Pyotr Ilyich Tchaikovsky |

Pyotr Tchaikovsky

Daga karni zuwa karni, daga tsara zuwa tsara, ƙaunarmu ga Tchaikovsky, don kyawawan kiɗansa, ya wuce, kuma wannan shine rashin mutuwa. D. Shostakovich

"Ina so da dukan ƙarfin raina cewa kiɗa na ya yada, cewa yawan mutanen da suke son shi, suna samun kwanciyar hankali da goyon baya a ciki, za su karu." A cikin wadannan kalmomi na Pyotr Ilyich Tchaikovsky, aikin fasaha, wanda ya gani a cikin sabis na kiɗa da mutane, a cikin "gaskiya, da gaske da sauƙi" magana da su game da mafi mahimmanci, abubuwa masu mahimmanci da ban sha'awa, an bayyana daidai. Maganin irin wannan matsala ya yiwu ne tare da haɓaka mafi kyawun kwarewa na al'adun gargajiya na Rasha da na duniya, tare da ƙwarewar ƙwarewa na ƙwararrun ƙwarewa. Tsananin tashin hankali na dakarun kirkire-kirkire, aikin yau da kullun da wahayi akan ƙirƙirar ayyukan kiɗa da yawa sun haɗa da abun ciki da ma'anar rayuwar babban ɗan wasan.

An haifi Tchaikovsky a cikin dangin injiniyan ma'adinai. Tun daga farkon yara, ya nuna wani m mai saukin kamuwa zuwa music, quite akai-akai karatu da piano, wanda ya kasance mai kyau a lokacin da ya sauke karatu daga School of Law a St. Petersburg (1859). Ya riga ya yi aiki a cikin Ma'aikatar Shari'a (har zuwa 1863), a cikin 1861 ya shiga cikin azuzuwan RMS, ya koma St. Petersburg Conservatory (1862), inda ya yi karatu tare da N. Zaremba da A. Rubinshtein. Bayan kammala karatu daga Conservatory (1865), N. Rubinstein ya gayyace Tchaikovsky don koyarwa a Moscow Conservatory, wanda aka bude a 1866. Ayyukan Tchaikovsky (ya koyar da azuzuwan na wajibi da na musamman na ka'idar) ya aza harsashi na pedagogical al'adar. na Moscow Conservatory, an sauƙaƙe wannan ta hanyar ƙirƙirar littafin koyarwa na jituwa, fassarori daban-daban na taimakon koyarwa, da dai sauransu A cikin 1868, Tchaikovsky ya fara fitowa a cikin bugu tare da labarai don tallafawa N. Rimsky-Korsakov da M. Balakirev (m. dangantaka ta taso da shi), kuma a cikin 1871-76. Mawallafin kida ne na jaridun Sovremennaya Letopis da Russkiye Vedomosti.

Kasidun, da kuma wasiƙu masu yawa, sun nuna kyawawan manufofin mawaƙin, waɗanda ke da tausayi sosai ga fasahar WA Mozart, M. Glinka, R. Schumann. Rapprochement tare da Moscow Artistic Circle, wanda AN Ostrovsky ya jagoranta (wasan kwaikwayo na farko da Tchaikovsky "Voevoda" ya rubuta - 1868 an rubuta shi bisa ga wasansa; a cikin shekarun karatunsa - overture "Thunderstorm", a 1873 - music for the music. wasa "The Snow Maiden"), tafiye-tafiye zuwa Kamenka don ganin 'yar'uwarsa A. Davydova ya ba da gudummawa ga ƙaunar da ta taso a lokacin ƙuruciya don waƙoƙin gargajiya - Rashanci, sannan kuma Ukrainian, wanda Tchaikovsky sau da yawa ya faɗi a cikin ayyukan zamanin Moscow na kerawa.

A Moscow, ikon Tchaikovsky a matsayin mawaki yana ƙarfafawa da sauri, ana buga ayyukansa kuma ana yin su. Tchaikovsky created the first classical examples of different genres in Russian music – symphonies (1866, 1872, 1875, 1877), string quartet (1871, 1874, 1876), piano concerto (1875, 1880, 1893), ballet (“Swan Lake” , 1875 -76), wani yanki na kayan kide-kide ("Melancholic Serenade" don violin da orchestra - 1875; "Variations on a Rococo Theme" for cello and orchestra - 1876), ya rubuta romances, piano ayyuka ("The Seasons", 1875- 76, da sauransu).

Wani muhimmin wuri a cikin aikin mawaki ya shagaltar da ayyukan wasan kwaikwayo - fantasy overture "Romeo da Juliet" (1869), fantasy "The Tempest" (1873, duka - bayan W. Shakespeare), fantasy "Francesca da Rimini" (bayan Dante, 1876), a cikin abin da lyrical-psychological, ban mamaki fuskantarwa na aikin Tchaikovsky, bayyana a cikin wasu nau'o'in, musamman m.

A cikin wasan opera, binciken da ke bin hanyar guda ɗaya ya kai shi daga wasan kwaikwayo na yau da kullum zuwa wani shiri na tarihi ("Oprichnik" bisa ga bala'i na I. Lazhechnikov, 1870-72) ta hanyar roko ga N. Gogol's lyric-comedy and fantasy story (" Vakula the Blacksmith" - 1874, 2nd edition - "Cherevichki" - 1885) zuwa Pushkin's "Eugene Onegin" - lyrical scenes, kamar yadda mawaki (1877-78) ya kira opera.

"Eugene Onegin" da kuma Symphony na hudu, inda zurfin wasan kwaikwayo na tunanin mutum ba shi da bambanci da ainihin alamun rayuwar Rasha, ya zama sakamakon aikin Tchaikovsky na Moscow. Kammalawarsu ya nuna ficewa daga mummunan rikicin da ya haifar da wuce gona da iri, da kuma auren da bai yi nasara ba. Taimakon kudi da N. von Meck ya ba Tchaikovsky (daidaitawa da ita, wanda ya kasance daga 1876 zuwa 1890, abu ne mai mahimmanci don nazarin ra'ayoyin mawallafin mawallafin), ya ba shi damar barin aikin a ɗakin ajiyar da aka yi masa nauyi. wancan lokacin kuma a fita waje don inganta lafiya.

Ayyuka na ƙarshen 70's - farkon 80's. alama mafi girman haƙiƙa na magana, ci gaba da haɓaka kewayon nau'ikan nau'ikan kiɗan kayan aiki (Concerto for violin and orchestra - 1878; Orchestral suites - 1879, 1883, 1884; Serenade for string orchestra - 1880; "Trio in Memory of the Great". Artist" (N. Rubinstein) don piano, violin da cellos - 1882, da dai sauransu), ma'auni na ra'ayoyin opera ("Maid of Orleans" na F. Schiller, 1879; "Mazeppa" na A. Pushkin, 1881-83 ), ƙarin haɓakawa a fagen rubuce-rubucen kade-kade ("Italian Capriccio" - 1880, suites), nau'in kiɗa, da dai sauransu.

Tun 1885, Tchaikovsky zauna a kusa da Klin kusa Moscow (tun 1891 - a Klin, inda a 1895 da House-Museum na mawaki aka bude). Sha'awar kadaici don kerawa ba ya ware zurfin da kuma dindindin lambobin sadarwa tare da rayuwar kiɗa na Rasha, wanda ya haɓaka ba kawai a cikin Moscow da St. Petersburg ba, har ma a Kyiv, Kharkov, Odessa, Tiflis, da sauransu. zuwa watsa shirye-shiryen kiɗan Tchaikovsky. Tafiyar kide-kide zuwa Jamus, Jamhuriyar Czech, Faransa, Ingila, Amurka sun jawo wa mawakin shahara a duniya; Ƙirƙiri da haɗin kai na abokantaka da mawakan Turai suna ƙarfafa (G. Bulow, A. Brodsky, A. Nikish, A. Dvorak, E. Grieg, C. Saint-Saens, G. Mahler, da dai sauransu). A 1887 Tchaikovsky aka ba da digiri na Doctor of Music daga Jami'ar Cambridge a Ingila.

A cikin ayyukan na karshe zamani, wanda ya buɗe tare da shirye-shiryen symphony "Manfred" (a cewar J. Byron, 1885), da opera "The Enchantress" (a cewar I. Shpazhinsky, 1885-87), na biyar Symphony (1888). ), akwai gagarumin karuwa a cikin mummunan farawa, wanda ya ƙare a cikin cikakkiyar kololuwar aikin mawaƙa - opera The Queen of Spades (1890) da Symphony na shida (1893), inda ya tashi zuwa mafi girman ilimin falsafanci na hotuna. na soyayya, rayuwa da mutuwa. Kusa da waɗannan ayyukan, ballet The Sleeping Beauty (1889) da The Nutcracker (1892), opera Iolanthe (bayan G. Hertz, 1891) sun bayyana, suna ƙarewa cikin nasara na haske da nagarta. Bayan 'yan kwanaki bayan fara taron Symphony na shida a St. Petersburg, Tchaikovsky ya mutu ba zato ba tsammani.

Ayyukan Tchaikovsky sun rungumi kusan dukkanin nau'ikan kiɗa, daga cikinsu akwai manyan opera da wasan kwaikwayo sun mamaye babban wuri. Suna nuna tunanin mawallafin na fasaha har zuwa cikakkiyar ma'ana, a tsakiyar su akwai zurfin matakai na duniyar ciki ta mutum, hadaddun motsin rai, wanda aka bayyana a cikin kaifi da matsananciyar karo na ban mamaki. Duk da haka, ko da a cikin wadannan nau'o'in, babban nau'i na kiɗa na Tchaikovsky kullum ana jin shi - mai ban sha'awa, mai rairayi, wanda aka haife shi daga ma'anar jin daɗin ɗan adam da kuma samun amsa daidai kai tsaye daga mai sauraro. A gefe guda kuma, wasu nau'ikan nau'ikan - daga ƙaramar soyayya ko piano zuwa wasan ballet, wasan kide-kide na kayan kide-kide ko rukunin ɗaki - ana iya ba su da halaye iri ɗaya na sikelin symphonic, ci gaba mai ban mamaki mai ban mamaki da zurfin shiga cikin waƙoƙi.

Tchaikovsky kuma ya yi aiki a fagen mawaƙa (ciki har da tsarki) kiɗa, ya rubuta waƙoƙin murya, kiɗa don wasan kwaikwayo masu ban mamaki. Al'adun Tchaikovsky a cikin nau'o'i daban-daban sun sami ci gaba a cikin aikin S. Taneyev, A. Glazunov, S. Rachmaninov, A. Scriabin, da Soviet composers. Kiɗa na Tchaikovsky, wanda ya sami karɓuwa har ma a lokacin rayuwarsa, wanda, a cewar B. Asafiev, ya zama "mahimmancin larura" ga mutane, ya kama babban zamanin rayuwar Rasha da al'adu na karni na XNUMX, ya wuce su kuma ya zama na farko. dukiyoyin mutane. Abin da ke ciki shine na duniya: yana rufe hotuna na rayuwa da mutuwa, ƙauna, yanayi, yara, rayuwar da ke kewaye da ita, yana bayyanawa da kuma bayyana a cikin sabuwar hanyar hotuna na wallafe-wallafen Rasha da na duniya - Pushkin da Gogol, Shakespeare da Dante, Rasha lyric. wakoki na rabin na biyu na karni na XNUMX.

The music of Tchaikovsky, embodying da daraja halaye na Rasha al'adu - kauna da tausayi ga mutum, m ji na ƙwarai ga m bincike na ran mutum, rashin haƙuri ga mugunta da m ƙishirwa ga nagarta, kyakkyawa, halin kirki kamala - ya bayyana zurfin haɗi tare da Ayyukan L. Tolstoy da F. Dostoevsky, I. Turgenev da A. Chekhov.

A yau, mafarkin Tchaikovsky na ƙara yawan mutanen da suke son kiɗansa yana cika. Daya daga cikin shedar shaharar mawakin nan na kasar Rasha shi ne gasar kasa da kasa da aka sanya wa sunansa, wadda ta dauki nauyin daruruwan mawaka daga kasashe daban-daban zuwa birnin Moscow.

E. Tsareva

matsayi na kiɗa. Kallon duniya. Maƙasudin hanyar ƙirƙira

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Ba kamar mawaƙa na "sabuwar makarantar kiɗa na Rasha" - Balakirev, Mussorgsky, Borodin, Rimsky-Korsakov, wanda, saboda duk rashin daidaituwa na hanyoyin kirkirar su, ya zama wakilai na wani shugabanci, haɗin kai ta hanyar gama gari na manyan manufofin. manufofi da ka'idojin ado, Tchaikovsky ba ya cikin kowane rukuni da da'irori. A cikin hadaddun haɗakarwa da gwagwarmaya na yanayi daban-daban waɗanda ke nuna rayuwar kiɗan Rasha a cikin rabin na biyu na karni na XNUMX, ya kiyaye matsayi mai zaman kansa. Yawancin ya kawo shi kusa da "Kuchkist" kuma ya haifar da sha'awar juna, amma akwai rashin jituwa a tsakanin su, wanda sakamakon haka ya kasance a cikin dangantakar su ko da yaushe wani nisa.

Ɗaya daga cikin cin zarafi na yau da kullum ga Tchaikovsky, wanda aka ji daga sansanin "Mai Girma Hannu", shi ne rashin nuna halin kasa a fili na kiɗansa. "Abin da ke cikin ƙasa ba koyaushe yana cin nasara ga Tchaikovsky ba," Stasov yayi tsokaci cikin taka tsantsan a cikin dogon labarinsa na bita "Kiɗanmu na Shekaru 25 na ƙarshe." A wani lokaci kuma, haɗa Tchaikovsky tare da A. Rubinstein, kai tsaye ya bayyana cewa duka mawaƙan "ba su da nisa daga kasancewa cikakkun wakilan sababbin mawaƙa na Rasha da kuma burinsu: dukansu ba su da 'yancin kai, kuma ba su da karfi kuma ba su da isasshen kasa. .”

Ra'ayin cewa abubuwan Rasha na kasa sun kasance baƙo ga Tchaikovsky, game da yanayin "Turai" da yawa har ma da "cosmopolitan" yanayin aikinsa ya yadu a lokacinsa kuma ba kawai masu sukar da suka yi magana a madadin "sabuwar makarantar Rasha" ba. . A cikin nau'i mai mahimmanci da madaidaiciya, MM Ivanov ya bayyana. "Daga dukkan marubutan Rasha," mai sukar ya rubuta kusan shekaru ashirin bayan mutuwar mawakin, "shi [Tchaikovsky] ya kasance har abada mafi yawan duniya, ko da lokacin da ya yi ƙoƙari ya yi tunani a cikin Rashanci, don kusanci sanannun siffofi na mawaƙa na Rasha masu tasowa. sito." "Hanyar Rasha ta bayyana kansa, salon Rasha, wanda muke gani, alal misali, a Rimsky-Korsakov, ba shi da gani…".

A gare mu, waɗanda suke ganin kiɗan Tchaikovsky a matsayin wani muhimmin sashe na al'adun Rasha, na dukan al'adun ruhaniya na Rasha, irin waɗannan hukunce-hukuncen ba su da kyau kuma ba su da hankali. Marubucin Eugene Onegin da kansa, yana mai da hankali kan alaƙar da ba za a iya kwatanta shi da tushen rayuwar Rasha da kuma ƙaunarsa ga duk wani abu na Rasha ba, bai daina ɗaukar kansa a matsayin wakilin 'yan ƙasa da ke da alaƙa da fasahar gida ba, wanda rabonsa ya taɓa shi sosai.

Kamar "Kuchkists", Tchaikovsky ya kasance mai gamsuwa Glinkian kuma ya sunkuyar da kansa ga girman girman da mahaliccin "Life for the Tsar" da "Ruslan da Lyudmila" ya yi. "Wani al'amari da ba a taba ganin irinsa ba a fagen fasaha", "Hakika mai hazaka" - a irin wadannan kalmomi ya yi magana game da Glinka. "Wani abu mai ban mamaki, gigantic", mai kama da wanda "Mozart, ko Gluck, ko kowane masters" ya samu, Tchaikovsky ya ji a cikin mawaƙa na ƙarshe na "A Life for the Tsar", wanda ya sanya marubucin "tare da (Ee! Kusa da shi). !) Mozart, tare da Beethoven kuma tare da kowa. " "Ba a rage bayyanar da hazaka mai ban mamaki" da aka samu Tchaikovsky a cikin "Kamarinskaya". Kalmominsa cewa dukan makarantar wasan kwaikwayo na Rasha "yana cikin Kamarinskaya, kamar yadda dukan itacen oak ke cikin acorn," ya zama fuka-fuki. "Kuma na dogon lokaci," in ji shi, "marubuta na Rasha za su zana daga wannan tushen arziki, saboda yana ɗaukar lokaci mai yawa da ƙoƙari mai yawa don cinye duk dukiyarsa."

Amma kasancewa mai zane-zane na kasa kamar kowane daga cikin "Kuchkists", Tchaikovsky ya warware matsalar jama'a da na kasa a cikin aikinsa ta wata hanya ta daban kuma ya nuna wasu bangarori na gaskiyar kasa. Yawancin mawaƙan The Mighty Handful, don neman amsar tambayoyin da zamani ya gabatar, sun juya zuwa ga asalin rayuwar Rasha, ya zama muhimman abubuwan da suka faru na tarihi da suka gabata, almara, almara ko tsoffin al'adun gargajiya da ra'ayoyi game da duniya. Ba za a iya cewa Tchaikovsky gaba daya ba ya sha'awar duk wannan. “… Har yanzu ban sadu da mutumin da ya fi son Uwar Rasha gabaɗaya fiye da ni,” ya taɓa rubutawa, “kuma a cikin manyan sassanta na Rasha musamman <...> Ina matukar son ɗan Rasha, ɗan Rashanci. magana, tunanin Rasha, kyawawan mutanen Rasha, al'adun Rasha. Lermontov kai tsaye ya ce duhu tsoho cherished Legends ransa ba ya motsi. Kuma ina ma son shi.”

Amma babban abin da Tchaikovsky ke da sha'awar kerawa ba shine faffadan ƙungiyoyin tarihi ba ko ginshiƙi na rayuwar jama'a ba, amma rikice-rikicen tunani na ciki na duniyar ruhaniya na ɗan adam. Saboda haka, mutum ya yi nasara a cikinsa fiye da na duniya, waƙa a kan almara. Tare da babban iko, zurfin da ikhlasi, ya nuna a cikin waƙarsa da ke tashi a cikin hankali na sirri, ƙishirwa don 'yantar da mutum daga duk abin da ke tattare da yiwuwar cikakken bayyanarsa, wanda ba a hana shi ba da kuma tabbatar da kansa, wanda ya kasance halayen halayensa. Rasha al'ummar a cikin post-gyara zamani. Abubuwan da ke cikin sirri, abubuwan da suka dace, koyaushe suna cikin Tchaikovsky, ko da menene batutuwan da ya yi magana. Don haka ɗumi na musamman na waƙoƙin waƙa da shiga cikin ayyukansa hotuna na rayuwar jama'a ko yanayin Rashanci da yake so, kuma, a gefe guda, kaifi da tashin hankali na rikice-rikice masu ban mamaki waɗanda suka taso daga sabani tsakanin sha'awar dabi'ar mutum don cikawa. na jin daɗin rayuwa da tsananin rashin tausayi na gaskiya, wanda yake karyewa.

Bambance-bambance a cikin babban shugabanci na aikin Tchaikovsky da mawaƙa na "sabuwar makarantar kiɗa na Rasha" kuma sun ƙaddara wasu fasalulluka na yaren kiɗa da salon su, musamman, tsarin su don aiwatar da jigogi na waƙoƙin jama'a. Ga dukansu, waƙar jama'a ta kasance tushen arziƙi na sababbin hanyoyi na furci na kida na ƙasa. Amma idan "Kuchkist" sun nemi gano a cikin waƙoƙin jama'a tsohuwar sifofin da ke tattare da su da kuma samun hanyoyin daidaitawa daidai da su, to, Tchaikovsky ya fahimci waƙar jama'a a matsayin wani nau'i na rayuwa da ke kewaye da gaskiyar. Don haka bai yi qoqarin ware asali na gaskiya a cikinta da wanda aka gabatar daga baya ba, a cikin tafiyar hijira da rikidewa zuwa wani yanayi na daban, bai raba wakar manoma ta gargajiya da ta birni ba, wadda aka samu sauyi a qarqashin Tasirin waƙoƙin soyayya, raye-rayen raye-raye, da sauransu. waƙoƙin waƙa, ya sarrafa ta cikin yardar kaina, ya karkatar da ita ga fahimtar mutum ɗaya.

Wani ra'ayi na "Mai Girma Hannu" ya bayyana kansa ga Tchaikovsky kuma a matsayin dalibi na Conservatory na St. Tchaikovsky shi ne kawai daya daga cikin mawaƙa na Rasha na ƙarni na "sittin" wanda ya sami ilimin ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ma'aikata ta musamman. Rimsky-Korsakov daga baya ya cike gibin da aka samu a cikin horarwar sana'a, lokacin da ya fara koyar da ilimin kida da ka'idoji a gidan ra'ayin mazan jiya, a cikin kalmominsa, "ya zama ɗaya daga cikin mafi kyawun ɗalibai." Kuma yana da kyau cewa Tchaikovsky da Rimsky-Korsakov ne suka kafa manyan makarantun mawaƙa guda biyu a Rasha a cikin rabin na biyu na karni na XNUMX, wanda ake kira "Moscow" da "Petersburg".

The Conservatory ba kawai dauke da makamai Tchaikovsky tare da zama dole ilmi, amma kuma instilled a cikinsa cewa tsananin horo na aiki, godiya ga abin da ya iya halitta, a cikin wani gajeren lokaci na aiki m aiki, da yawa ayyuka na mafi bambancin nau'i da hali, wadãtar da daban-daban. yankunan fasaha na kiɗa na Rasha. Aiki na yau da kullun, na tsarin tsarawa Tchaikovsky yayi la'akari da wajibcin aikin kowane mai fasaha na gaske wanda ya ɗauki aikinsa da gaske kuma cikin alhaki. Sai kawai wannan kiɗa, ya lura, zai iya taɓawa, girgiza da rauni, wanda ya zubo daga zurfin ruhun fasaha wanda ke da sha'awar wahayi <...> A halin yanzu, koyaushe kuna buƙatar yin aiki, kuma mai fasaha na gaske na gaskiya ba zai iya zama ba. located".

Har ila yau, haɓakar Conservative ya ba da gudummawa ga ci gaban Tchaikovsky na halin mutuntawa ga al'ada, ga al'adun manyan masanan gargajiya, wanda, duk da haka, ba a haɗa shi da nuna bambanci ga sabon ba. Laroche ya tuna da "silent zanga" da matasa Tchaikovsky bi da sha'awar wasu malamai don "kare" da yara daga "m" tasiri na Berlioz, Liszt, Wagner, kiyaye su a cikin tsarin na gargajiya al'adu. Daga baya, wannan Laroche ya rubuta game da wani bakon rashin fahimta game da ƙoƙarin wasu masu sukar don rarraba Tchaikovsky a matsayin mawallafin al'adun gargajiya masu ra'ayin mazan jiya kuma ya yi jayayya cewa "Mr. Tchaikovsky bai misaltuwa kusa da matsananciyar hagu na majalisar kida fiye da matsakaicin dama." Bambancin da ke tsakaninsa da "Kuchkists", a ra'ayinsa, ya fi "ƙididdigewa" fiye da "qualitative".

Hukunce-hukuncen Laroche, duk da kaifiyarsu, suna da adalci. Ko ta yaya rikice-rikice da jayayya tsakanin Tchaikovsky da Mighty Handful wani lokaci suka ɗauka, sun nuna sarƙaƙƙiya da bambance-bambancen hanyoyi a cikin sansanin dimokiradiyya mai ci gaba na mawakan Rasha na rabin na biyu na karni na XNUMX.

Dangantaka ta kud-da-kud ta haɗa Tchaikovsky tare da dukan al'adun fasaha na Rasha a lokacin babban lokacinsa na gargajiya. Mai sha'awar karatu, ya san wallafe-wallafen Rasha sosai kuma ya bi duk wani sabon abu da ya bayyana a cikinsa, sau da yawa yana bayyana hukunci mai ban sha'awa da tunani game da ayyukan mutum. Da yake sunkuyar da gwanin Pushkin, wanda waƙarsa ta taka rawar gani sosai a cikin aikinsa, Tchaikovsky yana ƙauna da yawa daga Turgenev, yana jin daɗi kuma ya fahimci kalmomin Fet, wanda bai hana shi sha'awar wadatar kwatancin rayuwa da yanayi daga irin wannan ba. Haƙiƙa marubuci kamar Aksakov.

Amma ya sanya wani wuri na musamman ga LN Tolstoy, wanda ya kira "mafi girma a cikin dukan fasaha masu fasaha" da 'yan adam suka taɓa sani. A cikin ayyukan babban marubuci Tchaikovsky ya sha'awar musamman ta "wasu mafi girma soyayya ga mutum, koli abin tausayi ga rashin taimakonsa, da ƙarancinsa da ƙarancinsa. "Marubuci, wanda ba don komai ba ya sami wani a gabansa ikon da ba a ba shi ba daga sama don tilasta mu, matalauta a hankali, don fahimtar mafi girman ƙugiya da ƙuƙumma na abubuwan da ke cikin rayuwarmu ta ɗabi'a," "mafi zurfin mai siyar da zuciya." "A cikin irin waɗannan maganganun ya rubuta game da abin da, a cikin ra'ayinsa, ya kai , ƙarfi da girman Tolstoy a matsayin mai zane. “Shi kaɗai ya isa,” in ji Tchaikovsky, “domin kada mutumin Rasha ya sunkuyar da kansa da kunya sa’ad da aka ƙididdige dukan manyan abubuwan da Turai ta halitta a gabansa.”

Ƙarin hadaddun shine halinsa game da Dostoevsky. Da yake gane hazakarsa, mawakin bai ji irin kusancin ciki da shi ba kamar Tolstoy. Idan, karanta Tolstoy, zai iya zubar da hawaye na sha'awa mai albarka saboda "ta hanyar sulhuntawa ya shafa tare da duniya na manufa, cikakkar nagarta da ɗan adam", to, "mummunan iyawa" na marubucin "The Brothers Karamazov" ya kashe shi har ma ya tsoratar da shi.

Daga cikin marubuta na matasa tsara Tchaikovsky yana da tausayi na musamman ga Chekhov, wanda a cikin labarun da litattafansa ya jawo hankalinsa ta hanyar haɗin kai marar tausayi tare da jin dadi da shayari. Wannan tausayi, kamar yadda kuka sani, juna ne. Halin Chekhov ga Tchaikovsky yana nuna wasiƙar da ya rubuta zuwa ga ɗan'uwan mawaki, inda ya yarda cewa "a shirye yake dare da rana don ya tsaya gadi a shirayin gidan da Pyotr Ilyich yake zaune" - don haka ya kasance mai girma ga sha'awar waƙar. mawaki, wanda ya sanya wuri na biyu a Rasha art, nan da nan bayan Leo Tolstoy. Wannan kima na Tchaikovsky na ɗaya daga cikin manyan mashahuran cikin gida na kalmar ya shaida abin da waƙar mawaƙin ya kasance ga mafi kyawun ci gaba na mutanen Rasha na zamaninsa.

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Tchaikovsky ya kasance na nau'in masu fasaha wanda masu zaman kansu da masu kirkira, ɗan adam da fasaha suna da alaƙa da haɗin gwiwa da haɗin kai wanda kusan ba zai yiwu a raba ɗaya daga ɗayan ba. Duk abin da ya dame shi a rayuwa, ya haifar da zafi ko farin ciki, bacin rai ko tausayi, ya nemi ya bayyana a cikin waƙoƙinsa a cikin harshen sautin kiɗan kusa da shi. Abubuwan da ake buƙata da kuma haƙiƙa, na sirri da na mutum ba za su iya rabuwa ba a cikin aikin Tchaikovsky. Wannan yana ba mu damar yin magana game da lyricism a matsayin babban nau'i na tunaninsa na fasaha, amma a cikin ma'anar ma'anar da Belinsky ya haɗa da wannan ra'ayi. “Duka na kowa, duk wani abu mai mahimmanci, kowane ra'ayi, kowane tunani - manyan injunan duniya da rayuwa, - ya rubuta, - na iya yin abubuwan da ke cikin aikin lyrical, amma a kan yanayin, duk da haka, cewa za a fassara janar a cikin jinin batun. dukiya, shiga cikin jin daɗinsa, kada a haɗa shi da kowane bangare nasa, amma tare da dukan amincin kasancewarsa. Duk abin da ke shagaltar da shi, daɗaɗawa, farantawa, baƙin ciki, jin daɗi, kwantar da hankali, damuwa, a cikin kalma, duk abin da ke tattare da abubuwan da ke cikin rayuwar ruhaniya na batun, duk abin da ya shiga cikinsa, ya taso a cikinsa - duk abin da aka yarda da shi. lyric a matsayin halattacciyar dukiya. .

Lyricism a matsayin wani nau'i na fahimtar fasaha na duniya, Belinsky ya ci gaba da bayyana, ba kawai na musamman ba ne, nau'in fasaha mai zaman kanta, girman bayyanarsa ya fi girma: "lyricism, data kasance a cikin kanta, a matsayin nau'i na waƙa, ya shiga ciki. sauran, kamar wani kashi, rayuwa su , kamar yadda wutar Prometheans rayuwa dukan halittun Zeus ... The preponderance na lyrical kashi kuma ya faru a cikin almara da kuma a cikin wasan kwaikwayo.

Numfashin sahihanci da jin daɗin rairayi kai tsaye ya burge dukkan ayyukan Tchaikovsky, daga ƙaramar murya ko wasan piano zuwa wasan kwaikwayo da wasan operas, waɗanda ko kaɗan ba ya ware zurfin tunani ko ƙaƙƙarfan wasan kwaikwayo. Ayyukan mawaƙin mawaƙa shine mafi fa'ida a cikin abun ciki, mafi kyawun halayensa kuma mafi yawan nau'ikan abubuwan sha'awarta, gwargwadon yadda yanayinsa ya fi dacewa ga abubuwan da ke kewaye da su. Tchaikovsky yana sha'awar abubuwa da yawa kuma ya mayar da martani ga duk abin da ya faru a kusa da shi. Ana iya cewa babu wani abu mai girma da muhimmanci a rayuwarsa ta wannan zamani da za ta bar shi ba ruwansa kuma bai haifar da wani martani ko daya daga gare shi ba.

Ta hanyar yanayi da tunani, ya kasance ƙwararren ƙwararren ɗan Rasha ne na zamaninsa - lokaci na matakai masu zurfi, babban bege da tsammanin, da kuma rashin jin daɗi da hasara. Ɗaya daga cikin manyan siffofi na Tchaikovsky a matsayin mutum shine rashin kwanciyar hankali na ruhu, halayyar yawancin manyan al'adun Rasha a wannan zamanin. Mawaƙin da kansa ya ayyana wannan siffa a matsayin “masanin manufa.” A cikin rayuwarsa, ya kasance mai tsanani, wani lokaci mai raɗaɗi, ya nemi goyon baya mai ƙarfi na ruhaniya, ya juya ko dai zuwa falsafa ko addini, amma ba zai iya kawo ra'ayinsa game da duniya ba, a kan wuri da manufar mutum a cikinta cikin tsari guda ɗaya. . “… Ba na samun ƙarfi a cikin raina don in sami wani tabbaci mai ƙarfi, domin ni, kamar yanayi mara kyau, nakan juya tsakanin addinin gargajiya da kuma gardamar tunani mai mahimmanci,” in ji Tchaikovsky ɗan shekara talatin da bakwai. Irin wannan dalili a cikin littafin tarihin da aka yi shekaru goma bayan haka: “Rayuwa ta wuce, ta ƙare, amma ban yi tunanin komai ba, har ma na watsar da shi, idan tambayoyi masu haɗari sun taso, na bar su.”

Ciyar da kyama ga kowane nau'i na koyarwa da bushewar rationalistic abstractions, Tchaikovsky ba shi da sha'awar tsarin falsafa daban-daban, amma ya san ayyukan wasu masana falsafa kuma ya bayyana halinsa zuwa gare su. Ya yi Allah wadai da falsafar Schopenhauer, sannan gaye a Rasha. "A cikin ƙarshe na Schopenhauer," in ji shi, "akwai wani abu mai banƙyama ga mutuncin ɗan adam, wani abu mai bushe da son kai, wanda ba soyayya ga bil'adama ba." Tsananin wannan bita yana da fahimta. Mai zanen, wanda ya bayyana kansa a matsayin "mutum mai son rayuwa (duk da wahalhalunsa) kuma yana ƙin mutuwa," ba zai iya yarda da raba koyarwar falsafar da ta tabbatar da cewa kawai sauyi zuwa rashin wanzuwa, halakar kai yana aiki kamar yadda ya kamata. kubuta daga sharrin duniya.

Akasin haka, falsafar Spinoza ta jawo tausayi daga Tchaikovsky kuma ta jawo hankalinsa tare da mutuntaka, kulawa da ƙauna ga mutum, wanda ya ba da damar mawallafin ya kwatanta mai tunani na Holland da Leo Tolstoy. Asalin rashin yarda da Allah na ra'ayoyin Spinoza shima bai lura da shi ba. “Na manta,” in ji Tchaikovsky, sa’ad da yake tuna jayayyar da ya yi da von Meck kwanan nan, cewa za a iya samun mutane kamar Spinoza, Goethe, Kant, waɗanda suka yi rashin addini? Na manta cewa, ba a ma maganar waɗannan kolosi ba, akwai wani rami na mutanen da suka yi nasarar ƙirƙirar wa kansu tsarin ra'ayi mai jituwa wanda ya maye gurbin addini a gare su.

An rubuta waɗannan layin a cikin 1877, lokacin da Tchaikovsky ya ɗauki kansa a matsayin wanda bai yarda da Allah ba. Shekara guda bayan haka, ya ƙara da faɗi cewa ɓangaren koyarwa na Orthodoxy “An daɗe ana zargina da zargi da za ta kashe shi.” Amma a farkon 80s, wani canji ya faru a cikin halayensa ga addini. “… Hasken bangaskiya yana ƙara shiga cikin raina,” in ji shi a cikin wata wasiƙa zuwa ga von Meck daga Paris mai kwanan wata 16/28 ga Maris, 1881, “… Ina jin cewa ina ƙara karkata ga wannan ƙaƙƙarfan ƙaƙƙarfan namu. a kan kowane irin bala'i . Ina jin cewa na fara sanin yadda zan ƙaunaci Allah, wanda ban sani ba a dā. Gaskiya ne, nan da nan jawabin ya zame: "har yanzu shakku suna ziyarce ni." Amma marubucin ya yi ƙoƙari da dukkan ƙarfin ransa don ya nutsar da waɗannan shakku kuma ya kore su daga kansa.

Ra'ayoyin addini na Tchaikovsky sun kasance masu sarƙaƙƙiya kuma sun kasance masu cike da shubuhohi, bisa dogaro da abubuwan motsa rai fiye da tabbatacciya mai zurfi. Wasu ƙa’idodin bangaskiyar Kirista har yanzu ba su yarda da shi ba. “Addini ba ya cika ni sosai,” in ji shi a ɗaya cikin wasiƙun, “don ganin da gaba gaɗi na soma sabuwar rayuwa ta mutuwa.” Tunanin madawwamin ni'ima ta sama ya zama kamar Tchaikovsky wani abu maras ban sha'awa, fanko da farin ciki: "Rayuwa tana da ban sha'awa lokacin da ta ƙunshi madaidaicin farin ciki da baƙin ciki, na gwagwarmaya tsakanin nagarta da mugunta, haske da inuwa, a cikin kalma, na bambancin hadin kai. Ta yaya za mu yi tunanin rai na har abada a cikin hanyar jin daɗi marar iyaka?

A 1887, Tchaikovsky ya rubuta a cikin diary:addini Ina so in bayyana nawa dalla-dalla, idan kawai don kaina sau ɗaya kuma gaba ɗaya fahimtar imanina da iyakar inda suke farawa bayan hasashe. Duk da haka, Tchaikovsky a fili ya kasa kawo ra'ayinsa na addini cikin tsari guda kuma ya warware duk sabaninsu.

Ya sha'awar addinin Kiristanci musamman ta bangaren dabi'a na mutuntaka, hoton bisharar Almasihu Tchaikovsky ya gane shi a matsayin mai rai da gaske, yana da halaye na yau da kullun. “Ko da yake Shi Allah ne,” mun karanta a cikin ɗaya daga cikin bayanan diary, “amma a lokaci guda shi ma mutum ne. Ya sha wahala, kamar mu. Mu nadama shi, muna so a gare shi manufansa mutum gefe." Tunanin Maɗaukaki da Ƙarfin Allah Mai Runduna ya kasance ga Tchaikovsky wani abu mai nisa, mai wuyar fahimta kuma yana ƙarfafa tsoro maimakon dogara da bege.

Babban dan Adam Tchaikovsky, wanda mafi girman darajar shi ne mutumin da ya san girmansa da aikinsa ga wasu, ya yi tunani kadan game da al'amuran tsarin zamantakewa na rayuwa. Ra'ayinsa na siyasa sun kasance masu matsakaicin ra'ayi kuma ba su wuce tunanin tsarin sarauta na tsarin mulki ba. "Yadda Rasha za ta kasance mai haske," in ji shi wata rana, "idan mai mulki (ma'ana Alexander II) ya ƙare mulkinsa mai ban mamaki ta hanyar ba mu yancin siyasa! Kar su ce ba mu balaga ba ga tsarin mulkin kasa.” Wani lokaci wannan ra'ayi na kundin tsarin mulki da kuma wakilci a cikin Tchaikovsky ya dauki nau'i na ra'ayin Zemstvo sobor, wanda ya yadu a cikin 70s da 80s, wanda bangarori daban-daban na al'umma suka raba daga masu sassaucin ra'ayi zuwa masu neman sauyi na masu sa kai na Jama'a. .

Nisa daga nuna juyayi da duk wani akida na juyin juya hali, a lokaci guda, Tchaikovsky ya damu matuka game da yadda ake ci gaba da karuwa a Rasha kuma ya yi Allah wadai da mummunan ta'addancin gwamnati da ke da nufin murkushe dan kankanin hangen nesa na rashin jin dadi da tunani. A 1878, a lokacin da mafi girma da kuma girma na Narodnaya Volya motsi, ya rubuta: "Muna cikin wani mummunan lokaci, da kuma lokacin da ka fara tunanin abin da ke faruwa, ya zama m. A gefe guda, gwamnatin da ba ta da tushe, don haka an rasa cewa Aksakov an ambaci kalma mai karfi, mai gaskiya; a daya bangaren kuma, matasa mahaukata marasa galihu, dubban mutane ne suka yi gudun hijira ba tare da shari’a ko bincike ba zuwa inda hankaka bai kawo kashi ba – kuma daga cikin wadannan matsananci biyu na rashin kula da komai, jama’a sun shiga cikin son rai, ba tare da wata zanga-zanga ta kalli daya ba. ko dayan.

Irin waɗannan maganganu masu mahimmanci ana samun su akai-akai a cikin wasiƙun Tchaikovsky kuma daga baya. A shekara ta 1882, jim kaɗan bayan hawan Alexander III, tare da wani sabon ƙarfin hali, wannan dalili ya ba da sauti a cikinsu: “Ga ƙaunataccen zuciyarmu, ko da yake ƙasar uba ce mai baƙin ciki, lokaci na baƙin ciki ya zo. Kowa yana jin rashin kwanciyar hankali da rashin jin daɗi; kowa yana jin cewa halin da ake ciki ba shi da kwanciyar hankali kuma dole ne a yi canje-canje - amma ba za a iya hango komai ba. A cikin 1890, wannan dalili ya sake yin sauti a cikin wasiƙarsa: “… wani abu ba daidai ba ne a Rasha yanzu… Ruhun amsa ya kai ga rubutun Count. L. Tolstoy ana tsananta wa a matsayin wasu irin shelar juyin juya hali. Matasan suna tawaye, kuma yanayin Rasha, hakika, yana da duhu sosai.” Duk wannan, ba shakka, ya rinjayi halin da ake ciki na Tchaikovsky gaba ɗaya, ya tsananta jin rashin jituwa tare da gaskiya kuma ya haifar da zanga-zangar ciki, wanda kuma ya nuna a cikin aikinsa.

Wani mutum mai faffadan bukatu na ilimi, mai zane-zane, Tchaikovsky ya ci gaba da yin nauyi da zurfin tunani mai zurfi game da ma'anar rayuwa, wurinsa da manufarsa, game da ajizancin dangantakar ɗan adam, da kuma wasu abubuwa da yawa. gaskiyar zamani yasa shi tunani. Mawaƙin ba zai iya kawai ya damu ba game da tambayoyi na yau da kullun game da tushe na kerawa na fasaha, rawar fasaha a rayuwar mutane da hanyoyin ci gabanta, waɗanda aka gudanar da irin wannan rikice-rikice masu kaifi da zafi a zamaninsa. Lokacin da Tchaikovsky ya amsa tambayoyin da aka yi masa cewa ya kamata a rubuta waƙa "kamar yadda Allah ya sa rai," wannan ya nuna rashin amincewarsa ga kowane irin ra'ayi mai zurfi, har ma fiye da haka don amincewa da duk wasu dokoki da ka'idoji na wajibi a cikin fasaha. . . Don haka, yana zargin Wagner don tilasta wa aikinsa yin aiki ga wani ra'ayi na wucin gadi da nesa, ya ce: "Wagner, a ganina, ya kashe babban ikon halitta a kansa da ka'ida. Duk wani ka'idar da aka rigaya tana kwantar da hankalin halitta nan da nan.

Godiya a cikin kiɗa, da farko, ikhlasi, gaskiya da gaggawar magana, Tchaikovsky ya guje wa manyan maganganu na shela da shelar ayyukansa da ka'idodinsa don aiwatar da su. Amma wannan ba yana nufin bai yi tunani a kansu kwata-kwata ba: ƙwaƙƙwaran ƙawansa sun kasance masu ƙarfi da daidaito. A cikin mafi yawan nau'i na gaba ɗaya, ana iya rage su zuwa manyan tanadi guda biyu: 1) dimokuradiyya, imani cewa ya kamata a yi magana da fasaha ga mutane da yawa, yin aiki a matsayin hanyar ci gaban ruhaniya da wadatar su, 2) gaskiyar da ba ta dace ba. rayuwa. Shahararrun sanannun kuma sau da yawa ana ambaton kalmomin Tchaikovsky: "Zan yi fatan da dukan ƙarfin raina cewa kiɗa na ya yada, cewa yawan mutanen da suke son shi, suna samun ta'aziyya da goyon baya a cikinsa" za su karu, sun kasance alamar bayyanar. wani wanda ba banza bi na shahararsa a kowane halin kaka, amma mawaki ta muhimmi bukatar sadarwa tare da mutane ta hanyar da art, da sha'awar kawo su farin ciki, don ƙarfafa ƙarfi da kuma mai kyau ruhohi.

Tchaikovsky kullum yayi magana game da gaskiyar magana. A lokaci guda kuma, wani lokacin ya nuna mummunan hali game da kalmar "gaskiya". An bayyana wannan ta hanyar cewa ya gane shi a cikin fassarar fassarar Pisarev mai banƙyama, ban da kyakkyawan kyakkyawa da waƙa. Ya yi la'akari da babban abu a cikin art ba waje na halitta plausibility, amma zurfin fahimtar ciki ma'anar abubuwa da kuma, sama da duka, waɗancan da dabara da kuma hadaddun hankali matakai boye daga sama na sama kallo da cewa faruwa a cikin ran mutum. Ita ce kida, a ra'ayinsa, fiye da kowane fasaha, wanda ke da wannan ikon. "A cikin mai fasaha," in ji Tchaikovsky, "akwai cikakkiyar gaskiya, ba a cikin ma'anar banal ba, amma a cikin mafi girma, yana buɗe mana wasu abubuwan da ba a san su ba, wasu wuraren da ba za a iya isa ba inda kiɗa kawai zai iya shiga, kuma babu wanda ya tafi. ya zuwa yanzu tsakanin marubuta. kamar Tolstoy."

Tchaikovsky ba baƙon abu ba ne ga dabi'ar son kai, zuwa wasan kwaikwayo na fantasy da almara mai ban mamaki, ga duniyar ban mamaki, sihiri da wanda ba a taɓa gani ba. Amma abin da ya fi mayar da hankali ga mawallafin mawaƙin ya kasance mutum ne na gaske mai rai mai sauƙi amma mai ƙarfi, farin ciki, baƙin ciki da wahalhalu. Wancan kaifi na hankali, hankali na ruhaniya da amsawa wanda aka baiwa Tchaikovsky sun ba shi damar ƙirƙirar hotuna masu ban mamaki, masu gaskiya masu gamsarwa waɗanda muke ganin kusanci, fahimta kuma kama da mu. Wannan ya sa shi a kan daidai da irin wannan manyan wakilan Rasha gargajiya realism kamar Pushkin, Turgenev, Tolstoy ko Chekhov.

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Ana iya faɗi daidai game da Tchaikovsky cewa zamanin da ya rayu, lokacin haɓakar zamantakewar jama'a da manyan canje-canje masu amfani a duk sassan rayuwar Rasha, ya sanya shi mawaki. Lokacin da wani matashi jami'in ma'aikatar shari'a da kuma mai son kida, bayan shiga St. Petersburg Conservatory, wanda aka bude kawai a 1862, nan da nan ya yanke shawarar sadaukar da kansa ga music, wannan ya sa ba kawai mamaki, amma kuma rashin yarda a tsakanin mutane da yawa kusa. gareshi. Ba tare da wani haɗari ba, aikin Tchaikovsky ba, duk da haka, na haɗari da rashin tunani. Bayan 'yan shekaru baya, Mussorgsky ya yi ritaya daga aikin soja don wannan dalili, a kan shawara da lallashin abokansa. Dukkanin matasa masu hazaka sun sa su dauki wannan matakin ta hanyar dabi'ar fasaha, wanda ke tabbatarwa a cikin al'umma, a matsayin wani abu mai mahimmanci kuma mai mahimmanci wanda ke taimakawa wajen inganta ruhaniyar mutane da yawaitar al'adun gargajiya na kasa.

Shigar Tchaikovsky cikin hanyar kiɗan ƙwararru yana da alaƙa da babban canji a cikin ra'ayoyinsa da halaye, halayen rayuwa da aiki. Kanin mawaƙin kuma marubucin tarihin farko MI Tchaikovsky ya tuna yadda har kamanninsa ya canza bayan ya shiga ɗakin karatu: ta wata fuska. Tare da nuna rashin kulawa na bayan gida, Tchaikovsky yana so ya jaddada hukunce-hukuncen hutunsa tare da tsohon mashawarta da yanayin ofis da canji daga mutum mai gogewa zuwa ma'aikaci-raznochintsy.

A cikin dan kadan fiye da shekaru uku na karatu a Conservatory, inda AG Rubinshtein ya kasance daya daga cikin manyan mashawarta da shugabannin, Tchaikovsky ƙware da dukan zama dole ka'idar horo da kuma rubuta da dama symphonic da jam'iyya ayyuka, ko da yake ba tukuna gaba daya m da m, amma. alama da gwaninta na ban mamaki. Mafi girma daga cikinsu shi ne cantata “To Joy” a kan kalmomin Schiller’s ode, da aka yi a bikin kammala karatun digiri na ranar 31 ga Disamba, 1865. Ba da daɗewa ba bayan haka, abokin Tchaikovsky kuma abokin karatunsa Laroche ya rubuta masa: “Kai ne mafi girman hazaka na kiɗan kiɗa. Na zamani Rasha… Ina ganin ku mafi girma, ko kuma a maimakon haka, kawai bege na makomar kiɗanmu… Koyaya, duk abin da kuka yi… Ina ɗaukar aikin ɗan makaranta ne kawai. , shiri da gwaji, don yin magana. Ƙirƙirar ku za ta fara, watakila, a cikin shekaru biyar kawai, amma su, balagagge, na gargajiya, za su wuce duk abin da muka samu bayan Glinka.

Tchaikovsky m m aiki bayyana a cikin rabin na biyu na 60s a Moscow, inda ya koma a farkon 1866 a kan gayyatar da NG Rubinshtein ya koyar a cikin music azuzuwan na RMS, sa'an nan a Moscow Conservatory, wanda ya bude a cikin kaka na shekara guda. "... Ga PI Tchaikovsky," kamar yadda ɗaya daga cikin sababbin abokansa na Moscow ND Kashkin ya shaida, "shekaru da yawa ta zama dangin fasaha wanda a cikin mahallinsu basirarsa ta girma da haɓaka." Matashin mawaki ya sadu da tausayi da goyon baya ba kawai a cikin kiɗa ba, har ma a cikin wallafe-wallafen wallafe-wallafen da wasan kwaikwayo na lokacin Moscow. Sanin AN Ostrovsky da wasu daga cikin manyan 'yan wasan kwaikwayo na gidan wasan kwaikwayo na Maly sun ba da gudummawa ga karuwar sha'awar Tchaikovsky a cikin waƙoƙin jama'a da kuma tsohuwar rayuwar Rasha, wanda ya bayyana a cikin ayyukansa na waɗannan shekarun (wasan kwaikwayo na Voyevoda bisa ga wasan Ostrovsky, Symphony na farko " Mafarkin hunturu").

Tsawon lokacin da ba a saba gani cikin sauri da haɓaka haɓakar hazakar sa shine shekarun 70s. "Akwai tarin damuwa," in ji shi, "wanda ke rungumar ku sosai a lokacin babban aiki wanda ba ku da lokacin kula da kanku kuma ku manta da komai sai abin da ya shafi aiki kai tsaye." A cikin wannan yanayin na gaske da Tchaikovsky, uku symphonies, biyu piano da violin concertos, uku operas, da Swan Lake ballet, uku quartets da dama wasu, ciki har da quite manyan da kuma gagarumin ayyuka, an halitta kafin 1878. Idan muka ƙara zuwa wannan babban aiki ne na ilmantarwa, mai cin lokaci a ɗakin karatu da kuma ci gaba da haɗin gwiwa a jaridun Moscow a matsayin marubucin kida har zuwa tsakiyar 70s, to, ƙarfin ƙarfinsa da ƙaƙƙarfan kwararar wahayi ya buge mutum ba tare da son rai ba.

Ƙarfafa ƙirƙira na wannan lokacin sun kasance ƙwararrun ƙwararru guda biyu - "Eugene Onegin" da Symphony na huɗu. Halittar su ta zo daidai da mummunan rikicin tunani wanda ya kawo Tchaikovsky zuwa gaɓar kashe kansa. Abin da ya kara tunzura wannan firgita shi ne auren mace, rashin yiwuwar zama tare da ita tun farkon kwanakin da mawakin ya gane. Duk da haka, an shirya rikicin ta hanyar jimillar yanayin rayuwarsa da tulin da aka yi a cikin shekaru masu yawa. "Auren da ba a yi nasara ba ya kara saurin rikicin," in ji BV Asafiev daidai, "saboda Tchaikovsky, ya yi kuskure wajen ƙidaya sabon, mafi kyawun ƙirƙira - iyali - yanayi a cikin yanayin rayuwa, da sauri ya rabu - don cikakken m 'yanci. Cewa wannan rikicin ba yanayi ne mai wahala ba, amma an shirya shi ta hanyar ci gaban aikin mawaƙa da kuma jin daɗin haɓakar haɓakawa mafi girma, sakamakon wannan tashin hankali mai juyayi: opera Eugene Onegin da sanannen Symphony na huɗu. .

Lokacin da tsananin rikicin ya ragu kaɗan, lokaci ya yi da za a yi nazari mai mahimmanci da sake duba duk hanyar da aka bi, wanda ya ɗauki shekaru. Wannan tsari ya kasance tare da rashin gamsuwa da kansa: sau da yawa ana jin gunaguni a cikin wasiƙun Tchaikovsky game da rashin fasaha, rashin girma da rashin cikar duk abin da ya rubuta ya zuwa yanzu; wani lokacin sai ya ga ya gaji, ya gaji kuma ba zai iya haifar da wani abu mai muhimmanci ba. Ƙimar ƙima da natsuwa tana ƙunshe a cikin wasiƙar zuwa ga von Meck mai kwanan kwanan wata 25-27 ga Mayu, 1882: “... An sami sauyi marar shakka a cikina. Babu sauran wannan haske, jin daɗin aiki, godiya ga wanda kwanaki da sa'o'i suka tashi ba tare da an gane ni ba. Ina jajanta wa kaina cewa idan rubuce-rubucena na gaba ba su da daɗi da ji na gaskiya fiye da waɗanda suka gabata, to za su yi nasara cikin rubutu, za su kasance da gangan, da balagagge.

Lokacin daga ƙarshen 70s zuwa tsakiyar 80s a cikin ci gaban Tchaikovsky ana iya bayyana shi a matsayin lokacin bincike da tara ƙarfi don ƙware sabbin manyan ayyuka na fasaha. Ayyukansa na kirkire-kirkire bai ragu ba a cikin wadannan shekaru. Godiya ga taimakon kudi na von Meck, Tchaikovsky ya sami damar 'yantar da kansa daga aikinsa mai nauyi a cikin azuzuwan ka'idojin Conservatory na Moscow kuma ya ba da kansa gabaɗaya don tsara kiɗa. Ayyuka da yawa sun fito daga ƙarƙashin alƙalami, watakila ba su mallaki irin wannan iko mai ban mamaki da ƙarfin magana kamar Romeo da Juliet, Francesca ko Symphony na huɗu ba, irin wannan fara'a na waƙoƙin rairayi masu daɗi da waƙa kamar Eugene Onegin, amma ƙware. maras kyau a cikin tsari da rubutu, an rubuta shi da kyakkyawan tunani, wayo da ƙirƙira, kuma sau da yawa tare da haske na gaske. Waɗannan su ne manyan ɗakunan kade-kade uku masu ban sha'awa da wasu ayyukan ban mamaki na waɗannan shekarun. Operas da baiwa Orleans da Mazeppa, aka kirkira a lokaci guda, ana bambancewa da fannin siffofinsu, duk da cewa su yanayi mai ban sha'awa, kodayake suna fama da wasu mutuncin na ciki da rashin amincin fasaha.

Wadannan bincike da abubuwan da suka faru sun shirya mawallafin don sauyawa zuwa wani sabon mataki na aikinsa, wanda aka nuna shi ta hanyar balagagge mafi girma na fasaha, haɗuwa da zurfi da mahimmancin ra'ayoyin tare da cikar aiwatar da su, wadata da nau'i-nau'i iri-iri, nau'o'in da kuma hanyoyin kalaman kida. A cikin irin wannan ayyuka na tsakiyar da na biyu da rabi na 80s kamar yadda "Manfred", "Hamlet", biyar Symphony, a kwatanta da farkon ayyukan Tchaikovsky, fasali na mafi girma m zurfin tunani, ya bayyana taro na tunani, m muradi. A cikin shekarun nan, aikinsa ya samu karbuwa ga jama'a a gida da kuma a wasu kasashen waje. Kamar yadda Laroche ya taɓa faɗi, ga Rasha a cikin 80s ya zama iri ɗaya da Verdi ya kasance na Italiya a cikin 50s. Mawaƙin, wanda ya nemi kaɗaici, yanzu da yardar rai ya bayyana a gaban jama'a kuma yana yin wasan kwaikwayo da kansa, yana gudanar da ayyukansa. A 1885, ya aka zabe shugaban na Moscow reshe na RMS da kuma dauki wani aiki bangare a cikin shirya da concert rayuwa na Moscow, halartar jarrabawa a Conservatory. Tun daga 1888, ya fara yawon shakatawa na kide-kide na nasara a Yammacin Turai da Amurka.

Tsananin kida, jama'a da ayyukan kide-kide ba ya raunana kuzarin kere kere na Tchaikovsky. Domin ya mai da hankali kan tsara kiɗa a cikin lokacinsa, ya zauna a kusa da Klin a shekara ta 1885, kuma a cikin bazara na 1892 ya yi hayar gida a bayan birnin Klin, wanda ya kasance har wa yau a matsayin wurin da ake kira Klin. ƙwaƙwalwar babban mawaki kuma babban ma'ajiyar kayan tarihin rubutunsa mafi arha.

Shekaru biyar na ƙarshe na rayuwar mawakin an yi masa alama ta musamman maɗaukakiyar fure mai haske na ayyukan ƙirƙira. A cikin lokaci 1889 - 1893 ya halicci irin wannan ban mamaki ayyuka kamar operas "The Queen of Spades" da "Iolanthe", da ballets "Barci Beauty" da "The Nutcracker" da kuma, a karshe, babu irinsa a cikin ikon bala'i, zurfin Ƙirƙirar tambayoyin rayuwar ɗan adam da mutuwa, ƙarfin zuciya da kuma a lokaci guda tsabta, cikar ra'ayi na fasaha na Symphony na shida ("Pathetic"). Da yake sun zama sakamakon rayuwar gaba ɗaya da kuma hanyar kirkire-kirkire na mawakin, waɗannan ayyukan a lokaci guda sun kasance babban ci gaba a nan gaba kuma sun buɗe sabbin hazaka ga fasahar kiɗan cikin gida. Yawancin su a yanzu ana la'akari da abin da aka samu daga baya daga manyan mawakan Rasha na karni na XNUMX - Stravinsky, Prokofiev, Shostakovich.

Tchaikovsky ba dole ba ne ya bi ta cikin ramukan ƙirƙira da bushewa - wani bala'in bala'i da ba zato ba tsammani ya riske shi a daidai lokacin da yake cike da ƙarfi kuma ya kasance a saman babban hazakarsa.

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Kiɗa na Tchaikovsky, wanda ya riga ya kasance a lokacin rayuwarsa, ya shiga cikin fahimtar sassan al'ummar Rasha kuma ya zama wani ɓangare na al'adun ruhaniya na kasa. Sunansa yana kan daidai da sunayen Pushkin, Tolstoy, Dostoevsky da sauran manyan wakilan wallafe-wallafen gargajiya na Rasha da al'adun fasaha a gaba ɗaya. Mutuwar da ba zato ba tsammani na mawaki a cikin 1893 gabaɗayan wayewar Rasha ta gane a matsayin asarar ƙasa da ba za a iya gyarawa ba. Abin da ya kasance ga mutane da yawa masu tunani masu ilimi suna shaida ta hanyar ikirari na VG Karatygin, duk mafi mahimmanci saboda nasa ne ga mutumin da ya karbi aikin Tchaikovsky daga baya ba tare da wani sharadi ba kuma tare da babban zargi. A cikin wata kasida da aka sadaukar domin cika shekaru ashirin da mutuwarsa, Karatygin ya rubuta: “… Lokacin da Pyotr Ilyich Tchaikovsky ya mutu a St. Na iya ba kawai fahimtar girman hasara ba , wanda Rasha ta jawo jama'aamma kuma mai zafi a ji zuciyar duk-Rasha bakin ciki. A karon farko, a kan wannan, na ji dangantakara da al'umma gaba ɗaya. Kuma saboda a lokacin da ya faru a karon farko, na bashi Tchaikovsky farkon farkawa a kaina na jin wani ɗan ƙasa, memba na Rasha al'umma, ranar mutuwarsa har yanzu yana da wani musamman ma'ana a gare ni.

Ikon shawarwarin da ya samo asali daga Tchaikovsky a matsayin mai zane kuma mutum yana da girma: ba wani mawaki na Rasha wanda ya fara ayyukansa a cikin shekarun da suka gabata na karni na 900 ya tsira daga tasirinsa zuwa digiri ɗaya ko wani. A lokaci guda, a cikin 910s da farkon XNUMXs, dangane da yaduwar alamar alama da sauran sababbin ƙungiyoyi na fasaha, halayen "anti-Chaikovist" masu karfi sun bayyana a cikin wasu da'irori na kiɗa. Waƙarsa ta fara zama kamar mai sauƙi kuma mai ban sha'awa, ba ta da sha'awar "wasu duniya", ga abin ban mamaki da wanda ba a sani ba.

A cikin 1912, N. Ya. Myaskovsky ya yi magana da kakkausan harshe game da rashin kyama ga gadon Tchaikovsky a cikin sanannen labarin "Tchaikovsky da Beethoven." Ya fusata ya yi watsi da yunƙurin da wasu masu suka suka yi na raina mahimmancin babban mawaƙin Rasha, “wanda aikinsu ba wai kawai ya ba wa iyaye mata damar samun matsayi da sauran al’ummomin al’adu cikin nasu ba, amma ta haka ne suka shirya hanyoyin kyauta don zuwan. mafificin…”. Daidaitaccen da a yanzu ya zama sananne a gare mu tsakanin mawaƙan biyu waɗanda aka kwatanta sunayensu a cikin taken labarin na iya zama kamar mutane da yawa masu ƙarfin hali da rashin fahimta. Labarin Myaskovsky ya haifar da martani masu karo da juna, ciki har da masu ra'ayin mazan jiya. Amma akwai jawabai a cikin manema labarai da suka goyi bayan ra'ayoyin da aka bayyana a ciki.

An kuma ji ra'ayoyin waccan mummunan hali game da aikin Tchaikovsky, wanda ya samo asali daga sha'awar sha'awa na farkon karni, a cikin 20s, da ban mamaki tare da yanayin zamantakewar zamantakewa na waɗannan shekarun. A lokaci guda kuma, wannan shekaru goma ne aka yi alama da sabon haɓakar sha'awar gadon babban gwanin Rasha da kuma zurfin fahimtar mahimmancinsa da ma'anarsa, wanda babban abin da ya dace ya kasance ga BV Asafiev a matsayin mai bincike da farfaganda. Littattafai da yawa da mabanbanta a cikin shekaru masu zuwa sun bayyana wadatuwa da ɗumbin ɗumbin ɗumbin siffar halittar Tchaikovsky a matsayin ɗaya daga cikin manyan masu fasaha da masu tunani na zamanin da.

Tattaunawa game da darajar kiɗan Tchaikovsky sun daɗe sun daina zama masu dacewa a gare mu, babban darajar fasaharsa ba kawai ba ta raguwa a cikin hasken sabbin nasarorin fasahar kiɗan na Rasha da na duniya na zamaninmu ba, amma yana ci gaba da girma kuma yana bayyana kansa cikin zurfi. kuma mafi fadi, daga sabbin bangarori, wadanda ba a lura da su ba ko kuma ba su la'akari da su da wakilan zamani na gaba da suka biyo shi.

Yu. Ku zo

• Opera aiki na Tchaikovsky →
• Ƙirƙirar Ballet na Tchaikovsky →
• Ayyukan Symphonic na Tchaikovsky →
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• Ayyukan Choral na Tchaikovsky →