Johannes Brahms |

Johannes Brahms

Muddin akwai mutanen da suke da ikon amsa waƙar da dukan zuciyarsu, kuma idan dai irin wannan martani ne da kiɗan Brahms zai haifar a cikin su, wannan waƙar za ta rayu. G. Wuta

Shigar da rayuwar kiɗa a matsayin magajin R. Schumann a cikin soyayya, J. Brahms ya bi hanyar aiwatar da fa'ida da daidaikun mutane na al'adun zamani daban-daban na kiɗan Jamus-Austriya da al'adun Jamus gabaɗaya. A lokacin ci gaban sabbin nau'ikan shirye-shirye da kiɗan wasan kwaikwayo (by F. Liszt, R. Wagner), Brahms, wanda ya juya galibi zuwa nau'ikan kayan aiki na gargajiya da nau'ikan nau'ikan, ya zama kamar ya tabbatar da fa'ida da hangen nesa, yana wadatar da su da fasaha da fasaha. halin mai fasaha na zamani. Ƙwayoyin murya (solo, ensemble, choral) ba su da mahimmanci, wanda yawancin al'adun gargajiya ke jin dadi - daga gwaninta na Renaissance zuwa kiɗa na yau da kullum da kuma waƙoƙin soyayya.

An haifi Brahms a cikin dangin kiɗa. Mahaifinsa, wanda ya bi ta hanya mai wahala daga mawaƙin fasaha mai yawo zuwa bassist biyu tare da ƙungiyar makaɗar Philharmonic ta Hamburg, ya bai wa ɗansa basirar farko wajen kunna kidan kirtani da iska iri-iri, amma Johannes ya fi sha'awar piano. Nasarar karatu tare da F. Kossel (daga baya - tare da sanannen malamin E. Marksen) ya ba shi damar shiga cikin ɗakin ɗakin ɗaki yana da shekaru 10, kuma a 15 - don ba da kide-kide na solo. Tun yana karami, Brahms ya taimaka wa mahaifinsa ya tallafa wa iyalinsa ta hanyar buga piano a gidajen ruwa na tashar jiragen ruwa, yin shirye-shirye don mawallafin Kranz, yin aikin pianist a gidan wasan opera, da sauransu. Dan wasan violin na Hungary E. Remenyi (daga waƙoƙin jama'a da aka yi a cikin kide kide da wake-wake, sanannen "Rawan Hungarian" don piano a cikin hannayen 1853 da 4 daga baya an haife shi), ya riga ya kasance marubucin ayyuka masu yawa a cikin nau'ikan nau'ikan daban-daban, galibi an lalata su.

Rubuce-rubucen farko da aka buga (3 sonatas da scherzo don pianoforte, waƙoƙi) sun bayyana farkon balagagge na mawaki mai shekaru ashirin. Sun taso da sha'awar Schumann, ganawar da wanda a cikin kaka na 1853 a Düsseldorf ya ƙaddara dukan rayuwa na gaba na Brahms. Waƙar Schumann (tasirinsa ya kasance musamman kai tsaye a cikin Sonata na Uku - 1853, a cikin Bambance-bambance akan Jigo na Schumann - 1854 kuma a ƙarshen ballads huɗu - 1854), duk yanayin gidansa, kusancin abubuwan fasaha ( a cikin ƙuruciyarsa, Brahms, kamar Schumann, ya kasance mai sha'awar wallafe-wallafen soyayya - Jean-Paul, TA Hoffmann, da Eichendorff, da dai sauransu) ya yi tasiri sosai a kan matashin mawaki. A lokaci guda kuma, alhakin makomar kiɗan Jamus, kamar dai Schumann ya ba da amana ga Brahms (ya ba da shawarar shi ga masu wallafa Leipzig, ya rubuta wani labarin mai ban sha'awa game da shi "Sabuwar Hanyoyi"), ba da daɗewa ba wani bala'i (wani kisan kai). yunƙurin da Schumann ya yi a 1854, zamansa a asibiti don masu tabin hankali, inda Brahms ya ziyarce shi, a ƙarshe, mutuwar Schumann a 1856), wani yanayi na soyayya na ƙauna ga Clara Schumann, wanda Brahms ya taimaka sosai a cikin waɗannan kwanaki masu wahala - duk wannan. ya tsananta tsananin ƙarfin kiɗan Brahms, da guguwar tashin hankali (concerto na farko na piano da ƙungiyar kade-kade - 1854-59; zane-zane na Symphony na Farko, Piano Quartet na uku, an kammala da yawa daga baya).

Bisa ga hanyar tunani, Brahms a lokaci guda ya kasance mai mahimmanci a cikin sha'awar haƙƙin mallaka, don tsauraran tsari na ma'ana, halayyar fasahar gargajiya. An ƙarfafa waɗannan fasalulluka musamman tare da ƙaura na Brahms zuwa Detmold (1857), inda ya ɗauki matsayin mawaƙa a gidan sarauta, ya jagoranci ƙungiyar mawaƙa, ya yi nazarin maki na tsoffin masters, GF Handel, JS Bach, J. Haydn. da WA Mozart, sun ƙirƙira ayyuka a cikin nau'ikan halayen kiɗan na ƙarni na 2. (1857 serenades na ƙungiyar makaɗa - 59-1860, ƙungiyoyin mawaƙa). Har ila yau, azuzuwa ne suka haɓaka sha'awar kiɗan choral ta hanyar azuzuwan tare da ƙungiyar mawakan mata mai son a Hamburg, inda Brahms ya dawo a cikin 50 (ya kasance mai sha'awar iyayensa da garinsa na haihuwa, amma bai taɓa samun aiki na dindindin a can wanda ya gamsar da burinsa ba). Sakamakon kerawa a cikin 60s - farkon 2s. Ƙungiyoyin ɗaki tare da sa hannu na piano sun zama manyan ayyuka, kamar dai maye gurbin Brahms tare da wasan kwaikwayo (1862 quartets - 1864, Quintet - 1861), da kuma bambancin hawan keke (Bambancin da Fugue akan Jigo na Handel - 2, 1862 littattafan rubutu na Bambance-bambance a kan Jigo na Paganini - 63-XNUMX) su ne misalai masu ban mamaki na salon piano.

A cikin 1862, Brahms ya tafi Vienna, inda a hankali ya zauna don zama na dindindin. Kyauta ga al'adar Viennese (ciki har da Schubert) al'adar kiɗan yau da kullun sune waltzes don piano a cikin 4 da 2 hannayensu (1867), da kuma "Songs of Love" (1869) da "Sabuwar Waƙoƙin Ƙauna" (1874) - waltzes don piano a cikin hannaye 4 da quartet na murya, inda Brahms wani lokaci yakan shiga cikin hulɗa da salon "sarkin waltzes" - I. Strauss (ɗa), wanda ya yaba wa kiɗa. Har ila yau, Brahms yana samun daraja a matsayin mai wasan pianist (ya yi tun 1854, musamman ma da son rai ya taka rawar piano a cikin ɗakunan ɗakinsa, ya buga Bach, Beethoven, Schumann, nasa ayyukan, tare da mawaƙa, ya yi tafiya zuwa Jamus Switzerland, Denmark, Holland, Hungary. , zuwa garuruwa daban-daban na Jamus), da kuma bayan wasan kwaikwayon a cikin 1868 a Bremen na "Jamus Requiem" - aikinsa mafi girma (na mawaƙa, soloists da ƙungiyar makaɗa akan matani daga Littafi Mai-Tsarki) - kuma a matsayin mawaki. Ƙarfafa ikon Brahms a Vienna ya ba da gudummawa ga aikinsa a matsayinsa na shugaban ƙungiyar mawaƙa na Kwalejin Waƙa (1863-64), sannan kuma ƙungiyar mawaƙa da ƙungiyar mawaƙa ta Society of Music Lovers (1872-75). Ayyukan Brahms sun kasance masu ƙarfi wajen gyara ayyukan piano na WF Bach, F. Couperin, F. Chopin, R. Schumann na gidan bugawa Breitkopf da Hertel. Ya ba da gudummawa ga buga ayyukan A. Dvorak, sannan ɗan ƙaramin mawaki, wanda ya ba Brahms goyon baya da kuma sa hannu a cikin makomarsa.

Cikakken balagaggen ƙirƙira an yi masa alama ta roƙon Brahms zuwa wasan kwaikwayo (Na Farko - 1876, Na biyu - 1877, Na uku - 1883, Na huɗu - 1884-85). A kan hanyoyin aiwatar da wannan babban aikinsa na rayuwarsa, Brahms yana haɓaka ƙwarewarsa a cikin kirtani guda uku (Na Farko, Na Biyu - 1873, Na Uku - 1875), a cikin Variations Orchestral akan Jigo na Haydn (1873). Hotunan da ke kusa da wasan kwaikwayo suna kunshe a cikin "Song of Fate" (bayan F. Hölderlin, 1868-71) da kuma a cikin "Song of Parks" (bayan IV Goethe, 1882). Haske da haɗin kai na Violin Concerto (1878) da Concerto na Biyu na Piano (1881) sun nuna ra'ayoyin tafiye-tafiye zuwa Italiya. Tare da yanayinsa, da kuma yanayin Ostiriya, Switzerland, Jamus (Brahms yawanci ana haɗa shi a cikin watanni na rani), ra'ayoyin da yawa na ayyukan Brahms suna haɗuwa. Yaduwarsu a Jamus da kuma ƙasashen waje an sauƙaƙe ta hanyar ayyukan ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararru G. Bülow, shugabar ƙungiyar mawaƙa ta Meiningen a Jamus; violinist I. Joachim (abokin Brahms na kurkusa), jagoran 'yan quartet da soloist; mawaki J. Stockhausen da sauransu. Chamber ensembles na daban-daban qagaggun (3 sonatas ga violin da piano - 1878-79, 1886, 1886-88; Na biyu sonata for cello da piano - 1886; 2 trios ga violin, cello da piano - 1880-82 , 1886; 2 string - 1882, 1890), Concerto for violin da cello and orchestra (1887), ayyuka na mawaka cappella sun cancanci abokan wasan kwaikwayo. Waɗannan su ne daga ƙarshen 80s. ya shirya sauyi zuwa ƙarshen lokacin kerawa, wanda aka yiwa alama ta rinjayen nau'ikan ɗakin.

Mai tsananin buqatar kansa, Brahms, yana tsoron gajiyawar tunaninsa, ya yi tunani game da dakatar da ayyukan da yake yi. Duk da haka, wani taro a cikin bazara na 1891 tare da clarinetist na Meiningen Orchestra R. Mülfeld ya sa shi ƙirƙirar Trio, Quintet (1891), sannan kuma sonatas biyu (1894) tare da clarinet. A layi daya, Brahms ya rubuta guda 20 piano (op. 116-119), wanda, tare da clarinet ensembles, ya zama sakamakon binciken kirkire-kirkire na mawaki. Wannan shi ne ainihin gaskiya ga Quintet da piano intermezzo - "zuciya na bayanin kula mai ban tausayi", hade da tsanani da kuma amincewa da furci na lyrical, sophistication da sauƙi na rubuce-rubuce, da duk abin da ke daɗaɗɗa na intonations. Tarin wakokin jama'a na 1894 na Jamus (na murya da piano) da aka buga a cikin 49 shaida ce ta kulawar Brahms akai-akai ga waƙar jama'a - kyakkyawan ɗabi'a da kyan gani. Brahms ya tsunduma cikin shirye-shiryen waƙoƙin jama'a na Jamus (ciki har da mawakan cappella) a tsawon rayuwarsa, yana kuma sha'awar waƙoƙin Slavic (Czech, Slovak, Serbian), yana mai da halayensu a cikin waƙoƙinsa bisa ga rubutun jama'a. “Maɗaukakin Ƙwaƙwalwar Waƙa guda huɗu” don murya da piano (wani irin solo cantata akan matani daga Littafi Mai-Tsarki, 1895) da kuma 11 choral organ preludes (1896) sun ƙara “waddan ruhaniya” mawaƙin tare da roko ga nau'o'i da hanyoyin fasaha na Bach. zamanin, kamar yadda yake kusa da tsarin waƙarsa, da kuma nau'ikan jama'a.

A cikin kiɗan nasa, Brahms ya ƙirƙiri hoto na gaskiya da sarƙaƙƙiya na rayuwar ruhun ɗan adam - hadari a cikin kwatsam kwatsam, tsayin daka da jajircewa wajen shawo kan cikas a ciki, farin ciki da fara'a, ladabi mai laushi kuma wani lokacin gaji, hikima da tsauri, mai tausayi da kuma ruhi. . Sha'awar samun tabbataccen ƙuduri na rikice-rikice, don dogaro da kwanciyar hankali da madawwamiyar dabi'un rayuwar ɗan adam, wanda Brahms ya gani a cikin yanayi, waƙar jama'a, a cikin fasahar manyan mashahuran da suka gabata, a cikin al'adun gargajiyar ƙasarsa. , A cikin sauƙin ɗan adam farin ciki, ana haɗa shi akai-akai a cikin kiɗansa tare da ma'anar rashin daidaituwa, haɓaka rikice-rikice masu ban tsoro. 4 kauna na Brahms suna nuna bangarori daban-daban na halayensa. A cikin Farko, wanda zai gaje shi kai tsaye ga sha'awar Beethoven, zazzagewar gamuwa mai ban mamaki nan da nan an warware shi a cikin wasan ƙarshe na waƙar farin ciki. Na biyu symphony, da gaske Viennese (a asalinsa - Haydn da Schubert), ana iya kiransa "alama ta farin ciki." Na uku - mafi romantic na dukan sake zagayowar - ya tafi daga sha'awar maye tare da rayuwa zuwa m damuwa da wasan kwaikwayo, ba zato ba tsammani ya koma gaban "madawwamiyar kyakkyawa" na yanayi, mai haske da haske safiya. Symphony na Hudu, nasarar nasarar Brahms' symphonism, tana tasowa, bisa ga ma'anar I. Sollertinsky, "daga legy zuwa bala'i." Girman da Brahms ya gina - mafi girma a cikin rabi na biyu na karni na XIX. - gine-gine ba ya ware gabaɗaya zurfin waƙoƙin sautin da ke cikin dukkan waƙoƙin taɗi kuma wanda shine "babban maɓalli" na kiɗan sa.

E. Tsareva

Zurfafa cikin abun ciki, cikakke a cikin fasaha, aikin Brahms yana cikin manyan nasarorin fasaha na al'adun Jamus a cikin rabin na biyu na karni na XNUMX. A cikin mawuyacin lokaci na ci gabanta, a cikin shekarun rikice-rikice na akida da fasaha, Brahms ya zama magaji kuma mai ci gaba. na gargajiya hadisai. Ya wadata su da nasarorin da Jamusawa suka samu soyayyar soyayya. Matsaloli masu girma sun taso a hanya. Brahms ya nemi ya shawo kansu, ya juya zuwa ga fahimtar gaskiyar ruhin kiɗan jama'a, mafi kyawun damar bayyana mawakan kidan na baya.

"Waƙar jama'a ita ce manufata," in ji Brahms. Ko a lokacin kuruciyarsa, ya yi aiki da mawakan karkara; daga baya ya dauki lokaci mai tsawo a matsayin madugu na mawaka kuma, ko da yaushe yana nufin waƙar jama'ar Jamus, inganta ta, sarrafa ta. Shi ya sa waƙarsa ke da irin waɗannan abubuwan na musamman na ƙasa.

Tare da kulawa sosai da sha'awa, Brahms ya kula da kiɗan jama'a na wasu ƙasashe. Mawaƙin ya yi wani muhimmin ɓangare na rayuwarsa a Vienna. A zahiri, wannan ya haifar da haɗa abubuwa na musamman na al'ummar Austrian a cikin kiɗan Brahms. Vienna kuma ta ƙaddara babban mahimmancin kiɗan Hungarian da Slavic a cikin aikin Brahms. "Slavicisms" ana iya fahimta a fili a cikin ayyukansa: a cikin jujjuyawar da ake amfani da su akai-akai da rhythms na Czech polka, a wasu fasahohin ci gaban innation, daidaitawa. Haɓaka da kaɗe-kaɗe na kiɗan jama'a na Hungary, galibi a cikin salon verbunkos, wato, a cikin ruhin tatsuniyoyi na birni, sun shafi ƙa'idodin Brahms da yawa. V. Stasov ya lura cewa shahararrun "Rawan Hungarian" na Brahms "sun cancanci ɗaukakarsu mai girma."

Shiga cikin tsarin tunani na wata ƙasa yana samuwa ga masu fasaha waɗanda ke da alaƙa ta zahiri da al'adun ƙasarsu. Irin wannan shine Glinka a cikin Sifen Overtures ko Bizet a cikin Carmen. Irin wannan shi ne Brahms, fitaccen mai fasaha na jama'ar Jamus, wanda ya juya ga abubuwan da suka shafi Slavic da Hungarian.

A cikin shekarunsa na raguwa, Brahms ya watsar da wata muhimmiyar magana: "Babban al'amura biyu na rayuwata sune haɗin kan Jamus da kuma kammala buga ayyukan Bach." Anan a cikin layi ɗaya akwai, zai zama kamar, abubuwa marasa misaltuwa. Amma Brahms, yawanci mai rowa da kalmomi, yana sanya ma'ana mai zurfi cikin wannan jumlar. Ƙaunar kishin ƙasa, muhimmiyar sha'awa ga makomar ƙasar uwa, bangaskiya mai ƙarfi ga ƙarfin mutane ta dabi'a tare da jin daɗin sha'awa da sha'awa ga nasarorin ƙasa na Jamus da Austriya. Ayyukan Bach da Handel, Mozart da Beethoven, Schubert da Schumann sun yi aiki a matsayin fitilun sa. Har ila yau, ya yi karatu sosai a tsohuwar waƙar polyphonic. Ƙoƙarin fahimtar tsarin ci gaban kiɗan, Brahms ya mai da hankali sosai ga batutuwan fasahar fasaha. Ya shigar da kalmomin hikima na Goethe a cikin littafinsa na rubutu: “Form (a cikin fasaha. — MD) an kafa shi ta dubban shekaru na ƙoƙarin manyan malamai, da wanda ke biye da su, da nisa daga iya sarrafa shi da sauri.

Amma Brahms bai rabu da sabon kiɗan ba: ya ƙi duk wani bayyanar da ke tattare da lalata a cikin fasaha, ya yi magana da jin tausayi na gaske game da yawancin ayyukan zamaninsa. Brahms ya yaba da "Meistersingers" da yawa a cikin "Valkyrie", kodayake yana da mummunan hali ga "Tristan"; ya yaba da kyautar waƙa da kayan aiki na gaskiya na Johann Strauss; yayi magana da zafi na Grieg; opera "Carmen" Bizet ya kira "wanda ya fi so"; a Dvorak ya sami "haƙiƙa, mai arziki, gwaninta." Zane-zane na fasaha na Brahms suna nuna shi a matsayin mai raye-raye, mawaƙin kai tsaye, baƙo ga keɓewar ilimi.

Wannan shi ne yadda ya bayyana a cikin aikinsa. Yana cike da abubuwan rayuwa masu kayatarwa. A cikin mawuyacin yanayi na gaskiyar Jamusanci na karni na XNUMX, Brahms yayi gwagwarmaya don haƙƙin haƙƙin mutum da 'yancin ɗan adam, ya raira waƙa da ƙarfin hali da ƙarfin hali. Waƙarsa tana cike da damuwa ga makomar mutum, tana ɗauke da kalaman soyayya da ta'aziyya. Tana da sautin rashin nutsuwa, tashin hankali.

Sadaɗi da sahihanci na kiɗan Brahms, kusa da Schubert, an fi bayyana su sosai a cikin waƙoƙin murya, waɗanda ke da matsayi mai mahimmanci a cikin al'adunsa na halitta. A cikin ayyukan Brahms kuma akwai shafuka masu yawa na waƙoƙin falsafa, waɗanda ke da halayen Bach. A cikin haɓaka hotunan waƙa, Brahms sau da yawa ya dogara da nau'ikan nau'ikan da ake da su da kuma abubuwan da suka faru, musamman tatsuniyar Austrian. Ya yi amfani da nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan, ya yi amfani da abubuwan raye-raye na mai gida, waltz, da chardash.

Waɗannan hotuna kuma suna nan a cikin ayyukan kayan aikin Brahms. A nan, siffofi na wasan kwaikwayo, soyayya na tawaye, m impetuosity sun fi bayyana, wanda ya kawo shi kusa da Schumann. A cikin kiɗan Brahms, akwai kuma hotuna masu cike da kuzari da ƙarfin hali, ƙarfin ƙarfin hali da ƙarfin almara. A wannan yanki, ya bayyana a matsayin ci gaba na al'adar Beethoven a cikin kiɗan Jamus.

Mummunan rikice-rikicen abun ciki yana cikin ɗaki-daki-daki-kayan aiki da ayyukan juyayi na Brahms. Suna sake yin wasan kwaikwayo mai ban sha'awa mai ban sha'awa, sau da yawa yanayi mai ban tsoro. Wadannan ayyukan suna da sha'awar labarin, akwai wani abu na rhapsodic a cikin gabatarwar su. Amma 'yancin faɗar albarkacin baki a cikin mafi muhimmanci ayyukan Brahms an hade tare da baƙin ƙarfe dabaru na ci gaba: ya yi kokarin tufatar da tafasar lava na romantic ji a cikin m na gargajiya siffofin. Mawallafin ya cika da ra'ayoyi da yawa; waƙarsa cike take da wadata ta alama, canjin yanayi dabam dabam, inuwa iri-iri. Haɗin su na kwayoyin halitta yana buƙatar aiki mai tsauri kuma daidaitaccen aikin tunani, babbar dabarar da ta tabbatar da alaƙar hotuna iri-iri.

Amma ba koyaushe ba kuma ba a cikin dukkan ayyukansa Brahms ya sami damar daidaita jin daɗin rai tare da tsauraran dabaru na ci gaban kiɗan ba. na kusa da shi romantic hotuna wani lokacin suna karo da classic hanyar gabatarwa. Matsakaicin rikicewa wani lokaci yakan haifar da rashin fahimta, rikicewar magana mai hazo, ya haifar da abubuwan da ba a gama su ba, rashin daidaituwar hotuna; a gefe guda, lokacin da aikin tunani ya sami fifiko akan motsin rai, kiɗan Brahms ya sami fa'idodi masu ma'ana, masu wuce gona da iri. (Tchaikovsky ya ga waɗannan kawai, nesa da shi, tarnaƙi a cikin aikin Brahms don haka ba zai iya tantance shi daidai ba. kiɗan Brahms, a cikin kalmominsa, "kamar dai tsokana da fushi da jin daɗin kiɗan"; ya gano cewa ya bushe. sanyi, hazo, marar iyaka)..

Amma gabaɗaya, rubuce-rubucensa suna ɗaukar hankali tare da ƙware mai ban sha'awa da saurin motsin rai a cikin isar da mahimman ra'ayoyi, aiwatar da su cikin ma'ana. Domin, duk da rashin daidaito na yanke shawara na fasaha na mutum ɗaya, aikin Brahms yana cike da gwagwarmaya don ainihin abun ciki na kiɗa, don manyan manufofin fasaha na ɗan adam.

Rayuwa da kuma hanyar kirkira

An haifi Johannes Brahms a arewacin Jamus, a Hamburg, ranar 7 ga Mayu, 1833. Mahaifinsa, wanda asalinsa daga dangin ƙauye ne, mawaƙin birni ne (mai kaho, daga baya mai kunna bass biyu). Yarancin mawakin ya wuce cikin bukata. Tun yana karami, yana dan shekara goma sha uku, ya riga ya yi wasa a matsayin dan wasan piano a wurin raye-raye. A cikin shekaru masu zuwa, yana samun kuɗi tare da darussan sirri, yana wasa a matsayin ɗan wasan pianist a cikin wasan kwaikwayo, kuma a wasu lokuta yana shiga cikin manyan kide-kide. A lokaci guda kuma, bayan da ya kammala kwas ɗin haɗakarwa tare da babban malami Eduard Marksen, wanda ya cusa masa son kiɗan gargajiya a cikinsa, ya tsara abubuwa da yawa. Amma ayyukan matasa Brahms ba kowa ne ya san shi ba, kuma don samun kuɗin dinari, dole ne mutum ya rubuta wasan kwaikwayo na salon salon da rubuce-rubuce, waɗanda ake buga su a ƙarƙashin wasu sunaye (kimanin opuses 150 gabaɗaya). Na yi,” in ji Brahms, yana tunawa da shekarun kuruciyarsa.

A cikin 1853 Brahms ya bar garinsu na haihuwa; tare da ɗan wasan violin Eduard (Ede) Remenyi, ɗan gudun hijirar siyasa na ƙasar Hungary, ya tafi yawon buɗe ido mai tsawo. Wannan lokacin ya haɗa da saninsa da Liszt da Schumann. Na farkonsu, da alherinsa da ya saba, ya yi wa mawaƙin da ba a san shi ba, da kunya da kunya, ɗan shekara ashirin. An yi masa liyafa mai zafi a Schumann. Shekaru goma sun wuce tun lokacin da ƙarshen ya daina shiga cikin New Musical Journal da ya halitta, amma, mamaki da basirar asali na Brahms, Schumann ya karya shiru - ya rubuta labarinsa na karshe mai suna "Sabuwar Hanyoyi". Ya kira matashin mawaƙin cikakken jagora wanda “yana bayyana ruhun zamanin.” Ayyukan Brahms, kuma a wannan lokacin ya riga ya kasance marubucin manyan ayyukan piano (a tsakanin su uku sonatas), ya jawo hankalin kowa da kowa: wakilan duka makarantun Weimar da Leipzig suna so su gan shi a cikin matsayi.

Brahms ya so ya nisanci kiyayyar wadannan makarantu. Amma ya faɗi a ƙarƙashin ƙaƙƙarfan fara'a na halayen Robert Schumann da matarsa, sanannen ƴan wasan pian Clara Schumann, wanda Brahms ya riƙe ƙauna da abota ta gaskiya cikin shekaru arba'in masu zuwa. Ra'ayoyin fasaha da yanke hukunci (da kuma ra'ayi, musamman a kan Liszt!) Na wannan ma'aurata masu ban mamaki ba su da tabbas a gare shi. Sabili da haka, lokacin da a cikin ƙarshen 50s, bayan mutuwar Schumann, gwagwarmayar akida don al'adun fasaha ya tashi, Brahms ya kasa shiga ciki. A cikin 1860, ya yi magana a cikin bugawa (don kawai lokacin rayuwarsa!) dukan mafi kyawun mawaƙa na Jamus. Saboda wani mummunan hatsari, tare da sunan Brahms, a karkashin wannan zanga-zangar akwai sa hannun matasa mawaƙa uku kawai (ciki har da fitaccen ɗan wasan violin Josef Joachim, abokin Brahms); sauran, an bar wasu sanannun sunaye a cikin jarida. Wannan harin, haka kuma, wanda aka haɗa cikin ƙaƙƙarfan sharuɗɗan da ba su dace ba, da yawa sun gamu da ƙiyayya da Wagner musamman.

Ba da daɗewa ba kafin wannan, wasan kwaikwayon Brahms tare da wasan kwaikwayo na Piano na Farko a Leipzig yana da alamar rashin nasara. Wakilan makarantar Leipzig sun amsa masa da mummunan kamar "Weimar". Don haka, ba zato ba tsammani daga wannan gaɓar teku, Brahms ya kasa manne da ɗayan. Mutum mai ƙarfin hali da daraja, shi, duk da matsalolin rayuwa da kuma hare-haren da 'yan Wagnerians masu tayar da hankali suka yi, bai yi sulhu ba. Brahms ya janye cikin kansa, ya kare kansa daga jayayya, a zahiri ya fice daga gwagwarmaya. Amma a cikin aikinsa ya ci gaba da shi: yana ɗaukar mafi kyawun kyawawan manufofin fasaha na makarantu biyu. tare da kiɗan ku tabbatar (duk da cewa ba koyaushe ba ne) rashin rabuwar ka'idodin akida, ƙasa da dimokuradiyya a matsayin tushen fasahar rayuwa ta gaskiya.

Farkon 60s shine, zuwa wani ɗan lokaci, lokacin rikici ga Brahms. Bayan guguwa da fadace-fadace, a hankali yakan zo ga fahimtar ayyukansa na kirkire-kirkire. A wannan lokacin ne ya fara aiki na dogon lokaci a kan manyan ayyuka na tsarin sauti-symphonic ("Jamus Requiem", 1861-1868), a kan Symphony na farko (1862-1876), ya nuna kansa sosai a fagen ɗakin. adabi (piano quartets, quintet, cello sonata). Ƙoƙarin shawo kan haɓakar soyayya, Brahms ya yi nazari sosai kan waƙoƙin jama'a, da kuma litattafan Viennese (waƙoƙi, ƙungiyoyin murya, mawaƙa).

1862 shine sauyi a rayuwar Brahms. Bai sami wani amfani ga ƙarfinsa a ƙasarsa ba, ya ƙaura zuwa Vienna, inda ya kasance har zuwa mutuwarsa. Dan wasan piano mai ban sha'awa kuma madugu, yana neman aiki na dindindin. Garin sa na Hamburg ya musanta hakan, inda ya yi masa rauni wanda ba ya warkewa. A Vienna, sau biyu ya yi ƙoƙari ya sami gindin zama a hidima a matsayin shugaban mawaƙa Chapel (1863-1864) da kuma jagoran Society of Friends of Music (1872-1875), amma ya bar waɗannan matsayi: ba su kawo ba. shi gamsuwa na fasaha da yawa ko amincin abin duniya. Matsayin Brahms ya inganta ne kawai a tsakiyar 70s, lokacin da ya sami karɓuwa ga jama'a. Brahms yana yin abubuwa da yawa tare da ayyukan wasan kwaikwayo da ɗakin ɗakinsa, ya ziyarci birane da yawa a Jamus, Hungary, Holland, Switzerland, Galicia, Poland. Ya ƙaunaci waɗannan tafiye-tafiye, sanin sababbin ƙasashe kuma, a matsayin mai yawon shakatawa, ya kasance sau takwas a Italiya.

70s da 80s shine lokacin balaga na ƙirƙira Brahms. A cikin wadannan shekaru, symphonies, violin da na biyu piano concertos, da yawa jam'iyya ayyuka (uku violin sonatas, na biyu cello, na biyu da na uku piano trios, uku kirtani quartets), songs, mawaka, vocal ensembles da aka rubuta. Kamar yadda ya gabata, Brahms a cikin aikinsa yana nufin mafi bambancin nau'ikan fasahar kiɗan (ban da wasan kwaikwayo na kiɗa kawai, kodayake zai rubuta opera). Yana ƙoƙari ya haɗa abun ciki mai zurfi tare da fahimtar dimokuradiyya don haka, tare da hadaddun kayan aiki na kayan aiki, yana ƙirƙirar kiɗa na tsarin yau da kullum mai sauƙi, wani lokaci don yin kida na gida (wayoyin murya "Waƙoƙin Ƙauna", "Rawan Hungarian", waltzes don piano. , da sauransu). Bugu da ƙari, yin aiki a cikin bangarorin biyu, mawaƙin ba ya canza yanayin kirkire-kirkirensa, yana amfani da fasaha mai ban sha'awa mai ban sha'awa a cikin shahararrun ayyukan kuma ba tare da rasa sauƙi da kwanciyar hankali a cikin waƙoƙin taɗi ba.

Faɗin hangen nesa na akida da fasaha na Brahms shima yana da alaƙa ta musamman wajen magance matsalolin ƙirƙira. Don haka, kusan lokaci guda, ya rubuta 'yan kasuwar biyu na gaba ɗaya (1858 da 1860), zagaye biyu na biyu (OP. 25); nan da nan bayan ƙarshen Requiem an dauki shi don "Wakokin Soyayya" (26-1861); tare da "Festive" ya haifar da "Tragic Overture" (51-1873); Na farko, wasan kwaikwayo na "tausayi" yana kusa da na biyu, "Pastoral" (1868-1869); Na uku, "jarumi" - tare da na hudu, "masifi" (1880-1881) (Domin jawo hankali ga manyan abubuwan da ke cikin abubuwan tarukan tarukan Brahms, ana nuna sunayensu na sharadi anan.). A lokacin rani na 1886, irin wannan sabanin ayyuka na jam'iyya Genre kamar ban mamaki na biyu Cello Sonata (op. 99), da haske, idyllic a yanayi na biyu Violin Sonata (op. 100), da almara na uku Piano Trio (op. 101). da sha'awar sha'awa, mai tausayi na Uku Violin Sonata (op. 108).

Kusa da ƙarshen rayuwarsa - Brahms ya mutu a ranar 3 ga Afrilu, 1897 - aikinsa na ƙirƙira ya raunana. Ya dauki cikin wasan kwaikwayo da wasu manyan abubuwan kade-kade da yawa, amma kawai daki-daki da wake-wake da aka gudanar. Ba wai kawai kewayon nau'ikan kunkuntar ba, kewayon hotuna sun ragu. Ba shi yiwuwa ba a gani a cikin wannan bayyanar da gajiyar ƙirƙira na mutum kaɗai ba, wanda ya ci nasara a gwagwarmayar rayuwa. Ciwon radadin da ya kai shi kabari (ciwon hanta) shima yayi tasiri. Duk da haka, waɗannan shekarun na ƙarshe kuma an yi alama ta wurin ƙirƙirar kiɗa na gaskiya, na ɗan adam, mai ɗaukaka kyawawan halaye masu kyau. Ya isa a ba da misali da piano intermezzos (op. 116-119), clarinet quintet (op. 115), ko Ƙaƙƙarfan waƙa guda huɗu (op. 121). Kuma Brahms ya kama ƙaunarsa marar ƙarewa ga fasahar jama'a a cikin tarin waƙoƙin jama'a arba'in da tara don murya da piano.

Siffofin salo

Brahms shine babban wakilin kiɗan Jamus na ƙarni na XNUMX, wanda ya haɓaka al'adun akida da fasaha na ci gaba na al'adun ƙasa. Amma aikinsa, ba tare da wasu sabani ba ne, domin ba koyaushe yake iya fahimtar hadaddun al’amuran zamani ba, ba a saka shi cikin gwagwarmayar zamantakewa da siyasa ba. Amma Brahms bai taɓa cin amanar manyan manufofin ɗan adam ba, bai yi sulhu da akidar bourgeois ba, ya ƙi duk wani abu na ƙarya, mai jujjuyawar al'ada da fasaha.

Brahms ya ƙirƙiri salon ƙirƙirar nasa na asali. Harshen kiɗansa yana da alamun ɗaiɗaikun halaye. Yawanci a gare shi shine waƙoƙin da ke da alaƙa da kiɗan jama'a na Jamusanci, wanda ke shafar tsarin jigogi, amfani da waƙoƙin waƙa bisa ga sautunan triad, kuma plagal yana jujjuya cikin tsoffin yadudduka na rubutun waƙa. Kuma plagality yana taka muhimmiyar rawa a cikin jituwa; sau da yawa, ana kuma amfani da ƙarami mai ƙarfi a cikin manyan, da babba a cikin ƙarami. Ayyukan Brahms ana siffanta su da asali na modal. The "fillickering" na manyan - ƙananan halayensa ne sosai. Don haka, babban manufar kiɗan Brahms za a iya bayyana ta hanyar makirci mai zuwa (makirci na farko yana nuna jigon babban ɓangaren Symphony na farko, na biyu - irin wannan jigon Symphony na Uku):

Rabon da aka bayar na kashi uku da na shida a cikin tsarin waƙar, da kuma dabarun ninkawa na uku ko na shida, sune abubuwan da Brahms suka fi so. Gabaɗaya, ana nuna shi ta hanyar girmamawa a kan mataki na uku, mafi mahimmanci a cikin canza launi na yanayin modal. Bambance-bambancen gyare-gyaren da ba zato ba tsammani, bambancin yanayi, babban-ƙananan yanayin, launin rawaya da manyan jitu - duk ana amfani da wannan don nuna bambancin, wadatar inuwar abun ciki. Matsakaicin kari, hadewar ko da da m mita, gabatarwar na uku-uku, dige-dige kari, syncopation a cikin santsi melodic line suma suna hidima ga wannan.

Ba kamar zagayen waƙoƙin murya ba, jigogin kayan aikin Brahms galibi suna buɗewa, wanda ke sa su wahalar haddace da fahimta. Irin wannan hali don "buɗe" iyakokin jigogi yana haifar da sha'awar jin daɗin kiɗa tare da ci gaba kamar yadda zai yiwu. (Taneyev kuma ya yi burin wannan.). BV Asafiev ya lura da kyau cewa Brahms ko da a cikin ƙananan waƙoƙin waƙa "ko'ina mutum ya ji. ci gaba".

Fassarar Brahms na ƙa'idodin siffatawa tana da alamar asali ta musamman. Ya kasance yana da masaniya game da kwarewa mai yawa da al'adun kiɗa na Turai suka tara, kuma, tare da tsare-tsare na yau da kullum, ya yi amfani da shi tun da daɗewa, zai zama kamar ba a yi amfani da su ba: irin waɗannan su ne tsohuwar nau'in sonata, bambancin suite, basso ostinato dabaru. ; Ya ba da nuni sau biyu a cikin kide kide, ya yi amfani da ka'idodin concerto grosso. Duk da haka, ba a yi haka ba don son salo ba, ba don ƙawata nau'ikan da ba a gama amfani da su ba: irin wannan cikakkiyar amfani da tsarin tsarin da aka kafa ya kasance na asali mai zurfi.

Ya bambanta da wakilan Liszt-Wagner Trend, Brahms ya so ya tabbatar da ikon haihuwa abun da ke ciki yana nufin canja wurin zamani gina tunani da ji, kuma a zahiri, tare da ƙirƙira, ya tabbatar da haka. Haka kuma, ya yi la'akari da mafi muhimmanci, muhimmanci wajen magana, zauna a cikin gargajiya music, a matsayin kayan aiki na gwagwarmaya da lalata nau'i, m arbitrariness. Abokin adawar ra'ayi a cikin fasaha, Brahms ya kare ka'idodin fasahar gargajiya. Ya juyo garesu shima domin yana neman danne fashe-fashen hasashe nasa mara misaltuwa, wanda ya mamaye zumudi, tashin hankali, rashin natsuwa. Ba ko da yaushe ya yi nasara a cikin wannan ba, a wasu lokuta manyan matsaloli sun taso wajen aiwatar da manyan tsare-tsare. Duk da dagewa Brahms ya yi da ƙirƙira ya fassara tsoffin sifofin da ka'idojin ci gaba. Ya shigo da sabbin abubuwa da yawa.

Babban darajar shi ne nasarorin da ya samu a cikin ci gaban ka'idodin ci gaba daban-daban, wanda ya haɗu da ka'idodin sonata. Dangane da Beethoven (duba bambancinsa guda 32 na piano ko wasan karshe na Symphony na Tara), Brahms ya samu sabanin ra'ayi, amma mai ma'ana, "ta" wasan kwaikwayo. Shaidar wannan ita ce Bambance-bambance akan jigo na Handel, akan jigo na Haydn, ko ƙwaƙƙwaran passacaglia na Symphony na huɗu.

A cikin fassarar sonata, Brahms kuma ya ba da mafita ga kowane mutum: ya haɗa 'yancin faɗar albarkacin baki tare da ma'anar ci gaba na al'ada, jin daɗin soyayya tare da ingantaccen tunani na tunani. Yawancin hotuna a cikin sigar abun ciki mai ban mamaki alama ce ta kidan Brahms. Saboda haka, alal misali, jigogi biyar suna ƙunshe a cikin bayyani na ɓangaren farko na piano quintet, babban ɓangaren ƙarshen taron Symphony na Uku yana da jigogi iri-iri guda uku, jigogi guda biyu suna cikin ɓangaren farko na Symphony na huɗu, da dai sauransu. Waɗannan hotuna sun bambanta da juna, wanda galibi ana ƙarfafa su ta hanyar haɗin gwiwa (misali, a cikin ɓangaren farko na Symphony na Farko, an ba da ɓangaren gefe a cikin Es-dur, ɓangaren ƙarshe kuma a cikin es-moll; a cikin misalin misalin. na Symphony na Uku, idan aka kwatanta sassa iri ɗaya A-dur – a-moll; a ƙarshen wasan kwaikwayo mai suna – C-dur – c-moll, da sauransu).

Brahms ya ba da kulawa ta musamman ga ci gaban hotunan babbar jam'iyyar. Jigoginta a ko'ina cikin motsi ana maimaita su ba tare da canje-canje ba kuma a cikin maɓalli ɗaya, wanda shine sifa na sigar rondo sonata. Siffofin ballad na kiɗan Brahms su ma sun bayyana kansu a cikin wannan. Babbar jam'iyyar tana adawa da wasan karshe (wani lokaci ana haɗawa), wanda aka ba shi da kuzari mai ƙarfi, tafiya, sau da yawa jujjuyawar girman kai da aka zana daga tatsuniyar Hungarian (duba sassan farko na Symphonies na Farko da na huɗu, Violin da Na Biyu Piano Concertos da sauransu). Sassan gefe, dangane da nau'ikan kiɗan Viennese na yau da kullun, ba su ƙare ba kuma ba su zama cibiyoyin waƙoƙin motsi ba. Amma suna da tasiri mai tasiri a cikin ci gaba kuma sau da yawa suna fuskantar manyan canje-canje a cikin ci gaba. An gudanar da na ƙarshe a takaice kuma a hankali, kamar yadda an riga an gabatar da abubuwan ci gaba a cikin nunin.

Brahms ya kasance ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwanƙwasa motsin rai, na haɗa hotuna na halaye daban-daban a cikin ci gaba ɗaya. Ana taimaka wa wannan ta hanyar haɗin kai masu haɓakawa da yawa, da yin amfani da canjin su, da kuma yaɗuwar amfani da dabarun hana ƙetare. Sabili da haka, ya yi nasara sosai wajen komawa zuwa farkon labarin - har ma a cikin tsarin tsari na sassa uku. Wannan shi ne duk nasarar da aka samu a cikin sonata allegro lokacin da ake gabatowa. Bugu da ƙari, don ƙara yawan wasan kwaikwayo, Brahms yana so, kamar Tchaikovsky, don canza iyakokin ci gaba da ramawa, wanda wani lokaci yakan haifar da ƙin yarda da cikakken aikin babban sashi. Daidai, mahimmancin lambar a matsayin lokacin tashin hankali a cikin ci gaban ɓangaren yana ƙaruwa. Misalai masu ban mamaki na wannan ana samun su a cikin ƙungiyoyin farko na Symphonies na Uku da na huɗu.

Brahms ƙwararren masani ne na wasan kwaikwayo na kiɗa. Dukansu a cikin iyakokin ɓangare ɗaya, kuma a cikin dukan zagayowar kayan aiki, ya ba da cikakkiyar sanarwa na ra'ayi ɗaya, amma, yana mai da hankali ga duka. ciki dabaru na ci gaban kiɗa, sau da yawa sakaci waje kalaman kalaman tunani. Irin wannan shine halin Brahms game da matsalar nagarta; irin wannan shi ne fassararsa na yiwuwar ƙungiyoyin kayan aiki, ƙungiyar makaɗa. Bai yi amfani da tasirin kade-kade zalla ba kuma, a cikin tsinkayarsa don cikakkiyar jituwa da kauri, ya ninka sassa, hade muryoyin, bai yi ƙoƙari don keɓantawarsu da adawa ba. Koyaya, lokacin da abun ciki na kiɗan ya buƙaci ta, Brahms ya sami sabon ɗanɗanon da yake buƙata (duba misalan da ke sama). A cikin irin wannan kamun kai, an bayyana daya daga cikin mafi kyawun sifofin tsarin halittarsa, wanda ke da kamun kai mai daraja.

Brahms ya ce: "Ba za mu iya yin rubutu da kyau kamar Mozart ba, za mu yi ƙoƙarin rubuta aƙalla cikin tsabta kamar shi." Ba kawai game da fasaha ba ne, har ma game da abubuwan da ke cikin kiɗan Mozart, kyawun ɗabi'a. Brahms ya ƙirƙiri kida da yawa fiye da Mozart, yana nuna sarƙaƙƙiya da rashin daidaituwa na lokacinsa, amma ya bi wannan taken, saboda sha'awar kyawawan kyawawan halaye, ma'anar zurfin alhakin duk abin da ya yi alama ce ta kirkirar rayuwar Johannes Brahms.

M. Druskin

• Ƙirƙirar murya na Brahms →
• Ƙirƙirar Rukunin-kayan aikin Brahms →
• Ayyukan Symphonic na Brahms →

• Ayyukan Piano na Brahms →

• Jerin ayyukan Brahms →