Sofia Asgatovna Gubaidulina (Sofia Gubaidulina) |
Sofia Gubaidulina
Saacaddaas, naf, gabayo adduunyo meel kasta oo aad rabto inaad xukunto, - qasriga nafaha, Nafta, gabayada. M. Tsvetaeva
S. Gubaidulina waa mid ka mid ah halabuurayaashii Soofiyeedka ee ugu muhiimsan qeybtii labaad ee qarnigii XNUMXaad. Muusigeeda waxaa lagu gartaa awood shucuureed oo weyn, xariiq weyn oo horumarineed iyo, isla mar ahaantaana, dareenka ugu hooseeya ee muujinta codka - dabeecadda timbre, farsamada waxqabadka.
Mid ka mid ah hawlaha muhiimka ah ee ay dejisay SA Gubaidulina waa in ay soo saarto astaamaha dhaqanka Galbeedka iyo Bariga. Tan waxaa fududeeyay asalkeeda qoys Ruush-Tataar ah, nolosha marka hore Tataria, ka dibna Moscow. Aan ka tirsanayn "avant-gardism", ama "minimalism", ama "mawjada cusub ee sheeko-dhaqameedka" ama isbeddel kasta oo kale oo casri ah, waxay leedahay qaab shakhsiyadeed oo dhalaalaya oo u gaar ah.
Gubaidulina waa qoraaga daraasiin shaqo oo noocyo kala duwan ah. Opuses vocal waxay ku socotaa dhammaan shaqadeeda: "Facelia" hore oo ku salaysan gabaygii M. Prishvin (1956); cantatas "Habeenkii Memphis" (1968) iyo "Rubayyat" (1969) ee St. gabayaaga bariga; oratorio "Laudatio pacis" (oo ku yaal saldhigga J. Comenius, oo lala kaashanayo M. Kopelent iyo PX Dietrich - 1975); "Aragtida" ee soloists iyo string ensemble (1983); "Dedication in Marina Tsvetaeva" ee heesta cappella (1984) iyo kuwa kale.
Kooxda ugu ballaaran ee halabuurka qolka: Piano Sonata (1965); Shan daraasadood oo kataarad, laba bass iyo garaacis (1965); "Concordanza" ee isku dhafka qalabka (1971); 3 xariiqo afar geesood ah (1971, 1987, 1987); "Muusik loogu talagalay harpsichord iyo qalabka garaaca ee ka soo ururinta Mark Pekarsky" (1972); "Detto-II" ee cello iyo 13 qalab (1972); Toban Etudes (Preludes) ee cello solo (1974); Concerto loogu talagalay bassoon iyo xargaha hoose (1975); "Iftiin iyo Madow" ee xubinta (1976); "Detto-I" - Sonata ee xubnaha iyo garaaca (1978); "De prolundis" ee button accordion (1978), "Jubilation" ee afar garaacista (1979), "In croce" ee cello iyo xubnaha (1979); "Bilowgii waxaa jiray laxan" 7 durbaan garaacayaal (1984); "Quasi hoketus" ee biyaano, viola iyo bassoon (1984) iyo kuwa kale.
Aagga shuqullada symphonic by Gubaidulina waxaa ka mid ah "Tallaabo" for orchestra (1972); "Saacaddii nafta" ee loogu talagalay garaaca kali ah, mezzo-soprano iyo fannaanka faneed ee st. Marina Tsvetaeva (1976); Concerto oo loogu talagalay laba orkestras, kala duwan iyo heeso (1976); riwaayadaha piano (1978) iyo violin iyo orkestra (1980); Heesta "Stimmen… Verftummen..." ("Waan Maqlayaa... Way Aamusay..." - 1986) iyo kuwo kale. Mid ka mid ah halabuurka ayaa si toos ah elektaroonik ah, "Vivente - non vivante" (1970). Muusiga Gubaidulina ee shineemo waa mid muhiim ah: "Mowgli", "Balagan" (kartoons), "Vertical", "Department", "Smerch", "Scarecrow", iwm. la G. Kogan), si ikhtiyaari ah u bartay A. Lehman. Sida laxamiistaha, waxay ka qalin jabisay Conservatory Moscow (1954, oo leh N. Peiko) iyo dugsiga sare (1959, V. Shebalin). Iyada oo doonaysa in ay nafteeda u hurto oo kaliya hal-abuurka, waxay dooratay waddada fannaanka xorta ah inta ka dhiman nolosheeda.
Hal-abuurka Gubaidulina waxa uu ahaa mid aad u yar oo la yaqaan intii lagu jiray muddada " fadhiidnimada ", oo kaliya perestroika ayaa u keenay aqoonsi ballaaran. Shaqooyinka sayidkii Soofiyeedka waxay heleen qiimeynta ugu sareysa ee dibadda. Sidaa darteed, inta lagu guda jiro Bandhiga Boston ee Muusikada Soofiyeedka (1988), mid ka mid ah maqaallada ayaa cinwaan looga dhigay: "Galbeedku wuxuu helay Genius of Sofia Gubaidulina."
Fanaaniinta Gubaidulina waxaa ka mid ah fannaaniinta ugu caansan: kaari G. Rozhdestvensky, violinist G. Kremer, cellists V. Tonkha iyo I. Monighetti, bassoonist V. Popov, bayan player F. Lips, garaaca M. Pekarsky iyo kuwa kale.
Habka curinta shakhsi ahaaneed ee Gubaidulina waxa uu qaabeeyey badhtamihii 60-meeyadii, isaga oo ka bilaabay Shan Etudes oo kataarad, laba bass iyo garaacis, oo ay ka buuxaan codka ruuxiga ah ee qalab aan caadi ahayn. Tan waxaa ku xigay 2 cantatas, oo mawduuc ahaan looga hadlay Bariga - "Habeenkii Memphis" (oo ku saabsan qoraallo laga soo qaatay erayadii Masaaridii hore ee ay turjumeen A. Akhmatova iyo V. Potapova) iyo "Rubayyat" ( aayadaha Khaqani, Hafiz, Khayyam). Labada cantatas waxay muujinayaan mawduucyada weligeed ah ee aadanaha ee jacaylka, murugada, kalinimada, raaxada. Muusiga dhexdiisa, xubno ka mid ah laxanka melismatic bariga waxa lagu soo saray riwaayad wax ku ool ah reer galbeedka, oo leh farsamada curinta dodecaphonic.
In 70-meeyadii, ma qaaday by mid ka mid ah "fududnaanta cusub" style in si weyn ugu faafay Yurub, ama habka polystylists, kaas oo si firfircoon loo isticmaalo by laxamiistaha hormoodka ah jiilkeeda (A. Schnittke, R. Shchedrin, iwm. ), Gubaidulina waxay sii waday raadinta meelaha dhawaaqa muujinta (tusaale, Toban Etudes ee Cello) iyo riwaayadaha muusiga. Riwaayadda bassoon iyo xargaha hoose waa wada hadal fiiqan "masraxiyad" oo u dhexeeya "geesi" (solo bassoon) iyo "koox" (koox ka mid ah cellos iyo basses double). Isla markaana khilaafkooda la soo bandhigo, kaas oo soo mara heerar kala duwan oo is-faham la’aan ah: “Dadka” oo mawqifkooda ku soo rogaya “halyeyga” – halgankii gudaha ee “geesigii” – “ Tanaasulkii uu u fidiyey dadkii badnaa” iyo fiasco moral ee "dabeecadda" ugu weyn.
"Saacadda Ruuxa" ee loogu talagalay garaaca kali ah, mezzo-soprano iyo orkestra waxay ka kooban tahay mucaaradka bini'aadamka, suugaanta iyo gardarrada, mabaadi'da bini'aadminimada; natiijadu waxay tahay gabagabada cod-qaadeedka la waxyooday ee ugu sarreeya, "Atlantean" aayadaha M. Tsvetaeva. Shaqooyinka Gubaidulina, tarjumaad calaamad ah oo ka mid ah lammaane isbarbardhiga asalka ah ayaa u muuqday: "Iftiin iyo mugdi" ee xubinta, "Vivente - non vivente". ("Nolosha - aan noolayn") oo loogu talagalay farsamaynta elektarooniga ah, "In croce" ("Crosswise") ee cello iyo xubinta (2 qalab waxay beddelaan mawduucyadooda inta lagu jiro horumarka). Sanadihii 80aadkii. Gubaidulina waxay mar kale abuurtaa shaqooyin qorshe ballaadhan, waxayna sii waddaa mawduuca "bariga" ee ay jeceshahay, waxayna kordhisaa dareenkeeda muusigga codka ah.
Beerta farxadda iyo murugada ee biibiile, viola iyo kataaradu waxay leedahay dhadhan bari ah oo la safeeyey. Halabuurkan, melismatics-ka khafiifka ah ee laxanku waa mid xiiso leh, isku-xidhka qalabka diiwaanka sare waa mid aad u fiican.
Riwaayadda loogu talagalay violin iyo orchestra, oo uu ugu yeeray qoraaga "Offertorium", wuxuu muujinayaa fikradda allabaryo iyo dib u soo nooleynta nolol cusub iyadoo loo marayo hab muusig. Mawduuca ka yimid JS Bach's "Bixitaanka Muusika" ee habaynta orchestra ee A. Webern waxay u dhaqantaa sidii astaanta muusiga. Xadhiga seddexaad ee rubuc-qarta (hal-qayb) ayaa ka leexday dhaqankii rubuc-qarnigii qadiimiga ahaa, waxay ku salaysan tahay is-barbardhigga ciyaarta pizzicato ee "nin-sameeye" iyo qaanso-ciyaareedka "aan la samayn", taas oo sidoo kale la siinayo macne calaamad ah. .
Gubaidulina waxa uu u arkaa "Perception" ("Perception") ee soprano, baritone iyo 7 qalab xadhig ah oo ka kooban 13 qaybood inay yihiin mid ka mid ah shaqadiisa ugu fiican. Waxay ka dhalatay qoraallo uu la sameeyay F. Tanzer, markii uu abwaanku soo diray qoraallada maansadiisa, halabuuruhuna uu jawaabo af iyo muusik isugu jira ka bixiyay. Tani waa sida wada-hadalka astaanta u ah ninka iyo naagtu uu ku kacay mowduucyada: Abuuraha, Abuuridda, Hal-abuurka, Makhluuqaadka. Gubaidulina waxa uu halkan ku gaadhay korodhka, dhex galka muujinta qaybta codka waxana ay adeegsatay cabir dhan farsamooyinka codka halkii ay ka ahayd heeso caadi ah: heeso saafi ah, heeso hami, Sprechstimme, hadal saafi ah, hadal hammi leh, hadal dareen leh, xan xanbaarsan. Tirooyinka qaarkood, cajalad birlab ah oo duuban ka qaybgalayaasha waxqabadka ayaa lagu daray. Sheekada suugaan-falsafadeed ee nin iyo naag, iyagoo soo maray marxaladaha qaab-dhismeedkeeda tirooyin tiro ah (No. 1 "Fiiri", No. 2 "Anaga", No. 9 "I", No. 10 "Aniga iyo Adiga"), waxay ku timaaddaa dhamaadka No. 12 "Dhimashada Monty" Qaybtan ugu xiisaha badan waa balad ku saabsan faraska madow ee Monty, kaas oo mar ku qaatay abaalmarino tartamada, oo hadda la khiyaaneeyey, la iibiyay, la garaacay. , dhintay. No. 13 "Codka" waxay u adeegaan sidii erayga dambe ee meesha ka saari lahaa. Erayada furitaanka iyo xidhitaanka ee finalka – “Stimmen… Verstummen…” (“Codka… Aamusanay…”) waxay u adeegeen cinwaan hoosaadka Gubaidulina ee laba iyo tobanka dhaqdhaqaaq ee koowaad Symphony, kaas oo sii waday fikradaha faneed ee “Aragtida”.
Jidka Gubaidulina ee farshaxanka waxaa lagu tilmaami karaa ereyada cantata "Habeenkii Memphis": "Falalkaaga dhulka ku samee amarka qalbigaaga."
V. Kholopova
