Johann Strauss (da) |

Johann Strauss (da)

Mawaƙin Australiya I. Strauss ana kiransa "sarkin waltz". Ayyukansa suna cike da ruhin Vienna tare da al'adar soyayya don rawa. Ilhama mara ƙarewa haɗe tare da mafi girman fasaha ya sa Strauss ya zama na gaske na kiɗan rawa. Na gode masa, Waltz na Viennese ya wuce karni na XNUMX. kuma ya zama wani ɓangare na rayuwar kiɗan yau.

An haifi Strauss a cikin dangi mai arziki a al'adun kiɗa. Mahaifinsa, shi ma Johann Strauss, ya shirya nasa makada a cikin shekarar da aka haifi dansa kuma ya yi suna a duk faɗin Turai tare da waltzes, polkas, maci.

Mahaifin ya so ya mai da dansa dan kasuwa kuma ya ki yarda da karatunsa na kiɗa. Duk abin da ya fi daukar hankali shine babbar baiwar karamin Johann da sha'awar kida. A asirce daga mahaifinsa, yana ɗaukar darussan violin daga F. Amon (mataimaki na ƙungiyar mawaƙa ta Strauss) kuma yana ɗan shekara 6 ya rubuta waltz na farko. Wannan ya biyo bayan nazari mai tsanani game da abun da ke ciki a karkashin jagorancin I. Drexler.

A shekara ta 1844, Strauss mai shekaru goma sha tara ya tara ƙungiyar mawaƙa daga mawakan shekaru ɗaya kuma ya shirya da yamma na rawa na farko. Matashin debut ya zama kishiya mai hatsari ga mahaifinsa (wanda a wancan lokacin shi ne jagoran kungiyar makada ta kotun). Rayuwar kirkire-kirkire ta Strauss Jr. ta fara, sannu a hankali ta yi nasara kan tausayawar Viennese.

Mawaƙin ya bayyana a gaban ƙungiyar makaɗa tare da violin. Ya gudanar da wasa a lokaci guda (kamar yadda a zamanin I. Haydn da WA ​​Mozart), kuma ya ƙarfafa masu sauraro tare da nasa wasan kwaikwayo.

Strauss yayi amfani da nau'in waltz na Viennese wanda I. Lanner da mahaifinsa suka ci gaba: "garland" na da yawa, sau da yawa biyar, gine-gine na melodic tare da gabatarwa da ƙarshe. Amma kyau da sabo na karin waƙa, santsi da lyricism, Mozartian jituwa, m sauti na makada tare da ruhaniya violins raira waƙa, da cikar farin ciki na rayuwa - duk wannan ya juya Strauss ta waltzes cikin romantic wakoki. A cikin tsarin da aka yi amfani da shi, wanda aka yi niyya don kiɗan raye-raye, an ƙirƙiri ƙwararrun ƙwararru waɗanda ke ba da jin daɗi na gaske. Sunayen shirin Strauss waltzes sun nuna fa'idodi iri-iri da abubuwan da suka faru. A lokacin juyin juya halin 1848, "Songs of Freedom", "Songs na Barricades" da aka halitta, a 1849 - "Waltz-obituary" a kan mutuwar mahaifinsa. Halin maƙiya ga mahaifinsa (ya fara wani dangi da daɗewa) bai tsoma baki tare da sha'awar kiɗan sa ba (daga baya Strauss ya gyara cikakken tarin ayyukansa).

Sanannen mawakin yana karuwa a hankali kuma ya wuce iyakokin Austria. A 1847 ya yi yawon shakatawa a Serbia da Romania, a 1851 - a Jamus, Jamhuriyar Czech da Poland, sa'an nan, shekaru da yawa, kullum tafiya zuwa Rasha.

A cikin 1856-65. Strauss yana shiga cikin lokutan rani a Pavlovsk (kusa da St. Petersburg), inda ya ba da kide-kide a ginin tashar kuma, tare da kiɗan raye-raye, yana yin ayyukan mawaƙa na Rasha: M. Glinka, P. Tchaikovsky, A. Serov. Waltz "Farewell to St. Petersburg", da polka "A cikin Pavlovsk Forest", da piano fantasy "A cikin Rasha Village" (yi A. Rubinshtein) da sauransu suna hade da ra'ayoyi daga Rasha.

A cikin 1863-70. Strauss shine jagoran ƙwallayen kotu a Vienna. A cikin wadannan shekaru, an halicci mafi kyawun waltzes: "A kan Kyawawan Blue Danube", "The Life of Artist", "Tales of Vienna Woods", "Ji dadin Rayuwa", da dai sauransu. Kyauta mai ban sha'awa mai ban sha'awa (mawallafin ya ce: "Waƙar waƙa tana gudana daga gare ni kamar ruwa daga crane"), da kuma ƙarancin ikon yin aiki ya ba Strauss damar rubuta waltzes 168, polkas 117, quadrilles 73, fiye da 30 mazurkas da gallops, 43 Maris, da operettas 15 a rayuwarsa.

70s - farkon wani sabon mataki a cikin rayuwar m Strauss, wanda, a kan shawarar J. Offenbach, ya juya zuwa nau'in operetta. Tare da F. Suppe da K. Millöcker, ya zama mahaliccin operetta na gargajiya na Viennese.

Strauss ba ya sha'awar satirical daidaitawa na Offenbach's wasan kwaikwayo; a matsayin mai mulkin, ya rubuta wasan kwaikwayo na ban dariya, babban (kuma sau da yawa kawai) fara'a wanda shine kiɗa.

Waltzes daga operettas Die Fledermaus (1874), Cagliostro a Vienna (1875), The Queen's Lace Handkerchief (1880), Dare a Venice (1883), Viennese Blood (1899) da sauransu.

Daga cikin operettas na Strauss, Gypsy Baron (1885) ya fito fili tare da makirci mafi mahimmanci, wanda aka yi la'akari da shi a farkon wasan opera kuma yana ɗaukar wasu fasalulluka (musamman, hasken lyric-romantic na ainihin, zurfin ji: 'yanci, ƙauna, ɗan adam. mutunci).

Kiɗa na operetta yana yin amfani da yawa na Hungarian-Gypsy motifs da nau'o'in nau'ikan, kamar Čardas. A ƙarshen rayuwarsa, mawaƙin ya rubuta opera mai ban dariya kawai The Knight Pasman (1892) kuma yana aiki akan ballet Cinderella (ba a gama ba). Kamar yadda yake a baya, ko da yake a cikin ƙananan lambobi, waltzes daban-daban suna bayyana, cikakke, kamar yadda a cikin ƙananan shekarun su, na gaske fun da farin ciki mai ban sha'awa: "Spring Voices" (1882). "Imperial Waltz" (1890). Yawon shakatawa ba ya tsayawa: zuwa Amurka (1872), da kuma zuwa Rasha (1869, 1872, 1886).

R. Schumann da G. Berlioz, F. Liszt da R. Wagner sun yaba wa waƙar Strauss. G. Bulow da I. Brahms (tsohon abokin mawakin). Fiye da karni, ta mamaye zukatan mutane kuma ba ta rasa fara'arta.

K. Zankin

Johann Strauss ya shiga tarihin kiɗa na karni na XNUMX a matsayin babban masanin rawa da kiɗa na yau da kullun. Ya kawo cikinsa fasali na fasaha na gaske, zurfafawa da haɓaka halaye na al'ada na al'adun gargajiya na Austrian. Mafi kyawun ayyukan Strauss suna halin juiciness da sauƙi na hotuna, wadatar waƙa marar ƙarewa, ikhlasi da dabi'ar harshe na kiɗa. Duk wannan ya ba da gudummawa ga gagarumin shaharar su a tsakanin ɗimbin masu sauraro.

Strauss ya rubuta waltzes ɗari huɗu da saba'in da bakwai, polkas, quadrilles, maci da sauran ayyukan wasan kwaikwayo da tsarin gida (ciki har da kwafi na operettas). Dogaro da raye-raye da sauran hanyoyin bayyana raye-rayen jama'a yana ba wa waɗannan ayyukan babban tasiri na ƙasa. Masu zamani da ake kira Strauss waltzes wakokin kishin kasa ba tare da kalmomi ba. A cikin hotuna na kiɗa, ya nuna mafi kyawun gaskiya kuma mai ban sha'awa na halin mutanen Austriya, kyawawan yanayin ƙasarsa. A lokaci guda kuma, aikin Strauss ya mamaye fasalin sauran al'adun ƙasa, musamman ma kiɗan Hungarian da Slavic. Wannan ya shafi abubuwa da yawa ga ayyukan da Strauss ya ƙirƙira don wasan kwaikwayo na kiɗa, gami da operettas goma sha biyar, wasan opera mai ban dariya ɗaya da ballet ɗaya.

Manyan mawaƙa da ƴan wasan kwaikwayo – Mutanen zamanin Strauss sun yaba da babban hazakarsa da ƙwarewar aji na farko a matsayin mawaki da jagora. "Mai sihiri mai ban mamaki! Ayyukansa (shi da kansa ya gudanar da su) sun ba ni jin daɗin kiɗan da na daɗe ban taɓa samu ba,” Hans Bülow ya rubuta game da Strauss. Sannan ya kara da cewa: “Wannan haziki ce ta gudanar da fasaha a cikin yanayin kananan nau’insa. Akwai wani abu da za a koya daga Strauss don wasan kwaikwayon Symphony na tara ko Beethoven's Pathétique Sonata." Kalmomin Schumann su ma abin lura ne: “Abubuwa biyu a duniya suna da wuyar gaske,” in ji shi, “na farko, don samun suna, na biyu kuma, kiyaye ta. Masanan gaskiya ne kawai suka yi nasara: daga Beethoven zuwa Strauss - kowanne a hanyarsa. Berlioz, Liszt, Wagner, Brahms sun yi magana da ƙwazo game da Strauss. Tare da jin tausayi mai zurfi Serov, Rimsky-Korsakov da Tchaikovsky sun yi magana game da shi a matsayin mai yin wasan kwaikwayo na Rasha. Kuma a cikin 1884, lokacin da Vienna ta yi bikin cika shekaru 40 na Strauss, A. Rubinstein, a madadin masu fasaha na St.

Irin wannan yarda baki ɗaya game da cancantar fasaha na Strauss ta mafi yawan wakilan fasahar fasahar ƙarni na XNUMX ya tabbatar da fitaccen mashahurin wannan fitaccen mawaƙin, wanda mafi kyawun ayyukansa har yanzu yana ba da kyakkyawar ni'ima.

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Strauss yana da alaƙa da alaƙa da rayuwar kiɗan Viennese, tare da haɓakawa da haɓaka al'adun dimokuradiyya na kiɗan Australiya na karni na XNUMX, wanda ya bayyana a fili a fagen rawa na yau da kullun.

Tun daga farkon karni, ƙananan kayan aiki na kayan aiki, waɗanda ake kira "chapels", sun kasance sananne a cikin yankunan Viennese, suna yin raye-rayen manoma, Tyrolean ko Styrian raye-raye a cikin gidajen abinci. Shugabannin majami'u sun dauki aikin girmamawa ne don ƙirƙirar sabbin kiɗan nasu. Lokacin da wannan kida na yankunan Viennese ya shiga cikin manyan dakunan birnin, sunayen wadanda suka kirkiro shi ya zama sananne.

Don haka wadanda suka kafa "daular waltz" sun zo ga daukaka Joseph Lanner (1801-1843). Johann Strauss Babban (1804-1849). Na farkonsu ɗan mai yin safar hannu ne, na biyu ɗan maƙiyi; Dukansu tun daga shekarun ƙuruciyarsu suna taka rawa a ƙungiyar mawaƙa, kuma tun 1825 sun riga sun sami nasu ƙananan ƙungiyar makaɗa. Ba da daɗewa ba, duk da haka, Liner da Strauss sun bambanta - abokai sun zama abokan hamayya. Kowa ya yi fice wajen ƙirƙirar sabon repertoire ga ƙungiyar makaɗarsa.

Kowace shekara, adadin masu fafatawa yana ƙaruwa da yawa. Kuma duk da haka kowa yana lulluɓe da Strauss, wanda ke yin rangadin Jamus, Faransa, da Ingila tare da ƙungiyar makaɗarsa. Suna gudu da gagarumar nasara. Amma, a ƙarshe, yana da abokin hamayya, wanda ya fi hazaka da ƙarfi. Wannan shi ne dansa, Johann Strauss Jr., wanda aka haifa Oktoba 25, 1825.

A cikin 1844, I. Strauss mai shekaru goma sha tara, bayan da ya ɗauki mawaƙa goma sha biyar, ya shirya maraice na rawa na farko. Daga yanzu gwagwarmayar neman fifiko a Vienna ta fara ne tsakanin uba da ɗa, Strauss Jr. sannu a hankali ya mamaye duk wuraren da ƙungiyar makaɗar mahaifinsa ta yi mulki a baya. "Duel" ya kasance na ɗan lokaci na kusan shekaru biyar kuma an yanke shi ta hanyar mutuwar Strauss Sr mai shekaru arba'in da biyar. (Duk da yanayin da ake ciki na sirri, Strauss Jr. ya yi alfahari da basirar mahaifinsa. A cikin 1889, ya buga raye-rayensa a cikin littattafai guda bakwai (waltzes dari biyu da hamsin, gallops da quadrilles), inda a cikin gabatarwa, da sauran abubuwa, ya rubuta. : "Ko da yake a gare ni, a matsayina , bai dace a yi tallan uba ba, amma dole ne in ce godiya gare shi ne waƙar rawa ta Viennese ta yadu a duniya.")

A wannan lokacin, wato, a farkon shekarun 50s, shahararren ɗansa na Turai ya ƙarfafa.

Mahimmanci game da wannan ita ce gayyatar Strauss na lokacin rani zuwa Pavlovsk, wanda ke cikin wani yanki mai ban sha'awa kusa da St. Petersburg. Don yanayi goma sha biyu, daga 1855 zuwa 1865, da kuma a 1869 da 1872, ya zagaya Rasha tare da ɗan'uwansa Yusufu, wani talented mawaki da shugaba. (Joseph Strauss (1827-1870) sau da yawa rubuta tare da Johann; don haka, marubucin sanannen Polka Pizzicato na duka biyu ne. Akwai kuma ɗan'uwa na uku - Edward, wanda kuma ya yi aiki a matsayin mawaƙin rawa da madugu. A 1900, ya narkar da sujada, wanda, kullum sabunta da abun da ke ciki, ya wanzu a karkashin jagorancin Strauss fiye da saba'in shekaru.)

Kade-kaden, wanda aka yi daga watan Mayu zuwa Satumba, ya samu halartar dubban masu sauraro, kuma sun kasance tare da samun nasara mara misaltuwa. Johann Strauss ya mai da hankali sosai ga ayyukan mawaƙa na Rasha, ya yi wasu daga cikinsu a karon farko (nazari daga Judith na Serov a 1862, daga Voyevoda na Tchaikovsky a 1865); Tun daga shekara ta 1856, sau da yawa ya gudanar da ayyukan Glinka, kuma a cikin 1864 ya keɓe masa wani shiri na musamman. Kuma a cikin aikinsa, Strauss ya nuna jigon Rasha: an yi amfani da waƙoƙin jama'a a cikin waltz "Farewell to Petersburg" (op. 210), "Rasha Fantasy Maris" (op. 353), piano fantasy "A cikin Rasha Village" (op. 355, sau da yawa A. Rubinstein ya yi ta) da sauransu. Johann Strauss koyaushe yana tunawa da farin ciki shekarun da ya yi a Rasha (Lokaci na ƙarshe Strauss ya ziyarci Rasha a cikin 1886 kuma ya ba da kide-kide goma a Petersburg.).

Mataki na gaba na yawon shakatawa na nasara kuma a lokaci guda wani juyi a cikin tarihin rayuwarsa shine tafiya zuwa Amurka a 1872; Strauss ya ba da kide-kide goma sha hudu a Boston a cikin wani gini na musamman da aka gina don masu sauraro dubu dari. Wasan ya sami halartar mawaƙa dubu ashirin - mawaƙa da ƴan wasan kaɗe-kaɗe da masu jagoranci ɗari - mataimakan Strauss. Irin wannan kide-kide na “dodo”, wanda aka haife shi daga kasuwancin bourgeois mara tushe, bai ba wa mawaƙa gamsuwar fasaha ba. A nan gaba, ya ƙi irin waɗannan balaguron, kodayake suna iya kawo kuɗi mai yawa.

Gabaɗaya, tun daga wannan lokacin, tafiye-tafiye na shagali na Strauss ya ragu sosai. Yawan raye-raye da raye-rayen da ya yi su ma suna raguwa. (A cikin shekarun 1844-1870, an rubuta raye-raye da raye-raye na ɗari uku da arba'in da biyu; a cikin shekarun 1870-1899, irin wannan wasan kwaikwayo ɗari da ashirin, ba tare da la'akari da daidaitawa, fantasies, da medleys a kan jigogi na operettas ba. .)

Lokaci na biyu na kerawa ya fara, galibi yana da alaƙa da nau'in operetta. Strauss ya rubuta aikinsa na kiɗa da wasan kwaikwayo na farko a cikin 1870. Tare da ƙarfin gajiya, amma tare da nasara iri-iri, ya ci gaba da aiki a cikin wannan nau'in har zuwa kwanakinsa na ƙarshe. Strauss ya mutu a ranar 3 ga Yuni, 1899 yana da shekaru saba'in da hudu.

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Johann Strauss ya sadaukar da shekaru hamsin da biyar don ƙirƙira. Yana da ƙwazo da ba kasafai yake yi ba, yana yin ƙira a kowane yanayi. "Waƙar waƙa na gudana daga gare ni kamar ruwa daga famfo," in ji shi cikin zolaya. A cikin babban gadon Strauss, duk da haka, ba komai daidai yake ba. Wasu daga cikin rubuce-rubucensa suna ɗauke da alamun gaggawa, aikin rashin kulawa. Wani lokaci mawaƙin ya kasance yana jagorancin ɗanɗanon fasaha na masu sauraronsa na baya. Amma a gaba ɗaya, ya yi nasarar magance ɗaya daga cikin matsalolin da suka fi wahala a zamaninmu.

A cikin shekarun da ƙananan wallafe-wallafen salon salon kiɗa, waɗanda ƙwararrun ƴan kasuwa na bourgeois ke rarrabawa, suna da illa ga ilimin ɗabi'a na mutane, Strauss ya ƙirƙiri ayyukan fasaha na gaske, masu isa da fahimta ga talakawa. Tare da ma'auni na gwaninta a cikin fasaha na "mahimmanci", ya kusanci kiɗan "haske" don haka ya sami damar share layin da ya raba nau'in "high" (concert, theatrical) daga abin da ake tsammani "ƙananan" (na gida, nishaɗi). Sauran manyan mawakan da suka gabata sun yi haka, alal misali, Mozart, wanda babu wani bambance-bambance na asali tsakanin "high" da "ƙananan" a cikin fasaha. Amma yanzu akwai wasu lokuta - hare-haren ɓatanci na bourgeois da falsafanci da ake buƙatar fuskantar shi tare da sabuntawa na fasaha, haske, nau'in nishadi.

Wannan shi ne abin da Strauss ya yi.

M. Druskin

Gajeren jerin ayyuka:

Ayyukan shirin kide kide-kide na cikin gida waltzes, polkas, quadrilles, maci da sauransu (jimlar guda 477) Shahararru sune: “Perpetuum mobile” (“Perpetual motion”) op. 257 (1867) "Leaf Morning", waltz op. 279 (1864) Kwallon Lauyoyin, polka op. 280 (1864) "Maris na Farisa" op. 289 (1864) "Blue Danube", waltz op. 314 (1867) "The Life of Artist", Waltz op. 316 (1867) "Tales of Vienna Woods", waltz op. 325 (1868) "Ku yi murna a rayuwa", Waltz op. 340 (1870) "Dare 1001", waltz (daga operetta "Indigo da barayi 40") op. 346 (1871) "Jinin Viennese", waltz op. 354 (1872) "Tick-tock", polka (daga operetta "Die Fledermaus") op. 365 (1874) "Kai da Kai", waltz (daga operetta "The Bat") op. 367 (1874) "Beautiful May", waltz (daga operetta "Methuselah") op. 375 (1877) "Roses daga Kudu", waltz (daga operetta "The Queen's Lace Handkerchief") op. 388 (1880) "The Kissing Waltz" (daga operetta "Merry War") op. 400 (1881) "Spring Voices", waltz op. 410 (1882) "Waltz da aka fi so" (dangane da "The Gypsy Baron") op. 418 (1885) "Imperial Waltz" op. 437 "Pizzicato Polka" (tare da Josef Strauss) Operattas (jimilla 15) Mafi shahara sune: Bat, libretto na Meilhac da Halévy (1874) Dare a Venice, libretto na Zell da Genet (1883) The Gypsy Baron, libretto na Schnitzer (1885) wasan kwaikwayo na ban dariya "Knight Pasman", libretto na Dochi (1892) Rawa Cinderella (bayan an buga shi)