Witold Lutosławski |

Witold Lutosławski

Witold Lutosławski ya yi rayuwa mai tsawo da ban mamaki; zuwa shekarun da ya ci gaba, ya rike mafi girman bukatu a kansa da ikon sabuntawa da kuma bambanta salon rubutu, ba tare da maimaita abubuwan da ya gano a baya ba. Bayan mutuwar mawakin, ana ci gaba da yin kida da yin rikodin waƙarsa, wanda ke tabbatar da sunan Lutosławski a matsayin babban - tare da girmamawa ga Karol Szymanowski da Krzysztof Penderecki - al'adun gargajiya na Poland bayan Chopin. Ko da yake wurin zama na Lutosławski ya kasance a Warsaw har zuwa ƙarshen zamaninsa, ya fi Chopin ɗan duniya, ɗan ƙasa na duniya.

A cikin 1930s, Lutosławski yayi karatu a Warsaw Conservatory, inda malaminsa na abun da ke ciki ya kasance dalibin NA Rimsky-Korsakov, Witold Malishevsky (1873-1939). Yaƙin Duniya na Biyu ya katse nasarar Lutosławski na wasan pian ɗin da ya yi. A cikin shekarun da 'yan Nazi suka yi wa Poland, an tilasta wa mawaƙin ya iyakance ayyukansa na jama'a zuwa wasan piano a cikin cafes na Warsaw, wani lokaci a cikin duet tare da wani sanannen mawaki Andrzej Panufnik (1914-1991). Wannan nau'i na kiɗa na kiɗa yana da bayyanarsa ga aikin, wanda ya zama ɗaya daga cikin mafi mashahuri ba kawai a cikin gado na Lutoslawsky ba, har ma a cikin dukan wallafe-wallafen duniya don piano duet - Bambance-bambance a kan Jigo na Paganini (jigon. don waɗannan bambance-bambancen - da kuma sauran wasu opuses na mawaƙa daban-daban "a kan jigon Paganini" - shine farkon sanannen 24th caprice na Paganini don solo violin). Shekaru uku da rabi bayan haka, Lutosławski ya rubuta Variations for Piano and Orchestra, sigar da kuma aka fi sani da ita.

Bayan ƙarshen yakin duniya na biyu, Gabashin Turai ya kasance ƙarƙashin ikon Stalinist USSR, kuma ga mawaƙan da suka sami kansu a bayan labulen ƙarfe, an fara keɓewa daga manyan abubuwan da ke faruwa a cikin kiɗan duniya. Mafi tsattsauran ra'ayi ga Lutoslawsky da abokan aikinsa sun kasance jagorancin al'ada a cikin aikin Bela Bartok da kuma interwar Faransanci neoclassicism, mafi yawan wakilan su ne Albert Roussel (Lutoslavsky ko da yaushe ya yaba da wannan mawaki) da kuma Igor Stravinsky na lokaci tsakanin Septet. don Winds da Symphony a cikin manyan C. Ko da a cikin yanayin rashin 'yanci, wanda ya haifar da buƙatar yin biyayya ga ƙa'idodin zamantakewar gurguzu, mawallafin ya yi nasarar ƙirƙirar sababbin ayyuka na asali (Little Suite for Chamber Orchestra, 1950; Silesian Triptych na soprano da Orchestra zuwa kalmomin gargajiya. , 1951; Bukoliki) don piano, 1952). Matsakaicin salon farko na Lutosławski shine Symphony ta Farko (1947) da Concerto for Orchestra (1954). Idan symphony o ƙarin tabbatar da neoclassicism na Roussel da Stravinsky (a 1948 da aka hukunta a matsayin "formalist", da kuma ta yi da aka dakatar a Poland shekaru da dama), sa'an nan dangane da jama'a music ne a fili bayyana a cikin Concerto: hanyoyin Yin aiki tare da bayanan jama'a, a bayyane yana tunawa da salon Bartók da kyau ana amfani da shi a nan ga kayan Yaren mutanen Poland. Dukansu maki sun nuna fasalulluka waɗanda aka haɓaka a cikin ƙarin aikin Lutoslawski: ƙungiyar kade-kade ta virtuosic, ɗimbin bambance-bambance, rashin daidaituwa da sifofi na yau da kullun (tsawon kalmomin da ba daidai ba, rhythm jagged), ƙa'idar gina babban tsari bisa ga ƙirar labari tare da bayyani na tsaka tsaki, karkatarwa mai ban sha'awa da jujjuyawa wajen bayyana makircin, ƙara tashin hankali da ban mamaki.

Thaw na tsakiyar shekarun 1950 ya ba da dama ga mawakan Gabashin Turai don gwada hannunsu akan dabarun Yammacin Turai na zamani. Lutoslavsky, kamar yawancin abokan aikinsa, ya ɗan ɗanɗana ɗan gajeren lokaci tare da dodecaphony - 'ya'yan itacen da yake sha'awar sababbin ra'ayoyin Viennese shine Bartók's Funeral Music for string orchestra (1958). Mafi ladabi, amma kuma mafi asali "Wakoki Biyar akan Waƙoƙi na Kazimera Illakovich" don muryar mace da piano (1957; shekara guda bayan haka, marubucin ya sake sake zagayowar wannan zagayowar don muryar mace tare da ƙungiyar mawaƙa) wanda aka rubuta daga lokaci guda. Kiɗa na waƙoƙin sananne ne don faɗuwar amfani da ƙwanƙwasa sautin guda goma sha biyu, waɗanda launinsu ya ƙayyadad da rabon tazara waɗanda ke samar da madaidaiciyar madaidaiciya. Irin wannan nau'in, wanda aka yi amfani da shi ba a cikin mahallin dodecaphonic-serial ba, amma a matsayin raka'o'in tsari masu zaman kansu, kowannensu yana da nauyin sauti na musamman na asali, zai taka muhimmiyar rawa a cikin dukan aikin mawallafin daga baya.

Wani sabon mataki a cikin juyin halittar Lutosławski ya fara ne a farkon shekarun 1950 da 1960 tare da Wasannin Venetian don ƙungiyar makada (wannan ƙaramin opus mai kashi huɗu an ba shi izini ta 1961 Venice Biennale). A nan Lutoslavsky ya fara gwada sabuwar hanyar gina nau'in kade-kade, wanda sassa daban-daban na kayan aiki ba su daidaita ba. Mai gudanarwa ba ya shiga cikin wasan kwaikwayo na wasu sassan aikin - kawai yana nuna lokacin farkon sashe, bayan haka kowane mawaƙa yana taka rawarsa a cikin raye-raye na kyauta har sai alamar jagora ta gaba. Wannan nau'in gungun aleatorics iri-iri, wanda ba ya shafar nau'ikan abun da ke ciki gabaɗaya, wani lokaci ana kiransa "aleatoric counterpoint" (bari in tunatar da ku cewa aleatorics, daga Latin alea - "dice, lot", ana kiransa da abun da ke ciki. hanyoyin da nau'i ko nau'in aikin da aka yi ya fi ko žasa maras tabbas). A yawancin maki Lutosławski, farawa da Wasannin Venetian, shirye-shiryen da aka yi a cikin tsattsauran ra'ayi (battuta, wato, "ƙarƙashin wand [conductor's]") musanya tare da sassa a cikin madaidaicin aleatoric (ad libitum - "a so"); a lokaci guda, gutsuttsura ad libitum sau da yawa ana danganta su da tsayin daka da rashin aiki, suna haifar da hotunan rashin ƙarfi, lalata ko hargitsi, da sassan battuta - tare da ci gaba mai ci gaba.

Kodayake, bisa ga ra'ayi na gabaɗaya, ayyukan Lutoslawsky sun bambanta sosai (a cikin kowane ci gaba da ya nemi warware sabbin matsaloli), babban wurin da ya balaga a cikin babban aikinsa ya mamaye wani tsari mai sassa biyu, wanda aka fara gwada shi a cikin String Quartet. (1964): ɓangarorin farko, ƙaramin ƙarami, yana ba da cikakken gabatarwar zuwa na biyu, cike da motsi mai ma’ana, wanda ƙarshensa ya kai jim kaɗan kafin ƙarshen aikin. Sassan Quartet na Ƙarfafa, daidai da aikinsu na ban mamaki, ana kiran su "Introductory Movement" ("bangaren gabatarwa" - Turanci) da "Main Movement" ("Babban ɓangaren" - Turanci). A mafi girman ma'auni, an aiwatar da wannan makirci a cikin Symphony na Biyu (1967), inda motsi na farko yana da taken "He'sitant" ("Wasanni" - Faransanci), na biyu - "Direct" ("madaidaici" - Faransanci). ). Littafin "Littafin Orchestra" (1968; wannan "littafin" ya ƙunshi ƙananan "surori" guda uku waɗanda suka rabu da juna ta hanyar gajeren lokaci, da kuma babban "babi na ƙarshe"), Cello Concerto sun dogara ne akan gyare-gyare ko rikitarwa na sassan. tsari iri daya. tare da makada (1970), Symphony na uku (1983). A cikin opus mafi tsawo na Lutosławski (kimanin mintuna 40), Preludes da Fugue don igiyoyi na solo goma sha uku (1972), aikin sashin gabatarwa yana yin shi ta hanyar jerin preludes takwas na haruffa daban-daban, yayin da aikin babban motsi shine da kuzarin buɗe fugue. Makircin kashi biyu, ya bambanta tare da fasaha mara ƙarewa, ya zama nau'in matrix don "wasan kwaikwayo" na kayan aikin Lutosławski da ke da yawa a cikin juzu'i daban-daban. A cikin balagagge ayyukan mawaƙi, wanda ba zai iya samun wani bayyananne alamun "Polishness", ko wani curtsies zuwa neo-romanticism ko wasu "neo-styles"; ba ya ta~a yin zance na salo, balle a ce kai tsaye ya nakalto wa]ansu. A wata ma'ana, Lutosławski mutum ne keɓe. Wataƙila wannan shine abin da ke ƙayyade matsayinsa na al'ada na karni na XNUMX da kuma ƙa'idodin duniya: ya ƙirƙiri nasa, cikakkiyar duniyar asali, abokantaka ga mai sauraro, amma a kaikaice yana da alaƙa da al'ada da sauran raƙuman ruwa na sabon kiɗa.

Yaren da balagagge balagagge na Lutoslavsky mutum ne mai zurfi kuma yana dogara ne akan aikin filigree tare da hadaddun sautin sauti 12 da tazara mai ma'ana da raɗaɗi daga gare su. An fara da Cello Concerto, rawar da aka faɗa a cikin waƙar Lutosławski tana ƙaruwa, daga baya abubuwa masu ban sha'awa da ban dariya suna ƙaruwa a ciki (Novelette for orchestra, 1979; ƙarshen wasan kide-kide na Biyu na oboe, garaya da ƙungiyar mawaƙa, 1980; zagayowar waƙar Songflowers da tatsuniyoyi” don soprano da orchestra, 1990). Rubutun jituwa na Lutosławski ya keɓance alaƙar tonal na gargajiya, amma yana ba da damar abubuwan daɗaɗɗen tonal. Wasu daga cikin manyan opuses na Lutosławski daga baya suna da alaƙa da nau'ikan nau'ikan kiɗan kayan aikin Romantic; Don haka, a cikin Symphony na Uku, mafi girman burin dukkan mawakan mawaƙan mawaƙa, cike da wasan kwaikwayo, mai cike da bambance-bambance, an fara aiwatar da ƙa'idar ƙaƙƙarfan ƙaƙƙarfan motsi guda ɗaya, kuma Piano Concerto (1988) ya ci gaba da layin. m romantic pianism na "babban salon". Ayyuka guda uku a ƙarƙashin taken gabaɗaya "Chains" suma sun kasance na ƙarshen zamani. A cikin "Chain-1" (na kayan kida na 14, 1983) da kuma "Chain-3" (na ƙungiyar makaɗa, 1986), ka'idar "haɗin kai" (banshi mai rufi) na gajeren sassan, wanda ya bambanta a cikin rubutu, timbre da melodic-harmonic halaye, yana taka muhimmiyar rawa (shararru daga sake zagayowar "Preludes da Fugue" suna da alaƙa da juna a irin wannan hanya). Mafi ƙarancin sabon abu dangane da tsari shine Chain-2 (1985), ainihin wasan wasan violin mai motsi huɗu (gabatarwa da ƙungiyoyi uku waɗanda ke musanya bisa ga al'adar sauri-sauri-sauri na gargajiya), lamarin da ba kasafai ba lokacin da Lutoslawsky ya watsar da kashi biyun da ya fi so. makirci.

Layi na musamman a cikin aikin balagagge na mawaƙi yana wakiltar manyan opuses: "Waƙoƙi guda uku na Henri Michaud" don ƙungiyar mawaƙa da ƙungiyar mawaƙa daban-daban (1963), "Kalmomi masu saƙa" a cikin sassa 4 don ƙungiyar ƙungiyar tenor da ɗakin ɗakin (1965). ), "Spaces of Sleep" don baritone and orchestra (1975) da kuma sake zagayowar kashi tara da aka riga aka ambata "Mawaƙa da Tatsuniyoyi". Dukansu sun dogara ne akan ayoyin surrealist na Faransa (mawallafin rubutun "Kalmomi masu saƙa" Jean-Francois Chabrin, kuma an rubuta ayyukan biyu na ƙarshe zuwa kalmomin Robert Desnos). Lutosławski tun daga ƙuruciyarsa yana da tausayi na musamman ga harshen Faransanci da al'adun Faransanci, kuma ra'ayinsa na fasaha na duniya yana kusa da rashin fahimta da rashin fahimta na ma'anar halayen surrealism.

Kiɗa na Lutoslavsky sananne ne don haskakawa na kide kide da wake-wake, tare da wani ɓangaren nagarta da aka bayyana a sarari. Ba abin mamaki ba ne cewa fitattun masu fasaha da son rai sun haɗa kai da mawaki. Daga cikin masu fassara na farko na ayyukansa sun hada da Peter Pearce (Woven Words), Lasalle Quartet (String Quartet), Mstislav Rostropovich (Cello Concerto), Heinz da Ursula Holliger (Double Concerto for oboe da garaya tare da ƙungiyar mawaƙa) , Dietrich Fischer-Dieskau ( "Dream Spaces"), Georg Solti (Symphony na uku), Pinchas Zuckermann (Partita don violin da piano, 1984), Anne-Sophie Mutter ("Chain-2" don violin da orchestra), Krystian Zimerman (Concerto don piano da orchestra) kuma ba a san shi ba a cikin latitudes ɗinmu, amma cikakkiyar mawaƙin Norwegian Solveig Kringelborn ("Songflowers and Songtales"). Lutosławski da kansa ya mallaki kyautar jagorar da ba a saba gani ba; Karimcinsa sun kasance masu bayyanawa da kuma aiki, amma bai taɓa sadaukar da fasaha don tabbatar da daidaito ba. Bayan da ya iyakance repertoire nasa zuwa nasa abubuwan da aka tsara, Lutoslavsky ya yi kuma ya yi rikodin tare da makada daga kasashe daban-daban.

Lutosławski arziƙi da kuma ci gaba da haɓaka hotunan hotunan har yanzu yana mamaye rikodin asali. Ana tattara mafi yawan wakilan su a cikin kundi guda biyu waɗanda Philips da EMI suka fitar kwanan nan. Darajar na farko ("The Essential Lutoslawski" -Philips Duo 464 043), a ganina, an ƙaddara da farko ta Double Concerto da "Spaces of Sleep" tare da sa hannun Holliger ma'aurata da Dietrich Fischer-Dieskau, bi da bi. ; Fassarar marubucin Symphony na Uku tare da Philharmonic na Berlin wanda ya bayyana a nan, abin ban mamaki, bai dace da tsammanin ba (rakodin marubucin da ya fi nasara tare da ƙungiyar Mawakan Watsa Labarai ta Biritaniya, kamar yadda na sani, ba a canza shi zuwa CD ba. ). Kundin na biyu "Lutoslawski" (EMI Double Forte 573833-2) ya ƙunshi ayyukan ƙungiyar makaɗa da suka dace kawai waɗanda aka kirkira kafin tsakiyar 1970s kuma yana da inganci. Madalla da National Orchestra na Yaren mutanen Poland Radio daga Katowice, tsunduma a cikin wadannan rikodin, daga baya, bayan mutuwar mawaki, dauki bangare a cikin rikodin wani kusan cikakken tarin ya Orchestral ayyukansu, wanda aka saki tun 1995 a kan fayafai da. Kamfanin Naxos (har zuwa Disamba 2001, an saki fayafai bakwai). Wannan tarin ya cancanci duk yabo. Daraktan fasaha na kungiyar kade-kade, Antoni Wit, yana gudanar da aiki a fili, da kuzari, da masu kida da mawaka (mafi yawa Poles) wadanda ke yin sassan solo a cikin kide-kide da wake-wake, idan sun yi kasa da fitattun magabata, kadan ne. Wani babban kamfani, Sony, wanda aka saki a kan fayafai guda biyu (SK 66280 da SK 67189) na biyu, na uku da na huɗu (a ganina, rashin nasara) wasan kwaikwayo, da Piano Concerto, Spaces of Sleep, Songflowers and Songtales "; A cikin wannan rikodin, Los Angeles Philharmonic Orchestra yana gudanar da Esa-Pekka Salonen (mawallafin kansa, wanda gabaɗaya ba shi da kusanci ga manyan abubuwan da ake kira wannan jagorar "abin mamaki"1), masu soloists sune Paul Crossley (piano), John Shirley. - Quirk (baritone), Don Upshaw (soprano)

Komawa ga fassarori na marubucin da aka rubuta a CD na sanannun kamfanoni, wanda ba zai iya kasa ambaton ƙwaƙƙwaran rikodin na Cello Concerto (EMI 7 49304-2), da Piano Concerto (Deutsche Grammophon 431 664-2) da violin concerto " Chain-2” (Deutsche Grammophon 445 576-2), wanda aka yi tare da sa hannu na virtuosos wanda aka sadaukar da waɗannan opuses guda uku, wato, Mstislav Rostropovich, Krystian Zimermann da Anne-Sophie Mutter. Ga magoya bayan da har yanzu ba a sani ba ko kuma basu san aikin Lutoslawsky ba, Ina ba ku shawara ku fara juya zuwa waɗannan rikodin. Duk da zamanantar da harshen kiɗan na dukkan wasannin kade-kade guda uku, ana saurarensu cikin sauƙi da kuma sha'awa ta musamman. Lutoslavsky ya fassara nau'in sunan "concert" daidai da ainihin ma'anarsa, wato, a matsayin irin gasa tsakanin soloist da ƙungiyar makaɗa, yana ba da shawarar cewa soloist, zan ce, wasanni (a cikin mafi girman darajar duk ma'anar da zai yiwu. kalma) jaruntaka. Ba lallai ba ne a ce, Rostropovich, Zimerman da Mutter suna nuna babban matakin bajinta, wanda a kansa ya kamata ya faranta wa duk wani mai sauraro mara son zuciya, koda kuwa waƙar Lutoslavsky da farko ya zama sabon abu ko kuma baƙo gare shi. Duk da haka, Lutoslavsky, ba kamar da yawa na zamani composers, ko da yaushe kokarin tabbatar da cewa mai sauraro a cikin kamfanin na music ba zai ji kamar baƙo. Yana da kyau a faɗi waɗannan kalmomi daga tarin tattaunawarsa mafi ban sha'awa tare da masanin kida na Moscow II Nikolskaya: “Buri na kusantar mutane ta hanyar fasaha yana ci gaba da kasancewa a cikina. Amma ban sanya kaina burin samun yawan masu sauraro da magoya baya gwargwadon iko ba. Ba na so in ci nasara, amma ina so in nemo masu saurarona, in nemo waɗanda suke ji kamar ni. Ta yaya za a iya cimma wannan buri? Ina tsammanin, kawai ta hanyar matsakaicin gaskiya na fasaha, gaskiyar magana a kowane matakai - daga fasaha dalla-dalla zuwa mafi sirrin, zurfin zurfi ... Don haka, kerawa na fasaha kuma na iya yin aikin "mai kama" rayukan mutane, ya zama magani. daya daga cikin cututtuka masu raɗaɗi - jin kadaici ".

Levon Hakopyan