Hector Berlioz |

Hector Berlioz

Bari zaren azurfa na iskar fantasy kewaye da sarkar dokoki. R. Schumann

G. Berlioz yana ɗaya daga cikin manyan mawaƙa kuma manyan masu ƙididdigewa na ƙarni na 1830. Ya shiga cikin tarihi a matsayin mahaliccin wasan kwaikwayo na shirye-shirye, wanda ke da tasiri mai zurfi da tasiri a kan dukkanin ci gaban fasahar soyayya. Ga Faransa, haihuwar al'adun gargajiya na ƙasa yana da alaƙa da sunan Berlioz. Berlioz mawaƙi ne mai fa'ida mai fa'ida: mawaki, jagora, mai sukar kiɗa, wanda ya kare ci gaba, manufofin dimokiradiyya a cikin fasaha, wanda ya haifar da yanayin ruhaniya na Juyin Juya Halin Yuli na XNUMX. Yarancin mawaki na gaba ya ci gaba a cikin yanayi mai kyau. Mahaifinsa, likita ta sana'a, ya sa ɗansa ɗanɗanon adabi, fasaha, da falsafa. Ƙarƙashin rinjayar ubansa na rashin yarda da Allah, ra'ayinsa na ci gaba, dimokraɗiyya, ra'ayin Berlioz ya ɗauki tsari. Amma don ci gaban kiɗan yaron, yanayin garin na lardin ya kasance mai girman kai. Ya koyi buga sarewa da gita, kuma abin da ya fi burge shi shi ne rera waƙar coci - jama'ar ranar Lahadi, wanda yake ƙauna sosai. Ƙaunar Berlioz ga kiɗa ya bayyana kanta a ƙoƙarinsa na yin waƙa. Waɗannan ƙananan wasan kwaikwayo ne da na soyayya. Daga baya an haɗa waƙar ɗayan soyayya a matsayin leitme a cikin Fantastic Symphony.

A cikin 1821, Berlioz ya tafi Paris a kan nacewar mahaifinsa ya shiga Makarantar Kiwon Lafiya. Amma magani baya jan hankalin saurayi. Kiɗa ya burge shi, ya yi mafarkin kwararren ilimin kiɗa. A ƙarshe, Berlioz ya yanke shawara mai zaman kansa don barin kimiyya don kare lafiyar fasaha, kuma wannan ya haifar da fushin iyayensa, waɗanda ba su yi la'akari da kiɗan da ya dace ba. Suna hana ɗan su duk wani tallafi na abin duniya, kuma daga yanzu, mawaƙin nan gaba zai iya dogara da kansa kawai. Sai dai kuma ya yi imani da kaddararsa, sai ya mayar da dukkan karfinsa da karfinsa da sha’awarsa zuwa ga kwararriyar sana’ar shi kadai. Yana rayuwa kamar jaruman Balzac daga hannu zuwa baki, a cikin ɗaki, amma ba ya rasa wasan kwaikwayo guda ɗaya a cikin wasan opera kuma yana ciyar da duk lokacin hutun sa a ɗakin karatu yana nazarin maki.

Daga 1823, Berlioz ya fara ɗaukar darussa na sirri daga J. Lesueur, fitaccen mawakin zamanin Babban Juyin Juya Halin Faransa. Shi ne ya cusa wa ɗalibinsa ɗanɗanon siffofi na fasaha da aka tsara don yawan jama'a. A cikin 1825, Berlioz, bayan da ya nuna gwaninta na kungiya, ya shirya aikin jama'a na babban aikinsa na farko, Babban Mass. A shekara ta gaba, ya shirya wasan kwaikwayo na jaruntaka "Juyin Juyin Halitta", wannan aikin ya buɗe dukan shugabanci a cikin aikinsa. , hade da jigogi na juyin juya hali. Da yake jin buƙatar samun zurfin ilimin ƙwararru, a cikin 1826 Berlioz ya shiga cikin Conservatory na Paris a cikin ajin abun da ke ciki na Lesueur da A. Reicha's counterpoint class. Babban mahimmanci ga samuwar kayan ado na matashi mai zane shine sadarwa tare da fitattun wakilan wallafe-wallafe da fasaha, ciki har da O. Balzac, V. Hugo, G. Heine, T. Gauthier, A. Dumas, George Sand, F. Chopin , F. Liszt, N. Paganini. Tare da Liszt, an haɗa shi ta hanyar abota ta sirri, gama gari na bincike da abubuwan buƙatu. Daga baya, Liszt zai zama mai himma wajen tallata waƙar Berlioz.

A cikin 1830, Berlioz ya ƙirƙiri "Fantastic Symphony" tare da taken: "Wani Sashe daga Rayuwar Mawaƙi." Yana buɗe sabon zamani na shirye-shirye na nuna sha'awar soyayya, ya zama ƙwararren al'adun kiɗan duniya. Berlioz ne ya rubuta shirin kuma ya dogara ne akan gaskiyar tarihin rayuwar marubucin - labarin soyayya na ƙaunar da yake yi wa ’yar wasan kwaikwayo ta Ingila Henrietta Smithson. Koyaya, abubuwan tarihin tarihin rayuwa a cikin haɓakar kiɗan suna samun mahimmancin jigon soyayya gabaɗaya na kaɗaicin mai zane a cikin duniyar zamani kuma, ƙari mai yawa, jigon "ɓatattun ruɗi".

1830 shekara ce ta tashin hankali ga Berlioz. Kasancewa a karo na hudu a gasar don kyautar Rome, a karshe ya ci nasara, yana mika cantata "The Last Night of Sardanapalus" ga juri. Mawaƙin ya gama aikinsa ga sautin tashin hankalin da ya fara a birnin Paris kuma, kai tsaye daga gasar, ya tafi shingen shinge don shiga cikin 'yan tawaye. A cikin kwanaki masu zuwa, bayan da ya shirya kuma ya rubuta Marseillaise don ƙungiyar mawaƙa biyu, ya sake karanta shi tare da mutane a cikin filaye da titunan Paris.

Berlioz ya shafe shekaru 2 a matsayin mai riƙe da malanta na Roman a Villa Medici. Dawowa daga Italiya, ya haɓaka aiki mai aiki a matsayin jagora, mawaki, mai sukar kiɗa, amma ya gamu da rashin amincewa da sabon aikinsa daga ƙungiyoyin hukuma na Faransa. Kuma wannan ya ƙaddara rayuwarsa gaba ɗaya, mai cike da wahalhalu da matsalolin abin duniya. Babban tushen kuɗin shiga na Berlioz shine aikin kiɗa mai mahimmanci. An buga labarai, sake dubawa, gajerun labarai na kiɗa, feuilletons a cikin tarin yawa: "Kiɗa da Mawaƙa", "Musical Grotesques", "Maraice a cikin Orchestra". Babban wuri a cikin al'adun wallafe-wallafen Berlioz ya kasance ta Memoirs - tarihin rayuwar marubucin, wanda aka rubuta a cikin salon adabi mai haske da ba da fa'ida mai fa'ida na fasahar fasaha da kida na Paris a waɗannan shekarun. Babbar gudummawa ga ilimin kide-kide ita ce aikin ka'idar Berlioz "Magunguna akan Kayan Aikin" (tare da kari - "Mai Gudanar da Orchestra").

A cikin 1834, shirin na biyu na wasan kwaikwayo "Harold a Italiya" ya bayyana (dangane da waƙar J. Byron). Sashin da aka haɓaka na solo viola yana ba da wannan wasan kwaikwayo fasalin fasalin wasan kwaikwayo. A shekara ta 1837 an yi bikin haihuwar ɗaya daga cikin manyan abubuwan halitta na Berlioz, Requiem, wanda aka ƙirƙira don tunawa da waɗanda aka kashe a juyin juya halin Yuli. A cikin tarihin wannan nau'in, Berlioz's Requiem wani aiki ne na musamman wanda ya haɗu da fresco mai mahimmanci da ingantaccen salon tunani; maci, waƙoƙi a cikin ruhin kidan juyin juya halin Faransa gefe da gefe yanzu tare da waƙoƙin soyayya masu ratsa zuciya, yanzu tare da tsauraran salon salon waƙar Gregorian na da. An rubuta Requiem don ƙwararrun ƙwararrun ƙwararrun mawaƙa 200 da tsawaita ƙungiyar makaɗa tare da ƙarin ƙungiyoyin tagulla huɗu. A 1839, Berlioz ya kammala aiki a kan shirin na uku na wasan kwaikwayo na Romeo da Juliet (dangane da bala'i na W. Shakespeare). Wannan ƙwararren kiɗan kiɗan kiɗan, mafi asalin halittar Berlioz, haɓakar kade-kade ne, wasan opera, oratori kuma yana ba da damar ba kawai kide-kide ba, har ma da wasan kwaikwayo.

A 1840, "Jana'izar da Triumphal Symphony" ya bayyana, wanda aka yi nufi don wasan kwaikwayo na waje. An sadaukar da shi ga bikin mai girma na mika toka na jaruman tawaye na 1830 kuma a bayyane ya sake farfado da al'adun wasan kwaikwayo na Babban juyin juya halin Faransa.

Romeo da Juliet suna haɗuwa da almara mai ban mamaki The Damnation of Faust (1846), wanda kuma ya dogara ne akan ƙa'idodin shirye-shiryen symphonism da kiɗan wasan kwaikwayo. "Faust" na Berlioz shine karatun kiɗa na farko na wasan kwaikwayo na falsafa na JW Goethe, wanda ya kafa harsashin fassarorin da yawa na gaba game da shi: a cikin wasan opera (Ch. Gounod), a cikin wasan kwaikwayo (Liszt, G. Mahler), a cikin waƙar waƙa (R. Wagner), a cikin kiɗan murya da kayan aiki (R. Schumann). Peru Berlioz kuma ya mallaki trilogy na oratorio "The Childhood of Christ" (1854), da yawa shirye-shirye overtures ("King Lear" - 1831, "Roman Carnival" - 1844, da dai sauransu), 3 operas ("Benvenuto Cellini" - 1838, da dilogy "Trojans" - 1856-63, "Beatrice da Benedict" - 1862) da kuma yawan murya da kayan aiki a cikin nau'o'i daban-daban.

Berlioz ya yi rayuwa mai ban tausayi, bai taɓa samun karɓuwa a ƙasarsa ba. Shekarun ƙarshe na rayuwarsa sun kasance duhu da kaɗaici. Abinda kawai mai haske na mawaƙin ya kasance yana da alaƙa da tafiye-tafiye zuwa Rasha, wanda ya ziyarta sau biyu (1847, 1867-68). A can ne kawai ya samu gagarumar nasara tare da jama'a, ainihin karbuwa a tsakanin mawaƙa da masu suka. Wasiƙar ƙarshe ta Berlioz mai mutuwa an aika da shi ga abokinsa, sanannen mai sukar Rasha V. Stasov.

L. Kokoreva