Jean-Baptiste Lully |

Jean-Baptiste Lully

Lully Jean-Baptiste. Minute

Kadan ne mawakan Faransa na gaske kamar wannan ɗan Italiyanci, shi kaɗai a Faransa ya ci gaba da shahara har tsawon ƙarni. R. Rollan

JB Lully yana ɗaya daga cikin manyan mawakan opera na ƙarni na XNUMX kuma wanda ya kafa gidan wasan kwaikwayo na Faransanci. Lully ya shiga tarihin wasan opera na kasa duka a matsayin wanda ya kirkiro wani sabon salo - bala'i na waka (kamar yadda ake kiran babban wasan opera na tatsuniyoyi a Faransa), kuma a matsayin fitaccen dan wasan kwaikwayo - a karkashin jagorancinsa ne Cibiyar Kida ta Royal ta zama. gidan wasan opera na farko kuma na farko a kasar Faransa, wanda daga baya ya shahara a duniya mai suna Grand Opera.

An haifi Lully a cikin dangin miller. Ƙwaƙwalwar kiɗa da yanayin wasan kwaikwayo na matashi ya jawo hankalin Duke na Guise, wanda, ca. A 1646 ya ɗauki Lully zuwa Paris, ya ba shi hidimar Gimbiya Montpensier ('yar'uwar Sarki Louis XIV). Da yake bai sami ilimin kiɗa a ƙasarsa ba, wanda tun yana ɗan shekara 14 zai iya rera waƙa da kidan kawai, Lully ya yi karatun ƙawance da rera waƙa a birnin Paris, ya ɗauki darussa wajen buga kaɗe-kaɗe, musamman ma violin da ya fi so. Matashin dan Italiya, wanda ya sami tagomashin Louis XIV, ya yi kyakkyawan aiki a kotunsa. A talented virtuoso, game da wanda zamani ya ce - "yi wasa da violin kamar Baptiste", nan da nan ya shiga cikin shahararrun makada "24 Violins na Sarki", kimanin. 1656 ya shirya kuma ya jagoranci ƙananan ƙungiyarsa "16 Violins of the King". A 1653, Lully samu matsayi na "kotu mawaki na kayan aiki music", tun 1662 ya riga ya kasance mai kula da kotun music, da kuma 10 shekaru daga baya - mai wani lamban kira ga hakkin ya sami Royal Academy of Music a Paris " tare da yin amfani da wannan haƙƙi na tsawon rai da kuma miƙa shi ga gadar duk ɗan da zai gaje shi a matsayin mai kula da waƙar sarki.” A shekara ta 1681, Louis XIV ya girmama wanda ya fi so tare da wasiƙun masu daraja da lakabi na mashawarcin sarki-sakataren. Bayan ya mutu a Paris, Lully har zuwa karshen kwanakinsa ya ci gaba da zama cikakken mai mulki na rayuwar kiɗa na babban birnin Faransa.

Ayyukan Lully sun haɓaka musamman a cikin waɗancan nau'ikan da nau'ikan da aka haɓaka kuma aka haɓaka su a kotun "Sun King". Kafin ya juya zuwa opera, Lully a cikin shekarun farko na hidimarsa (1650-60) ya ƙunshi kiɗan kayan aiki (suites da divertissements don kayan kirtani, guda guda da jerin gwano don kayan aikin iska, da sauransu), ƙa'idodi masu tsarki, kiɗa don wasan kwaikwayo na ballet (" Sick Cupid", "Alsidiana", "Ballet of Mocking", da dai sauransu). Ci gaba da shiga cikin raye-rayen kotu a matsayin marubucin kiɗa, darakta, ɗan wasan kwaikwayo da raye-raye, Lully ta ƙware al'adun raye-rayen Faransanci, ƙaƙƙarfan raye-rayen sa da juzu'i da fasalulluka. Haɗin gwiwa tare da JB Molière ya taimaka wa mawaƙa don shiga duniyar gidan wasan kwaikwayo na Faransa, don jin asalin ƙasa na magana, wasan kwaikwayo, jagoranci, da dai sauransu Lully ya rubuta kiɗa don wasan kwaikwayo na Molière (Aure ba tare da son rai ba, Gimbiya Elis, Sicilian) , " Ƙaunar Mai warkarwa", da dai sauransu), yana taka rawar Pursonjak a cikin wasan kwaikwayo "Monsieur de Pursonjac" da Mufti a cikin "Mai ciniki a cikin nobility". Na dogon lokaci ya kasance abokin adawar opera, yana mai imani cewa harshen Faransanci bai dace da wannan nau'in ba, Lully a farkon shekarun 1670. ba zato ba tsammani ya canza ra'ayinsa. A cikin lokacin 1672-86. ya gabatar da bala'o'i na waƙoƙi 13 a Royal Academy of Music (ciki har da Cadmus da Hermione, Alceste, Theseus, Atys, Armida, Acis da Galatea). Wadannan ayyukan ne suka kafa harsashin ginin gidan wasan kwaikwayo na Faransa da kuma tantance nau'in wasan opera na kasa da ya mamaye Faransa tsawon shekaru da dama. "Lully ya kirkiro wasan opera na ƙasar Faransa, wanda aka haɗa duka rubutu da kiɗa tare da hanyoyin magana da ɗanɗano na ƙasa, kuma wanda ke nuna duka kasawa da kyawawan halayen fasahar Faransa," in ji masanin Jamus G. Kretschmer.

An kafa salon bala'in waƙa na Lully dangane da al'adun gidan wasan kwaikwayo na Faransa na zamanin gargajiya. Nau'in babban abun da ke ciki guda biyar tare da gabatarwa, hanyar karantawa da wasan kwaikwayo, tushen makirci (tsohuwar tatsuniyar Girka, tarihin tsohuwar Roma), ra'ayoyi da matsalolin ɗabi'a (rikicin ji da tunani, sha'awa da aiki). ) kawo operas na Lully kusa da bala'in P. Corneille da J. Racine. Babu mahimmancin mahimmancin bala'i da al'adun bala'i da al'adun ƙasar ballet - Saka yawan filayen, abubuwan da aka sa ido, abubuwan da makamantansu da suka inganta halaye na wasan opera. Al'adar gabatar da wasan ballet wanda ya taso a zamanin Lully ya tabbatar da cewa yana da karko kuma ya ci gaba a cikin wasan opera na Faransa har tsawon ƙarni da yawa. An bayyana tasirin Lully a cikin rukunin mawaƙa na ƙarshen ƙarni na XNUMX da farkon ƙarni na XNUMX. (G. Muffat, I. Fuchs, G. Telemann da sauransu). An haɗa su cikin ruhun nau'ikan ballet na Lully, sun haɗa da raye-rayen Faransanci da sassan halayen. Yadu a cikin opera da kiɗan kayan aiki na ƙarni na XNUMX. ya sami nau'in juzu'i na musamman, wanda ya ɗauki siffar a cikin bala'in waƙoƙin Lully (abin da ake kira "Faransa" overture, wanda ya ƙunshi sannu a hankali, gabatarwa mai mahimmanci da mai kuzari, babban sashe mai motsi).

A cikin rabi na biyu na XVIII karni. bala'in waƙar Lully da mabiyansa (M. Charpentier, A. Campra, A. Detouches), kuma tare da shi duka salon wasan opera na kotu, ya zama abin tattaunawa mafi kaifi, parodies, ba'a ("Yaƙin buffons”, “yakin glucians da picchinnists”)). Art, wanda ya taso a zamanin babban ranar absolutism, mutanen zamanin Diderot da Rousseau sun gane a matsayin mai lalacewa, marar rai, mai kyan gani da kyan gani. A lokaci guda, aikin Lully, wanda ya taka rawar gani a cikin samuwar babban salon wasan kwaikwayo a cikin opera, ya jawo hankalin mawakan opera (JF Rameau, GF Handel, KV Gluck), wanda ya kai ga monumentality, pathos. daidaitaccen ma'ana, tsari mai tsari na gaba daya.

I. Okhalova