Richard Strauss |

Richard Strauss

Strauss Richard. "Haka Zarathustra ta faɗa." Gabatarwa

Ina so in kawo farin ciki kuma ina bukata da kaina. R. Straus

R. Strauss - daya daga cikin manyan mawakan Jamusanci, juzu'in ƙarni na XIX-XX. Tare da G. Mahler, shi ma yana ɗaya daga cikin mafi kyawun jagora na zamaninsa. daukaka ta raka shi tun yana karami har zuwa karshen rayuwarsa. Ƙwararriyar ƙirƙira na matashin Strauss ya haifar da kai hare-hare da tattaunawa. A cikin 20-30s. Gwanayen karni na XNUMX na sabbin abubuwan da suka faru sun ayyana aikin mawakin ya zama tsohon zamani. Duk da haka, duk da wannan, ayyukansa mafi kyau sun tsira shekaru da yawa kuma sun riƙe fara'a da darajar su har yau.

Mawaƙin gado, Strauss an haife shi kuma ya girma a cikin yanayin fasaha. Mahaifinsa ƙwararren ɗan wasan ƙaho ne kuma ya yi aiki a ƙungiyar Orchestra ta Kotun Munich. Mahaifiyar, wadda ta fito daga gidan wani hamshakin attajiri, tana da kyakkyawan yanayin kiɗan. Mawaƙin nan gaba ya karɓi darussan kiɗansa na farko daga wurinta lokacin yana ɗan shekara 4. Iyali sun buga kiɗa da yawa, don haka ba abin mamaki ba ne cewa basirar kiɗa na yaron ya bayyana kansa da wuri: yana da shekaru 6 ya shirya wasan kwaikwayo da yawa kuma ya yi ƙoƙari ya rubuta waƙa ga ƙungiyar makaɗa. A lokaci guda tare da darussan kiɗa na gida, Richard ya ɗauki kwas ɗin motsa jiki, ya karanta tarihin fasaha da falsafa a Jami'ar Munich. Jagoran Munich F. Mayer ya ba shi darussa cikin jituwa, nazarin tsari, da kuma ƙungiyar kade-kade. Shiga cikin ƙungiyar makaɗa mai son ya ba da damar a zahiri ƙware kayan kidan, kuma nan da nan aka yi gwajin mawaƙin na farko. Nasarar darussan kiɗa sun nuna cewa babu buƙatar wani saurayi ya shiga cikin ɗakunan ajiya.

An rubuta abubuwan farko na Strauss a cikin tsarin matsakaicin romanticism, amma fitaccen dan wasan pianist da shugaba G. Bülow, mai suka E. Hanslik da. I. Brahms ya ga babban baiwar saurayi a cikinsu.

Bisa shawarar Bülow, Strauss ya zama magajinsa - shugaban kungiyar makada na kotu na Duke na Saxe-Meidingen. Amma ƙarfin kuzarin matashin mawaƙin ya cika a cikin larduna, kuma ya bar garin, ya koma matsayin Kapellmeister na uku a Opera Court na Munich. Tafiya zuwa Italiya ta bar ra'ayi mai ban sha'awa, wanda aka nuna a cikin ra'ayi mai ban sha'awa "Daga Italiya" (1886), ƙarshen ƙarshe wanda ya haifar da zazzafan muhawara. Bayan shekaru 3, Strauss ya tafi hidima a gidan wasan kwaikwayo na Kotun Weimar kuma, a lokaci guda tare da wasan kwaikwayo na wasan kwaikwayo, ya rubuta waƙarsa mai ban sha'awa Don Juan (1889), wanda ya ba shi gaba ga wani wuri mai mahimmanci a cikin fasahar duniya. Bülow ya rubuta: "Don Juan..." nasara ce da ba a taɓa jin ta ba." Mawakan Strauss a karon farko sun haskaka a nan tare da ikon launuka na Rubens, kuma a cikin jarumin waƙar farin ciki, mutane da yawa sun gane hoton kansa na mawaki da kansa. A cikin 1889-98. Strauss ya ƙirƙira wasiƙun waƙoƙi masu ban sha'awa: "Til Ulenspiegel", "Haka Yayi Magana Zarathustra", "Rayuwar Jarumi", "Mutuwa da Haskakawa", "Don Quixote". Sun bayyana babbar baiwar mawakin ta hanyoyi da yawa: kyakykyawan haske, sautin kade-kade, jajircewar harshe na kade-kade. Ƙirƙirar "Symphony Home" (1903) ya ƙare lokacin "symphonic" na aikin Strauss.

Daga yanzu, mawakin ya sadaukar da kansa ga wasan opera. Gwaje-gwajensa na farko a cikin wannan nau'in ("Guntram" da "Ba tare da Wuta ba") suna da alamun tasirin babban R. Wagner, wanda aikin titanic Strauss, a cikin kalmominsa, yana da "girmamawa mara iyaka".

A farkon ƙarni, shaharar Strauss ta yaɗu a duk faɗin duniya. Ayyukan operas na Mozart da Wagner ana ɗaukarsa a matsayin abin koyi. A matsayin mai gudanar da wasan kwaikwayo Strauss ya zagaya Ingila, Faransa, Belgium, Holland, Italiya da Spain. A 1896, da basira da aka yaba a Moscow, inda ya ziyarci tare da kide kide. A 1898, Strauss aka gayyace zuwa post na shugaba na Berlin Kotun Opera. Yana taka rawar gani a rayuwar waka; ya shirya haɗin gwiwar mawaƙa na Jamus, wanda shugaban ƙungiyar mawakan Jamus ta Jamus ya ɗauka, ya gabatar da daftarin doka kan kare haƙƙin mallaka na mawaƙa ga Reichstag. A nan ya sadu da R. Rolland da G. Hofmannsthal, ƙwararren mawaƙi kuma marubucin wasan kwaikwayo ɗan ƙasar Austriya, wanda ya kasance tare da su kusan shekaru 30.

A cikin 1903-08. Strauss ya kirkiro wasan operas Salome (dangane da wasan kwaikwayo na O. Wilde) da Elektra (dangane da bala'in G. Hofmannsthal). A cikinsu, mawaki ya sami 'yanci gaba ɗaya daga tasirin Wagner.

Labarun Littafi Mai-Tsarki da na daɗaɗɗe a cikin fassarar manyan wakilai na decadence na Turai sun sami launi mai ban sha'awa da damuwa, suna nuna bala'i na raguwar wayewar zamani. Harshen kiɗa na Strauss, musamman a cikin "Electra", inda mai yin waƙa, a cikin kalmominsa, "ya kai matsananciyar iyaka… na ikon fahimtar kunnuwan zamani," ya haifar da adawa daga masu yin wasan kwaikwayo da masu suka. Amma ba da jimawa ba duka operas ɗin suka fara tattakinsu na cin nasara a matakai na Turai.

A cikin 1910, wani juyi ya faru a cikin aikin mawaki. A tsakiyar ayyukan madugu mai guguwa, ya ƙirƙira mafi shaharar wasan operas ɗinsa, Der Rosenkavalier. Tasirin al'adun Viennese, wasan kwaikwayo a Vienna, abokantaka tare da marubutan Viennese, daɗaɗɗen tausayi ga kiɗan sunan sa Johann Strauss - duk wannan ba zai iya nunawa a cikin kiɗa ba. Wasan opera-waltz, wanda soyayyar Vienna ke sha'awa, wanda abubuwan ban dariya, abubuwan ban dariya tare da ɓarna, alaƙar da ke tsakanin jarumai na waƙoƙin suna haɗuwa, Rosenkavalier ya kasance babban nasara a farkon farko a Dresden (1911) kuma nan da nan ya ci nasara kan matakan. na ƙasashe da yawa, zama ɗaya daga cikin shahararrun operas na XX a cikin.

Kwarewar Strauss na Epicurean yana bunƙasa tare da faɗin da ba a taɓa ganin irinsa ba. Ya burge shi da dogon tafiya zuwa Girka, ya rubuta opera Ariadne auf Naxos (1912). A ciki, kamar yadda a cikin operas na gaba Helena na Misira (1927), Daphne (1940) da kuma Ƙaunar Danae (1940), mawaki daga matsayi na mawaƙa na karni na XNUMX. ya biya haraji ga hotuna na tsohuwar Girka, hasken jituwa wanda yake kusa da ransa.

Yaƙin Duniya na farko ya haifar da guguwar son zuciya a Jamus. A cikin wannan yanayin, Strauss ya sami damar kiyaye 'yancin kai na hukunci, ƙarfin hali da tsabtar tunani. Ƙaunar yaƙi da Rolland na kusa da mawaƙin, kuma abokan da suka sami kansu a cikin ƙasashe masu fama ba su canza soyayya ba. Mawaƙin ya sami ceto, ta hanyar shigarsa, cikin “aiki mai himma.” A cikin 1915, ya kammala wasan kwaikwayon Alpine Symphony, kuma a cikin 1919, an shirya sabon wasan opera a Vienna zuwa libretto na Hofmannsthal, Mace Ba tare da Inuwa ba.

A cikin wannan shekarar, Strauss na shekaru 5 ya zama shugaban daya daga cikin mafi kyawun gidajen opera a duniya - Vienna Opera, yana daya daga cikin shugabannin bukukuwan Salzburg. A bikin cika shekaru 60 na mawakin, an gudanar da bukukuwan sadaukar da ayyukansa a Vienna, Berlin, Munich, Dresden da sauran garuruwa.

Ƙirƙirar Strauss yana da ban mamaki. Ya ƙirƙira zagayowar murya bisa ga waƙoƙin IV Goethe, W. Shakespeare, C. Brentano, G. Heine, "wani ballet Viennese mai farin ciki" "Shlagober" ("Alƙalamin kirim", 1921), "wasan kwaikwayo na burger tare da interludes symphonic" opera. "Intermezzo (1924), wasan kwaikwayo na kiɗa na lyrical daga Viennese Life Arabella (1933), wasan kwaikwayo mai ban dariya The Silent Woman (dangane da makirci na B. Johnson, tare da haɗin gwiwar S. Zweig).

Da zuwan Hitler kan karagar mulki, 'yan Nazi sun fara neman daukar manyan mutane na al'adun Jamus a hidimarsu. Ba tare da neman izinin mawaƙin ba, Goebbels ya nada shi shugaban ɗakin kiɗa na Imperial. Strauss, bai hango cikakken sakamakon wannan matakin ba, ya amince da mukamin, yana fatan yin adawa da mugunta da kuma ba da gudummawa ga kiyaye al'adun Jamus. Amma Nazis, ba tare da bikin tare da mawallafin mafi iko ba, sun ba da dokoki na kansu: sun hana tafiya zuwa Salzburg, inda Jamusawa masu hijira suka zo, sun tsananta wa Strauss S. Zweig mai sassaucin ra'ayi don asalin "ba Aryan", kuma dangane da shi. wannan ne suka haramta wasan opera Matar Silent. Mawaƙin ya kasa ƙunsar fushinsa a cikin wasiƙar da ya aika wa abokinsa. Gestapo ne suka buɗe wasiƙar kuma a sakamakon haka, an nemi Strauss ya yi murabus. Duk da haka, kallon ayyukan Nazis tare da kyama, Strauss ba zai iya daina kerawa ba. Ba ya iya ba da haɗin kai da Zweig kuma, yana neman sabon mawallafin libretti, wanda tare da shi ya ƙirƙira operas Day of Peace (1936), Daphne, da Danae's Love. opera na ƙarshe na Strauss, Capriccio (1941), yana sake jin daɗin ƙarfinsa mara ƙarewa da haske na wahayi.

A lokacin yakin duniya na biyu, lokacin da kasar ta lalace, gidajen wasan kwaikwayo na Munich, Dresden, Vienna sun rushe a karkashin bam, Strauss ya ci gaba da aiki. Ya rubuta wani yanki mai makoki don kirtani "Metamorphoses" (1943), romances, daya daga cikinsu ya sadaukar da ranar 80th na G. Hauptmann, suites na orchestral. Bayan karshen yakin, Strauss ya zauna a Switzerland na shekaru da yawa, kuma a jajibirin ranar haihuwar 85th ya koma Garmisch.

Abubuwan kirkire-kirkire na Strauss suna da yawa kuma sun bambanta: wasan operas, ballets, waqoqin ban mamaki, kiɗa don wasan kwaikwayo masu ban mamaki, ayyukan waƙoƙi, soyayya. Mawallafin ya yi wahayi zuwa ga mabubbugar adabi iri-iri: waɗannan su ne F. Nietzsche da JB Moliere, M. Cervantes da O. Wilde. B. Johnson da G. Hofmannsthal, JW Goethe da N. Lenau.

Samuwar salon Strauss ya faru ne a ƙarƙashin rinjayar romanticism na Jamusanci na R. Schumann, F. Mendelssohn, I. Brahms, R. Wagner. Hasken asali na kiɗan sa ya fara bayyana kansa a cikin waƙar waƙar "Don Juan", wanda ya buɗe dukan gallery na ayyukan shirin. A cikin su, Strauss ya haɓaka ka'idodin shirye-shiryen symphonism na G. Berlioz da F. Liszt, yana faɗin sabuwar kalma a wannan yanki.

Mawaƙin ya ba da misalai masu yawa na haɗar cikakken ra'ayi na waƙa tare da kyakkyawan tunani da sigar kiɗan ɗaiɗaiku. "Kiɗa na shirye-shirye yana tasowa zuwa matakin fasaha lokacin da mahaliccinsa ya kasance mawaƙi ne mai ban sha'awa da fasaha." Wasan operas na Strauss suna daga cikin shahararrun ayyukan da ake yi akai-akai a karni na XNUMX. Ayyukan wasan kwaikwayo mai haske, nishaɗi (da kuma wasu lokuta wasu rudani) na ban sha'awa, cin nasara sassan murya, launi, virtuoso orchestral maki - duk wannan yana jawo masu wasan kwaikwayo da masu sauraro zuwa gare su. Bayan da ya ƙware mafi girman nasarori a fagen wasan opera (musamman Wagner), Strauss ya ƙirƙira ainihin misalan duka na ban tausayi (Salome, Electra) da wasan opera mai ban dariya (Der Rosenkavalier, Arabella). Gujewa salon salon wasan kwaikwayo a fagen wasan kwaikwayo da kuma samun babban hasashe, mai yin waƙar ya ƙirƙira wasan operas wanda wasan kwaikwayo da wasan kwaikwayo, ban dariya da wasan kwaikwayo ke da ban mamaki amma an haɗa su ta zahiri. Wani lokaci Strauss, kamar dai cikin raha, yadda ya kamata ya haɗa nau'ikan lokaci daban-daban, yana haifar da rikice-rikice na ban mamaki da kida ("Ariadne auf Naxos").

Gadon adabin Strauss yana da mahimmanci. Babban Jagoran ƙungiyar makaɗa, ya yi bita tare da karawa Berlioz's Treatise on Instrumentation. Littafinsa na tarihin kansa "Tunanin Tunani da Tunawa" yana da ban sha'awa, akwai takarda mai yawa tare da iyayensa, R. Rolland, G. Bülov, G. Hofmannsthal, S. Zweig.

Ayyukan Strauss a matsayin opera da madugu na simphony ya shafe shekaru 65. Ya yi wasan kwaikwayo a dakunan kide-kide a Turai da Amurka, ya shirya wasan opera a gidajen wasan kwaikwayo a Austria da Jamus. Dangane da girman hazakarsa, an kwatanta shi da irin hazikan masu fasaha kamar F. Weingartner da F. Motl.

Da yake tantance Strauss a matsayin mutum mai kirkira, abokinsa R. Rolland ya rubuta: “Niyyarsa jarumta ce, mai nasara, mai sha’awa da karfi zuwa girma. Wannan shine abin da Richard Strauss ya yi kyau, wannan shine abin da ya bambanta a halin yanzu. Yana jin ikon da ke mulkin mutane. Wadannan al'amura na jarumtaka ne suka sanya shi magajin wani bangare na tunanin Beethoven da Wagner. Wadannan bangarorin ne suka sanya shi daya daga cikin mawaka - watakila mafi girma a cikin Jamus ta zamani ... "

V. Ilyev

• Ayyukan Opera na Richard Strauss →
• Ayyukan Symphonic na Richard Strauss →
• Jerin ayyukan Richard Strauss →

Richard Strauss mawaƙi ne na ƙwarewar ƙwarewa da ƙwaƙƙwaran ƙirƙira. Ya rubuta kiɗa a kowane nau'i (sai dai kiɗan coci). Mai ƙirƙira mai ƙarfin hali, wanda ya ƙirƙiri sabbin dabaru da hanyoyin yaren kiɗa, Strauss shine mahaliccin kayan aiki na asali da sifofin wasan kwaikwayo. Mawaƙin ya haɗa nau'ikan ban sha'awa na al'ada-romantic symphonism a cikin shirin motsi guda ɗaya. Hakazalika ya ƙware da fasahar magana da fasaha ta wakilci.

Melodika Strauss ya bambanta kuma ya bambanta, bayyananniyar diatonic sau da yawa ana maye gurbinsu da chromatic. A cikin waƙoƙin operas na Strauss, tare da Jamusanci, Austrian (Viennese - a cikin wasan kwaikwayo na lyrical) launin ƙasa ya bayyana; yanayin ƙazamin yanayi ya mamaye wasu ayyuka ("Salome", "Electra").

Finely bambanta hanya launi. Jijiya, rashin sha'awar batutuwa da yawa suna da alaƙa da canje-canje akai-akai a cikin mita, ginin asymmetric. The vibrating pulsation na unsteady sonorities aka samu da polyphony na bambancin rhythmic da melodic constructions, da polyrhythmicity na masana'anta (musamman a Intermezzo, Cavalier des Roses).

a cikin jituwa mawaki ya biyo baya daga Wagner, yana haɓaka haɓakarsa, rashin tabbas, motsi da kuma, a lokaci guda, haske, wanda ba zai iya rabuwa da haske mai haske na timbres na kayan aiki. Haɗin Strauss yana cike da jinkiri, ƙarin sauti da wucewa. A ainihinsa, tunanin Strauss na jituwa shine tonal. Kuma a lokaci guda, a matsayin na'ura mai mahimmanci na musamman, Strauss ya gabatar da chromatisms, polytonal overlays. Tsayayyen sauti yakan tashi azaman na'urar ban dariya.

Strauss ya sami kwarewa sosai a fagen orchestration, Yin amfani da katako na kayan aiki azaman launuka masu haske. A cikin shekarun halittar Elektra, Strauss ya kasance mai goyon bayan iko da haske na ƙungiyar mawaƙa ta faɗaɗa. Daga baya, madaidaicin nuna gaskiya da tanadin farashi ya zama manufa ta mawaki. Strauss yana ɗaya daga cikin na farko da ya fara amfani da katako na kayan kida da ba kasafai ba (alto sarewa, ƙaramin clarinet, heckelphone, saxophone, oboe d'amore, rattle, injin iska daga ƙungiyar makaɗar wasan kwaikwayo).

Ayyukan Strauss na ɗaya daga cikin manyan abubuwan mamaki a cikin al'adun kiɗa na duniya na ƙarshen 19th da 20th century. Yana da alaƙa mai zurfi tare da al'adun gargajiya da na soyayya. Kamar wakilan romanticism na karni na 19, Strauss ya yi ƙoƙari ya haɗa da hadaddun ra'ayoyin falsafa, don ƙara yawan magana da rikitaccen tunani na hotuna masu rairayi, da ƙirƙirar hotuna masu ban sha'awa da ban sha'awa. A lokaci guda, ya isar da ilhama mai girma, jarumtaka.

Nuna da karfi gefen zamaninsa na fasaha - ruhun zargi da sha'awar sabon abu, Strauss ya fuskanci mummunan tasirin lokacin, sabani da yawa. Strauss ya yarda da Wagnerianism da Nietzscheism, kuma bai kyamaci kyan gani da rashin kunya ba. A farkon lokacin aikinsa na kirkire-kirkire, mawaki ya ƙaunaci abin mamaki, ya gigita jama'a masu ra'ayin mazan jiya, kuma ya sanya sama da duk hazakar fasaha, ingantaccen al'adar kere kere. Don duk rikitattun dabarun fasaha na ayyukan Strauss, sau da yawa ba su da wasan kwaikwayo na ciki, mahimmancin rikici.

Strauss ya shiga cikin tunanin marigayi romanticism kuma ya ji babban sauƙi na fasahar kafin wasan kwaikwayo, musamman Mozart, wanda yake ƙauna, kuma a ƙarshen rayuwarsa ya sake jin sha'awar shiga cikin lyricism mai zurfi, ba tare da nuna kyama da kyan gani na waje ba. .

OT Leontiev

• Ayyukan Opera na Richard Strauss →
• Ayyukan Symphonic na Richard Strauss →
• Jerin ayyukan Richard Strauss →