György Ligeti |

György Ligeti

Sautin duniyar Ligeti, ta buɗe kamar mai fan, jin waƙarsa, da kyar a iya bayyana ta cikin kalmomi, ƙarfin sararin samaniya, yana nuna munanan bala'i na ɗan lokaci ɗaya ko biyu, yana ba da zurfin ciki da zurfin ciki ga ayyukansa ko da a farkon kallo. , sun yi nisa da abin ko aukuwa. M. Pandey

D. Ligeti yana daya daga cikin fitattun mawakan Yammacin Turai na rabin na biyu na karni na XNUMX. Bukukuwa da majalisa, yawancin karatu a duniya sun sadaukar da aikinsa. Ligeti shi ne ya mallaki mukamai da lambobin yabo da yawa.

Mawaƙin ya yi karatu a Budapest High School of Music (1945-49). Tun 1956 yana zaune a Yamma, yana koyarwa a ƙasashe daban-daban, tun 1973 ya ci gaba da aiki a Makarantar Kiɗa ta Hamburg. Ligeti ya fara aikinsa a matsayin ƙwararren Bartokian tare da cikakken ilimin kiɗan gargajiya. Ya ci gaba da ba da kyauta ga Bartok, kuma a cikin 1977 ya ƙirƙiri wani nau'in hoton kiɗan na mawaki a cikin wasan "Monument" (guda uku don pianos biyu).

A cikin 50s. Ligeti ya yi aiki a ɗakin studio na lantarki na Cologne - daga baya ya kira gwajinsa na farko "Gymnastics na yatsa", kuma kwanan nan ya bayyana: "Ba zan taɓa yin aiki da kwamfuta ba." Ligeti shine farkon mai sukar wasu nau'ikan fasaha na ƙira, gama gari a cikin 50s. a cikin Yamma (serialism, aleatorics), sadaukar da bincike ga kiɗa na A. Webern, P. Boulez da sauransu. A farkon shekarun 60s. Ligeti ya zaɓi hanya mai zaman kanta, yana shelar komawa ga buɗe furcin kiɗa, yana tabbatar da ƙimar sauti da launi. A cikin "marasa ra'ayi" ƙungiyar mawaƙa "Visions" (1958-59), "Atmospheres" (1961), wanda ya kawo masa shaharar duniya, Ligeti ya gano timbre-m, sararin kade-kade mafita dangane da asali fahimtar fasahar polyphonic, wanda. mawakin da ake kira "micropolyphony". Tushen kwayoyin halittar ra'ayin Ligeti suna cikin kiɗan C. Debussy da R. Wagner, B. Bartok da A. Schoenberg. Mawaƙin ya bayyana micropolyphony kamar haka: “Polyphony wanda aka haɗa kuma an daidaita shi a cikin makin, wanda bai kamata a ji ba, ba mu ji polyphony ba, amma abin da yake haifarwa… Zan ba da misali: kaɗan ne kawai na dutsen ƙanƙara ake iya gani, galibi. daga cikinta a boye a karkashin ruwa. Amma yadda wannan dusar ƙanƙara ya yi kama, yadda yake motsawa, yadda ake wanke shi ta hanyoyi daban-daban a cikin teku - duk wannan ya shafi ba kawai ga bayyane ba, har ma ga ɓangaren da ba a iya gani ba. Shi ya sa na ce: abubuwan da na yi da kuma yadda ake yin rikodi ba su da tattalin arziki, a banza ne. Ina nuna bayanai da yawa waɗanda ba a ji su da kansu. Amma gaskiyar cewa an nuna waɗannan cikakkun bayanai yana da mahimmanci ga ra'ayi gabaɗaya. ”…

Yanzu na yi tunanin wani katon gini, inda ba a iya ganin bayanai da yawa. Duk da haka, suna taka rawa a gaba ɗaya, wajen ƙirƙirar ra'ayi gaba ɗaya. Rubuce-rubucen Ligeti sun dogara ne akan sauye-sauye na yawan sautin sauti, jujjuyawar juzu'i na ɗimbin yawa, jirage, tabo da kuma yawan jama'a, akan sauyi tsakanin tasirin sauti da amo: bisa ga mawaƙin, "ainihin ra'ayoyin sun kasance game da labyrinths masu rassa da yawa cike da su. sautuka da surutu masu laushi." Sannu a hankali da kwarara kwatsam, sauye-sauye na sararin samaniya sun zama babban mahimmanci a cikin tsarin kida (lokaci - jikewa ko haske, yawa ko rashin ƙarfi, rashin motsi ko saurin kwararar sa sun dogara kai tsaye ga canje-canje a cikin "labyrinths na kiɗan"). na 60s kuma suna da alaƙa da shekaru masu launin sauti: sassa daban-daban na Requiem (1963-65), aikin ƙungiyar mawaƙa "Lontano" (1967), wanda ya hana wasu ra'ayoyi na "romanticism a yau." Sun bayyana haɓaka haɓaka, iyaka a kan synesthesia, na asali a cikin maigidan.

Mataki na gaba a cikin aikin Ligeti ya nuna alamar sauyi a hankali zuwa kuzari. An haɗa ɗimbin bincike tare da waƙar da ba ta da ƙarfi gaba ɗaya a cikin Kasada da Sabbin Kasada (1962-65) - abubuwan da aka tsara don soloists da tarin kayan aiki. Waɗannan abubuwan da suka faru a gidan wasan kwaikwayo maras hankali sun buɗe hanya ga manyan nau'ikan gargajiya. Mafi mahimmancin nasara na wannan lokacin shine Requiem, haɗa ra'ayoyin a tsaye da tsauri da kuma wasan kwaikwayo.

A cikin rabi na biyu na 60s. Ligeti ya fara aiki tare da "mafi yawan wayo kuma maras ƙarfi", yana jan hankali zuwa mafi sauƙi da kusancin magana. Wannan lokacin ya haɗa da Branches for string orchestra ko 12 soloists (1968-69), Melodies for orchestra (1971), Chamber Concerto (1969-70), Double Concerto don sarewa, oboe and orchestra (1972). A wannan lokacin, mawallafin ya sha'awar kiɗa na C. Ives, a ƙarƙashin ra'ayi wanda aka rubuta aikin mawaƙa "San Francisco Polyphony" (1973-74). Ligeti yana tunani da yawa kuma yana son yin magana game da matsalolin polystylists da haɗin gwiwar kiɗa. Dabarar haɗin gwiwar ta zama baƙo a gare shi - Ligeti da kansa ya fi son "tunani, ba ambato, zato, ba ambato ba." Sakamakon wannan bincike shine wasan opera The Great Dead Man (1978), wanda aka yi nasarar shirya shi a Stockholm, Hamburg, Bologna, Paris, da London.

Ayyukan 80s sun gano kwatance daban-daban: Trio don violin, ƙaho da piano (1982) - wani nau'in sadaukarwa ga I. Brahms, a kaikaice yana da alaƙa da jigon soyayya Hanyoyi uku akan ayoyi na F. Hölderlin don murya goma sha shida gauraye mawaƙa a cappella (1982), aminci ga hadisai na kidan Hungarian an tabbatar da su ta “tudes na Hungary” zuwa ayoyin Ch. Veresh don gaurayawan mawaƙa goma sha shida a cappella (1982).

Wani sabon kallon pianism yana nunawa ta hanyar piano etudes (Littafin Rubutu na Farko - 1985, etudes No. 7 da No. 8 - 1988), yana kawar da ra'ayoyi daban-daban - daga pianism mai ban sha'awa zuwa kiɗan Afirka, da Piano Concerto (1985-88).

Kide-kiden zamani da al'adu da dama ne ke ciyar da tunanin Ligeti. Ƙungiyoyin da ba makawa, haɗuwa da ra'ayoyi masu nisa da ra'ayoyin su ne tushen abubuwan da ya kirkiro, suna haɗuwa da ruɗi da abin sha'awa.

M. Lobanova