Stepan Ivanovich Davydov |

Stepan Davydov

Ayyukan mawallafin Rasha masu basira S. Davydov sun ci gaba a wani matsayi na fasaha na Rasha, a farkon karni na XNUMX da na XNUMX. Lokaci ne mai wahala na karya tsoffin al'adun gargajiya da bullowar sabbin dabi'u na son zuciya da soyayya. An haife shi a kan ka'idodin classicism, a kan kiɗa na B. Galuppi da G. Sarti, Davydov, a matsayin mai fasaha mai mahimmanci, ba zai iya wucewa ta sabon yanayin lokacinsa ba. Ayyukansa sun cika da bincike mai ban sha'awa, hangen nesa na gaba, kuma wannan shine babban damuwarsa ga fasaha.

Davydov ya fito ne daga ƙananan mashahuran Chernigov na gida. Daga cikin mawaƙa da aka zaɓa a Ukraine, shi, ɗan yaro mai hazaka na kiɗa, ya isa St. Petersburg a ƙarshen 1786 kuma ya zama ɗalibin Singing Chapel. A cikin wannan kawai "ilimin kida" a babban birnin kasar, Davydov samu wani kwararren ilimi. Tun yana dan shekara 15 ya yi kida mai tsarki.

An yi furucinsa na farko a kan rubutun ruhaniya a cikin kide-kide na kaghella, sau da yawa a gaban sarakuna. A cewar wasu rahotanni, Catherine II ya so ya aika Davydov zuwa Italiya don inganta kwarewarsa na tsarawa. Amma a lokacin, sanannen Italiyanci mawaki Giuseppe Sarti isa Rasha, kuma Davydov aka sanya shi a matsayin fensho. Azuzuwa tare da Sarti ya ci gaba har zuwa 1802 har zuwa tashi daga Italiyanci maestro zuwa mahaifarsa.

A cikin shekaru na kusanci da malamin, Davydov ya shiga cikin da'irar St. Petersburg art intelligentsia. Ya ziyarci gidan N. Lvov, inda mawaƙa da mawaƙa suka taru, sun zama abokantaka tare da D. Bortnyansky, wanda Davydova ya haɗu da "ƙaunar gaskiya da ci gaba da mutunta juna." A cikin wannan lokacin “horarwa” na farko, mawaƙin ya yi aiki a cikin nau'in wasan kide-kide na ruhaniya, yana bayyana ƙwararriyar ƙware na tsari da fasaha na rubuta waƙoƙi.

Amma basirar Davydov ta haskaka sosai a cikin kiɗan wasan kwaikwayo. A 1800, ya shiga sabis na Directorate na Imperial Theaters, ya maye gurbin marigayi E. Fomin. Bisa ga umarnin kotu, Davydov ya rubuta 2 ballets - "Crowned Goodness" (1801) da "Sacrifice of Godiya" (1802), wanda aka gudanar da gagarumin nasara. Kuma a cikin aiki na gaba - sanannen opera "Mermaid" - ya zama sananne a matsayin daya daga cikin masu kirkiro sabon salon soyayya na "sihiri", wasan kwaikwayo na tatsuniyoyi. Wannan aikin, wanda ya fi dacewa a cikin aikin mawaƙa, shine babban zagayowar wasan kwaikwayo, wanda ya ƙunshi operas guda huɗu. Madogararsa ita ce singspiel na mawaƙin Austrian F. Cauer ga rubutun K. Gensler “Danube Mermaid” (1795).

Marubuci kuma mai fassara N. Krasnopolsky ya yi nasa, sigar Rasha ta Gensler's libretto, ya canza aikin daga Danube zuwa Dnieper kuma ya baiwa jarumai sunayen tsoffin Slavic. A cikin wannan nau'i, an shirya sashin farko na wasan opera na Cauer mai taken "The Dnieper Mermaid" a St. Petersburg. Davydov ya yi aiki a nan a matsayin editan maki kuma marubucin lambobi masu sakawa, yana haɓaka halayen ƙasa na Rasha na wasan kwaikwayon tare da kiɗansa. Wasan opera ya kasance babban nasara, wanda ya tilasta wa mai karantawa ya ci gaba da aikinsa. Daidai bayan shekara guda, kashi na biyu na Kauer's singspiel ya bayyana a wurin, wanda Krasnopolsky ya sake yin aiki. Davydov bai shiga cikin wannan samarwa ba, saboda a cikin Afrilu 1804 an kore shi daga sabis a gidan wasan kwaikwayo. K. Cavos ne ya ɗauki wurinsa, wanda ya haɗa arias don wasan opera. Duk da haka, Davydov bai bar ra'ayin na opera, da kuma a 1805 ya rubuta dukan music ga kashi na uku na tetralogy zuwa Krasnopolsky libretto. Wannan opera, mai cikakken 'yancin kai a cikin abun da ke ciki kuma aka ba shi sabon suna Lesta, Dnieper Mermaid, shi ne kololuwar aikin mawaki. Kyawawan ɗimbin simintin gyare-gyare, ɗorewa mai kayatarwa, wuraren wasan ballet da mawaƙin mawaƙa A. Auguste ya tsara, waƙar Davydov mai haske, mai ban sha'awa duk sun ba da gudummawa ga gagarumin nasarar Lesta. A ciki, Davydov ya sami sababbin hanyoyin kiɗa da ban mamaki da sababbin hanyoyin fasaha, hada 2 da tsare-tsaren ayyuka - na gaske da ban mamaki. Tare da iko mai ban sha'awa, ya ba da wasan kwaikwayo na yarinya mai sauƙi Lesta, wanda ya zama farka na mermaids, da masoyi, Prince Vidostan. Ya kuma yi nasarar bayyana jarumin barkwanci – bawan Tarabar. Ɗaukar nau'ikan ji na wannan hali - daga tsoro zuwa farin ciki mara iyaka, Davydov ya hango hoton Glinka's Farlaf. A duk sassan murya, mawaƙin yana amfani da ƙamus na zamaninsa kyauta, yana haɓaka harshen wasan kwaikwayo tare da waƙoƙin waƙoƙin jama'a na Rashanci da waƙoƙin rawa. Har ila yau, wasan kwaikwayo na ƙungiyar mawaƙa suna da ban sha'awa - hotuna masu ban sha'awa na yanayi (alfijir, tsawa), launuka masu haske suna samuwa a cikin canja wurin Layer na "sihiri". Duk waɗannan sabbin fasalolin sun sanya Lesti Davydov ya zama mafi kyawun wasan opera na tatsuniya na wancan lokacin. Nasarar wasan opera ya ba da gudummawa ga dawowar Davydov don yin hidima a Daraktan gidan wasan kwaikwayo. A cikin 1807, ya rubuta kiɗa na ƙarshe, kashi na huɗu na "Mermaid" zuwa rubutu mai zaman kansa ta A. Shakhovsky. Duk da haka, waƙarta ba ta kai mu gaba ɗaya ba. Shi ne aikin ƙarshe na mawaƙin a cikin nau'in operatic.

Farkon mummunan lokacin yakin Napoleon ya bukaci wani nau'i daban-daban, mai kishin kasa a cikin fasaha, wanda ke nuna karuwar jama'a na jama'a. Amma wannan jigon jarumtaka a wancan lokacin har yanzu bai samu siffarsa a cikin opera ba. Ya bayyana kansa a fili a wasu nau'o'in - a cikin "mummunan bala'i akan kiɗa" da kuma rarrabawar jama'a. Davydov kuma ya juya zuwa "mummunan bala'i a cikin kiɗa", yana tsara mawaƙa da tsangwama ga bala'i "Sumbeka, ko Fall of the Kazan Kingdom" na S. Glinka (1807), "Herod da Mariamne" na G. Derzhavin (1808), " Electra da Orestes" na A. Gruzintsev (1809). A cikin m embodiment na jaruntaka images Davydov dogara a kan salon KV Gluck, ya rage a kan matsayi na classicism. A 1810, ƙarshe korar mawaki daga sabis ya biyo baya, kuma tun daga nan sunansa ya ɓace daga fastocin wasan kwaikwayo na shekaru da yawa. Sai kawai a cikin 1814 Davydov ya sake bayyana a matsayin marubucin kiɗa na mataki, amma a cikin sabon nau'in rarrabawa. Wannan aikin ya bayyana a Moscow, inda ya koma a cikin kaka na 1814. Bayan bala'i mai ban tsoro na 1812, rayuwar fasaha ta fara farfadowa a cikin tsohuwar babban birnin kasar. Davydov ya hayar da ofishin gidan wasan kwaikwayo na Moscow Imperial a matsayin malamin kiɗa. Ya kawo fitattun masu fasaha waɗanda suka yi ɗaukaka ga ƙungiyar opera ta Moscow - N. Repina, P. Bulakhov, A. Bantyshev.

Davydov ya ƙirƙira kiɗa don yawancin abubuwan ban sha'awa: "Semik, ko Walking a Maryina Grove" (1815), "Tafiya a kan Dutsen Sparrow" (1815), "Mayu Day, ko Walking a Sokolniki" (1816), "Idin na Masu mulkin mallaka” (1823) da sauransu. Mafi kyawun su shine wasan kwaikwayo "Semik, ko Walking in Maryina Grove". Dangane da abubuwan da suka faru na Yaƙin Kishin Kishin ƙasa, an dore shi gaba ɗaya cikin ruhin mutane.

Daga divertissement "Farkon Mayu, ko Tafiya a Sokolniki", 2 songs musamman rare: "Idan gobe da mummunan yanayi" da kuma "A cikin lebur kwari", wanda ya shiga cikin birnin rayuwa a matsayin jama'a songs. Davydov ya bar alama mai zurfi a kan ci gaban fasahar kiɗan Rasha na zamanin pre-Glinka. Mawaƙi mai ilimi, ƙwararren mai fasaha, wanda asalin ƙasar Rasha ya ciyar da aikinsa, ya ba da hanya ga al'adun gargajiya na Rasha, ta fuskoki da yawa yana tsammanin tsarin alama na operas ta M. Glinka da A. Dargomyzhsky.

A. Sokolova