Alexander Nikolayevich Scriabin (Alexander Scriabin).

Alexander Scriabin

Muusigga Scriabin waa rabitaan qoto dheer oo bini'aadmi ah oo aan la joojin karin, oo loogu talagalay xorriyadda, farxadda, ku raaxaysiga nolosha. … Waxay u sii jirtaa inay markhaati nool u tahay himilooyinka ugu wanagsan ee waageeda, taas oo ay ahayd "qarax", shay xiiso leh oo aan degganayn oo dhaqanka ah. B. Asafiev

A. Scriabin waxa uu galay muusiga Ruushka dabayaaqadii 1890-aadkii. oo isla markiiba isku sheegay inuu yahay qof hibo leh oo gaar ah. Hal-abuure geesi ah, “Raadiyaha wanaagsan ee waddooyin cusub,” sida uu qabo N. Myaskovsky, “iyadoo la kaashanayo luqad cusub, oo aan horay loo arag, wuxuu noo furay rajooyin caadifadeed oo aan caadi ahayn, sida sare ee iftiinka ruuxiga ah ee ku koraya gudaha indhaheenu waxay eegayaan dhacdo muhiimad caalami ah leh." Hal-abuurka Scriabin ayaa ka soo muuqday labadaba dhinaca laxanka, is-waafajinta, texture, orchestration iyo fasiraadda gaarka ah ee wareegga, iyo asalka naqshadaha iyo fikradaha, taas oo ilaa xad weyn oo la xidhiidha bilicda jacaylka iyo gabayada ee astaanta Ruushka. Inkasta oo dariiqa hal-abuurka gaaban ee gaaban, laxamiistaha uu abuuray shaqooyin badan oo ka mid ah noocyada muusiga symphonic iyo piano. Waxa uu qoray 3 heesood, "Maansadii Ecstasy", gabayga "Prometheus" ee orchestra, Concerto ee Piano iyo Orchestra; 10 sonatas, gabayo, horudhac, etudes iyo halabuuro kale oo loogu talagalay pianoforte. Hal-abuurnimada Scriabin waxa ay noqotay mid la jaanqaadi karta waagii qalafsanaa ee kakan ee labadii qarni iyo bilawgii qarniga cusub ee XX. Xiisadda iyo codka dabka, rabitaanka titanic ee xorriyadda ruuxa, fikradaha wanaagga iyo iftiinka, walaaltinimada caalamiga ah ee dadka ayaa ku dhex jirta farshaxanka muusiga-faylasuufkan, isaga oo u keenaya inuu u dhawaado wakiilada ugu fiican ee dhaqanka Ruushka.

Scriabin waxa uu ka dhashay qoys aabbanimo oo caqli badan. Hooyada oo hore u geeriyootay (sida, pianist tayo leh) ayaa lagu bedelay eedadeed, Lyubov Alexandrovna Skryabina, oo sidoo kale noqday macalinkiisii ​​​​ugu horeeyay ee muusikada. Aabbahay waxa uu ka shaqayn jiray qaybta dublamaasiyadda. Jacaylka muusiga ayaa naftiisa ka muujiyay midka yar. Sasha laga bilaabo da'da hore. Si kastaba ha ahaatee, sida uu qabo dhaqanka qoyska, da'da 10 waxaa loo diray kooxda cadetka. Caafimaad darro awgeed, Scriabin ayaa laga sii daayay adeegga milatariga ee xanuunka badan, taas oo suurtogal ka dhigtay in waqti badan lagu bixiyo muusikada. Tan iyo xagaagii 1882, casharrada piano caadiga ah ayaa bilaabmay (oo leh G. Konyus, aragti-yaqaan caan ah, laxamiistaha, pianist; ka dib - oo leh borofisar ka tirsan konservatory N. Zverev) iyo halabuurka (S. Taneyev). Bishii Janaayo 1888, Scriabin da'da yar wuxuu galay konserfatifka Moscow ee fasalka V. Safonov (piano) iyo S. Taneyev (bartilmaameedka). Ka dib markii uu dhammeeyey koorsada counterpoint ee Taneyev, Scriabin wuxuu u dhaqaaqay fasalka A. Arensky ee halabuurka bilaashka ah, laakiin xiriirkoodu ma shaqeyn. Scriabin wuxuu si cajiib ah uga qalin jabiyay konserfatifka isagoo piano ah.

Muddo toban sano ah (1882-92) curiyaha wuxuu sameeyay qaybo badan oo muusik ah, oo u badan dhammaan piano. Waxaa ka mid ah waltzes iyo mazurkas, preludes iyo etudes, nocturnes iyo sonatas, kuwaas oo iyaga u gaar ah "Scriabin note" mar hore la maqlay (inkastoo mararka qaarkood qofku dareemo saameynta F. Chopin, kaas oo Scriabin yar uu aad u jecel yahay iyo, sida uu qabo Xusuus-qorkii asxaabtiisii, oo si fiican loo sameeyay). Dhammaan bandhigyadii Scriabin ee pianist-ka, ha ahaato fiidkii arday ama goob saaxiibtinimo, iyo markii dambe ee marxaladaha adduunka ugu weyn, ayaa lagu qabtay guulo joogto ah, wuxuu awooday inuu si amar ah u qabsado dareenka dhageystayaasha dhawaaqa ugu horreeya ee biyaano. Ka dib markii uu ka qalin jabiyay konserfatifka, muddo cusub ayaa bilaabay nolosha iyo shaqada Scriabin (1892-1902). Waxa uu bilaabay dariiq madax-bannaan sida muusig-pianist ahaan. Waqtigiisa waxaa ka buuxsamay safarro riwaayadeed gudaha iyo dibadda ah, oo curinta muusikada; Shaqadiisu waxay bilaabeen in ay daabacaan guriga daabacaadda ee M. Belyaev (ganacsade alwaax ah oo hodan ah iyo deeq-bixiye), kaas oo u mahadceliyey garaadka curiyaha da'da yar; xiriirka fanaaniinta kale ayaa sii kordhaya, tusaale ahaan, Belyaevsky Circle ee St. Petersburg, oo ay ku jiraan N. Rimsky-Korsakov, A. Glazunov, A. Lyadov, iyo kuwa kale; ictiraafku wuu sii kordhayaa Ruushka iyo dibaddaba. Tijaabooyinka la xidhiidha cudurka gacanta midig ee "la ciyaaray" ayaa laga tagay. Scriabin waxa uu xaq u leeyahay in uu yidhaahdo: "Awood iyo xoogba waa ka quusan la kulmay oo ka adkaaday." Saxafada ajnabiga ah, waxaa loogu yeeraa " shakhsiyad gaar ah, laxamiistaha iyo pianist aad u fiican, shakhsiyad weyn iyo faylasuuf; Isagu waa shucuur iyo olol xurmo leh. Sannadahan, 12 daraasadood iyo 47 horudhac ah ayaa la sameeyay; 2 xabbo oo gacanta bidix ah, 3 sonatas; Concerto for piano and orkestra (1897), gabay orkestral ah "Riyo", 2 heesood oo muusiko ah oo leh fikrad falsafadeed oo si cad loo qeexay, iwm.

Sannadihii kobcinta hal-abuurka (1903-08) waxay ku soo beegantay kor u kac bulsho oo sare oo Ruush ah habeenkii iyo hirgelinta kacaankii ugu horreeyay ee Ruushka. Inta badan sannadahan, Scriabin wuxuu ku noolaa Switzerland, laakiin wuxuu aad u xiisayn jiray dhacdooyinka kacaanka ee waddankiisa wuxuuna u damqaday kacaannadii. Waxa uu muujiyay xiisaha sii kordhaya ee falsafada - wuxuu mar kale u jeestay fikradaha falsafada caanka ah ee S. Trubetskoy, wuxuu la kulmay G. Plekhanov ee Switzerland (1906), wuxuu bartay shaqooyinka K. Marx, F. Engels, VI Lenin, Plekhanov. Inkasta oo aragtida adduunka ee Scriabin iyo Plekhanov ay istaageen tiirar kala duwan, kan dambe ayaa si weyn u qadariyay shakhsiyadda muusigga. Isaga oo ka tagaya Ruushka dhowr sano, Scriabin waxa uu doonayay in uu waqti badan u sii daayo hal-abuurka, si uu uga baxsado xaaladda Moscow (1898-1903, iyo waxyaabo kale, waxa uu baray Conservatory Moscow). Waayo-aragnimada shucuureed ee sanadahan ayaa sidoo kale lala xiriiriyay isbeddelka noloshiisa gaarka ah (isaga oo ka tagay xaaskiisa V. Isakovich, pianist aad u fiican iyo dhiirigeliyaha muusigiisa, iyo isku soo dhawaanshaha T. Schlozer, oo ka ciyaaray kaalin ka fog oo aan mugdi ku jirin nolosha Scriabin) . Ku noolaanshaha inta badan Switzerland, Scriabin wuxuu si isdaba joog ah ugu safray riwaayadaha Paris, Amsterdam, Brussels, Liege, iyo America. Bandhigyadu waxay ahaayeen guul weyn.

Xiisadda jawiga bulsheed ee Ruushka ma aysan saameyn karin farshaxanka xasaasiga ah. Symphony saddexaad ("Gabayga rabbaaniga ah", 1904), "Gabayga Ecstasy" (1907), Sonatas afaraad iyo shanaad waxay noqdeen dhererka hal-abuurka dhabta ah; Waxa kale oo uu curiyey tudes, 5 gabay oo loogu talagalay pianoforte (oo ay ka mid yihiin "Nasiibooyin" iyo "Shaydaan"), iwm. Qaar badan oo ka mid ah curiyeyaashani waxay ku dhow yihiin "Gabayga Rabbaaniga ah" marka loo eego qaab-dhismeedka sawirka. 3-da qaybood ee riwaayadda ("Halgan", "Raaxo", "Ciyaarta Ilaah") waa la wada iibiyaa iyada oo ay ugu wacan tahay mawduuca ugu horreeya ee is-xaqiijinta ee hordhaca ah. Iyadoo la raacayo barnaamijka, riwaayaddu waxay ka warramaysaa "horumarinta ruuxa bini'aadamka", taas oo, iyada oo loo marayo shaki iyo halgan, ka adkaanta "farxaha adduunka dareenka" iyo "pantheism", waxay u timaadaa "nooc ka mid ah dhaqdhaqaaqa xorta ah - a ciyaarta rabaani ah”. Dabagalka joogtada ah ee qaybaha, adeegsiga mabaadi'da leitmotivity iyo tawxiidnimada, soo-bandhigidda-dheecaanka-soo-jeedinta, sida ay ahayd, waxay tirtirtaa xuduudaha meertada asluubta, iyada oo u soo dhowaanaysa gabay hal-qayb ah oo weyn. Luqadda is-waafajinta ah ayaa si muuqata aad u dhib badan marka la keeno is-waafajinta fiiqan iyo dhawaaq-fiiqan. Halabuurka orchestra ayaa si weyn u kordhay sababtoo ah xoojinta kooxaha dabaysha iyo qalabka garaaca. Tan waxaa weheliya, qalabyada keligiis gaarka ah ee la xidhiidha muuqaal muusik gaar ah ayaa soo baxay. Ku tiirsanaanta inta badan caadooyinka symphonism Romantic soo daahay (F. Liszt, R. Wagner), iyo sidoo kale P. Tchaikovsky, Scriabin abuuray waqti isku mid ah shaqo in isaga aasaasay dhaqanka symphonic Ruush iyo dunida sida laxamiistaha cusub.

"Maansadii Ecstasy" waa shaqo geesinimo aan horay loo arag oo naqshadaysan. Waxay leedahay barnaamij suugaaneed, oo lagu muujiyey aayadda iyo fikrad la mid ah fikradda Symphony Saddexaad. Gabay u ah rabitaanka bini aadamka ee guulaysta, erayada ugu dambeeya ee qoraalku waxay u dhawaaqaan:

Caalamkuna wuxuu ka dhawaajiyay oohin Farxad leh ayaan ahay!

Baaxadda maansada hal-dhaqdhaqaaqa ee mawduucyada-calaamadaha - motifs muujinta laconic, horumarkooda kala duwan (meel muhiim ah halkan waxaa iska leh aaladaha polyphonic), iyo ugu dambeyntii, abaabulka midabada leh ee dhalaalaya dhalaalaya iyo xafladaha dabbaaldegga ah waxay soo gudbiyaan xaaladda maskaxda, taas oo Scriabin wuxuu u yaqaan ecstasy. Door muhiim ah oo qeexitaan ah waxaa ciyaaraya luqad hodan ah oo is-wanaajin ah, halkaas oo wada-noolaanshaha adag oo aan xasilloonayn ay durba ku badan yihiin.

Markii uu Scriabin ku soo laabtay waddankiisii ​​​​Janaayo 1909, waxa bilaabmaya wakhtigii ugu dambeeyay ee noloshiisa iyo shaqadiisa. Hal-abuurku wuxuu diiradda saaray dareenkiisa ugu weyn hal yool - abuurista shaqo weyn oo loogu talagalay in lagu beddelo adduunka, si loo beddelo aadanaha. Tani waa sida shaqada synthetic ay u muuqato - gabayga "Prometheus" oo ay ka qayb qaadanayaan orkester weyn, heeso, qayb ka mid ah piano, xubin, iyo sidoo kale saamaynta iftiinka (qaybta iftiinka ayaa lagu qoray dhibcaha ). St. Petersburg, "Prometheus" ayaa markii ugu horreysay la sameeyay 9-kii Maarso, 1911 iyadoo hoos timaada jihada S. Koussevitzky iyada oo ka qaybqaadashada Scriabin laftiisa oo ah pianist. Prometheus (ama Gabayga Dabka, sida qoraageedu ugu yeedhay) waxay ku salaysan tahay khuraafaadkii hore ee Giriigga ee titan Prometheus. Mawduuca halganka iyo guusha ninku ka gaadhay xoogagga sharka iyo gudcurka, dib u gurashada ka hor dhalaalka dabka, ayaa u waxyoonay Scriabin. Halkan waxa uu si buuxda u cusbooneysiiyaa luqadiisa is-waafajinta, isaga oo ka leexanaya habka dhaqanka tonal. Mawduucyo badan ayaa ku lug leh horumarka aadka u daran. "Prometheus waa tamarta firfircoon ee caalamka, mabda'a hal-abuurka ah, waa dabka, iftiinka, nolosha, halganka, dadaalka, fikirka," Scriabin ayaa ka sheegay gabaygiisa Dabka. Isla mar ahaantaana iyada oo la fekerayo oo la curiyay Prometheus, Sonatas-ka lixaad-tobnaad, gabayga "To the Flame", iwm, ayaa loo sameeyay biyaano. Shaqada laxamiistaha, aad u xoogan sannadaha oo dhan, bandhig faneedka joogtada ah iyo safarrada la xidhiidha iyaga (inta badan ujeedada bixinta qoyska) ayaa si tartiib tartiib ah u wiiqday caafimaadkiisa horeba u jilicsan.

Scriabin wuxuu si lama filaan ah ugu dhintay sumowga dhiigga guud. Warka dhimashadiisii ​​hore ee cimrigiisii ​​hore ayaa qof walba ka naxay. Dhammaan farshaxanka Moscow waxay arkeen isaga safarkiisii ​​​​ugu dambeeyay, arday badan oo dhalinyaro ah ayaa joogay. "Alexander Nikolaevich Scriabin," ayuu qoray Plekhanov, "wuxuu ahaa wiil waqtigiisa. ... Shaqada Scriabin waxay ahayd waqtigiisa, oo lagu muujiyay dhawaaqyo. Laakiin marka ku meel gaadhka ah, ku-meel-gaadhka ahi uu ka helo muujintiisa shaqada farshaxanka weyn, wuu helaa Joogto ah macne iyo waa la sameeyay is dhexgalka".

T. Ershova

• Scriabin – sawir nololeed →
• Qoraalada shaqooyinka Scriabin ee biyaano →

Shaqooyinka ugu muhiimsan ee Scriabin

Laxanka

Concerto Piano oo ku yaal F yar oo fiiqan, Op. 20 (1896-1897). "Riyooyin", E yar, Op. 24 (1898). Symphony First, gudaha E weyn, Op. 26 (1899-1900). Symphony labaad, ee C yar, Op. 29 (1901). Symphony Saddexaad (Gabay rabaani ah), ee C yar, Op. 43 (1902-1904). Gabayga Ecstasy, C weyn, Op. 54 (1904-1907). Prometheus (Gabayga Dabka), Op. 60 (1909-1910).

biyaano

10 sonatas: Lambarka 1 ee F yar, Op. 6 (1893); No. 2 (sonata-fantasy), ee G-fiiqan da'da yar, Op. 19 (1892-1897); Lambarka 3 ee F yar oo fiiqan, Op. 23 (1897-1898); No. 4, F weyn oo fiiqan, Op. 30 (1903); No. 5, Op. 53 (1907); No. 6, Op. 62 (1911-1912); No. 7, Op. 64 (1911-1912); No. 8, Op. 66 (1912-1913); No. 9, Op. 68 (1911-1913): No. 10, Op. 70 (1913).

91 horudhac: op. 2 No. 2 (1889), Op. 9 No. 1 (gacanta bidix, 1894), 24 Hordhac, Op. 11 (1888-1896), 6 horudhac, Op. 13 (1895), 5 horudhac, Op. 15 (1895-1896), 5 horudhac, Op. 16 (1894-1895), 7 horudhac, Op. 17 (1895-1896), Horudhac F-sharp Major (1896), 4 Preludes, Op. 22 (1897-1898), 2 horudhac, Op. 27 (1900), 4 horudhac, Op. 31 (1903), 4 horudhac, Op. 33 (1903), 3 horudhac, Op. 35 (1903), 4 horudhac, Op. 37 (1903), 4 horudhac, Op. 39 (1903), horudhac, Op. 45 No. 3 (1905), 4 horudhac, Op. 48 (1905), horudhac, Op. 49 No. 2 (1905), horudhac, Op. 51 No. 2 (1906), horudhac, Op. 56 No. 1 (1908), horudhac, Op. 59′ No. 2 (1910), 2 horudhac, Op. 67 (1912-1913), 5 horudhac, Op. 74 (1914).

Daraasadaha 26waxbarasho, op. 2 No. 1 (1887), 12 daraasadood, Op. 8 (1894-1895), 8 daraasadood, Op. 42 (1903), daraasad, Op. 49 No. 1 (1905), daraasad, Op. 56 No. 4 (1908), 3 daraasadood, Op. 65 (1912).

21 mazurkas: 10 Mazurkas, Op. 3 (1888-1890), 9 mazurkas, Op. 25 (1899), 2 mazurkas, Op. 40 (1903).

20 gabay: 2 gabay, Op. 32 (1903), Gabay naxdin leh, Op. 34 (1903), Gabayga Shaydaanka, Op. 36 (1903), Gabay, Op. 41 (1903), 2 gabay, Op. 44 (1904-1905), Gabay cajiib ah, Op. 45 No. 2 (1905), "Gabay La Dhiirigeliyey", Op. 51 No. 3 (1906), Gabay, Op. 52 No. 1 (1907), "Gabayga dheereeya", Op. 52 No. 3 (1905), Gabay, Op. 59 No. 1 (1910), Gabayga Nocturne, Op. 61 (1911-1912), 2 gabay: "Mask", "qalaad", Op. 63 (1912); 2 gabay, op. 69 (1913), 2 gabay, Op. 71 (1914); gabayga "To the Flame", op. 72 (1914).

11 degdeg ah: aan toos ahayn oo ah qaabka mazurki, soch. 2 No. 3 (1889), 2 impromptu in mazurki form, op. 7 (1891), 2 impromptu, op. 10 (1894), 2 impromptu, op. 12 (1895), 2 impromptu, op. 14 (1895).

3 galabnimo: 2 habeenimo, Op. 5 (1890), habeenimo, Op. 9 No. 2 ee gacanta bidix (1894).

3 qoob ka ciyaar: "Dance of Longing", op. 51 No. 4 (1906), 2 qoob-ka-ciyaarka: "Garlands", "Olac murugo leh", Op. 73 (1914).

2 waltz: op. 1 (1885-1886), op. 38 (1903). "Sida Waltz" ("Quasi valse"), Op. 47 (1905).

2 albamka caleemahaop. 45 No. 1 (1905), Op. 58 (1910)

"Allegro Appassionato", Op. 4 (1887-1894). Concert Allegro, Op. 18 (1895-1896). Fantasy, op. 28 (1900-1901). Polonaise, Op. 21 (1897-1898). Scherzo, op. 46 (1905). "riyooyin", op. 49 No. 3 (1905). "Jajab", op. 51 No. 1 (1906). "Qosol", op. 52 No. 2 (1907). "Irony", "Nuances", Op. 56 lambar 2 iyo 3 (1908). "Desire", "Weasel in the qoob ka ciyaarka" - 2 xabbo, op. 57 (1908).