ɗanɗanonsa mai tsauri, mai ladabi, wanda bai yarda da tsangwama, rashin kunya da wuce gona da iri ba, ya shafa a nan. Tare da duk zaman jama'a da abokantaka, ya kame kuma baya son buɗe duniyarsa ta ciki. Don haka, game da kiɗa, game da abubuwan da ke cikin ayyukansa, ya yi magana da wuya kuma ba da jimawa ba, galibi ya zama kamar wani nau'in wasa.

A cikin etudes da aka kirkira a cikin shekarun farko na rayuwar Parisiya, Chopin ya ba da fahimtar halin kirki (kamar yadda ya saba da fasahar pianists na zamani) a matsayin hanyar da ke ba da damar bayyana abun ciki na fasaha kuma ba za a iya rabuwa da shi ba. Chopin da kansa, duk da haka, da wuya ya yi a cikin kide kide da wake-wake, ya fi son ɗakin, mafi kyawun yanayi na salon salon rayuwa zuwa babban zauren. Abubuwan da ake samu daga wasannin kide-kide da kade-kade sun yi karanci, kuma an tilasta wa Chopin ba da darussan piano. A karshen 30s. Chopin ya kammala sake zagayowar preludes, wanda ya zama ainihin encyclopedia na romanticism, yana nuna babban karo na ra'ayin duniyar soyayya. A cikin preludes, ƙananan ƙananan, "yawanci" na musamman, ƙaddamar da magana, an samu. Kuma mun sake ganin misalin sabon hali ga nau'in. A cikin waƙar daɗaɗɗen waƙa, ƙaddamarwa koyaushe ta kasance gabatarwa ga wasu ayyuka. Tare da Chopin, wannan yanki ne mai mahimmanci a cikin kansa, a lokaci guda yana riƙe da wasu rashin fahimta game da aphorism da 'yanci na "ingantawa", wanda ya dace da ra'ayin duniyar soyayya. Zagayowar preludes ya ƙare a tsibirin Mallorca, inda Chopin ya yi tafiya tare da George Sand (1838) don inganta lafiyarsa. Bugu da kari, Chopin ya yi tafiya daga Paris zuwa Jamus (1834-1836), inda ya sadu da Mendelssohn da Schumann, kuma ya ga iyayensa a Carlsbad, da Ingila (1837).

A cikin 1840, Chopin ya rubuta Sonata na Biyu a cikin ƙananan ƙananan B, ɗayan ayyukansa mafi ban tausayi. Kashi na 3 - "Tattakin Jana'izar" - ya kasance alamar makoki har yau. Sauran manyan ayyuka sun haɗa da ballads (4), scherzos (4), Fantasia a cikin ƙananan F, Barcarolle, Cello da Piano Sonata. Amma ba ƙaramin mahimmanci ga Chopin ba sune nau'ikan ɗan ƙaramin soyayya; akwai sabbin nocturnes (jimlar kusan 20), polonaises (16), waltzes (17), impromptu (4). Soyayya ta musamman ta mawaki ita ce mazurka. Chopin's 52 mazurkas, yana ba da waƙoƙin raye-rayen raye-raye na Yaren mutanen Poland (mazur, kujawiak, oberek), ya zama ikirari na waƙa, “diary” na mawaƙa, furci na mafi kusanci. Ba daidaituwa ba ne cewa aikin ƙarshe na "mawaƙin piano" shine F-minor mazurka op. 68, A'a. 4 - Hoton wani wuri mai nisa, wanda ba za a iya isa ba.

Ƙarshen dukan aikin Chopin shine Sonata na uku a cikin ƙananan B (1844), wanda, kamar yadda a cikin sauran ayyuka na baya, an inganta haske da launi na sauti. Mawaƙin da ba shi da lafiya ya ƙirƙiri kida mai cike da haske, abin farin ciki mai daɗi hade da yanayi.

A cikin shekaru na ƙarshe na rayuwarsa, Chopin ya yi babban yawon shakatawa na Ingila da Scotland (1848), wanda, kamar hutun dangantaka da George Sand wanda ya gabace shi, a ƙarshe ya raunana lafiyarsa. Waƙar Chopin ta kasance na musamman, yayin da ta rinjayi yawancin mawaƙa na ƙarni na gaba: daga F. Liszt zuwa K. Debussy da K. Szymanowski. Mawakan Rasha A. Rubinshtein, A. Lyadov, A. Skryabin, S. Rachmaninov suna da ji na musamman, "'yan'uwa" a gare ta. Zane-zane na Chopin ya zama mana madaidaicin madaidaicin magana mai jituwa na ma'anar soyayya da jajircewa, cike da gwagwarmaya, gwagwarmayar sa.

K. Zankin

A cikin 30s da 40s na karni na XNUMX, kiɗan duniya ya wadatar da manyan abubuwan fasaha guda uku waɗanda suka fito daga gabashin Turai. Tare da kerawa na Chopin, Glinka, Liszt, sabon shafi ya buɗe a cikin tarihin fasahar kiɗan.

Ga dukkan asalinsu na fasaha, tare da banbance-banbance ga makomar fasaharsu, waɗannan mawaƙa guda uku sun haɗu da manufa ɗaya ta tarihi. Su ne farkon wannan motsi don ƙirƙirar makarantu na ƙasa, wanda ya zama mafi mahimmancin al'ada na al'adun kiɗa na Turai na rabin na biyu na 30th (da farkon karni na XNUMX). A cikin ƙarni biyu da rabi da suka biyo bayan Renaissance, ƙirar kida ta duniya ta haɓaka kusan kusan cibiyoyin ƙasa uku. Duk wani muhimmin igiyoyin fasaha da suka kwararo cikin al'adar kiɗan Turai sun fito ne daga ƙasashen Italiya, Faransa da kuma manyan hukumomin Austro-Jamus. Har zuwa tsakiyar karni na XNUMX, hegemony a cikin ci gaban kiɗan duniya ya kasance nasu ba tare da rarrabuwa ba. Kuma ba zato ba tsammani, farawa daga XNUMXs, a kan "yankin" na tsakiyar Turai, daya bayan daya, manyan makarantun fasaha sun bayyana, na waɗancan al'adun ƙasa waɗanda har yanzu ba su shiga "hanyar babbar hanya" na ci gaban fasahar kiɗan ba. duka, ko barinsa tuntuni. kuma ya kasance a cikin inuwa na dogon lokaci.

Waɗannan sababbin makarantun ƙasa - na farko na Rasha (wanda nan da nan ya ɗauki idan ba na farko ba, sannan ɗayan wuraren farko a fasahar kiɗan duniya), Yaren mutanen Poland, Czech, Hungarian, sannan Norwegian, Spanish, Finnish, Ingilishi da sauransu - an kira su. don zubo sabon rafi a cikin tsoffin al'adun kiɗan Turai. Sun buɗe mata sababbin fasahar fasaha, sun sabunta tare da wadatar da albarkatunta sosai. Hoton kidan-Turai a cikin rabin na biyu na karni na XNUMX ba zai yuwu ba ba tare da sabbin makarantu na kasa ba da sauri.

Wadanda suka kafa wannan yunkuri su ne mawaka guda uku da aka ambata a sama wadanda suka shiga fagen duniya a lokaci guda. Da yake bayyana sabbin hanyoyi a cikin fasahar ƙwararrun ƙasashen Turai, waɗannan masu fasaha sun zama wakilai na al'adun ƙasarsu, suna bayyana manyan dabi'u waɗanda al'ummominsu suka tara har zuwa yanzu. Art a kan sikelin kamar aikin Chopin, Glinka ko Liszt zai iya samuwa ne kawai a kan ƙasa ƙasa da aka shirya, balagagge a matsayin 'ya'yan itace na tsohuwar al'adar ruhaniya, al'adunsa na ƙwararrun kiɗa, wanda bai ƙare ba, kuma ya ci gaba da haifa. labarin almara. Dangane da yanayin ka'idojin ƙwararrun kiɗan a Yammacin Turai, kyakkyawar asali na har yanzu "waɗanda ba a taɓa su ba" na ƙasashen Gabashin Turai a cikin kanta sun ba da babban tasiri na fasaha. Amma haɗin gwiwar Chopin, Glinka, Liszt tare da al'adun ƙasarsu, ba shakka, bai ƙare a can ba. Manufofi, buri da wahalhalu na mutanensu, manyan abubuwan da suka shafi tunanin mutum, tsarin tarihi da aka kafa na salon rayuwarsu da salon rayuwarsu - duk wannan, ba kasa da dogaro da tarihin kiɗan kiɗan ba, ya ƙaddara fasali na salon ƙirƙirar waɗannan masu fasaha. Kiɗa na Fryderyk Chopin wani nau'i ne na ruhin mutanen Poland. Duk da cewa mawakin ya shafe mafi yawan rayuwarsa ta kirkire-kirkire a wajen kasarsa, amma duk da haka, shi ne wanda aka kaddara ya taka muhimmiyar rawa, wanda aka san shi da wakilcin al’adun kasarsa a idon duniya baki daya har zuwa lokacin da mu ke a duniya. lokaci. Wannan mawaki, wanda kiɗansa ya shiga cikin rayuwar yau da kullum ta ruhaniya na kowane mai al'ada, an gane shi da farko a matsayin ɗan mutanen Poland.

Kiɗan Chopin nan da nan ya sami karɓuwa a duniya. Manyan mawakan soyayya, da ke jagorantar gwagwarmayar sabuwar fasaha, sun ji a cikinsa mai irin wannan tunani. Ayyukansa sun kasance a cikin dabi'a kuma sun haɗa su cikin tsarin ci-gaba na binciken fasaha na zamaninsa. (Bari mu tuna ba kawai mahimman labaran Schumann ba, har ma da "Carnival", inda Chopin ya bayyana a matsayin ɗaya daga cikin "Davidsbündlers"). Sautin ƙarfin hali na kiɗa (kuma musamman maƙasudi), bidi'a a fagen nau'ikan nau'ikan nau'ikan nau'ikan na Schumann, Berlioz, Lisezt, MendelsMh, MendelsMh, Mendelsmh, MendelsMh, Mendelsmh. Kuma a lokaci guda, fasahar Chopin ta kasance da kyakkyawar asali wacce ta bambanta shi da dukan mutanen zamaninsa. Tabbas, asalin Chopin ya fito ne daga asalin aikin sa na kasa-Poland, wanda nan da nan mutanen zamaninsa suka ji. Amma ko ta yaya girman rawar da al'adun Slavic ke da shi a cikin samuwar salon Chopin, ba wai kawai wannan ba ne wanda yake bin asalinsa na ban mamaki, Chopin, kamar ba wani mawallafi ba, ya gudanar da haɗuwa da haɗuwa tare da al'amuran fasaha wanda a farkon kallo. da alama ba za a raba juna ba. Mutum na iya magana game da sabani na kerawa na Chopin idan ba a siyar da shi tare da wani salo mai ban mamaki, daidaikun mutane, mai gamsarwa, dangane da mafi bambancin, wani lokacin har ma da matsananciyar igiyar ruwa.

Don haka, ba shakka, mafi kyawun fasalin aikin Chopin shine girmansa, samun damar kai tsaye. Shin yana da sauƙi a sami wani mawaki wanda waƙarsa za ta iya yin hamayya da Chopin's a nan take da zurfin zurfin ikon tasiri? Miliyoyin mutane sun zo wa ƙwararrun kiɗan “ta hanyar Chopin”, wasu da yawa waɗanda ba ruwansu da ƙirƙira kiɗan gabaɗaya, duk da haka suna fahimtar “kalmar” Chopin tare da ƙwaƙƙwaran motsin rai. Ayyukan mutum ne kawai ta wasu mawaƙa - alal misali, Symphony na biyar na Beethoven ko Pathétique Sonata, Symphony na shida na Tchaikovsky ko Schubert's "Ba a gama ba" - zai iya ɗaukar kwatankwacin babban fara'a na kowane mashaya Chopin. Ko a lokacin rayuwar mawaƙin, waƙarsa ba dole ba ne ta yi yaƙi da masu sauraro, don shawo kan juriya na tunani na mai sauraren ra'ayin mazan jiya - makoma da duk jaruman kirkire-kirkire a cikin mawakan Yammacin Turai na ƙarni na sha tara suka yi. A wannan ma'anar, Chopin ya fi kusa da mawaƙa na sababbin makarantun dimokuradiyya na kasa (wanda aka kafa a cikin rabin na biyu na karni) fiye da na zamani na yammacin Turai romantics.

A halin yanzu, aikinsa a lokaci guda yana taka rawar gani a cikin 'yancin kai daga al'adun da suka bunkasa a makarantun dimokuradiyya na kasa na karni na XNUMX. Daidai ne waɗannan nau'ikan da suka buga babban aiki da tallafawa rawar da ke nuna wariyar launin fata da kuma shirye-shiryen groitage ko kuma su zama wuri biyu na sakandare a ciki.

Mafarkin ƙirƙirar wasan opera na ƙasa, wanda ya zaburar da sauran mawaƙa na Poland - magabata na Chopin da na zamani - bai tabbata ba a cikin fasaharsa. Chopin ba ya sha'awar wasan kwaikwayo na kiɗa. Waƙar Symphonic gabaɗaya, musamman waƙar shirye-shirye, ba su shiga ciki ba kwata-kwata. kewayon sha'awar fasaharsa. Waƙoƙin da Chopin ya ƙirƙira suna da takamaiman sha'awa, amma sun mamaye matsayi na biyu kawai idan aka kwatanta da duk ayyukansa. Waƙarsa baƙon abu ce ga “maƙasudin” sauƙi, “ƙasƙanci” haske na salo, halayyar fasahar makarantun dimokiradiyya ta ƙasa. Ko a mazurkas, Chopin ya bambanta da Moniuszko, Smetana, Dvorak, Glinka da sauran mawaƙa waɗanda su ma suka yi aiki a cikin salon jama'a ko raye-raye na yau da kullun. Kuma a cikin mazurkas, waƙarsa tana cike da wannan fasaha mai juyayi, wannan gyare-gyaren ruhaniya wanda ke bambanta kowane tunani da yake bayyanawa.

Kiɗa na Chopin shine ƙwaƙƙwaran gyare-gyare a cikin mafi kyawun ma'anar kalmar, ƙawanci, kyawun gogewa. Amma za a iya ƙaryata cewa wannan fasaha, wadda a zahiri ta kasance ta salon salon sarauta, tana ƙasƙantar da jin daɗin dubban dubban mutane kuma tana ɗauke da su tare da ƙarancin ƙarfi fiye da yadda ake ba da babbar murya ko mashahurin ƙwararru?

“Salonness” na kiɗan Chopin shine ɗayan gefensa, wanda da alama yana cikin saɓani mai kaifi tare da babban hoton mawaƙa. Haɗin Chopin tare da salon ba za a iya jayayya ba kuma a bayyane yake. Ba daidai ba ne cewa a cikin karni na XNUMX an haifi kunkuntar fassarar salon kiɗan Chopin, wanda, a cikin nau'i na rayuwar larduna, an kiyaye shi a wasu wurare a Yamma har ma a cikin karni na XNUMX. A matsayinsa na mai yin wasan kwaikwayo, Chopin ba ya so kuma yana jin tsoron matakin wasan kwaikwayo, a cikin rayuwarsa ya koma cikin yanayi mai ban sha'awa, kuma ingantaccen yanayin salon salon rayuwa ya ba shi kwarin gwiwa kuma ya karfafa shi. A ina, idan ba a cikin salon zamani ba, yakamata mutum ya nemi asalin ingantaccen salon salon Chopin? Haskakawa da "kyakkyawan" kyawun halayen halayen kiɗansa, a cikin cikakkiyar rashi na tasirin wasan kwaikwayo, kuma ya samo asali ba kawai a cikin ɗakin ɗakin ba, amma a cikin yanayin da aka zaɓa na aristocratic.

Amma a lokaci guda, aikin Chopin shine cikakken maganin salon salon. Kyakkyawar ji, ƙarya, ba ainihin nagarta ba, posting, girmamawa kan ƙayataccen tsari a cikin kuɗin zurfafa da abun ciki - waɗannan halayen wajibai na salon salon rayuwa suna da alaƙa da Chopin. Duk da kyau da kuma gyare-gyaren salon magana, maganganun Chopin koyaushe suna cike da irin wannan mahimmanci, cike da irin wannan babban ƙarfin tunani da jin cewa ba sa burgewa kawai, amma sau da yawa girgiza mai sauraro. Tasirin tunani da tunani na kiɗansa yana da girma sosai cewa a yamma har ma an kwatanta shi da marubutan Rasha - Dostoevsky, Chekhov, Tolstoy, suna gaskanta cewa tare da su ya bayyana zurfin "Ruhu Slavic".

Bari mu lura da wata alama da ke nuna sabani na Chopin. Wani mai zane-zane mai hazaka, wanda ya bar alama mai zurfi a kan ci gaban kiɗan duniya, yana nunawa a cikin aikinsa da dama da sababbin ra'ayoyi, ya sami damar bayyana kansa gaba ɗaya ta hanyar wallafe-wallafen pianistic kadai. Babu wani mawaki, ko dai na magabata na Chopin ko mabiyansa, ya iyakance kansa gaba ɗaya, kamar shi, ga tsarin kiɗan piano (ayyukan da Chopin ya ƙirƙira ba don piano ba ya mamaye wani wuri mara mahimmanci a cikin al'adunsa na halitta wanda ba sa canza hoton kamar yadda yake. gaba daya) .

Komai girman sabon rawar piano a cikin kiɗan Yammacin Turai na karni na XNUMX, komai girman girman da duk manyan mawakan Yammacin Turai suka yi da suka fara da Beethoven, babu ɗayansu, gami da ma fitaccen ɗan wasan pian nasa. karni, Franz Liszt, bai cika gamsuwa da yuwuwar sa ba. A kallo na farko, sadaukarwar Chopin na keɓancewa ga kiɗan piano na iya ba da ra'ayi na zama kunkuntar hankali. Amma a gaskiya, ba talaucin ra'ayi ne ya ba shi damar gamsuwa da iyawar kayan aiki ɗaya ba. Da yake da hazaka ya fahimci duk abubuwan da ake amfani da su na piano, Chopin ya sami damar fadada iyakokin fasahar wannan kayan aiki har abada kuma ya ba shi mahimmin mahimmanci wanda ba a taɓa gani ba.

Abubuwan da Chopin ya gano a fagen adabin piano bai yi kasa da nasarorin da mutanen zamaninsa suka samu ba a fagen kade-kade ko na wasan kwaikwayo. Idan al'adun gargajiya na pop pianism sun hana Weber samun sabon salon kirkire-kirkire, wanda ya samu kawai a cikin wasan kwaikwayo na kiɗa; idan Beethoven's piano sonatas, ga dukan manyan ma'anar fasahar fasaha, sun kasance hanyoyin zuwa ko da mafi girman tsayin daka na ƙwararrun mawaƙa; idan Liszt, da ya kai m balagagge, kusan watsi da hadawa ga piano, sadaukar da kansa yafi ga symphonic aiki; ko da Schumann, wanda ya nuna kansa sosai a matsayin mawallafin piano, ya ba da kyauta ga wannan kayan aiki na tsawon shekaru goma kawai, to ga Chopin, kiɗan piano shine komai. Ya kasance duka dakin gwaje-gwajen kirkire-kirkire na mawaki da kuma yankin da aka bayyana manyan nasarorin da ya samu. Dukansu nau'i ne na tabbatar da sabuwar fasaha ta virtuoso da kuma yanayin bayyana zurfafan yanayi. Anan, tare da cikar cikawa mai ban mamaki da tunani mai ban mamaki, duka "na sha'awa" masu launi da launi na sautunan da ma'anar babban nau'i na kida sun kasance tare da daidaitattun daidaito. Bugu da ƙari, wasu matsalolin da suka haifar da dukan ci gaban kiɗa na Turai a cikin karni na XNUMX, Chopin ya warware a cikin ayyukansa na piano tare da ƙwarewar fasaha mafi girma, a matsayi mafi girma fiye da yadda sauran masu tsarawa suka samu a fagen wasan kwaikwayo na symphonic.

Hakanan ana iya ganin rashin daidaituwa lokacin da ake tattaunawa akan “babban jigon” aikin Chopin.

Wanene Chopin - ɗan wasa na ƙasa da na jama'a, yana ɗaukaka tarihi, rayuwa, fasahar ƙasarsa da jama'arsa, ko kuma mai son soyayya, wanda ya nutse cikin abubuwan da ya dace da fahimtar duniya duka a cikin waƙar waƙa? Kuma waɗannan ɓangarorin biyu masu tsattsauran ra'ayi na kyawawan kayan kida na ƙarni na XNUMX an haɗa su tare da shi cikin ma'auni mai jituwa.

Tabbas, babban jigon kirkirar Chopin shine jigon ƙasarsa. Hoton Poland - hotuna na abubuwan da suka wuce, hotuna na wallafe-wallafen kasa, rayuwar Poland ta zamani, sautunan raye-rayen jama'a da waƙoƙi - duk wannan yana wucewa ta aikin Chopin a cikin kirtani marar iyaka, yana samar da babban abun ciki. Tare da tunanin da ba ya ƙarewa, Chopin zai iya bambanta wannan jigon guda ɗaya, ba tare da wanda aikinsa zai rasa duk wani mutum, wadata da ikon fasaha ba. A wata ma'ana, ana iya kiransa da mai zane-zane na ɗakin ajiyar "monothematic". Ba abin mamaki ba ne cewa Schumann, a matsayin mawaƙi mai hankali, nan da nan ya yaba da abubuwan kishin ƙasa na aikin Chopin, inda ya kira ayyukansa "bindigogi da ke ɓoye a cikin furanni."

"... Idan wani sarki mai mulki mai iko a can, a Arewa, ya san abin da abokin gaba mai haɗari ya kasance a gare shi a cikin ayyukan Chopin, a cikin sauƙaƙan waƙoƙin mazurkas, da ya hana kiɗa ..." - marubucin Jamusanci ya rubuta.

Kuma, duk da haka, a cikin dukan bayyanar wannan "mawaƙin jama'a", a cikin hanyar da ya raira waƙa na girman ƙasarsa, akwai wani abu mai zurfi a cikin kyawawan mawallafin soyayya na yammacin yamma. Tunanin Chopin da tunaninsa game da Poland an saye su a cikin nau'i na "mafarkin soyayya wanda ba za a iya samu ba". Mawuyaci (kuma a gaban Chopin da mutanen zamaninsa kusan rashin bege) rabon Poland ya ba da jin daɗin ƙasarsa ta mahaifarsa duka halin tsananin sha'awar da ba za a iya cimmawa ba da kuma inuwar sha'awar da ke cike da sha'awar kyawawan abubuwan da ta gabata. Ga Yammacin Turai romantics, da rashin amincewa da launin toka rayuwar yau da kullum, da ainihin duniya na "filistines da 'yan kasuwa" aka bayyana a cikin bege ga wadanda ba wanzuwar duniya na kyawawan fantasy (ga "blue flower" na Jamus mawãƙi Novalis, domin "Hasken da ba a sani ba, wanda kowa ba ya gani a kan ƙasa ko a teku" ta Turanci romantic Wordsworth, bisa ga sihiri daular Oberon a Weber da Mendelssohn, bisa ga kyakkyawar fatalwar ƙaunatacciyar ƙaunatacciyar ƙauna a Berlioz, da dai sauransu). Ga Chopin, "mafarki mai kyau" a duk rayuwarsa shine mafarkin Poland mai kyauta. A cikin aikinsa, babu wasu abubuwan ban sha'awa, na sauran duniya, tatsuniyoyi-fantastic motifs, don haka halayyar yammacin Turai romantics gaba ɗaya. Hatta hotunan ballads ɗinsa, waɗanda aka yi musu wahayi ta hanyar ballads na soyayya na Mickiewicz, ba su da wani ɗanɗanon tatsuniyoyi da ake iya gane su.

Hotunan Chopin na sha'awar duniyar kyakkyawa mara iyaka sun bayyana kansu ba a cikin sigar jan hankali ga duniyar fatalwa na mafarki ba, amma a cikin nau'i na rashin jin daɗi na gida.

Kasancewar Chopin tun yana dan shekara ashirin an tilasta masa zama a wata kasa ta waje, cewa kusan shekaru ashirin da suka biyo baya kafarsa ba ta taba taka kafarsa a kasar Poland ba, babu makawa ya karfafa halinsa na soyayya da mafarki ga duk wani abu da ya shafi kasarsa. A ra'ayinsa, Poland ta ƙara zama kamar kyakkyawar manufa, ba tare da mugayen siffofi na gaskiya ba kuma an gane su ta hanyar abubuwan da suka faru na lyrical. Hatta “hotunan salo” da ake samu a cikin mazurkas dinsa, ko kuma kusan hotuna na shirye-shirye na jerin gwanon zane-zane a cikin polonaises, ko kuma manyan zane-zanen ban mamaki na ballads, wanda aka yi wahayi zuwa ga wakokin Mickiewicz - dukkansu, daidai da yadda zalla. Zane-zane na tunani, Chopin ya fassara su a waje da manufar “tabbatuwa”. Waɗannan ƙwararrun abubuwan tunowa ne ko mafarkai na fyaucewa, waɗannan baƙin ciki ne na ɗabi'a ko zanga-zanga mai kishi, waɗannan hangen nesa ne masu wucewa ko bangaskiya mai walƙiya. Abin da ya sa Chopin, duk da bayyanannen haɗin gwiwar aikinsa tare da nau'in, yau da kullum, kiɗan gargajiya na Poland, tare da wallafe-wallafen ƙasa da tarihinsa, duk da haka ba a gane shi ba a matsayin mawallafin wani nau'i na haƙiƙa, almara ko gidan wasan kwaikwayo-ban mamaki, amma a matsayin marubuci kuma mai mafarki. Shi ya sa maƙasudin kishin ƙasa da juyin juya hali waɗanda suka zama babban abin da ke cikin aikinsa ba su kasance a cikin nau'in wasan opera ba, waɗanda ke da alaƙa da haƙiƙanin haƙiƙanin wasan kwaikwayo, ko a cikin waƙar, bisa ga al'adun gida na ƙasa. Kidan piano daidai ne wanda ya dace da ɗakin ajiyar tunani na tunanin Chopin, wanda shi da kansa ya gano kuma ya haɓaka damammaki masu yawa don bayyana hotunan mafarkai da yanayin rairayi.

Babu wani mawaki, har zuwa zamaninmu, da ya zarce fara'a na waƙar Chopin. Tare da nau'ikan yanayi iri-iri - daga raɗaɗin "hasken wata" zuwa wasan wasan fashewa na sha'awa ko jaruntaka - maganganun Chopin koyaushe suna cike da manyan waƙoƙi. Wataƙila shi ne ainihin haɗe-haɗe mai ban mamaki na tushen kiɗan Chopin, ƙasa ta ƙasa da yanayin juyin juya hali tare da waƙar waƙa mara misaltuwa da kyan gani wanda ke bayyana babban shahararsa. Har wala yau, ana ganin ta a matsayin sigar ruhin waqoqin waqa.

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Tasirin Chopin akan kerawa na kiɗan na gaba yana da girma kuma yana da yawa. Yana rinjayar ba kawai fanni na pianism ba, har ma a fagen harshe na kiɗa (ƙa'idodin 'yantar da jituwa daga dokokin diatonicity), da kuma fannin kiɗan kiɗa (Chopin, a zahiri, shine farkon a cikin kiɗan kayan aiki zuwa ga mawaƙa. ƙirƙirar nau'i na kyauta na romantics), kuma a ƙarshe - a cikin kayan ado. Haɗewar ƙa'idar ƙasa-ƙasa da ya samu tare da mafi girman matakin ƙwarewar zamani na iya zama ma'auni ga mawaƙa na makarantun dimokuradiyya na ƙasa.

An bayyana kusancin Chopin zuwa hanyoyin da mawaƙan Rasha na karni na 1894 suka yi a cikin babban godiyar aikinsa, wanda aka bayyana ta hanyar fitattun wakilai na tunanin kiɗa na Rasha (Glinka, Serov, Stasov, Balakirev). Balakirev ya ɗauki matakin buɗe wani abin tunawa ga Chopin a Zhelyazova Vola a XNUMX. Wani fitaccen mai fassara waƙar Chopin shine Anton Rubinstein.

V. Konen

Abubuwan da aka tsara:

don piano da makada:

kide - No. 1 e-moll op. 11 (1830) da no. 2 f-moll op. 21 (1829), bambance-bambance a kan jigo daga Mozart's opera Don Giovanni op. 2 ("Ka ba ni hannunka, kyakkyawa" - "La ci darem la mano", 1827), rondo-krakowiak F-dur op. 14, Fantasy akan Jigogin Yaren mutanen Poland A-dur op. 13 (1829), Andante spianato da polonaise Es-dur op. 22 (1830-32);

tarin kayan aiki na ɗakin gida:

sonata don piano da cello g-moll op. 65 (1846), bambancin ga sarewa da piano akan jigo daga Cinderella na Rossini (1830?), Gabatarwa da polonaise don piano da cello C-dur op. 3 (1829), Large concert duet na piano da cello a kan jigo daga Meyerbeer's Robert the Devil, tare da O. Franchomme (1832?), piano trio g-moll op. 8 (1828);

na piano:

sonata c yar op. 4 (1828), b-moll op. 35 (1839), b-moll op. 58 (1844), wasan kwaikwayo Allegro A-dur op. 46 (1840-41), fantasy in f ƙaramin op. 49 (1841), 4 ballad - G yar op. 23 (1831-35), F babban op. 38 (1839), Babban op. 47 (1841), a cikin ƙaramin op. 52 (1842), 4 zuw - B yar op. 20 (1832), B ƙaramin op. 31 (1837), C kaifi ƙananan op. 39 (1839), Babban op. 54 (1842), 4 impurt - As-dur op. 29 (1837), Fis-dur op. 36 (1839), Ges-dur op. 51 (1842), fantasy-impromptu cis-moll op. 66 (1834), 21 dare (1827-46) - 3 shafi. 9 (B ƙarami, E lebur manyan, B babba), 3 op. 15 (F babba, F babba, G ƙarami), 2 op. 27 (C mai kaifi ƙarami, D babba), 2 op. 32 (H babba, Babban lebur), 2 op. 37 (G ƙarami, G babba), 2 op. 48 (C ƙarami, F ƙarami mai kaifi), 2 op. 55 (F ƙananan, E lebur manya), 2 op.62 (H babba, E babba), op. 72 a cikin ƙananan E (1827), ƙananan C ba tare da op. (1827), C kaifi ƙananan (1837), 4 rondo - C yar op. 1 (1825), F babba (salon mazurki) Ko. 5 (1826), E Flat Major op. 16 (1832), Babban op. mail 73 (1840), 27 binciken - 12 op. 10 (1828-33), 12 op. 25 (1834-37), 3 "sabo" (F ƙarami, A babba, D babba, 1839); yi la'akari - 24 op. 28 (1839), C kaifi ƙananan op. 45 (1841); waltse (1827-47) - Babban lebur, E lebur manyan (1827), E lebur manyan op. 18 ku. 3 (Babban lebur, ƙarami, F babba), Babban op. 34 ku. 42 (D babba, ƙananan ƙananan kaifi C, Babban lebur), 3 op. 64 (Babban lebur, B ƙarami), 2 op. 69 (G babba, F ƙarami, D babba), E babba (kimanin 3), ƙaramin (con. 70-х гг.), E ƙarami (1829); Mazurkas – 4 ku. 6 (F ƙarami mai kaifi, ƙarami mai kaifi, E babba, ƙaramar E lebur), 5 op. 7 (B babba, ƙarami, F ƙarami, babba, manyan C), 4 op. 17 (B babba, E ƙarami, A babba, ƙarami), 4 op. 24 (G ƙarami, C babba, babba, B ƙarami), 4 op. 30 (C ƙarami, B ƙarami, D babba, ƙananan ƙananan C kaifi), 4 op. 33 (G ƙarami, D babba, manyan C, ƙananan B), 4 op. 41 (Caramin kaifi, E ƙarami, manyan B, Manyan lebur), 3 op. 50 (G manyan, Babban lebur, ƙananan ƙananan C mai kaifi), 3 op. 56 (B babba, C babba, C ƙarami), 3 op. 59 (Ƙananan, Babban, F ƙarami mai kaifi), 3 op. 63 (B babba, F ƙarami, ƙarami mai kaifi C), 4 op. 67 (G babba da C babba, 1835; G ƙarami, 1845; ƙarami, 1846), 4 op. 68 (C babba, ƙarami, F babba, F ƙarami), polonaises (1817-1846) - g-manjor, B-manjor, As-manjor, gis-minor, Ges-major, b-minor, 2 op. 26 (cis-small, es-small), 2 op. 40 (A-manjo, c-minor), na biyar-kananan op. 44, As-dur op. 53, As-dur (tsarki-muscular) op. 61 ku. 3 (d-karami, B-manyan, f-arami), sarewa As-manjor op. 71 (43), 2 counter raye-raye (B-dur, Ges-dur, 1827). 3 ecossas (D manyan, G manyan da Des manyan, 1830), Bolero C manyan op. 19 (1833); don piano 4 hannu - bambance-bambance a cikin D-dur (a kan jigon Moore, ba a kiyaye shi ba), F-dur (zagaye biyu na 1826); don piano biyu - Rondo a cikin manyan op. 73 (1828); Wakoki 19 don murya da piano – op. 74 (1827-47, zuwa ga ayoyin S. Witvitsky, A. Mickiewicz, Yu. B. Zalesky, Z. Krasiński da sauransu). bambancin (1822-37) - a kan jigon waƙar Jamus E-dur (1827), Tunawa da Paganini (a kan jigon waƙar Neapolitan "Carnival a Venice", A-dur, 1829), akan jigo daga opera Herold “Louis” (B-dur op. 12, 1833), akan jigon Maris na Puritans daga wasan opera na Bellini Le Puritani, Es-dur (1837), barcarolle Fis-dur op. 60 (1846), Cantabile B-dur (1834), Album Leaf (E-dur, 1843), lullaby Des-dur op. 57 (1843), Largo Es-dur (1832?), Jana'izar Maris (c-moll op. 72, 1829).