Mikhail Ivanovich Glinka |
Michael Glinka
Muna da babban aiki a gabanmu! Haɓaka salon ku kuma shirya sabuwar hanya don kiɗan opera na Rasha. M. Glinka
Glinka… ya dace da buƙatun lokacin da ainihin ainihin mutanensa har aikin da ya fara ya haɓaka kuma ya girma cikin kankanin lokaci kuma ya ba da irin waɗannan 'ya'yan itatuwa waɗanda ba a san su ba a ƙasar ubanmu a cikin duk ƙarni na tarihinsa. rayuwa. V. Stasov
A cikin mutumin M. Glinka, al'adun kiɗa na Rasha a karon farko sun gabatar da mawallafin mahimmancin duniya. Bisa ga al'adun gargajiya na Rasha da ƙwararrun ƙwararrun ƙarni na ƙarni, nasarori da ƙwarewar fasahar Turai, Glinka ya kammala aikin kafa makarantar mawaƙa ta ƙasa, wacce ta ci nasara a cikin karni na XNUMX. daya daga cikin manyan wurare a cikin al'adun Turai, ya zama marubucin gargajiya na farko na Rasha. A cikin aikinsa, Glinka ya bayyana manufofin ci gaban akida na lokacin. Ayyukansa suna cike da ra'ayoyin kishin kasa, imani ga mutane. Kamar A. Pushkin, Glinka ya raira waƙa da kyawun rayuwa, cin nasara na hankali, nagarta, adalci. Ya kirkiro wata fasaha mai jituwa da kyawu ta yadda mutum baya gajiya da sha'awarta, yana kara gano kamala a cikinta.
Me ya siffata halin mawaƙin? Glinka ya rubuta game da wannan a cikin "Notes" - misali mai ban mamaki na wallafe-wallafen tunawa. Ya kira waƙoƙin Rasha manyan abubuwan da suka shafi yara (sun kasance “dalilin farko da daga baya na fara haɓaka waƙar gargajiya ta Rasha”), da kuma ƙungiyar makaɗa ta kawu, wadda ya “fi so.” Lokacin yaro, Glinka yana buga sarewa da violin a ciki, kuma yayin da yake girma, ya gudanar da shi. “Mafi jin daɗin waƙa” ya cika ransa da ƙararrawar ƙararrawa da waƙar coci. Matashi Glinka ya zana da kyau, ya yi mafarkin tafiya cikin sha'awar, an bambanta shi da saurin hankalinsa da tunaninsa mai wadata. Abubuwa biyu masu girma na tarihi sune mafi mahimmancin abubuwan da ya faru na tarihin rayuwarsa don mai tsarawa na gaba: War Patriotic War na 1812 da Decembrist tashin a 1825. Sun ƙaddara babban ra'ayi na uXNUMXbuXNUMXbcreativity ("Bari mu sadaukar da rayukanmu ga Uban ƙasa tare da ban mamaki). sha'awa"), da kuma hukuncin siyasa. A cewar wani abokin matashin sa N. Markevich, "Mikhailo Glinka… bai ji tausayin kowane Bourbons ba."
Wani tasiri mai fa'ida akan Glinka shine zamansa a Makarantar Sarauta ta St. Malaminsa a makarantar kwana shine V. Küchelbecker, Decembrist na gaba. Matasa sun wuce cikin yanayi na zazzafan cece-kucen siyasa da na adabi tare da abokai, kuma wasu daga cikin mutanen da ke kusa da Glinka bayan shan kaye a boren Decembrist na daga cikin wadanda aka yi gudun hijira zuwa Siberiya. Ba abin mamaki ba ne aka yi wa Glinka tambayoyi game da alakarsa da "'yan tawaye".
A cikin tsarin akida da fasaha na mawallafin nan gaba, adabin Rasha ya taka muhimmiyar rawa tare da sha'awar tarihi, kerawa, da rayuwar mutane; sadarwa kai tsaye tare da A. Pushkin, V. Zhukovsky, A. Delvig, A. Griboyedov, V. Odoevsky, A. Mitskevich. Kwarewar kiɗan ta kuma bambanta. Glinka ya ɗauki darussan piano (daga J. Field, sannan daga S. Mayer), ya koyi rera waƙa da buga violin. Ya sau da yawa ya ziyarci gidan wasan kwaikwayo, ya halarci maraice na kiɗa, kunna kiɗa a hannun 4 tare da 'yan'uwa Vielgorsky, A. Varlamov, ya fara tsara romances, wasan kwaikwayo na kayan aiki. A 1825, daya daga cikin masterpieces na Rasha vocal lyrics ya bayyana - romance "Kada ku gwada" ga ayoyin E. Baratynsky.
An ba da ƙwaƙƙwaran fasaha da yawa ga Glinka ta tafiya: tafiya zuwa Caucasus (1823), zama a Italiya, Austria, Jamus (1830-34). Saurayi mai son jama'a, mai himma, mai kishi, wanda ya hada kirki da kai tsaye tare da sanin makamar waka, cikin sauki ya samu abokai. A Italiya, Glinka ya zama kusa da V. Bellini, G. Donizetti, ya sadu da F. Mendelssohn, kuma daga baya G. Berlioz, J. Meyerbeer, S. Moniuszko zai bayyana a cikin abokansa. Cike da sha'awar sha'awa iri-iri, Glinka ya yi karatu sosai da bincike, bayan ya kammala karatunsa na kiɗa a Berlin tare da sanannen masanin ka'idar Z. Dehn.
A nan, nesa da ƙasarsa, Glinka ya fahimci ainihin makomarsa. "Ra'ayin kiɗan ƙasa… ya zama mai bayyanawa kuma a sarari, niyyar ta taso don ƙirƙirar wasan opera na Rasha." An gane wannan shirin a lokacin da ya koma St. Petersburg: a 1836, opera Ivan Susanin ya kammala. Makircinsa, wanda Zhukovsky ya jawo, ya ba da damar yin amfani da ra'ayin wani abu da sunan ceton uwa, wanda ya kasance mai sha'awar Glinka. Wannan sabon abu ne: a cikin duk kiɗan Turai da na Rasha babu wani jarumi mai kishin ƙasa kamar Susanin, wanda hotonsa ya haɓaka mafi kyawun halayen halayen ƙasa.
Glinka yana kunshe da ra'ayin jarumtaka a cikin siffofin halayen fasaha na kasa, bisa ga mafi kyawun al'adun rubuce-rubucen Rasha, ƙwararrun mawaƙa na Rasha, wanda a zahiri ya haɗu da dokokin kiɗan opera na Turai, tare da ka'idodin ci gaban symphonic.
An fara wasan opera a ranar 27 ga Nuwamba, 1836 ta hanyar manyan al'adun Rasha a matsayin wani lamari mai mahimmanci. "Tare da wasan opera na Glinka, akwai ... wani sabon abu a cikin Art, kuma sabon lokaci ya fara a cikin tarihinsa - lokacin kiɗan Rasha," Odoevsky ya rubuta. Rashawa sun yaba wa wasan opera sosai, daga baya marubutan kasashen waje da masu suka. Pushkin, wanda ya halarta a farkon, ya rubuta quatrain:
Sauraron wannan labari Hassada, mai duhunta da mugunta, Bari ya ci, amma Glinka ba zai iya makale a cikin datti ba.
Nasara ta zaburar da mawaki. Nan da nan bayan farko Susanin aiki ya fara a kan opera Ruslan da Lyudmila (dangane da mãkirci na Pushkin ta waka). Duk da haka, kowane irin yanayi: auren da bai yi nasara ba wanda ya ƙare a cikin saki; rahama mafi girma - sabis a cikin Kotun Choir, wanda ya ɗauki makamashi mai yawa; mummunan mutuwar Pushkin a cikin duel, wanda ya lalata tsare-tsaren aikin haɗin gwiwa a kan aikin - duk wannan bai yarda da tsarin kirkiro ba. An shiga tsakani da rashin lafiyar gida. Don wani lokaci Glinka ya zauna tare da marubucin wasan kwaikwayo N. Kukolnik a cikin yanayi mai ban sha'awa da jin dadi na 'yan'uwan' yar tsana - masu zane-zane, mawaƙa, waɗanda suka shagala sosai daga kerawa. Duk da haka, aikin ya ci gaba, da kuma sauran ayyukan bayyana a layi daya - romances dangane da Pushkin ta wakoki, da vocal sake zagayowar "Farewell to Petersburg" (a Kukolnik tashar), da farko version na "Fantasy Waltz", music for Kukolnik wasan kwaikwayo "" Prince Khlmsky".
Ayyukan Glinka na mawaƙa da malamin murya sun samo asali ne a lokaci guda. Ya rubuta "Etudes don Muryar", "Ayyukan don Inganta Muryar", "Makarantar Waƙa". Daga cikin dalibansa akwai S. Gulak-Artemovsky, D. Leonova da sauransu.
Farkon "Ruslan da Lyudmila" a ranar 27 ga Nuwamba, 1842 ya kawo Glinka mai yawan gaske. Jama'a na aristocratic, karkashin jagorancin dangin sarki, sun haɗu da wasan opera da ƙiyayya. Kuma a tsakanin magoya bayan Glinka, ra'ayoyin sun rabu sosai. Dalili na hadaddun hali ga opera sun ta'allaka ne a cikin ainihin sabon aikin aikin, wanda gidan wasan kwaikwayo na almara-tale-epic opera, wanda ba a san shi ba a Turai, ya fara, inda nau'o'in kida daban-daban suka bayyana a cikin wani m interweaving - almara. , lyrical, gabas, dama. Glinka “ya rera waƙar Pushkin cikin almara” (B. Asafiev), kuma abubuwan da suka faru ba tare da gaggawa ba a kan sauya hotuna masu ban sha’awa ya sa kalmomin Pushkin: “Ayyukan zamanin da, almara na zamanin dā.” A matsayin ci gaba na mafi kusancin ra'ayoyin Pushkin, wasu fasalulluka na opera sun bayyana a cikin opera. Kiɗa na Sunny, raira ƙaunar rayuwa, bangaskiya ga cin nasara na alheri akan mugunta, yana maimaita sanannen "Ranar ta daɗe, bari duhu ya ɓoye!", Kuma salon opera mai haske na ƙasa, kamar yadda yake, ya fito daga. layin gabatarwa; "Akwai ruhun Rasha, akwai warin Rasha." Glinka ya shafe shekaru masu zuwa a ƙasashen waje a Paris (1844-45) da kuma a Spain (1845-47), ya yi karatun Mutanen Espanya na musamman kafin tafiya. A birnin Paris, an gudanar da wani taron kide-kide na ayyukan Glinka da babban nasara, wanda ya rubuta game da haka: “… I. na farko Rasha mawaki, wanda ya gabatar da jama'ar Parisiya ga sunansa da rubuce-rubucen ayyukansa Rasha da kuma ga Rasha“. Ra'ayoyin Mutanen Espanya sun sa Glinka ya ƙirƙiri guda biyu na simphonic: "Jota na Aragon" (1845) da "Memories of a Summer Night in Madrid" (1848-51). A lokaci guda tare da su, a 1848, sanannen "Kamarinskaya" ya bayyana - fantasy a kan jigogi na biyu Rasha songs. Kaɗe-kaɗe na kiɗan na Rasha sun samo asali ne daga waɗannan ayyukan, daidai da “an bayar da rahoton ga masana da jama’a.”
A cikin shekaru goma na ƙarshe na rayuwarsa, Glinka ya rayu a madadin Rasha (Novospasskoye, St. Petersburg, Smolensk) da kuma kasashen waje (Warsaw, Paris, Berlin). Halin da ke daɗa kaurin ƙiyayya ya yi tasiri a kansa. Ɗaliban da'irar gaskiya da ƙwazo ne kawai suka tallafa masa a cikin waɗannan shekarun. Daga cikinsu akwai A. Dargomyzhsky, wanda abokantakarsa ta fara a lokacin samar da wasan opera Ivan Susanin; V. Stasov, A. Serov, matashi M. Balakirev. Ayyukan kirkire-kirkire na Glinka yana raguwa sosai, amma sabbin abubuwan da ke faruwa a cikin fasahar Rasha da ke da alaƙa da haɓakar “makarantar halitta” ba ta wuce shi ba kuma ta ƙaddara hanyar ƙarin binciken fasaha. Ya fara aiki a kan wasan kwaikwayo na shirin "Taras Bulba" da kuma wasan kwaikwayo na wasan kwaikwayo "Matar Biyu" (a cewar A. Shakhovsky, ba a gama ba). A lokaci guda kuma, sha'awar ta taso a cikin fasahar polyphonic na Renaissance, ra'ayin uXNUMXbuXNUMXb yiwuwar haɗawa da "Fugue yammacin yamma tare da sharuddan kidan mu daurin auren halal. Wannan kuma ya jagoranci Glinka a 1856 zuwa Berlin zuwa Z. Den. Wani sabon mataki a cikin tarihin rayuwarsa ya fara, wanda ba a ƙaddara ya ƙare ba ... Glinka ba shi da lokacin aiwatar da yawancin abubuwan da aka tsara. Duk da haka, ra'ayoyinsa sun ci gaba a cikin aikin mawallafin Rasha na ƙarni na gaba, waɗanda suka rubuta a kan banner na fasaha da sunan wanda ya kafa kiɗan Rasha.
O. Averyanova
