Johann Christian Bach |

Johann Christian Bach

Johann Christian Bach, a tsakanin sauran cancantar, ya reno da kuma noma furen alheri da alheri a kan ƙasa na gargajiya. F. Rohlic

"Mafi girman girman dukan 'ya'yan Sebastian" (G. Abert), mai mulkin tunani na Turai na kiɗa, malamin gaye, mashahurin mawaki, wanda zai iya yin gasa tare da shahara tare da kowane ɗayansa. Irin wannan mummunar makoma ta sami ƙaramin ɗan JS Bach, Johann Christian, wanda ya shiga tarihi a ƙarƙashin sunan "Milanese" ko "London" Bach. Sai kawai matasa shekaru Johann Christian aka kashe a Jamus: har zuwa shekaru 15 a cikin mahaifa gida, sa'an nan a karkashin kulawar babban ɗan'uwan Philip Emanuel - "Berlin" Bach - a Potsdam a kotun Frederick Mai girma. A cikin 1754, saurayin, na farko kuma kawai na dukan iyalin, ya bar ƙasarsa har abada. Hanyarsa ta ta'allaka ne a Italiya, ci gaba a cikin karni na XVIII. zama mecca na kiɗa na Turai. Bayan nasarar da matashin mawakin ya samu a Berlin a matsayin mawaƙin mawaƙa, da kuma ɗan ƙaramin ƙwarewa, wanda ya riga ya inganta a Bologna, tare da sanannen Padre Martini. Fortune tun daga farkon murmushi Johann Christian, wanda ya sami sauƙaƙa sosai ta hanyar ɗaukar addinin Katolika. Wasiƙun shawarwari daga Naples, sannan daga Milan, da kuma sunan ɗalibin Padre Martini, sun buɗe ƙofofin Cathedral na Milan don Johann Kirista, inda ya ɗauki matsayin ɗaya daga cikin masu haɓakawa. Amma aikin mawaƙin cocin, wanda shine mahaifinsa da 'yan'uwansa, bai jawo ƙaramin ƙarami na Bachs ba. Ba da da ewa ba, wani sabon mawaki na opera ya bayyana kansa, da sauri ya ci nasara kan manyan matakan wasan kwaikwayo a Italiya: an gudanar da ayyukansa a Turin, Naples, Milan, Parma, Perugia, kuma a ƙarshen 60s. kuma a gida, a Braunschweig. Shaharar Johann Kirista ta kai Vienna da Landan, kuma a watan Mayu na shekara ta 1762 ya nemi hukumomin cocin su ba su izinin cika umarnin wasan opera daga gidan wasan kwaikwayo na Royal London.

Wani sabon lokaci ya fara a cikin rayuwar maestro, wanda aka ƙaddara ya zama na biyu a cikin shahararrun mawakan Jamus waɗanda suka yi ɗaukaka ... Kiɗa na Ingilishi: magajin GF Handel, Johann Christian, ya kusan shekaru 3 a gaba. bayyanar a gabar Albion I. Haydn ... Ba zai zama ƙari ba don yin la'akari da 1762-82 a cikin rayuwar kiɗa na babban birnin Ingila a lokacin Johann Kirista, wanda ya ci nasara da sunan "London" Bach.

A tsanani na ya composing da kuma m aiki, ko da ma'auni na XVIII karni. ya kasance babba. Mai kuzari da ma'ana - wannan shine yadda yake kallonmu daga hoto mai ban mamaki na abokinsa T. Gainsborough (1776), wanda Padre Martini ya ba da izini, ya sami damar rufe kusan dukkanin nau'ikan rayuwar kiɗan zamani.

Na farko, gidan wasan kwaikwayo. Dukansu Gidan Sarauta, inda aka shirya 'yan Italiyanci' na maestro, da Royal Covent Garden, inda a cikin 1765 aka fara wasan opera na gargajiya na Turanci The Mill Maiden, wanda ya ba shi shahara ta musamman. Mafi yawan masu sauraro sun rera waƙoƙin waƙa daga “Bawa”. Ba ƙaramin nasara ba ne aria na Italiyanci, an buga su kuma aka rarraba su daban, da kuma waƙoƙin kansu, waɗanda aka tattara a cikin tarin 3.

Na biyu mafi muhimmanci yankin na aikin Johann Kirista da aka kunna music da kuma koyarwa a cikin da'irar na music-m aristocrats, musamman ma ubangidansa Sarauniya Charlotte (a hanya, ɗan ƙasar Jamus). Har ila yau, dole ne in yi kida mai tsarki, waɗanda ake yi bisa ga al’adar Turanci a gidan wasan kwaikwayo a lokacin Azumi. A nan ne oratorios na N. Iommelli, G. Pergolesi, kazalika da nasa qagaggun, wanda mawaki ya fara rubuta a Italiya (Requiem, Short Mass, da dai sauransu). Dole ne a yarda cewa nau'o'in ruhaniya ba su da sha'awa sosai kuma ba su da nasara sosai (har ma an san lokuta na kasawa) ga "London" Bach, wanda ya ba da kansa gaba ɗaya ga kiɗa na duniya. Har zuwa mafi girma, wannan ya bayyana kansa a cikin watakila mafi mahimmancin filin na maestro - "Bach-Abel concertos", wanda ya kafa a kan kasuwanci tare da abokinsa matashi, mawaki da dan wasan gambo, tsohon dalibi na Johann Sebastian CF. Habila. An kafa shi a cikin 1764, Bach-Abel Concertos ya saita sautin don duniyar kiɗan London na dogon lokaci. Wasannin farko, wasan kwaikwayo na fa'ida, nunin sabbin kayan kida (alal misali, godiya ga Johann Christian, piano ya fara halarta a karon farko a matsayin kayan aikin solo a London a karon farko) - duk wannan ya zama wani muhimmin alama na kasuwancin Bach-Abel, wanda ya ba har zuwa 15 kide kide a kakar. Tushen repertoire shine ayyukan masu shirya da kansu: cantatas, kade-kade, kade-kade, kide kide da wake-wake, abubuwan da suka hada da dakin taro da yawa. Anan mutum zai iya jin takwarorinsa na Haydn, ya saba da mawakan solo na sanannen Chapel na Mannheim.

Bi da bi, ayyukan "Turanci" sun yadu a Turai. Tuni a cikin 60s. an yi su ne a birnin Paris. Masoyan kiɗa na Turai sun nemi samun Johann Kirista ba kawai a matsayin mawaki ba, har ma a matsayin mawaƙa. Nasarar ta musamman ta jira shi a Mannheim, wanda aka rubuta wasu ƙididdiga masu yawa (ciki har da 6 quintets op. 11 don sarewa, oboe, violin, viola da basso continuo, sadaukarwa ga sanannen masanin kiɗan Karl Theodor). Johann Christian ma ya ƙaura zuwa Mannheim na ɗan lokaci, inda aka yi nasarar yin wasan kwaikwayo na operas Themistocles (1772) da Lucius Sulla (1774).

Dangane da shahararsa a cikin da'irar Faransanci a matsayin mawaƙin kayan aiki, ya rubuta musamman don Paris (wanda Royal Academy of Music ya ba da izini) wasan opera Amadis na Gaul, wanda aka fara yi a gaban Marie Antoinette a 1779. Ko da yake an yi shi ta hanyar Faransanci - tare da karkatar da al'ada. a karshen kowane aiki - opera ba ta yi nasara ba, wanda ya nuna farkon raguwar ƙirƙira da fasaha na maestro. Sunansa na ci gaba da bayyana a cikin jerin sunayen gidan wasan kwaikwayo na gidan sarauta, amma Amadis da ya gaza ya zama opera opus na karshe na Johann Kirista. A hankali, sha'awar "Bach-Abel Concertos" ita ma tana shuɗewa. Abubuwan da kotu ta yi watsi da Johann Christian don matsayi na biyu, tabarbarewar lafiya, basussuka sun kai ga mutuwar mawakin, wanda kawai ya tsira daga ɗaukakarsa. Jama'ar Ingila, masu kwadayin sabon abu, nan da nan suka manta.

Don ɗan gajeren rayuwa, "London" Bach ya ƙirƙiri adadi mai yawa na abubuwan ƙira, yana bayyana ruhun lokacinsa tare da cikar ban mamaki. Ruhun zamanin r yana gab da kusantarsa. An san maganganunsa ga babban uba "alte Perucke" (lit. - "tsohuwar wig"). A cikin waɗannan kalmomi, ba a yin watsi da tsohuwar al'adar iyali a matsayin alamar juyayi mai kaifi zuwa sabon, wanda Johann Kirista ya wuce gaba fiye da 'yan uwansa. Wani jawabi a cikin ɗayan wasiƙun WA Mozart yana da halaye: “Yanzu ina tattara fugues na Bach. "Kamar Sebastian, haka Emanuel da Friedemann" (1782), wanda haka bai raba mahaifinsa da 'ya'yansa maza ba lokacin nazarin tsohon salon. Kuma Mozart yana da mabanbantan jin daɗin gunkinsa na London (sanin ya faru a shekara ta 1764 a lokacin ziyarar Mozart a Landan), wanda a gare shi ya kasance cibiyar duk wani ci gaba a cikin fasahar kiɗa.

Wani muhimmin bangare na al'adun "London" Bach ya ƙunshi wasan kwaikwayo na opera musamman a cikin nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i) wanda ya faru a cikin shekarun 60-70s. XVIII karni a cikin ayyukan J. Sarti, P. Guglielmi, N. Piccinni da sauran wakilan abin da ake kira. Neo-Neapolitan makaranta matashi na biyu. Muhimmiyar rawa a cikin wannan tsari na Johann Christian ne, wanda ya fara aikinsa na opera a Naples kuma a zahiri ya jagoranci jagorancin da aka ambata.

Kumburi a cikin 70s. A cikin sanannen yaki tsakanin "glukkists da picchinnists", "London" Bach ya fi dacewa a gefen karshen. Ba don komai ba ne, ba tare da jinkiri ba, ya ba da nau'in nasa na Gluck's Orpheus, yana ba da, tare da haɗin gwiwar Guglielmi, wannan wasan opera na farko na sake fasalin tare da shigar da lambobi (!), don haka ya sami sikelin da ake bukata don nishaɗin maraice. "Novelty" ya samu nasarar gudanar da shi a London na yanayi da yawa (1769-73), sannan Bach ya fitar dashi zuwa Naples (1774).

Wasan wasan kwaikwayo na Johann Kirista da kansa, wanda aka kera bisa ga sanannun makircin "wasan kwaikwayo a cikin tufafi", ya kasance tun tsakiyar karni na XNUMX. Libretto na nau'in metastasian, a waje ba ya banbanta da yawan sauran opases na wannan nau'in. Wannan ita ce mafi ƙarancin halittar mawaƙa-mawallafin wasan kwaikwayo. Ƙarfinsu ya ta'allaka ne a wani wuri: a cikin karimci mai ban sha'awa, kamala na nau'i, "wadatar jituwa, kayan fasaha na sassa, sabon farin ciki na amfani da kayan aikin iska" (C. Burney).

Ayyukan kayan aiki na Bach suna da alamar ban mamaki iri-iri. Shahararrun rubuce-rubucensa, waɗanda aka rarraba a cikin jerin sunayen (kamar yadda suka ce sannan ga "masoyan nishaɗi", daga talakawan ƙasa zuwa membobin makarantun sarauta), halayen da suka saba wa juna (Johann Christian yana da aƙalla 3 bambance-bambancen sunansa: ban da haka. zuwa Jamusanci. Bach, Italiyanci. Bakki, Turanci. Bakk) kar a yarda da cikakken la'akari da duk abin da mawallafin ya halitta, wanda ya rufe kusan dukkanin nau'ikan kayan aiki na zamani.

A cikin ayyukansa na ƙungiyar makaɗa - overtures da symphonies - Johann Kirista ya tsaya a kan matsayi na farko na masu kishin gargajiya duka a cikin ginin gaba ɗaya (bisa ga tsarin gargajiya na "Neapolitan", da sauri - sannu a hankali - da sauri), kuma a cikin maganin orchestral, yawanci ya dogara. akan wurin da yanayin wakar. A cikin wannan ya bambanta duka biyu daga Mannheimers da kuma farkon Haydn, tare da ƙoƙarinsu don ƙaddamar da zagayowar da abubuwan da aka tsara. Duk da haka, akwai abubuwa da yawa a cikin kowa: a matsayin mai mulkin, matsananciyar sassan "London" Bach ya rubuta, bi da bi, a cikin nau'i na sonata allegro da kuma "nauyin da aka fi so na zamanin gallant - rondo" (Abert). Babban gudummawar da Johann Kirista ya bayar ga ci gaban concerto ya bayyana a cikin aikinsa a cikin nau'ikan iri da yawa. Waƙoƙin kade-kade ne na kayan kidan solo da yawa da ƙungiyar makaɗa, giciye tsakanin mawaƙin baroque grosso da kade-kade na solo na balagagge na gargajiya. Mafi shahara op. 18 ga masu soloists guda huɗu, suna jawo wadatar waƙa, nagarta, 'yancin yin gini. Duk wasu karatuttukan da Johann Christian ya yi, in ban da farkon opuses don iskar itace ( sarewa, oboe da bassoon, waɗanda aka ƙirƙira a lokacin karatunsa a ƙarƙashin Philipp Emanuel a Chapel Potsdam), an rubuta su ne don clavier, kayan aikin da ke da ma'ana ta zahiri a gare shi. . Ko da a farkon ƙuruciyarsa, Johann Kirista ya nuna kansa a matsayin ɗan wasa mai basira, wanda, a fili, ya cancanci mafi kyau, a ra'ayi na 'yan'uwa, kuma ba karamin kishi ba, wani ɓangare na gado: 3 mawaƙa. Mawakin kide-kide, malamin gaye, ya shafe tsawon rayuwarsa yana wasa da kayan aikin da ya fi so. An rubuta miniatures da sonata da yawa don clavier (ciki har da "darussa" masu hannu huɗu don ɗalibai da masu son sha'awa, masu sha'awar sabo da kamala na asali, ɗimbin samo asali, alheri da ƙayatarwa). Ba abin mamaki ba shine sake zagayowar shida sonatas don harpsichord ko "piano-forte" (1765), wanda Mozart ya shirya don clavier, violin biyu da bass. Matsayin clavier kuma yana da girma sosai a cikin ɗakin kiɗan Johann Christian.

Lu'u lu'u-lu'u na kayan aikin Johann Kirista shine tarin ayyukansa (quartets, quintets, sextets) tare da wani bangare na kwarai na daya daga cikin mahalarta. Babban kololuwar wannan matsayi shine Concerto for clavier and orchestra (ba kwatsam ba Johann Christian a shekara ta 1763 ya lashe taken “masanin kida” na sarauniya tare da kade-kade na clavier). Shi ne a gare shi cewa cancantar yana cikin ƙirƙirar sabon nau'in wasan kide-kide na clavier tare da bayyani biyu a cikin motsi 1.

Mutuwar Johann Kirista, ba a lura da mutanen Landan ba, Mozart ya gane shi a matsayin babbar asara ga duniyar kiɗa. Kuma kawai ƙarni bayan haka, fahimtar Mozart game da "darajar" mahaifinsa na ruhaniya ya zama duniya. "Fulun alheri da alheri, mafi kyawun 'ya'yan Sebastian ya ɗauki matsayinsa na cancanta a tarihin kiɗa."

T. Frumkis