Sergei Ivanovich Taneyev |

Sergey Taneyev

Taneyev ya kasance mai girma da haske a cikin halin kirki da halinsa na musamman ga fasaha. L. Sabaneev

A cikin kiɗa na Rasha na karni na karni, S. Taneyev ya mamaye wuri na musamman. Fitaccen mawaki da jama'a, malami, dan wasan pian, babban masanin kida na farko a Rasha, mutum ne mai kyawawan dabi'u mai ban sha'awa, Taneyev ya kasance sanannen iko a cikin rayuwar al'adun zamaninsa. Duk da haka, babban aikin rayuwarsa, hadawa, bai samu nan da nan gane gaskiya ba. Dalilin ba shine Taneyev - mai kirkiro mai tsattsauran ra'ayi ba ne, a bayyane kafin lokacinsa. Akasin haka, yawancin waƙarsa sun ɗauka a zamaninsa a matsayin tsohon, a matsayin 'ya'yan itacen "ilimin ƙwarewa", aikin ofis mai bushe. Sha'awar Taneyev a cikin tsofaffin masters, a JS Bach, WA Mozart, ya zama kamar baƙon abu da rashin lokaci, ya yi mamakin yadda yake bin tsarin gargajiya da nau'o'i. Sai kawai daga baya fahimtar tarihin daidaitaccen Taneyev ya zo, wanda ke neman goyon baya ga kida na Rasha a cikin al'adun gargajiya na Turai, yana ƙoƙari don fadada ayyukan fasaha na duniya.

Daga cikin wakilan tsofaffin dangi na Taneyevs akwai masu sha'awar fasaha masu ban sha'awa - irin su Ivan Ilyich, mahaifin mawaƙa na gaba. An tallafa wa basirar yaron na farko a cikin iyali, kuma a 1866 an nada shi zuwa sabuwar Conservatory na Moscow. A cikin ganuwarta, Taneyev ya zama dalibi na P. Tchaikovsky da N. Rubinshtein, biyu daga cikin manyan lambobi a Rasha. A m digiri na biyu daga Conservatory a 1875 (Taneyev shi ne na farko a cikin tarihi da za a bayar da Grand Gold Medal) ya bude wani m haƙiƙa ga matasa mawaƙa. Wannan ayyuka iri-iri ne na kide-kide, da koyarwa, da aikin mawaƙa mai zurfi. Amma da farko Taneyev yayi tafiya a kasashen waje.

Kasancewa a birnin Paris, tuntuɓar yanayin al'adun Turai ya yi tasiri mai ƙarfi akan mai karɓar ɗan shekara ashirin. Taneyev ya sake yin nazari mai tsanani game da abin da ya samu a ƙasarsa kuma ya zo ga ƙarshe cewa iliminsa, na kiɗa da na jama'a, bai isa ba. Bayan ya zayyana ingantaccen tsari, ya fara aiki tuƙuru don faɗaɗa hangen nesa. Wannan aikin ya ci gaba a duk rayuwarsa, godiya ga wanda Taneyev ya iya zama daidai da mafi ilimi na zamaninsa.

Irin wannan tsari mai ma'ana yana cikin ayyukan tsara Taneyev. Ya so a zahiri ya mallaki dukiyar al'adun kiɗan Turai, don sake tunani a kan ƙasarsa ta Rasha. Gabaɗaya, kamar yadda matashin mawaki ya yi imani, kiɗan Rasha ba shi da tushe na tarihi, dole ne ya daidaita kwarewar nau'ikan nau'ikan Turai na gargajiya - da farko polyphonic. Almajiri kuma mai bin Tchaikovsky, Taneyev ya sami nasa hanyar, yana haɗawa da waƙoƙin romanticism da ƙwaƙƙwaran magana. Wannan haɗin yana da matukar mahimmanci ga salon Taneyev, yana farawa daga abubuwan farko na mawaƙa. Kololuwar farko a nan ita ce ɗayan mafi kyawun ayyukansa - cantata "Yohanna na Damascus" (1884), wanda ya nuna farkon sigar wannan nau'in nau'in a cikin kiɗan Rasha.

Kiɗa na Choral wani muhimmin ɓangare ne na al'adun Taneyev. Mawaƙin ya fahimci nau'in mawaƙa a matsayin yanki na babban juzu'i, almara, tunani na falsafa. Saboda haka babban bugun jini, da monumentality na waƙoƙin waƙoƙinsa. Zaɓin mawaƙa kuma na halitta ne: F. Tyutchev, Ya. Polonsky, K. Balmont, wanda a cikin ayoyinsa Taneyev ya jaddada hotunan batsa, girman girman hoton duniya. Kuma akwai wata alama a cikin gaskiyar cewa Taneyev ta m hanya da aka tsara ta biyu cantatas - lyrically zukata "Yohanna na Damascus" dangane da waka da AK Tolstoy da monumental fresco "Bayan karanta Zabura" a St. A. Khomyakov, aikin karshe na mawaki.

Oratorio kuma yana da mahimmanci a cikin mafi girman girman Taneyev - opera trilogy "Oresteia" (bisa ga Aeschylus, 1894). A cikin halinsa na wasan opera, Taneyev yana da alama yana adawa da halin yanzu: duk da alaƙar da babu shakka tare da al'adar almara na Rasha (Ruslan da Lyudmila na M. Glinka, Judith ta A. Serov), Oresteia yana waje da manyan abubuwan wasan opera. na lokacinsa. Taneyev yana da sha'awar mutum a matsayin bayyanar duniya, a cikin tsohuwar bala'i na Girka yana neman abin da yake nema a cikin fasaha a gaba ɗaya - madawwami da manufa, ra'ayin halin kirki a cikin jiki cikakke. Duhun laifuffuka yana adawa da hankali da haske - tsakiyar ra'ayi na fasaha na gargajiya an sake tabbatar da shi a cikin Oresteia.

Symphony a cikin ƙananan C, ɗaya daga cikin kololuwar kiɗan kayan kida na Rasha, yana ɗauke da ma'ana iri ɗaya. Taneyev ya samu a cikin wasan kwaikwayo na gaske na kira na Rasha da Turai, da farko al'adar Beethoven. Ma'anar wasan kwaikwayo yana tabbatar da nasarar ingantaccen farkon jituwa, wanda aka warware mummunan wasan kwaikwayo na motsi na farko. Tsarin sassa hudu na cyclic na aikin, abubuwan da ke tattare da sassa daban-daban suna dogara ne akan ka'idodin gargajiya, an fassara su a hanya ta musamman. Don haka, ra'ayin haɗin kai na duniya ya canza ta Taneyev zuwa hanyar haɗin haɗin gwiwar leitmotif, yana ba da haɗin kai na musamman na ci gaban cyclic. A cikin wannan, wanda zai iya jin tasirin da ba shakka na romanticism, kwarewa na F. Liszt da R. Wagner, sun fassara, duk da haka, dangane da nau'i-nau'i masu tsabta.

Taneyev ya ba da gudummawa ga filin kiɗa na kayan aiki na ɗakin ɗakin yana da matukar muhimmanci. Rukunin rukunin Rasha yana da haɓakawa a gare shi, wanda galibi ya ƙaddara ƙarin haɓakar nau'ikan a zamanin Soviet a cikin ayyukan N. Myaskovsky, D. Shostakovich, V. Shebalin. Hazakar Taneyev dai dai ta yi daidai da tsarin kade-kaden daki, wanda a cewar B. Asafiev, “yana da nasa son zuciya a cikin abubuwan da ke ciki, musamman a fagen ilimi mai girma, a fagen tunani da tunani.” Zaɓaɓɓen zaɓi, tattalin arziƙin ma'anar ma'anar, rubuce-rubuce mai gogewa, dole ne a cikin nau'ikan ɗaki, koyaushe sun kasance manufa don Taneyev. Polyphony, kwayoyin halitta zuwa salon mawaƙa, ana amfani da shi sosai a cikin kirtani na quartets, a cikin ensembles tare da sa hannu na piano - Trio, Quartet da Quintet, ɗaya daga cikin mafi kyawun halitta na mawaki. The exceptionally melodic arziki na ensembles, musamman su jinkirin sassa, da sassauci da kuma fadin ci gaban jigogi, kusa da free, m siffofin na jama'a song.

Melodic bambancin shine halayyar soyayya ta Taneyev, yawancinsu sun sami shahara sosai. Dukansu na gargajiya da na hoto, na ba da labari-ballad nau'ikan soyayya suna kusa da keɓaɓɓen mutumcin mawaƙin. Da yake magana game da hoton rubutun waƙa, Taneyev ya ɗauki kalmar a matsayin ma'anar fasaha na gaba ɗaya. Abin lura shi ne cewa ya kasance daya daga cikin na farko da ya kira romances "wake don murya da piano".

Babban ilimin da ke cikin dabi'ar Taneyev an fi bayyana shi kai tsaye a cikin ayyukan kiɗan nasa, da kuma a cikin ayyukansa mai faɗi da gaske. Sha'awar kimiyya Taneyev ya samo asali ne daga ra'ayoyin da ya tsara. Don haka, in ji B. Yavorsky, ya “yi sha’awar yadda masanan irin su Bach, Mozart, Beethoven suka cim ma fasaharsu.” Kuma shi ne na halitta cewa Taneyev babbar ka'idar binciken "Mobile counterpoint na tsauraran rubuce-rubuce" ya keɓe ga polyphony.

Taneyev aka haife malami. Da farko, domin ya ɓullo da nasa hanyar ƙirƙira da hankali kuma yana iya koya wa wasu abin da shi da kansa ya koya. Cibiyar nauyi ba salon mutum bane, amma gabaɗaya, ƙa'idodin ƙa'idodin kiɗan duniya. Abin da ya sa, m image na mawaƙa da suka wuce ta ajin Taneyev ya bambanta. S. Rachmaninov, A. Scriabin, N. Medtner, An. Alexandrov, S. Vasilenko, R. Glier, A. Grechaninov, S. Lyapunov, Z. Paliashvili, A. Stanchinsky da sauransu da yawa - Taneyev ya iya ba kowane daga cikinsu a general tushen abin da individuality na dalibi ya bunƙasa.

Ayyukan fasaha daban-daban na Taneyev, wanda ba a katse shi ba a cikin 1915, yana da mahimmanci ga fasahar Rasha. A cewar Asafiev, "Taneyev… shine tushen babban juyin juya halin al'adu a cikin kiɗan Rasha, kalmar ƙarshe wacce ba a faɗi ba ..."

S. Savenko

Sergei Ivanovich Taneyev shine mafi girman mawaƙi na juzu'in ƙarni na XNUMX da na XNUMX. Dalibin NG Rubinstein da Tchaikovsky, malamin Scriabin, Rachmaninov, Medtner. Tare da Tchaikovsky, shi ne shugaban Moscow mawaki makaranta. Wurin tarihi ya yi daidai da abin da Glazunov ya mamaye a St. Petersburg. A cikin wannan ƙarni na mawaƙa, musamman ma, mawaƙa masu suna biyu sun fara nuna haɗin kai na fasalulluka na sabuwar makarantar Rasha da ɗalibin Anton Rubinstein - Tchaikovsky; Ga daliban Glazunov da Taneyev, wannan tsari zai ci gaba sosai.

Taneyev ta m rayuwa ya kasance mai tsanani da kuma multifaceted. Ayyukan Taneyev, masanin kimiyya, pianist, malami, suna da nasaba da aikin Taneyev, mawaki. Yin hulɗa, shaida ga mutuncin tunanin kida, za a iya gano shi, alal misali, a cikin halin Taneyev zuwa polyphony: a cikin tarihin al'adun kiɗa na Rasha, yana aiki duka biyu a matsayin marubucin sababbin nazarin "Mobile counterpoint na rubutaccen rubutu" da "Koyarwa". game da Canon", kuma a matsayin malami na darussan darussan da shi da fugues suka haɓaka a cikin Conservatory na Moscow, kuma a matsayin mahaliccin ayyukan kiɗa, gami da piano, wanda polyphony shine babban hanyar sifa da siffa.

Taneyev - daya daga cikin mafi girma pianists na zamaninsa. A cikin repertoire, haskakawa halaye sun bayyana a fili: da cikakken rashi virtuoso guda na salon irin (wanda shi ne rare ko da a cikin 70s da 80s), da hada a cikin shirye-shiryen na ayyuka da aka yi da wuya a ji ko wasa a karon farko ((wanda ya kasance mai wuya ko da a cikin XNUMXs da XNUMXs). musamman, sabon ayyukan Tchaikovsky da Arensky). Ya kasance ƙwararren ɗan wasa, wanda ya yi tare da LS Auer, G. Venyavsky, AV Verzhbilovich, Czech Quartet, ya yi sassan piano a cikin abubuwan da suka haɗa da Beethoven, Tchaikovsky da nasa. A fagen koyar da piano Taneyev shi ne nan da nan magaji kuma magaji na NG Rubinshtein. Taneyev rawa a cikin samuwar Moscow pianistic makaranta ba a iyakance ga koyar da piano a Conservatory. Babban tasiri na pianism Taneyev ya kasance a kan mawakan da suka yi karatu a cikin azuzuwan iliminsa, a kan wasan kwaikwayo na piano da suka halitta.

Taneyev taka muhimmiyar rawa a cikin ci gaban Rasha sana'a ilimi. A fagen ka'idar kiɗa, ayyukansa sun kasance a cikin manyan hanyoyi guda biyu: koyar da darussa na wajibi da koyar da mawaƙa a cikin azuzuwan ka'idar kiɗa. Ya haɗa kai tsaye da ƙwarewar jituwa, polyphony, kayan aiki, tsarin nau'i tare da ƙwarewar abun da ke ciki. Mastery "ya samo masa darajar da ta zarce iyakokin aikin hannu da aikin fasaha ... kuma ya ƙunshi, tare da bayanai masu amfani game da yadda za a haɗa da gina kiɗa, nazarin ma'ana na abubuwan kiɗa kamar yadda tunani," BV Asafiev ya yi jayayya. Da yake darekta na Conservatory a cikin rabin na biyu na 80s, da kuma a cikin shekaru masu zuwa wani aiki adadi a cikin m ilimi, Taneyev ya musamman damu game da matakin na m da ka'idar horo na matasa masu kida-yi, game da dimokuradiyya na rayuwa. dakin ajiyar kaya. Ya kasance daga cikin masu shiryawa da kuma mahalarta masu aiki na Conservatory na Jama'a, da'irori da yawa na ilimi, al'ummar kimiyya "Kida da Ka'idar Laburare".

Taneyev ya ba da hankali sosai ga nazarin kerawa na kiɗan jama'a. Ya rubuta da kuma sarrafa game da talatin Ukrainian songs, yi aiki a kan Rasha labari. A lokacin rani na 1885, ya yi tafiya zuwa Arewacin Caucasus da Svaneti, inda ya rubuta waƙoƙi da waƙoƙin kayan aiki na mutanen Arewacin Caucasus. Labarin "Akan Kiɗa na Tatar Tatar", wanda aka rubuta bisa ga abubuwan lura na sirri, shine binciken tarihi da ka'idar farko na tarihin Caucasus. Taneyev taka rawa a cikin aikin na Moscow Musical da Ethnographic Commission, buga a cikin tarin ayyukansa.

Taneev ta biography ba mai arziki a cikin abubuwan da suka faru - kuma ba karkatacciyar kaddara cewa ba zato ba tsammani canza hanyar rayuwa, ko "romantic" aukuwa. Wani dalibi na Moscow Conservatory na farko da ake ci, ya kasance yana hade da makarantar ilimi na asali na kusan shekaru arba'in kuma ya bar ganuwarsa a 1905, tare da haɗin gwiwar abokan aiki da abokansa na St. Petersburg - Rimsky-Korsakov da Glazunov. Ayyukan Taneyev sun faru kusan kawai a Rasha. Nan da nan bayan kammala karatunsa daga makarantar Conservatory a 1875, ya yi tafiya tare da NG Rubinstein zuwa Girka da Italiya; Ya zauna a Paris na dogon lokaci a cikin rabin na biyu na 70s da 1880, amma daga baya, a cikin 1900s, ya yi tafiya kawai na ɗan lokaci zuwa Jamus da Jamhuriyar Czech don shiga cikin wasan kwaikwayo na abubuwan da ya yi. A 1913, Sergei Ivanovich ziyarci Salzburg, inda ya yi aiki a kan kayan daga Mozart Archive.

SI Taneev yana daya daga cikin mawaƙa masu ilimi na zamaninsa. Halaye ga Rasha composers na karshe kwata na karni, da fadada na intonational tushe na kerawa a Taneyev dogara ne a kan zurfin, m ilmi na m adabi na daban-daban eras, ilmi samu da shi da farko a Conservatory, sa'an nan kamar yadda mai sauraron kide-kide a Moscow, St. Petersburg, Paris. Mafi mahimmancin mahimmanci a cikin ƙwarewar sauraron Taneyev shine aikin koyarwa a ɗakin ɗakin karatu, hanyar tunani na "pedagogical" kamar yadda aka tattara abubuwan da suka gabata ta hanyar fasahar fasaha. A tsawon lokaci, Taneyev ya fara kafa nasa ɗakin karatu (yanzu ana ajiye shi a Moscow Conservatory), kuma saninsa da wallafe-wallafen kiɗa ya sami ƙarin fasali: tare da wasa, karatun "ido". Kwarewar Taneyev da hangen nesa ba kawai kwarewar mai sauraron kide-kide ba ne, har ma da “mai karatu” na kiɗan mara gajiya. Duk wannan ya bayyana a cikin samuwar salon.

Abubuwan da suka faru na farko na tarihin kiɗa na Taneyev sune na musamman. Ba kamar kusan dukkanin mawaƙan Rasha na karni na XNUMX ba, bai fara ƙwarewar kiɗan sa ba tare da abun ciki; abubuwan da ya yi na farko sun taso ne a cikin tsari da kuma sakamakon tsarin karatun dalibai, kuma wannan ma ya kayyade nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i) na ayyukan sa na farko.

Fahimtar fasalulluka na aikin Taneyev yana nuna fa'idar kida da tarihin tarihi. Mutum zai iya faɗi isa game da Tchaikovsky ba tare da ambaton abubuwan da aka yi na masters na tsauraran salon da baroque ba. Amma ba shi yiwuwa a haskaka abun ciki, Concepts, style, m harshe na Taneyev ta qagaggun ba tare da magana game da mawaƙa na Dutch makaranta, Bach da Handel, Viennese litattafan, Western Turai romantic composers. Kuma, ba shakka, Rasha composers - Bortnyansky, Glinka, A. Rubinstein, Tchaikovsky, da kuma Taneyev ta zamani - St.

Wannan yana nuna halaye na sirri na Taneyev, "daidai" tare da halaye na zamanin. Tarihi na tunani na fasaha, don haka halayen rabi na biyu kuma musamman ma ƙarshen karni na XNUMX, ya kasance mai mahimmanci na Taneyev. Nazarin a cikin tarihi tun daga ƙuruciyar matasa, halayen positivist zuwa tsarin tarihi, an nuna su a cikin da'irar karatun Taneyev da aka sani a gare mu, a matsayin wani ɓangare na ɗakin karatu, a cikin sha'awar tarin kayan tarihi, musamman tsofaffin simintin gyare-gyare, wanda IV Tsvetaev ya shirya, wanda ya shirya. ya kasance kusa da shi (yanzu Gidan kayan gargajiya na Fine Arts). A cikin ginin wannan gidan kayan gargajiya, duka farfajiyar Girka da farfajiyar Renaissance sun bayyana, zauren Masar don nuna tarin Masarawa, da sauransu. Shirye-shiryen, nau'ikan salo da yawa.

Wani sabon hali game da gado ya haifar da sabbin ka'idoji na samuwar salo. Masu bincike na Yammacin Turai sun bayyana tsarin gine-gine na rabi na biyu na karni na XNUMX tare da kalmar "tarihin"; a cikin wallafe-wallafen mu na musamman, an tabbatar da manufar "eclecticism" - ba ma'ana ba a cikin ma'anar kimantawa, amma a matsayin ma'anar "wani abu na musamman na fasaha da ke cikin karni na XNUMX." A cikin gine-ginen zamanin sun rayu salon "da suka gabata"; gine-ginen sun kalli duka a cikin gothic da kuma a cikin classicism a matsayin wuraren farawa don mafita na zamani. Jam'in fasaha ya bayyana kansa ta hanyoyi da yawa a cikin adabin Rasha na wancan lokacin. Bisa ga aiki aiki na daban-daban kafofin, musamman, "synthetic" style gami aka halitta - kamar yadda, alal misali, a cikin aikin Dostoevsky. Hakanan ya shafi kiɗa.

A cikin hasken kwatancen da ke sama, Taneyev ta aiki sha'awar al'adun gargajiya na Turai, a cikin manyan salonsa, ba ya bayyana a matsayin "relic" (kalmar daga nazarin aikin "Mozartian" na wannan mawaki shine quartet a cikin E). - lebur babba), amma a matsayin alamar nasa (da nan gaba!) lokaci. A cikin jeri ɗaya - zaɓi na tsohuwar makirci don kawai kammala wasan opera "Oresteia" - zaɓin da ya yi kama da ban mamaki ga masu sukar opera kuma haka na halitta a cikin karni na XNUMX.

Kalmomin da mai zane ya yi game da wasu fagage na alama, hanyoyin bayyanawa, salo mai salo ya fi dacewa ta hanyar tarihin rayuwarsa, fasalin tunani, da yanayin yanayinsa. Takaddun da yawa da bambance-bambancen - rubuce-rubucen rubuce-rubuce, haruffa, diaries, abubuwan tarihin zamani - suna haskaka halayen Taneyev tare da isasshen cikawa. Suna kwatanta siffar mutumin da ke amfani da abubuwan jin dadi tare da ikon tunani, wanda yake sha'awar falsafa (mafi yawa - Spinoza), lissafi, dara, wanda ya yi imani da ci gaban zamantakewa da yiwuwar tsarin rayuwa mai ma'ana. .

Dangane da Taneyev, ana amfani da manufar "hankali" sau da yawa kuma daidai. Ba abu ne mai sauƙi a iya fitar da wannan magana daga mahangar masu hankali zuwa fagen hujja ba. Ɗaya daga cikin abubuwan tabbatarwa na farko shine sha'awar ƙirƙira a cikin salon da aka yiwa alama ta hankali - Babban Renaissance, Marigayi Baroque da Classicism, da kuma nau'ikan nau'ikan da nau'ikan da suka nuna a sarari gabaɗayan dokokin tunani, da farko sonata-symphonic. Wannan shi ne haɗin kai na sane ya kafa raga da kuma m yanke shawara muhimmi a Taneyev: wannan shi ne yadda ra'ayin "Russian polyphony" germinated, dauke ta hanyar da dama gwaji ayyuka da kuma ba da gaske m harbe a "Yahaya na Damascus"; wannan shi ne yadda aka ƙware salon gargajiyar Viennese; fasali na wasan kwaikwayo na kiɗa na mafi girma, balagagge cycles an ƙaddara a matsayin nau'i na musamman na tauhidi. Irin wannan nau'in tauhidi da kansa yana nuna yanayin tsarin da ke tare da tunanin tunani fiye da "rayuwar jin dadi", saboda haka buƙatar siffofin cyclical da damuwa na musamman ga wasan karshe - sakamakon ci gaba. Ƙimar ma'anar ita ce ra'ayi, mahimmancin falsafar kiɗa; irin wannan hali na thematism ya kasance, wanda aka fassara jigogi na kiɗa maimakon rubutun da za a bunkasa, maimakon siffar kida "mai cancanta" (misali, yana da halin waƙa). Hanyoyin aikinsa kuma sun ba da shaida ga basirar Taneyev.

Hankali da bangaskiya cikin hankali suna cikin masu fasaha waɗanda, in ɗanɗano magana, suna cikin nau'in "na gargajiya". Abubuwan da ke da mahimmanci na irin wannan nau'in hali na halitta suna bayyana a cikin sha'awar tsabta, tabbatarwa, jituwa, cikawa, don bayyanawa na yau da kullum, duniya, kyakkyawa. Ba daidai ba ne, duk da haka, don tunanin duniyar ciki ta Taneyev a matsayin kwanciyar hankali, ba tare da sabani ba. Ɗaya daga cikin mahimman abubuwan motsa jiki ga wannan mai zane shine gwagwarmaya tsakanin mai zane da mai tunani. Na farko ya yi la'akari da dabi'a don bin hanyar Tchaikovsky da sauransu - don ƙirƙirar ayyukan da aka yi nufin yin aiki a cikin kide kide da wake-wake, rubuta a cikin hanyar da aka kafa. Soyayya da yawa, wasan kwaikwayo na farko sun tashi. Na biyu an ja hankalin da ba a iya jurewa ba ga tunani, zuwa ka'ida kuma, ko kaɗan, fahimtar tarihin tarihin aikin mawaƙi, zuwa gwajin kimiyya da ƙirƙira. A kan wannan tafarki, Fantasy na Netherland akan Jigo na Rasha, balagaggen kayan aiki da zagayowar mawaƙa, da Maƙasudin Rubutun Wayar hannu ya taso. Hanyar kirkira Taneyev shine mafi yawan tarihin ra'ayoyin da aiwatar da su.

Duk wadannan general tanadi an concretized a cikin facts na Taneyev ta biography, a cikin typology na music rubuce-rubucen, da yanayi na m tsari, epistolary (inda fitaccen daftarin aiki tsaya a waje - ya wasiƙun da PI Tchaikovsky), kuma a karshe, a cikin littafin. diaries.

* * * *

Tarihin Taneyev a matsayin mawaki yana da girma kuma ya bambanta. Mutum-mutumi - kuma a lokaci guda yana da nuni sosai - shine nau'in nau'in wannan gado; yana da mahimmanci don fahimtar matsalolin tarihi da salo na aikin Taneyev. Rashin shirye-shiryen-symphonic abun da ke ciki, ballets (a cikin lokuta biyu - ba ko da ra'ayi ɗaya ba); opera guda ɗaya ce ta gane, haka kuma, “mafifici” ta fuskar tushen adabi da makirci; taruka hudu, wanda marubucin ya wallafa daya daga cikinsu kusan shekaru ashirin kafin karshen aikinsa. Tare da wannan - guda biyu lyric-philosophical cantatas (wani farkawa, amma wanda zai iya ce, haihuwar wani nau'i), da dama na choral k'ada. Kuma a ƙarshe, babban abu - ɗakuna ashirin da zagayowar kayan aiki.

Ga wasu nau'o'in, Taneyev, kamar yadda yake, ya ba da sabuwar rayuwa a kasar Rasha. Wasu kuma sun cika da mahimmancin da ba ya cikin su a da. Sauran nau'o'in, canzawa a cikin gida, suna tare da mawaki a duk rayuwarsa - romances, choirs. Amma don kiɗa na kayan aiki, ɗaya ko wani nau'in yana zuwa gaba a cikin yanayi daban-daban na ayyukan kirki. Ana iya ɗauka cewa a cikin shekarun balagagge na mawaki, nau'in da aka zaɓa ya fi dacewa da aikin, idan ba salon ba, to, kamar yadda yake, "style-representation". Bayan ƙirƙirar wasan kwaikwayo a cikin 1896-1898 a cikin ƙananan yara C - na huɗu a jere - Taneyev bai rubuta ƙarin waƙoƙin ba. Har zuwa 1905, an ba da hankalinsa na musamman a fagen kiɗan kayan aiki ga ƙungiyoyin kirtani. A cikin shekaru goma na ƙarshe na rayuwarsa, ensembles tare da sa hannu na piano sun zama mafi mahimmanci. Zaɓin ma'aikatan wasan kwaikwayon yana nuna alaƙa ta kud da kud da gefen akida da fasaha na kiɗa.

Biography na mawaki Taneyev nuna m girma da kuma ci gaba. Hanyar da aka bi daga farkon soyayyar da ke da alaƙa da fagen kiɗan cikin gida zuwa sabbin zagayowar “waƙoƙin murya da piano” na da girma; daga kanana da marasa rikitarwa guda uku da aka buga a 1881 zuwa manyan zagayowar op. 27 da op. 35 zuwa ga kalmomin Y. Polonsky da K. Balmont; daga gunkin kayan aiki na farko, waɗanda ba a buga su ba a lokacin rayuwar marubucin, zuwa wani nau'in “wasan kwaikwayo na ɗaki” - piano quintet a cikin ƙaramin G. Na biyu cantata - "Bayan karanta Zabura" duka biyu kammala da rawanin Taneyev aiki. Haƙiƙa shine aikin ƙarshe, kodayake, ba shakka, ba a ɗauke shi ba kamar haka; mawakin zai rayu ya yi aiki na dogon lokaci kuma da ƙarfi. Muna sane da tsare-tsaren da ba a cika ba Taneyev.

Bugu da ƙari, babban adadin ra'ayoyin da suka taso a cikin rayuwar Taneyev sun kasance ba su cika ba har zuwa ƙarshe. Ko da bayan uku symphonies, da dama quartets da trios, wani sonata ga violin da piano, da dama na Orchestral, piano da kuma vocal guda aka buga posthumously - duk wannan ya bar da marubucin a cikin Rumbun - ko da a yanzu zai yiwu a buga babban. ƙarar kayan da aka watsar. Wannan shi ne kashi na biyu na quartet a cikin ƙananan ƙananan C, da kayan aikin cantatas "The Legend of the Cathedral of Constance" da "Three dabino" na opera "Hero and Leander", da yawa kayan aiki guda. Wani "counter-parallel" ya taso tare da Tchaikovsky, wanda ko dai ya ƙi ra'ayin, ko kuma ya shiga cikin aikin, ko, a ƙarshe, ya yi amfani da kayan a cikin wasu abubuwan. Ba za a iya jefar da wani zane guda ɗaya da aka tsara ta yadda ya kamata ba har abada, domin a bayan kowanne akwai wani muhimmin abu, tunani, sha'awar mutum, an saka ɓangarorin kansa a cikin kowane. Halin abubuwan haɓakawa na Taneyev ya bambanta, kuma shirye-shiryen abubuwan da ya ƙunshi sun bambanta. Don haka, alal misali, shirin da ba a fahimta ba na piano sonata a cikin manyan F yana ba da lambar, tsari, maɓalli na sassa, har ma da cikakkun bayanai na tsarin tonal: "Sashe na gefe a cikin babban sautin / Scherzo f-moll 2/4 / Andante Des-dur / Ƙarshe.

Tchaikovsky kuma ya faru don zana tsare-tsaren don manyan ayyuka na gaba. An san aikin na wasan kwaikwayo na "Life" (1891): "Kashi na farko duk wani sha'awa ne, amincewa, ƙishirwa ga aiki. Ya kamata ya zama gajere (na ƙarshe mutuwa sakamakon halaka ne. Bangare na biyu shi ne soyayya; takaici na uku; na huɗu ya ƙare da faɗuwa (kuma gajere). Kamar Taneyev, Tchaikovsky ya bayyana sassan sake zagayowar, amma akwai bambanci mai mahimmanci tsakanin waɗannan ayyukan. Tunanin Tchaikovsky yana da alaƙa kai tsaye da abubuwan rayuwa - yawancin abubuwan da Taneyev ya yi sun gane ma'anar ma'anar ma'anar ma'anar kiɗa. Tabbas, babu wani dalili na fitar da ayyukan Taneyev daga rayuwa mai rai, motsin zuciyarsa da karo, amma ma'auni na sulhu a cikin su ya bambanta. LA Mazel ya nuna irin wannan nau'in bambance-bambancen rubutu; sun ba da haske a kan dalilan rashin fahimtar waƙar Taneyev, rashin isasshen shaharar yawancin shafukansa masu kyau. Amma su, bari mu ƙara da kanmu, kuma suna nuna mawallafin mawallafin ɗakin ajiyar soyayya - da mahaliccin da ya yi girma zuwa classicism; zamani daban-daban.

Babban abu a cikin style Taneyev za a iya bayyana a matsayin jam'i na kafofin tare da ciki hadin kai da mutunci (fahimtar a matsayin dangantaka tsakanin mutum al'amurran da aka gyara na m harshe). Daban-daban anan ana sarrafa su sosai, bisa la'akari da fifikon nufi da manufar mai zane. Halin kwayoyin halitta (da kuma matakin wannan kwayoyin halitta a cikin wasu ayyuka) na aiwatar da maɓuɓɓuka masu salo daban-daban, kasancewa nau'i na sauraro kuma don haka, kamar yadda yake, empirical, an bayyana a cikin aiwatar da nazarin rubutun abubuwan da aka tsara. A cikin wallafe-wallafen game da Taneyev, an dade da bayyana ra'ayin gaskiya cewa tasirin kiɗa na gargajiya da kuma ayyukan mawaƙa na soyayya suna cikin ayyukansa, tasirin Tchaikovsky yana da ƙarfi sosai, kuma wannan haɗin gwiwa ne wanda ke ƙayyade ainihin asali. Taneyev style. Haɗuwa da sifofi na romanticism na kiɗa da fasaha na gargajiya - marigayi baroque da na gargajiya na Viennese - wani nau'i ne na lokuta. Halayen halayen mutum, roko na tunani ga al'adun duniya, sha'awar samun tallafi a cikin tushe marasa tsufa na fasahar kiɗa - duk wannan ƙaddara, kamar yadda aka ambata a sama, sha'awar Taneyev zuwa ga classicism na kiɗa. Amma fasaharsa, wacce ta fara a zamanin Romantic, tana ɗauke da yawancin alamomin wannan salon mai ƙarfi na ƙarni na sha tara. Sanannen adawa tsakanin salon mutum da salon zamanin ya bayyana kansa sosai a cikin kiɗan Taneyev.

Taneyev - mai zurfin Rasha artist, ko da yake kasa yanayi na aikinsa bayyana kanta a kaikaice fiye da a cikin mazan (Mussorgsky, Tchaikovsky, Rimsky-Korsakov) da kuma matasa (Rakhmaninov, Stravinsky, Prokofiev). Daga cikin al'amurran da multilateral dangane da aikin Taneyev tare da yadu fahimtar jama'a m al'ada, mun lura da melodic yanayi, da kuma - wanda, duk da haka, shi ne kasa muhimmanci a gare shi - aiwatar (yafi a farkon ayyukan) na melodic, jituwa. da tsarin fasali na samfuran almara.

Sai dai sauran bangarorin ba su da muhimmanci, kuma babban abin da ke cikin su shi ne yadda mai zane ya kasance dan kasarsa a wani lokaci a tarihinta, har ya kai ga yadda ya ke bayyana ra’ayin duniya, da tunanin mutanen zamaninsa. Ƙarfin watsawar motsin rai na duniyar ɗan Rasha a cikin kwata na ƙarshe na XNUMX - shekarun farko na karni na XNUMX a cikin kiɗan Taneyev ba shi da girma kamar yadda ya ƙunshi buri na lokacin a cikin ayyukansa (kamar yadda zai iya zama. ya ce game da hazaka - Tchaikovsky ko Rachmaninov). Amma Taneyev yana da tabbataccen dangantaka da lokaci; ya bayyana duniyar ruhaniya na mafi kyawun ɓangaren masu hankali na Rasha, tare da babban ɗabi'a, bangaskiya ga makomar ɗan adam mai haske, haɗin gwiwa tare da mafi kyawun gado na al'adun ƙasa. Rashin daidaituwa na ɗabi'a da kyawawan dabi'u, kamewa da tsabta a cikin nuna gaskiya da kuma bayyana jin dadi sun bambanta fasahar Rasha a duk lokacin ci gaba kuma suna daya daga cikin siffofin halayen kasa a cikin fasaha. Fahimtar yanayin kiɗan Taneyev da duk burinsa a fagen kerawa kuma wani ɓangare ne na al'adar dimokuradiyya ta Rasha.

Wani al'amari na ƙasa na fasaha na ƙasa, wanda ya dace sosai dangane da al'adun Taneyev, shine rashin rabuwa da ƙwararrun al'adun kiɗa na Rasha. Wannan haɗin ba a tsaye yake ba, amma juyin halitta da wayar hannu. Kuma idan aikin Taneyev na farko ya haifar da sunayen Bortnyansky, Glinka, kuma musamman Tchaikovsky, to, a cikin lokutan baya sunayen Glazunov, Scriabin, Rachmaninov sun shiga cikin wadanda ake kira. Rubuce-rubucen farko na Taneyev, daidai da shekarun farko na wasan kwaikwayo na Tchaikovsky, sun kuma shayar da abubuwa da yawa daga kayan kwalliya da wakoki na "Kuchkism"; Ƙarshen suna hulɗa tare da dabi'u da ƙwarewar fasaha na matasa masu zaman kansu, waɗanda kansu sun kasance a hanyoyi da yawa magada Taneyev.

Amsar Taneyev ga Yammacin "zamani" (fiye da musamman, ga abubuwan da suka faru na kiɗa na marigayi Romanticism, Impressionism, da farkon Expressionism) ya kasance a hanyoyi da yawa na tarihi, amma kuma yana da mahimmanci ga kiɗa na Rasha. Tare da Taneyev da (zuwa wani iyaka, godiya gare shi) tare da sauran Rasha composers na farkon da farkon rabin karni na mu, da motsi zuwa ga sabon al'amurran da suka shafi a cikin m kerawa da aka za'ayi ba tare da watse tare da kullum gagarumin da aka tara a Turai music. . Akwai kuma kasala ga wannan: hadarin ilimin kimiyya. A cikin mafi kyawun ayyukan Taneyev da kansa, ba a gane shi a cikin wannan damar ba, amma a cikin ayyukansa masu yawa (kuma yanzu manta) dalibai da epigones an gano su a fili. Duk da haka, ana iya lura da wannan a makarantun Rimsky-Korsakov da Glazunov - a lokuta inda hali ga al'adun gargajiya ya kasance m.

Babban nau'i na siffofi na kayan kida na Taneyev, wanda ke kunshe a cikin zagayowar da yawa: tasiri mai ban mamaki (na farko sonata allegri, finales); falsafa, lyrical-meditative (mafi haske - Adagio); scherzo: Taneyev gaba ɗaya baƙon abu ne ga ɓangarori na muni, mugunta, sarcasm. Babban matakin ƙin yarda da duniyar ciki na mutum yana nunawa a cikin kiɗan Taneyev, nunin tsari, motsin motsin rai da tunani suna haifar da haɗuwa na lyrical da almara. Taneev ta basira, da m ilimi ilimi bayyana kanta a cikin aikinsa a hanyoyi da yawa da kuma zurfi. Da farko dai, wannan shine sha'awar mawaƙin don sake ƙirƙira a cikin kiɗan cikakken hoto na kasancewa, sabani da haɗin kai. Tushen jagorar ingantacciyar ka'ida (cyclic, sonata-symphonic form) ra'ayin falsafar duniya ne. Abun ciki a cikin kiɗan Taneyev yana samuwa da farko ta hanyar jikewa na masana'anta tare da tsarin innation-thematic. Wannan shi ne yadda mutum zai iya fahimtar kalmomin BV Asafiev: "Mawakan Rasha kaɗan ne kawai ke tunanin tsari a cikin tsarin rayuwa, wanda ba a daina ba. Wannan shi ne SI Taneev. Ya ba da wasiƙar waƙar Rasha a cikin gadonsa kyakkyawan aiwatar da tsare-tsare masu ma'ana na Yammacin Turai, tare da farfado da kwararar jin daɗi a cikinsu… “.

Binciken manyan ayyukan Taneyev ya nuna hanyoyin da za a bi da hanyoyin magana zuwa ga akida da ma'auni na kiɗa. Daya daga cikinsu, kamar yadda aka ambata, shi ne ka'idar tauhidi, wanda ke tabbatar da daidaito na zagayowar, da kuma matsayin karshe na wasan karshe, wanda ke da mahimmanci ga akida, fasaha da kuma halayen kida masu dacewa na Taneyev. Ma'anar sassa na ƙarshe a matsayin ƙarshe, ƙaddamar da rikice-rikice yana samuwa ta hanyar maƙasudin hanyoyin, mafi karfi wanda shine ci gaba da ci gaba na leitme da sauran batutuwa, haɗuwa da su, canji da haɗin kai. Amma mawakin ya tabbatar da karshen wasan karshe tun kafin tauhidi a matsayin babban ka'ida ya yi mulki a wakarsa. A cikin quartet a cikin B-flat small op. 4 sanarwa ta ƙarshe a cikin manyan B-flat shine sakamakon layin ci gaba guda ɗaya. A cikin quartet a cikin ƙaramar D, op. An ƙirƙiri baka: zagayowar ta ƙare tare da maimaita jigon ɓangaren farko. Fugue biyu na wasan ƙarshe na quartet a cikin manyan C, op. 7 ya haɗa jigon wannan ɓangaren.

Sauran hanyoyin da fasalulluka na harshen kiɗa na Taneyev, da farko polyphony, suna da ma'anar aiki iri ɗaya. Babu shakka alakar da ke tsakanin tunanin mawaƙiyar sautin murya da kuma jan hankalinsa ga ƙungiyar kayan aiki da ƙungiyar mawaƙa (ko sautin murya) a matsayin manyan nau'ikan. Layukan waƙa na kayan kida huɗu ko biyar ko muryoyi sun ɗauka kuma sun ƙaddara jagororin jigogi, wanda ke cikin kowane irin murya. Haɗin haɗaɗɗiyar bambancin-jigogi masu tasowa suna nunawa kuma, a gefe guda, sun ba da tsarin guda ɗaya don gina hawan keke. Intonational-thematic hadin kai, tauhidi a matsayin m da ban mamaki ka'ida da kuma polyphony a matsayin mafi muhimmanci hanyar bunkasa music tunani ne triad, wanda aka gyara a cikin music Taneyev.

Mutum na iya magana game da halin Taneyev zuwa layin layi da farko dangane da tsarin tafiyar da sauti, yanayin tunaninsa na kiɗa. Muryoyi guda hudu ko biyar daidai na quartet, quintet, choir suna nuna, a tsakanin sauran abubuwa, bass na wayar hannu mai waƙa, wanda, tare da bayyananniyar ayyukan jituwa, yana iyakance "ikon iko" na ƙarshen. "Don kiɗa na zamani, jituwa wanda sannu a hankali yana rasa haɗin haɗin tonal, ƙarfin ɗaurin nau'i na contrapuntal ya kamata ya zama mahimmanci," Taneyev ya rubuta, yana bayyana, kamar yadda a cikin wasu lokuta, haɗin kai na fahimtar ka'idoji da ayyuka na fasaha.

Tare da bambanci, polyphony na kwaikwayo yana da mahimmanci. Fugues da fugues, kamar aikin Taneyev gaba ɗaya, sune hadadden gami. SS Skrebkov ya rubuta game da "siffofin roba" na Fugues Taneyev ta amfani da misali na quintets kirtani. Taneyev's polyphonic dabara yana ƙarƙashin ayyukan fasaha na cikakke, kuma wannan yana nunawa a kaikaice ta gaskiyar cewa a cikin shekarunsa masu girma (tare da kawai - fugue a cikin sake zagayowar piano op. 29) bai rubuta fugues masu zaman kansu ba. Fugues na kayan aikin Taneyev wani bangare ne ko sashe na babban tsari ko zagayowar. A cikin wannan yana bin al'adun Mozart, Beethoven, da wani bangare na Schumann, yana haɓakawa da haɓaka su. Akwai nau'i-nau'i da yawa na fugue a cikin zagayowar ɗakin Taneyev, kuma suna bayyana, a matsayin mai mulkin, a cikin wasan karshe, haka kuma, a cikin reprise ko coda (quartet a C manyan op. 5, string quintet op. 16, piano quartet op. 20). . Ƙarfafa sassan ƙarshe ta fugues kuma yana faruwa a cikin sauye-sauyen sauye-sauye (misali, a cikin kirtani quintet op. 14). Halin ƙaddamar da kayan yana tabbatar da ƙaddamar da mawallafi na fugues masu duhu, kuma na ƙarshe yakan haɗa jigon ba kawai na ƙarshe ba, har ma da sassan da suka gabata. Wannan yana samun manufa da haɗin kai na hawan keke.

Sabuwar dabi'a ga nau'in ɗakin ɗakin ya haifar da haɓakawa, haɓaka salon ɗakin ɗakin, ƙirar sa ta hanyar sifofin da aka haɓaka masu rikitarwa. A cikin wannan nau'in nau'in, ana lura da gyare-gyare daban-daban na nau'i na gargajiya, da farko sonata, wanda aka yi amfani da shi ba kawai a cikin matsananci ba, amma har ma a tsakiyar sassa na hawan keke. Don haka, a cikin quartet a cikin ƙarami, op. 11, duk motsi huɗu sun haɗa da sigar sonata. Juyawa (motsi na biyu) wani hadadden tsari ne na motsi uku, inda aka rubuta matsananciyar motsi a cikin sigar sonata; a lokaci guda, akwai fasali na rondo a cikin Divertissement. Motsi na uku (Adagio) yana fuskantar sigar sonata mai tasowa, kwatankwacinta ta wasu fuskokin motsi na farko na sonata na Schumann a cikin ƙananan ƙananan kaifi. Sau da yawa akwai turawa baya ga iyakokin da aka saba na sassa da sassa ɗaya. Misali, a cikin scherzo na piano quintet a G small, an rubuta sashe na farko a cikin wani hadadden tsari mai sassa uku tare da jigo, ukun fugato ne na kyauta. Halin yin gyare-gyare yana haifar da bayyanar gauraye, nau'i na "modulating" (kashi na uku na quartet a cikin A major, op. 13 - tare da fasali na hadaddun tripartite da rondo), zuwa fassarar daidaitattun sassan sassan zagayowar. (a cikin scherzo na piano uku a D manyan, op. 22, sashe na biyu - uku - bambancin sake zagayowar).

Za a iya zaci cewa Taneyev ta aiki m hali ga matsalolin da nau'i ne ma sane saita aiki. A cikin wata wasiƙa zuwa MI Tchaikovsky mai kwanan ranar 17 ga Disamba, 1910, yana tattauna alkiblar aikin wasu mawaƙa na “kwanan nan” na Yammacin Turai, ya yi tambayoyi: “Me ya sa sha’awar sabon abu ya iyakance ga wurare biyu kawai - jituwa da kayan aiki? Me ya sa, tare da wannan, ba wai kawai wani sabon abu ba ne a fagen fama da aka sani, amma, akasin haka, wannan bangare yana cikin babban koma baya idan aka kwatanta da baya? Me yasa ba kawai damar da ke tattare da su ba su ci gaba a fagen siffofi ba, amma siffofin da kansu sun zama ƙananan kuma sun fada cikin lalacewa? A lokaci guda, Taneyev ya gamsu da cewa sonata form "fiye da dukan sauran a cikin bambancin, arziki da kuma versatility." Don haka, ra'ayoyi da ayyukan kirkire-kirkire na mawaƙin suna nuna yaren daidaitawa da gyara halaye.

Da yake jaddada "ɗaya ɗaya" na ci gaba da kuma "lalata" na harshen kiɗan da ke hade da shi, Taneyev ya kara da cewa a cikin wasiƙar da aka nakalto zuwa MI Tchaikovsky: zuwa sabon abu. Akasin haka, na ɗauki maimaita abin da aka faɗa tuntuni ba shi da amfani, kuma rashin asali a cikin abun da ke ciki ya sa ni gaba ɗaya ba ruwana da shi <...>. Mai yiyuwa ne cewa a cikin lokaci sabbin sababbin abubuwa za su haifar da sake haifuwar harshen kiɗa, kamar yadda lalatar harshen Latin da baragurbi suka yi ya haifar da ƙarni da yawa bayan bullar sabbin harsuna.

* * * *

"Epoch na Taneyev" ba daya ba ne, amma akalla biyu zamanin. Na farko, samari qagaggun ne "daidai shekaru" a matsayin farkon ayyukan Tchaikovsky, da kuma karshen da aka halitta lokaci guda tare da quite balagagge opuses Stravinsky, Myaskovsky, Prokofiev. Taneyev ya girma kuma ya ɗauki siffar a cikin shekarun da suka gabata lokacin da matsayi na romanticism na kiɗa ya kasance mai karfi kuma, wanda zai iya cewa, ya mamaye. A lokaci guda, ganin tafiyar matakai na nan gaba, mawaki ya nuna hali ga farkawa na ka'idoji na classicism da baroque, wanda ya bayyana a cikin Jamusanci (Brahms kuma musamman daga baya Reger) da Faransanci (Frank, d'Andy). kiɗa.

Taneyev na shekaru biyu ya haifar da wasan kwaikwayo na rayuwa mai wadata a waje, rashin fahimtar burinsa har ma da mawaƙa na kusa. Yawancin ra'ayoyinsa, dandano, sha'awar sa sun zama kamar ban mamaki, an yanke su daga gaskiyar fasaha na kewaye, har ma da sake komawa. Nisa na tarihi ya sa ya yiwu a "daidaita" Taneyev a cikin hoton rayuwarsa ta zamani. Ya bayyana cewa haɗin gwiwa tare da manyan buƙatu da yanayin al'adun ƙasa sune kwayoyin halitta da yawa, ko da yake ba su kwanta a saman ba. Taneyev, tare da duk asalinsa, tare da mahimman siffofi na ra'ayin duniya da halinsa, shine ɗan lokacinsa da ƙasarsa. Kwarewar ci gaban fasaha a cikin karni na XNUMX ya sa ya yiwu a gane kyawawan halaye na mawaƙin da ke tsammanin wannan karni.

Domin duk wadannan dalilai, rayuwar Taneyev ta music daga farkon yana da wuya sosai, kuma wannan ya nuna duka a cikin aiki na ayyukansa (lambar da ingancin wasan kwaikwayon), da kuma fahimtar su na zamani. Sunan Taneyev a matsayin mawaƙin da ba shi da isasshen motsin rai an ƙaddara shi da ma'auni na zamaninsa. Ana samar da babban adadin abu ta hanyar sukar rayuwa. Reviews bayyana duka da halayyar hasashe da kuma sabon abu na "untimeliness" art Taneyev. Kusan duk fitattun masu suka sun rubuta game da Taneyev: Ts. A. Cui, GA Larosh, ND Kashkin, sai SN Kruglikov, VG Karatygin, Yu. Findeizen, AV Ossovsky, LL Sabaneev da sauransu. Mafi ban sha'awa sake dubawa suna kunshe a cikin haruffa zuwa Taneyev Tchaikovsky, Glazunov, a cikin haruffa da kuma "Tarihi ..." na Rimsky-Korsakov.

Akwai hukunce-hukunce da yawa a cikin labarai da bita. Kusan kowa ya ba da yabo ga fitaccen mawakin. Amma ba ƙaramin mahimmanci ba shine "shafukan rashin fahimta". Kuma idan, dangane da farkon ayyukan, da yawa zagi na rationalism, kwaikwayo na litattafan da aka fahimta da kuma zuwa wani m gaskiya, da articles na 90s da farkon 900s ne na daban-daban yanayi. Wannan galibi zargi ne daga matsayi na soyayya kuma, dangane da wasan opera, haƙiƙanin tunani. Har yanzu ba a iya ƙididdige haɗar salon da aka yi a baya a matsayin abin ƙima kuma an ɗauke shi a matsayin rashin daidaituwa na baya ko salo, rashin daidaituwa. Wani dalibi, aboki, marubucin labarai da abubuwan tunawa game da Taneyev - Yu. D. Engel ya rubuta a cikin labarin mutuwar: "Bayan Scriabin, mahaliccin kiɗa na gaba, mutuwa ta ɗauki Taneyev, wanda fasaharsa ta kasance mai zurfi a cikin manufofin kiɗa na da nisa."

Amma a cikin shekaru goma na biyu na karni na 1913, wani tushe ya riga ya taso don ƙarin fahimtar tarihin tarihi da matsalolin kiɗa na Taneyev. A wannan batun, ban sha'awa shine labarin VG Karatygin, kuma ba kawai waɗanda aka keɓe ga Taneyev ba. A cikin wani labarin na XNUMX, "Sabuwar Juyin Halitta a Yammacin Turai Music," ya danganta - yana magana da farko na Frank da Reger - farfaɗo da ka'idoji na gargajiya tare da "zamani na zamani." A cikin wani labarin, mai sukar ya bayyana ra'ayi mai ban sha'awa game da Taneyev a matsayin magajin kai tsaye ga ɗayan layin Glinka. Idan aka kwatanta da tarihi manufa na Taneyev da Brahms, pathos wanda kunshi a cikin daukaka na gargajiya al'ada a zamanin marigayi romanticism, Karatygin ko da hujjar cewa "mahimmancin Taneyev ga Rasha shi ne mafi girma fiye da na Brahms ga Jamus". inda "al'adar gargajiya ta kasance mai ƙarfi sosai, mai ƙarfi da tsaro ". A cikin Rasha, duk da haka, ainihin al'adar gargajiya, da ta fito daga Glinka, ta kasa haɓaka fiye da sauran layin kerawa na Glinka. Duk da haka, a cikin wannan labarin, Karatygin ya kwatanta Taneyev a matsayin mawaki, "ƙarnuka da yawa marigayi da za a haifa a duniya"; dalilin rashin son waƙarsa, mai sukar yana ganin rashin daidaituwarsa da "tushen fasaha da tunani na zamani, tare da bayyanannun burinsa na ci gaban manyan abubuwa masu jituwa da launi na fasahar kiɗa." Haɗuwa da sunayen Glinka da Taneyev ya kasance ɗaya daga cikin tunanin da aka fi so na BV Asafiev, wanda ya ƙirƙira ayyuka da yawa game da Taneyev kuma ya ga ayyukansa da ayyukansa na ci gaba da mafi mahimmancin al'adun gargajiya na Rasha: da kyau mai tsanani a cikin aikinsa. aiki, sa'an nan kuma a gare shi, bayan da dama shekarun da suka gabata na juyin halittar Rasha music bayan mutuwar Glinka, SI Taneyev, duka biyu theoretically da kuma m. Masanin kimiyya a nan yana nufin aikace-aikacen fasaha na polyphonic (ciki har da rubutattun rubutu) zuwa karin waƙoƙin Rasha.

A Concepts da dabara na dalibi BL Yavorsky sun fi mayar dogara ne a kan nazarin mawaki Taneyev da aikin kimiyya.

A cikin 1940s, ra'ayin haɗin kai tsakanin aikin Taneyev da Rasha Soviet composers - N. Ya. Myaskovsky, V. Ya. Shebalin, DD Shostakovich - mallakar Vl. V. Protopov. Ayyukansa sune mafi mahimmancin gudunmawa ga nazarin salon Taneyev da harshen kiɗa bayan Asafiev, da kuma tarin labaran da aka buga a 1947, sun kasance a matsayin haɗin kai. Yawancin kayan da suka shafi rayuwa da aikin Taneyev suna ƙunshe a cikin littafin tarihin rayuwar GB Bernandt. LZ Korabelnikova's monograph "Creativity na SI Taneyev: Tarihi da Stylistic Research" ya keɓe ga la'akari da tarihi da kuma stylistic matsaloli na Taneyev ta mawaki al'adu a kan tushen mafi arziki Rumbun da kuma a cikin mahallin na art al'adu na zamanin.

Haɗin kai tsakanin ƙarni biyu - zamanin guda biyu, al'adar sabuntawa akai-akai, Taneyev a cikin hanyarsa ya yi ƙoƙari "zuwa sabon tudu", kuma yawancin ra'ayoyinsa da abubuwan da ke cikin jiki sun kai ga gaci na zamani.

L. Korabelnikova

• Chamber-instrumental kerawa na Taneyev →
• Taneev's romances →
• Choral ayyukan Taneyev →
• Bayanan kula ta Taneyev a kan gefen clavier na Sarauniya Spades