Sofia Asgatovna Gubaidulina (Sofia Gubaidulina) |

Sofia Gubaidulina

A wannan sa'a, rai, waƙoƙin Duniya a duk inda kuke so Don sarauta, - gidan sarauta na rayuka, Soul, waƙoƙi. M. Tsvetaeva

S. Gubaidulina yana daya daga cikin manyan mawakan Soviet na rabin na biyu na karni na XNUMX. Waƙarta tana da ƙarfin ƙarfin zuciya, babban layin ci gaba kuma, a lokaci guda, mafi ƙarancin ma'anar ma'anar sauti - yanayin timbre, fasaha na yin aiki.

Daya daga cikin muhimman ayyuka da SA Gubaidulina ya tsara shi ne tsara fasalin al'adun Yamma da Gabas. An sauƙaƙe wannan ta hanyar asalinta daga dangin Rasha-Tatar, rayuwa ta farko a Tataria, sannan a Moscow. Kasancewa ba zuwa "avant-gardism", ko "minimalism", ko "sabon salon almara" ko wani yanayin zamani, tana da salon mutum mai haske na kansa.

Gubaidulina shine marubucin ayyuka da dama na nau'o'i daban-daban. Vocal Opuses gudanar a cikin dukan aikinta: farkon "Facelia" bisa waƙar M. Prishvin (1956); cantatas "Dare a Memphis" (1968) da "Rubaiyat" (1969) a kan St. mawakan gabas; da oratorio "Laudatio pacis" (a kan tashar J. Comenius, tare da haɗin gwiwar M. Kopelent da PX Dietrich - 1975); "Hanya" ga soloists da kirtani gungu (1983); "Sadakarwa ga Marina Tsvetaeva" don mawaƙa cappella (1984) da sauransu.

Ƙungiya mafi girma na ƙungiyoyin ɗakin gida: Piano Sonata (1965); Nazari biyar don garaya, bass biyu da kaɗa (1965); "Concordanza" don tarin kayan kida (1971); 3 kirtani quartets (1971, 1987, 1987); "Kiɗa don kaɗe-kaɗe da kayan kida daga tarin Mark Pekarsky" (1972); "Detto-II" na cello da 13 kayan aiki (1972); Etudes goma (Preludes) na cello solo (1974); Concerto na bassoon da ƙananan igiyoyi (1975); "Haske da Duhu" ga gabobin (1976); "Detto-I" - Sonata ga gabobin jiki da percussion (1978); "De prolundis" na button accordion (1978), "Jubilation" ga hudu percussionists (1979), "A croce" ga cello da gabobin (1979); "A farkon akwai kari" ga masu ganga 7 (1984); "Quasi hoketus" na piano, viola da bassoon (1984) da sauransu.

A yankin na symphonic ayyuka da Gubaidulina hada da "Mataki" for makada (1972); "Hour of the Soul" don solo percussion, mezzo-soprano da kade-kade na kade-kade a St. Marina Tsvetaeva (1976); Concerto na ƙungiyar makaɗa biyu, iri-iri da karimci (1976); kide kide na piano (1978) da violin da makada (1980); Waƙoƙin “Stimmen… Verftummen…” (“Na Ji… An Yi Shiru…” - 1986) da sauransu. Ɗayan abun da ke ciki shine kawai lantarki, "Vivente - non vivante" (1970). Kiɗa na Gubaidulina don cinema yana da mahimmanci: "Mowgli", "Balagan" (majigin yara), "Vertical", "Department", "Smerch", "Scarecrow", da dai sauransu. tare da G. Kogan), yayi karatu ba bisa ka'ida ba tare da A. Lehman. A matsayin mawaki, ta sauke karatu daga Moscow Conservatory (1954, tare da N. Peiko) da kuma digiri na biyu makaranta (1959, tare da V. Shebalin). Da yake son ba da kansa kawai ga kerawa, ta zaɓi hanyar mai fasaha ta kyauta har tsawon rayuwarta.

Ƙirƙirar Gubaidulina ba a san shi sosai ba a lokacin “taɓawa”, kuma perestroika ne kawai ya kawo masa karɓuwa sosai. Ayyukan masters na Soviet sun sami mafi girman kima a ƙasashen waje. Saboda haka, a lokacin bikin Boston na Soviet Music (1988), ɗaya daga cikin labaran an yi masa taken: "The West Discovers the Genius of Sofia Gubaidulina."

Daga cikin masu yin kida na Gubaidulina akwai mashahuran mawakan: madugu G. Rozhdestvensky, dan wasan violin G. Kremer, masu kida V. Tonkha da I. Monighetti, bassoonist V. Popov, dan wasan bayan F. Lips, mai kida M. Pekarsky da sauransu.

Salon tsara ɗaiɗaikun Gubaidulina ya ɗauki salo a tsakiyar 60s, wanda ya fara da Etudes Biyar don garaya, bass biyu da kaɗe-kaɗe, cike da sautin ruhi na tarin kayan kida da ba na al'ada ba. Wannan ya biyo bayan 2 cantatas, thematically jawabi zuwa Gabas - "Dare a Memphis" (a kan matani daga tsohuwar kalmomin Masar da A. Akhmatova da V. Potapova suka fassara) da "Rubaiyat" (a kan ayoyin Khaqani, Hafiz, Khayyam). Dukansu cantatas suna bayyana madawwamiyar jigogin ɗan adam na ƙauna, baƙin ciki, kaɗaici, ta'aziyya. A cikin kiɗa, abubuwan waƙar melismatic na gabas an haɗa su tare da wasan kwaikwayo mai tasiri na yamma, tare da fasaha na tsara dodecaphonic.

A cikin 70s, ba dauke da ko dai da "sabon sauki" style da aka yadu yada a Turai, ko kuma hanyar polystylists, wanda aka rayayye amfani da manyan composers ta tsara (A. Schnittke, R. Shchedrin, da dai sauransu). ), Gubaidulina ya ci gaba da neman wuraren bayyana sauti (misali, a cikin Etudes goma na Cello) da kuma wasan kwaikwayo na kiɗa. Wasan wasan kwaikwayo na bassoon da ƙananan kirtani shine tattaunawa mai kaifi "wasan kwaikwayo" tsakanin "jarumi" (solo bassoon) da "jama'a" (rukunin cellos da basses biyu). A lokaci guda kuma, ana nuna rikice-rikicen su, wanda ya bi ta matakai daban-daban na rashin fahimtar juna: "taron" da ke dora matsayinsa a kan "jarumi" - gwagwarmayar cikin gida na "jarumi" - "rangwame ga taron jama'a" da kuma halin kirki fiasco na babban "hali".

"Hour of the Soul" don solo percussion, mezzo-soprano da orchestra sun ƙunshi adawar ɗan adam, lyrical da m, ka'idodin rashin mutuntaka; Sakamakon shine hurarrun muryoyin waƙoƙin waƙa zuwa ga maɗaukakin ayoyin “Atlantean” na M. Tsvetaeva. A cikin ayyukan Gubaidulina, fassarar ma'anar ma'anar nau'i-nau'i na asali sun bayyana: "Haske da Dark" ga sashin jiki, "Vivente - non vivente". ("Rayuwa - marar rai") don na'urorin lantarki, "A cikin croce" ("Crosswise") don cello da gabobin (kayan aikin 2 suna musayar jigogi a yayin ci gaba). A cikin 80s. Gubaidulina ta sake ƙirƙira ayyukan babban tsari, babban tsari, kuma ta ci gaba da taken “gabas” da ta fi so, kuma tana ƙara hankalinta ga kiɗan murya.

Lambun Farin Ciki da Bakin Ciki na sarewa, viola da garaya an ba shi kyakkyawan dandano na gabas. A cikin wannan abun da ke ciki, da dabara melismatics na karin waƙa ne whimsical, da interweaving na high rajista kayan aiki ne m.

Concerto na violin da makada, wanda marubucin ya kira "Offertorium", ya ƙunshi ra'ayin sadaukarwa da sake haifuwa zuwa sabuwar rayuwa ta hanyar kiɗa. Taken daga JS Bach na “Bayar da Kiɗa” a cikin tsarin ƙungiyar makaɗa ta A. Webern yana aiki azaman alamar kiɗa. Kirtani na uku quartet (ɓangare ɗaya) ya ɓace daga al'adar quartet na gargajiya, ya dogara ne akan bambancin wasan pizzicato na "mutum ya yi" da kuma wasan baka na "ba a yi ba", wanda kuma aka ba da ma'anar alama. .

Gubaidulina yana ɗaukar "Hanya" ("Hanya") don soprano, baritone da kayan kirtani 7 a cikin sassa 13 a matsayin ɗayan mafi kyawun ayyukansa. Hakan ya taso ne a sakamakon rubutattun wasiku da F. Tanzer, lokacin da mawaqin ya aiko da kasidun waqoqinsa, kuma mawaqin ya ba su amsoshi na magana da na kida. Wannan shi ne yadda zance na alama tsakanin Namiji da Mace ya taso akan batutuwa: Mahalicci, Halitta, Ƙirƙira, Halitta. Gubaidulina ya samu a nan wani karuwa, shigar azzakari cikin farji part da kuma amfani da dukan ma'auni na murya dabaru maimakon talakawa raira waƙa: tsantsa singing, sha'awar singing, Sprechstimme, tsantsa magana, sha'awar magana, shiga cikin magana, waswasi. A wasu lambobi, an ƙara tef ɗin maganadisu tare da rikodi na mahalarta wasan kwaikwayon. Maganar lyrical-philosophical na Namiji da Mace, sun shiga cikin matakai na tsarinsa a cikin lambobi masu yawa (A'a. 1 "Duba", No. 2 "Mu", No. 9 "I", No. 10 "Ni da Kai"), ya zo ga ƙarshe a lamba ta 12 "Mutuwar Monty" Wannan bangare mafi ban mamaki shine ballad game da dokin baƙar fata Monty, wanda ya taɓa karɓar kyaututtuka a tseren, kuma yanzu an ci amana, sayar, dukan tsiya. , mutu. No. 13 "Voices" yana aiki azaman tarwatsa kalma ta baya. Kalmomin buɗewa da rufewa na ƙarshe – “Stimmen… Verstummen…” (“Voices… Silenced…”) ya zama babban taken Gubaidulina babban motsi na farko-sha-biyu, wanda ya ci gaba da ra'ayoyin fasaha na "Hanya".

Hanyar Gubaidulina a cikin fasaha ana iya nuna ta ta kalmomin cantata "Dare a Memphis": "Ka yi ayyukanka a duniya bisa ga umurnin zuciyarka."

V. Kholopova