Giuseppe Sarti |

Giuseppe Sarti

Shahararren marubucin Italiyanci, jagora da malami G. Sarti ya ba da gudummawa mai mahimmanci ga ci gaban al'adun kiɗa na Rasha.

An haife shi a cikin iyali na kayan ado - dan wasan violin mai son. Ya yi karatun firamare a makarantar waka ta coci, sannan ya dauki darasi daga kwararrun mawakan (daga F. Vallotti a Padua da kuma shahararren Padre Martini a Bologna). Lokacin da yake da shekaru 13, Sarti ya riga ya buga maɓallan madannai da kyau, wanda ya ba shi damar ɗaukar matsayin organist a garinsu. Tun 1752, Sarti ya fara aiki a gidan wasan opera. Wasan opera ɗinsa na farko, Pompey a ƙasar Armeniya, ya gamu da matuƙar sha'awa, na biyun kuma, wanda aka rubuta wa Venice, The Shepherd King, ya kawo masa babban nasara da shahara. A cikin wannan shekara, 1753, an gayyaci Sarti zuwa Copenhagen a matsayin mai kula da ƙungiyar opera ta Italiya kuma ya fara tsarawa, tare da operas na Italiyanci, singspiel a Danish. (Abin lura ne cewa, bayan da ya zauna a Denmark na kusan shekaru 20, mawaƙin bai taɓa koyon Danish ba, yana amfani da fassarar tsaka-tsaki lokacin da yake rerawa.) A cikin shekarunsa a Copenhagen, Sarti ya ƙirƙiri operas 24. An yi imanin cewa aikin Sarti ya kafa harsashin wasan opera na Danish ta hanyoyi da yawa.

Tare da rubuce-rubuce, Sarti ya tsunduma cikin ayyukan ilmantarwa. A wani lokaci ma ya ba da darussan waƙa ga Sarkin Denmark. A cikin 1772, kasuwancin Italiya ya rushe, mawallafin yana da babban bashi, kuma a cikin 1775, ta hukuncin kotu, an tilasta masa barin Denmark. A cikin shekaru goma masu zuwa, rayuwar Sarti ta kasance tana da alaƙa da birane biyu a Italiya: Venice (1775-79), inda ya kasance darektan kula da mata, da Milan (1779-84), inda Sarti ya kasance jagoran babban coci. Mawaƙin na aiki a wannan lokacin ya kai ga Turai shahara - ya operas aka shirya a kan matakai na Vienna, Paris, London (daga cikinsu - "Village Kishi" - 1776, "Achilles on Skyros" - 1779, "biyu jayayya - na uku murna" - 1782). A 1784, bisa gayyatar Catherine II, Sarti ya isa Rasha. A kan hanyar zuwa St. Petersburg, a Vienna, ya sadu da WA Mozart, wanda ya yi nazarin abubuwan da ya yi a hankali. Daga baya, Mozart ya yi amfani da ɗaya daga cikin jigogin wasan kwaikwayo na Sarti a cikin wasan ƙwallon Don Juan. A nasa bangaren, ba ya godiya da hazakar mawakin, ko watakila kishin basirar Mozart a asirce, bayan shekara guda Sarti ya buga wani labari mai mahimmanci game da kwartonsa.

Da yake rike da mukamin mai kula da kotuna a Rasha, Sarti ya kirkiro operas 8, ballet da kusan ayyukan 30 na nau'ikan murya da mawaka. Nasarar da Sarti ya samu a matsayin mawaki a kasar Rasha yana tare da nasarar da ya samu a zaman kotun. Shekaru na farko bayan zuwansa (1786-90) ya zauna a kudancin kasar, yana hidimar G. Potemkin. Yariman yana da ra'ayoyi game da shirya makarantar kiɗa a birnin Yekaterinoslav, kuma Sarti ya sami lakabin darektan makarantar. Koke mai ban sha'awa daga Sarti ya aika masa da kuɗi don kafa makarantar, da kuma ba da ƙauyen da aka yi alkawarinsa, saboda "tattalin arzikinsa na sirri yana cikin wani mawuyacin hali," an adana shi a cikin ɗakunan ajiya na Moscow. Daga wannan wasiƙar mutum zai iya yin hukunci game da shirin mawaƙin nan gaba: “Idan ina da matsayi na soja da kuɗi, da na nemi gwamnati ta ba ni fili, da na kira ƙauyen Italiya na gina gidaje a wannan ƙasa.” Shirye-shiryen Potemkin ba a ƙaddara su zama gaskiya ba, kuma a cikin 1790 Sarti ya koma St. Petersburg zuwa aikin mai kula da kotu. Bisa ga odar Catherine II, tare da K. Canobbio da V. Pashkevich, ya dauki bangare a cikin halitta da kuma tsara wani gagarumin yi bisa ga rubutu na Empress tare da yardar kaina fassara mãkirci daga Rasha tarihi - Oleg ta farko Administration (1790). . Bayan mutuwar Catherine Sarti, ya rubuta wata mawaƙa mai mahimmanci don naɗin Paul I, don haka ya ci gaba da kasancewa da gata a sabuwar kotu.

Shekarun ƙarshe na rayuwarsa, mawaƙin ya tsunduma cikin bincike na ka'idar acoustics kuma, a tsakanin sauran abubuwa, saita yawan abin da ake kira. "Petersburg tuning cokali mai yatsa" (a1 = 436 Hz). Cibiyar Kimiyya ta St. Binciken acoustic na Sarti ya riƙe mahimmancinsa na kusan shekaru 1796 (kawai a cikin 100 a Vienna shine ma'aunin duniya a1885 = 1 Hz da aka amince). A 435, Sarti ya yanke shawarar komawa ƙasarsa, amma a kan hanya ya yi rashin lafiya kuma ya mutu a Berlin.

Ƙirƙirar Sarti a Rasha, kamar yadda yake, ya cika dukan zamanin kerawa na mawakan Italiya da aka gayyata a cikin karni na 300. Petersburg a matsayin kotun bandmaster. Cantatas da oratorios, Sarti's salutatory choirs da waƙoƙin yabo sun kafa shafi na musamman a cikin ci gaban al'adun choral na Rasha a zamanin Catherine. Tare da sikelin su, abin tunawa da girman sauti, girman launukan ƙungiyar makaɗa, sun yi daidai da ɗanɗanon da'irar aristocratic na St. Petersburg na uku na ƙarshe na ƙarni na 1792. An kirkiro ayyukan ne bisa umarnin kotu, an sadaukar da su ga manyan nasarorin da sojojin Rasha suka samu ko kuma ga abubuwan da suka faru na dangin sarki, kuma yawanci ana yin su a sararin sama. Wani lokaci adadin mawakan ya kai mutum 2. Don haka, alal misali, lokacin yin wasan oratorio “Ɗaukaka ga Allah Maɗaukaki” (2) a ƙarshen yaƙin Rasha-Turkiyya, ƙungiyar mawaƙa ta 1789, mambobi 1790 na ƙungiyar kade-kade na kade-kade, ƙungiyar mawaƙa ƙaho, rukuni na musamman na kayan kaɗe-kaɗe. an yi amfani da su, ƙararrawar ƙararrawa da wutar igwa (!) . Sauran ayyukan nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'i sun bambanta da irin wannan abin tunawa - "Muna gode wa Allah a gare ku" (a lokacin da aka kama Ochakov, XNUMX), Te Deum (a kan kama sansanin Kiliya, XNUMX), da dai sauransu.

Ayyukan koyarwa na Sarti, wanda ya fara a Italiya (dalibinsa - L. Cherubini), ya bayyana a cikin cikakken karfi a Rasha, inda Sarti ya kirkiro nasa makaranta na abun ciki. Daga cikin dalibansa akwai S. Degtyarev, S. Davydov, L. Gurilev, A. Vedel, D. Kashin.

Dangane da mahimmancinsu na fasaha, ayyukan Sarti ba su daidaita ba - gabatowar ayyukan gyara na KV Gluck a wasu operas, mawaƙin a yawancin ayyukansa har yanzu ya kasance da aminci ga yaren gargajiya na zamanin. A lokaci guda kuma, mawaƙa maraba da cantatas, waɗanda aka rubuta galibi ga Rasha, sun kasance samfura ga mawaƙa na Rasha na dogon lokaci, ba tare da rasa mahimmin su ba a cikin shekaru masu zuwa, kuma an yi su a bukukuwa da bukukuwa har zuwa nadin sarauta na Nicholas I (1826). ).

A. Lebedeva