Nikolai Pavlovich Diletsky (Nikolai Diletsky) |

Nikolai Diletsky ne adam wata

Akwai Musikia, ko da muryarta tana faranta zuciyar ɗan adam, ovo ga farin ciki, ovo ga baƙin ciki ko ruɗani… N. Diletsky

Sunan N. Diletsky yana da alaƙa da sabuntawa mai zurfi na kiɗan ƙwararrun gida a cikin ƙarni na XNUMX, lokacin da zurfafa zurfafa zurfafa zurfafawa ta maye gurbin sautin motsin rai na choral polyphony. Al’adar waƙa ta ɗaruruwan ɗaruruwan ɗaruruwan ɗaruruwa na waƙar monophonic ta ba da damar sha’awar jituwa ta mawaƙa. Rarraba muryoyin cikin jam'iyyun sun ba da sunan sabon salon - sassan waƙa. Babban adadi na farko a cikin masanan rubutun sassan shine Nikolai Diletsky, mawaki, masanin kimiyya, malamin kiɗa, darektan mawaƙa (shugaba). A cikin makomarsa, dangantakar da ke tsakanin al'adun Rasha, Ukrainian da Poland ta tabbata, wanda ya inganta haɓakar salon sassan.

Wani ɗan ƙasar Kyiv, Diletsky ya sami ilimi a Vilna Jesuit Academy (yanzu Vilnius). Babu shakka, a can ya sauke karatu daga sashen ilimin ɗan adam kafin shekara ta 1675, tun da ya rubuta game da kansa: “Kimiyyar ɗalibin ’yanci.” Daga baya Diletsky aiki na dogon lokaci a Rasha - a Moscow, Smolensk (1677-78), sa'an nan kuma a Moscow. A cewar wasu rahotanni, mawaƙin ya yi aiki a matsayin darektan mawaƙa ga "fitattun mutane" na Stroganovs, waɗanda suka shahara da mawakan "mawaƙa masu vociferous." Wani mutum mai ra'ayi mai ci gaba, Diletsky ya kasance cikin da'irar sanannun al'adun Rasha na karni na XNUMX. Daga cikin mutanensa masu irin wannan ra'ayi akwai marubucin rubutun "A kan Waƙar Allahntaka bisa ga Order of Concords Musician" I. Korenev, wanda ya tabbatar da kyawawan dabi'un matasan sassan, mawallafin V. Titov, mahaliccin mai haske da ruhi. Choral canvases, marubuta Simeon Polotsky da S. Medvedev.

Ko da yake akwai kadan bayanai game da rayuwar Diletsky, ya m qagaggun da kimiyya ayyukan sake haifar da bayyanar da master. Dokokinsa shine tabbatar da ra'ayin babban ƙwararru, fahimtar alhakin mawaƙa: "Akwai irin waɗannan mawaƙa da yawa waɗanda suke tsarawa ba tare da sanin ƙa'idodin ba, suna amfani da la'akari masu sauƙi, amma wannan ba zai iya zama cikakke ba, kamar dai lokacin da wani mawaƙa ya kasance. mutumin da ya koyi zance ko xa'a ya rubuta waƙa… da mawaƙin da ya ƙirƙira ba tare da koyon ƙa'idodin kiɗa ba. Wanda ke tafiya a kan hanya, bai san hanya ba, idan hanyoyi biyu suka hadu, sai ya yi shakkar ko tafarkinsa ce ko kuma wancan, haka yake da mawakin da bai yi nazarin ka'idoji ba.

A karon farko a cikin tarihin waƙar Rasha, mai kula da rubuce-rubucen ɓangarori ya dogara ba kawai ga al'adar ƙasa ba, har ma da gogewar mawakan Turai ta Yamma, kuma yana ba da shawarar faɗaɗa fasahar fasaharsa: “Yanzu na fara nahawu… bisa aikin ƙwararrun masu fasaha da yawa, waɗanda suka ƙirƙira waƙar Cocin Orthodox da Roman, da kuma littattafan Latin da yawa akan kiɗa. Don haka, Diletsky yana neman ya sanya sabbin mawaƙan mawaƙa da tunanin kasancewa cikin hanyar gama gari na ci gaban kiɗan Turai. Yin amfani da nasarori da yawa na al'adun Yammacin Turai, mawaki ya kasance mai gaskiya ga al'adar Rasha na fassara mawaƙa: duk abubuwan da ya rubuta an rubuta wa mawaƙa cappella, wanda ya zama ruwan dare gama gari a cikin kiɗan ƙwararrun Rasha na wancan lokacin. Yawan muryoyin a cikin ayyukan Diletsky kadan ne: daga hudu zuwa takwas. Ana amfani da irin wannan abun da ke ciki a cikin ƙungiyoyin ɓangarori da yawa, ya dogara ne akan rabewar muryoyin zuwa sassa 4: treble, alto, tenor da bass, kuma muryar maza da yara kawai ke shiga cikin ƙungiyar mawaƙa. Duk da irin wannan gazawar, palette mai sauti na kiɗan ɓangarori yana da launuka iri-iri kuma yana da cikakken sauti, musamman a cikin kide kide da wake-wake. Ana samun tasirin sha'awar sha'awa a cikin su saboda bambance-bambance - adawar kwafi mai ƙarfi na duka ƙungiyar mawaƙa da bayyananniyar ƙungiyoyin mawaƙa, ƙwanƙwasa da gabatarwar polyphonic, har ma da girma dabam, canje-canje na tonal da launuka na modal. Diletsky da basira ya yi amfani da wannan arsenal don ƙirƙirar manyan ayyuka, waɗanda ke da alamun wasan kwaikwayo na kida da kuma haɗin kai na ciki.

Daga cikin ayyukan mawaƙa, abin ban mamaki kuma a lokaci guda abin mamaki mai jituwa "Tashin matattu" Canon ya fito waje. Wannan nau'i-nau'i da yawa yana cike da sha'awa, ikhlasi na waƙoƙi, kuma a wasu wurare - nishaɗi mai yaduwa. Kiɗin yana cike da waƙar farin ciki, kanta da jujjuyawar kayan aikin jama'a. Tare da taimakon da yawa modal, timbre da melodic echoes tsakanin sassa, Diletsky ya sami wani ban mamaki mutunci na babban choral zane. Daga cikin sauran ayyukan mawaƙa, da dama zagayowar sabis (liturgies) da aka sani a yau, partesny kide kide "Ka shiga coci", "Kamar ka image", "Ku zo mutane", da ayar tarayya "Karɓi Jikin Kristi" , “Cherubim”, waƙar ban dariya “Sunana akwai numfashi. Watakila binciken tarihi zai kara fadada fahimtarmu game da aikin Diletsky, amma ya riga ya bayyana a yau cewa shi babban mai kida ne da jama'a kuma babban masanin kidan choral, wanda a cikin aikinsa salon sassan ya kai ga balaga.

Ƙoƙarin Diletsky na gaba yana jin ba kawai a cikin bincikensa na kiɗa ba, har ma a cikin ayyukan ilimi. Its mafi muhimmanci sakamakon shi ne halittar asali aikin "Musician Idea Grammar" ("Musician Grammar"), a kan abin da master yi aiki a kan daban-daban bugu a cikin rabin na biyu na 1670s. Ƙwararrun mawaƙa na mawaƙa, ilimin harsuna da dama, sanin yawancin samfurori na gida da yammacin Turai sun ba Diletsky damar ƙirƙirar rubutun da ba shi da kwatanci a cikin kimiyyar kiɗa na gida na wannan lokacin. Na dogon lokaci wannan aikin ya kasance tarin ba makawa daban-daban na bayanan ka'idoji da shawarwari masu amfani ga yawancin al'ummomi na mawaƙa na Rasha. Daga shafukan wani tsohon rubutun, marubucin ya zama kamar yana kallon mu a cikin ƙarni, game da wanda mashahurin medivalist V. Metalov ya rubuta cikin ratsa jiki: ƙaunarsa na gaske ga aikinsa da kuma ƙaunar mahaifinsa wanda marubucin ya shawo kan mai karatu don zurfafawa. zurfafa cikin ainihin al'amarin kuma a gaskiya, a ci gaba da wannan kyakkyawan aiki mai tsarki.

N. Zabolotnaya