Claude Debussy |

UClaude Dheussy

Ngizama ukuthola amaqiniso amasha… iziwula zibiza ngokuthi impressionism. C. Debussy

Umqambi waseFrance u-C. Debussy uvame ukubizwa ngokuthi ubaba womculo wekhulu lesi-XNUMX. Wabonisa ukuthi yonke imisindo, iphimbo, iphimbo lizwakala ngendlela entsha, ingaphila ukuphila okukhululekile, okunemibala eminingi, njengokungathi ijabulela wona kanye umsindo wayo, ukuqedwa kwayo kancane kancane, okuyimfihlakalo ngokuthula. Okuningi ngempela kwenza i-Debussy ihlobane nokuvela kwesithombe: ukukhanya okuziphilisayo kwezikhathi ezingenakwenzeka, ezinyakazayo, uthando ngendawo, ukuthuthumela kwesikhala esinomoya. Akuyona into engaqondakali ukuthi uDebussy ubhekwa njengommeleli oyinhloko we-impressionism emculweni. Kodwa-ke, udlulele kunabaculi be-Impressionist, uye wasuka ezinhlotsheni zendabuko, umculo wakhe uqondiswe ekhulwini lethu elijulile kakhulu kunomdwebo we-C. Monet, O. Renoir noma u-C. Pissarro.

UDebussy wayekholelwa ukuthi umculo ufana nemvelo ngemvelo yawo, ukuhlukahluka okungapheli kanye nokuhlukahluka kwezinhlobo: “Umculo uwubuciko obusondelene kakhulu nemvelo ... Abaculi kuphela abanenzuzo yokuthwebula zonke izinkondlo zobusuku nemini, umhlaba nesibhakabhaka, ukuphinda umkhathi wazo futhi udlulise ngesigqi ukushaywa kwawo okukhulu. Kokubili imvelo nomculo kuzwakala uDebussy njengempicabadala, futhi ngaphezu kwakho konke, imfihlakalo yokuzalwa, umklamo ongalindelekile, oyingqayizivele womdlalo wenhlanhla ongasho lutho. Ngakho-ke, isimo sengqondo somqambi sokungabaza nesibhuqa ngazo zonke izinhlobo zetiyori namalebula ngokuhlobene nokudala kobuciko, ukuhlela ngokuzenzakalelayo iqiniso eliphilayo lobuciko, kuyaqondakala.

UDebussy waqala ukufunda umculo eneminyaka engu-9 futhi kakade ngo-1872 wangena emnyangweni omncane weParis Conservatory. Kakade eminyakeni ye-conservatory, ukungavumelani kokucabanga kwakhe kwazibonakalisa, okwabangela ukungqubuzana nabafundisi bokuvumelana. Ngakolunye uhlangothi, umculi oqalayo wathola ukwaneliseka kwangempela emakilasini ka-E. Guiraud (ukuqanjwa) no-A. Mapmontel (upiyano).

Ngo-1881, uDebussy, njengomdlali wepiyano wasendlini, waphelezela umsizi waseRussia uN. von Meck (umngane omkhulu kaP. Tchaikovsky) ohambweni oluya eYurophu, futhi ngemva kwalokho, ngesimemo sakhe, wavakashela eRussia kabili (1881, 1882). Waqala kanjalo-ke ukujwayelana kukaDebussy nomculo waseRussia, okwathonya kakhulu ukwakheka kwesitayela sakhe. "AbaseRussia bazosinika imizwa emisha yokuzikhulula ekuvinjweni okungenangqondo. Ba ... bavula iwindi elibheke umkhathi wamasimu. U-Debussy wakhangwa ukucwazimula kwama-timbres nomfanekiso ocashile, ubuhle bomculo ka-N. Rimsky-Korsakov, ubusha bokuvumelana kuka-A. Borodin. Wabiza uM. Mussorgsky ngomqambi wakhe amthandayo: “Akekho owakhuluma okuhle kunakho konke esinakho, ngesisa esikhulu nangokujula okukhulu. Uhlukile futhi uzohlala ebonga eyingqayizivele ngobuciko bakhe ngaphandle kwamasu akude, ngaphandle kwemithetho ebunayo. Ukuguquguquka kwezwi lokukhuluma kwezwi lomsunguli waseRussia, inkululeko ekusungulweni kwangaphambili, "ukuphatha", ngamagama kaDebussy, amafomu asetshenziswe ngendlela yawo ngumqambi waseFrance, waba isici esibalulekile somculo wakhe. “Hamba ulalele uBoris. InePelléas yonke,” uDebussy wake washo ngemvelaphi yolimi lomculo we-opera yakhe.

Ngemva kokuphothula e-Conservatory ngo-1884, uDebussy ubamba iqhaza emiqhudelwaneni yoMklomelo Omkhulu waseRoma, onikeza ilungelo lokuthuthuka iminyaka emine eRoma, eVilla Medici. Phakathi neminyaka ayichitha e-Italy (1885-87), uDebussy wafunda umculo wamakhwaya weRenaissance (G. Palestrina, O. Lasso), futhi isikhathi esidlule (kanye nemvelaphi yomculo wesiRashiya) kwaletha umfudlana omusha, ovuselelwe. ukucabanga kwakhe okuvumelanayo. Imisebenzi ye-symphonic ethunyelwe eParis ngombiko ("Zuleima", "Spring") ayizange ijabulise "abaphathi bezindawo zomculo".

Ebuyela ngaphambi kwesimiso eParis, uDebussy usondela eduze kwendingiliza yezimbongi ezingokomfanekiso eholwa ngu-S. Mallarme. Umculo wezinkondlo ezingokomfanekiso, ukufuna ukuxhumana okungaqondakali phakathi kwempilo yomphefumulo nomhlaba wemvelo, ukuhlukana kwazo - konke lokhu kwamkhanga kakhulu uDebussy futhi kwalolonga kakhulu ubuhle bakhe. Akukona nje ukuqondana ukuthi imisebenzi yokuqala nephelele kakhulu yomqambi kwaba ezothando zamagama kaP. Verdun, P. Bourget, P. Louis, kanye no-C. Baudelaire. Ezinye zazo (“Kusihlwa Okumangalisayo”, “Mandolin”) zabhalwa phakathi neminyaka yokufunda e-conservatory. Izinkondlo ze-Symbolist zaphefumulela umsebenzi wokuqala we-orchestra ovuthiwe - isandulelo esithi "Afternoon of Faun" (1894). Kulo mfanekiso womculo we-eclogue ka-Mallarmé, kuthuthukiswe isitayela se-orchestra sika-Debussy esiyingqayizivele, esicashile.

Umthelela wophawu wezwakala ngokugcwele ku-opera ka-Debussy okuwukuphela kwayo ethi Pelléas et Mélisande (1892-1902), ebhalwe kumbhalo wephrozi wedrama ka-M. Maeterlinck. Lena indaba yothando, lapho, ngokusho komqambi, abalingiswa "abaphikisani, kodwa bakhuthazelela izimpilo zabo neziphetho zabo." U-Debussy lapha, njengokungathi, uphikisana no-R. Wagner, umbhali we-Tristan no-Isolde, waze wafuna ukubhala i-Tristan yakhe, naphezu kokuthi ebusheni bakhe wayeyithanda kakhulu i-opera kaWagner futhi wayeyazi ngekhanda. Esikhundleni sentshiseko evulekile yomculo we-Wagnerian, nansi inkulumo yomdlalo womsindo ocolisisiwe, ogcwele izinkomba nezimpawu. “Umculo ukhona ongachazeki; Ngingathanda ukuthi aphume kuhwalala, njengokungathi, futhi ngemizuzwana abuyele ekuhwebeni; ukuze ahlale enesizotha,” kubhala uDebussy.

Akunakwenzeka ukucabanga uDebussy ngaphandle komculo wepiyano. Umqambi ngokwakhe wayengumdlali wopiyano onekhono (kanye nomqhubi); “Cishe ngaso sonke isikhathi wayedlala ngama-semitone, ngaphandle kwanoma ibuphi ubukhali, kodwa ngezwi eligcwele nokuminyene njengoba uChopin edlala,” kukhumbula umshayi wopiyano ongumFulentshi uM. Long. Kwakusuka emoyeni kaChopin, indawo yomsindo wendwangu yepiyano uDebussy awuxosha ekusesheni kwakhe okunemibala. Kodwa kwakukhona omunye umthombo. Ukuzithiba, ukulingana kwethoni yemizwa yomculo ka-Debussy kwawusondeza kungazelelwe emculweni wangaphambili wezothando - ikakhulukazi oshaya izingoma zesiFulentshi benkathi yeRococo (F. Couperin, JF Rameau). Izinhlobo zasendulo ezivela ku-“Suite Bergamasco” kanye ne-Suite for Piano (Prelude, Minuet, Passpier, Sarabande, Toccata) zimelela inguqulo engavamile, “yempressionistic” ye-neoclassicism. U-Debussy akasebenzisi isitayela nhlobo, kodwa udala isithombe sakhe somculo wakuqala, kunalokho umbono wawo kunokuba "isithombe" sawo.

Uhlobo oluyintandokazi lomqambi luyi-suite yohlelo (i-orchestral nepiyano), njengochungechunge lwemidwebo ehlukahlukene, lapho izindawo ezimile ziqalwa ngokuhamba ngokushesha, ngokuvamile izigqi zokudansa. Lawa angama-suites e-orchestra "Nocturnes" (1899), "Ulwandle" (1905) kanye "Nezithombe" (1912). Olwepiyano, “Amaphrinti”, izincwadi zokubhalela ezi-2 “zezithombe”, “Ikhona Lezingane”, uDebussy azinikezele endodakazini yakhe, zidaliwe. Kumaphrinti, umqambi okokuqala uzama ukujwayela umhlaba womculo wamasiko nabantu abahlukahlukene: isithombe esizwakalayo saseMpumalanga (“Pagodas”), iSpain (“Evening in Grenada”) kanye nezwe eligcwele ukunyakaza, ukudlala kokukhanya nesithunzi ngengoma yabantu base-French (“Gardens in the rain”).

Ezincwadini ezimbili zokubhalela ezandulela (1910, 1913) wonke umhlaba ongokomfanekiso womqambi wembulwa. Amathoni we-watercolor akhanyelayo we-The Girl with the Flaxen Hair kanye ne-The Heather aqhathaniswa nokunotha kwephalethi yomsindo ku-The Terrace Haunted by Moonlight, esanduleleni esithi Aromas and Sounds in the Evening Air. Inganekwane yasendulo iphila emsindweni odumile weSunken Cathedral (yilapho ithonya likaMussorgsky noBorodin lamenyezelwa khona ngokukhethekile!). Futhi "Kubadansi baseDelphian" umqambi uthola inhlanganisela yasendulo eyingqayizivele yobunzima bethempeli kanye nomkhosi onezinkanuko zobuqaba. Ekukhetheni amamodeli wokuzalwa komculo, uDebussy uthola inkululeko ephelele. Ngobuhlakani obufanayo, ngokwesibonelo, ungena emhlabeni womculo weSpanishi (Isango Le-Alhambra, I-Serenade Ephazamisekile) futhi aphinde adale (esebenzisa isigqi sokuhamba kwekhekhe) umoya wethiyetha ye-minstrel yaseMelika (General Lavin the Eccentric, The Minstrels ).

Esanduleleni, u-Debussy wethula wonke umhlaba wakhe womculo ngendlela emfishane, egxilile, ayihlanganise ngokujwayelekile futhi avalelise kuyo ngezindlela eziningi - ngohlelo lwakhe lwangaphambili lokubhalelana okubukwayo nomculo. Futhi-ke, eminyakeni engu-5 yokugcina yokuphila kwakhe, umculo wakhe, uba nzima nakakhulu, ukhulisa uhlobo lwe-horizons, uhlobo oluthile lokwethuka, i-irony engenangqondo iqala ukuzwakala kuwo. Ukwandisa intshisekelo ezinhlotsheni zesiteji. Lawa ama-ballet ("Kamma", "Games", ahlelwe ngu-V. Nijinsky kanye neqembu lika-S. Diaghilev ngo-1912, kanye ne-puppet ballet yezingane "I-Toy Box", 1913), umculo wemfihlakalo ye-futurist yase-Italy u-G. d'Annunzio ”Ufela ukholo lukaSaint Sebastian” (1911). I-ballerina u-Ida Rubinshtein, umdwebi wezingoma uM. Fokin, umculi u-L. Bakst wabamba iqhaza ekukhiqizeni imfihlakalo. Ngemva kokudalwa kukaPelléas, uDebussy wazama ngokuphindaphindiwe ukuqala i-opera entsha: wakhangwa amacebo ka-E. Poe (uDeveli eBell Tower, Ukuwa kweNdlu ka-Escher), kodwa lezi zinhlelo azizange zifezeke. Umqambi uhlele ukubhala i-sonatas engu-6 yama-ensembles ekamelo, kodwa wakwazi ukudala i-3: ye-cello nepiyano (1915), i-flute, i-viola nehabhu (1915) kanye ne-violin nepiyano (1917). Ukuhlela imisebenzi kaF. Chopin kwashukumisela uDebussy ukuba abhale i-Twelve Etudes (1915), enikezelwe enkumbulweni yomqambi omkhulu. UDebussy wadala imisebenzi yakhe yokugcina lapho esevele egulela ukufa: ngo-1915 wahlinzwa, okwathi ngemva kwalokho waphila iminyaka engaphezu kwemibili.

Kwezinye zezingoma zikaDebussy, izenzakalo zeMpi Yezwe Yokuqala zabonakala: ku-"Heroic Lullaby", engomeni ethi "Ukuzalwa Kwezingane Ezingenakhaya", ku-Ode to France engapheli. Uhlu lwezihloko kuphela olubonisa ukuthi eminyakeni yamuva nje kuye kwaba nesithakazelo esikhulayo kuzindikimba nezithombe ezimangalisayo. Ngakolunye uhlangothi, umbono womqambi ngezwe uba indida kakhulu. Amahlaya nokuhlekisa bekulokhu kuqala futhi, njengokungathi, kuhambisana nokuthamba kwemvelo kaDebussy, ukuvuleleka kwakhe emibonweni. Abazange babonakale emculweni kuphela, kodwa nasezitatimendeni ezihloswe kahle ngabaqambi, ngezinhlamvu, nasezihlokweni ezigxekayo. Iminyaka engu-14 uDebussy wayengumhlaziyi womculo okhokhelwayo; umphumela walo msebenzi kwaba incwadi ethi “Mnu. Krosh - Antidilettante "(1914).

Eminyakeni yangemva kwempi, uDebussy, kanye nababhubhisi abangenangqondo bezinto zothando njengo-I. Stravinsky, S. Prokofiev, P. Hindemith, babonwa abaningi njengommeleli we-impressionist izolo. Kodwa kamuva, futhi ikakhulukazi esikhathini sethu, ukubaluleka okukhulu komsunguli ongumFulentshi kwaqala ukucaca, owayenethonya eliqondile kuStravinsky, B. Bartok, O. Messiaen, owayelindele inqubo ye-sonor futhi, ngokuvamile, nomqondo omusha. yesikhala somculo nesikhathi - futhi kulo mkhakha omusha wagomela esintwini njengengqikithi yobuciko.

K. Zenkin

Impilo nendlela yokudala

Ubuntwana kanye neminyaka yokufunda. UClaude Achille Debussy wazalwa ngo-August 22, 1862 eSaint-Germain, eParis. Abazali bakhe - onxiwankulu abancane - babewuthanda umculo, kodwa babekude nobuciko bangempela bomsebenzi. Okuvelayo okungahleliwe komculo kwasebuntwaneni kube nomthelela omncane ekuthuthukisweni kobuciko bomqambi wakusasa. Okugqame kakhulu kulokhu kwaba ukuvakashela i-opera okungajwayelekile. Lapho uDebussy eqala ukufunda ukudlala upiyano eneminyaka eyisishiyagalolunye kuphela. Ngokuphikelela komshayi wepiyano oseduze nomndeni wabo, owaqaphela amakhono angavamile kaClaude, abazali bakhe bamthumela ngo-1873 eParis Conservatory. Ngama-70s kanye nama-80s wekhulu lesi-XNUMX, lesi sikhungo semfundo sasiyinqaba yezindlela ezilandela imithetho nejwayelekile zokufundisa abaculi abasebasha. Ngemva kukaSalvador Daniel, ukhomishana womculo weParis Commune, owadutshulwa ngezinsuku zokunqotshwa kwawo, umqondisi wesikhungo somculo kwakuwumqambi u-Ambroise Thomas, indoda eyayilinganiselwe kakhulu ezindabeni zemfundo yomculo.

Phakathi kothisha be-conservatory kwakukhona nabaculi abavelele - S. Frank, L. Delibes, E. Giro. Ngamandla abo onke, basekele zonke izinto ezintsha empilweni yomculo yaseParis, wonke amathalente okucula nokuqamba.

Izifundo ezikhuthele zeminyaka yokuqala zaletha imiklomelo yeDebussy solfeggio yonyaka. Emakilasini e-solfeggio kanye ne-accompaniment (ukuzivocavoca okusebenzayo kwepiyano ngokuvumelana), ngokokuqala ngqa, isithakazelo sakhe ekuguqukeni okusha kwe-harmonic, izigqi ezihlukahlukene neziyinkimbinkimbi zazibonakalisa. Amathuba anemibala nanemibala yolimi oluvumelanayo avuleka phambi kwakhe.

Ithalente likaDebussy lokudlala upiyano lakhula ngokushesha okukhulu. Kakade eminyakeni yakhe yomfundi, ukudlala kwakhe kwakuhlukaniswa nokuqukethwe kwayo kwangaphakathi, imizwa, ubuqili be-nuance, ukuhlukahluka okungavamile nokucebile kwephalethi yomsindo. Kodwa imvelaphi yesitayela sakhe sokwenza, esingenabo ubuhle bemfashini yangaphandle nobuhlakani, ayizange ithole ukuqashelwa okufanele phakathi kothisha be-conservatory noma kontanga bakaDebussy. Ngokokuqala ngqa, ithalenta lakhe lokudlala upiyano laklonyeliswa ngomklomelo kuphela ngo-1877 ngokudlala kwe-sonata kaSchumann.

Ukungqubuzana kokuqala okukhulu nezindlela ezikhona zokufundisa ze-conservatory zenzeka noDebussy ekilasini lokuvumelana. Ukucabanga okuzimele kwe-harmonic kukaDebussy akukwazanga ukubekezelela imikhawulo yendabuko eyayibusa ngesikhathi sokuvumelana. Umqambi u-E. Guiraud kuphela, uDebussy afunda naye ukuqamba, owagcwalisa ngempela izifiso zomfundi wakhe futhi wathola ukuzwana naye emibonweni yobuciko neyobuhle kanye nokuthanda umculo.

Kakade izingoma zokuqala zezwi zikaDebussy, ezisukela ngasekupheleni kweminyaka yama-70s nasekuqaleni kwawo-80s (“Ubusuku Obumangalisayo” emazwini kaPaul Bourget futhi ikakhulukazi “uMandolin” emazwini kaPaul Verlaine), wembula umsuka wethalente lakhe.

Ngisho nangaphambi kokuthweswa iziqu ku-conservatory, u-Debussy waqala uhambo lwakhe lokuqala lwangaphandle oluya eNtshonalanga Yurophu ngesimemo se-Russian philanthropist u-NF von Meck, okwathi iminyaka eminingi eyingxenye yabangane abaseduze baka-PI Tchaikovsky. Ngo-1881 uDebussy weza eRussia njengomdlali wepiyano ukuze abambe iqhaza kumakhonsathi asekhaya ka-von Meck. Lolu hambo lokuqala lokuya eRussia (wabe eseya khona izikhathi ezimbili ngaphezulu - ngo-1882 no-1913) kwavusa isithakazelo esikhulu somqambi emculweni waseRussia, ongazange ube buthaka kwaze kwaba sekupheleni kokuphila kwakhe.

Kusukela ngo-1883, uDebussy waqala ukubamba iqhaza njengomqambi emiqhudelwaneni yoMklomelo Omkhulu waseRoma. Ngonyaka olandelayo waklonyeliswa ngendondo ethi The Prodigal Son. Lo msebenzi, osenethonya ngezindlela eziningi ze-lyric opera yesiFulentshi, ugqama njengedrama yangempela yezigcawu ngazinye (isibonelo, i-aria kaLeah). Ukuhlala kukaDebussy e-Italy (1885-1887) kwaba nezithelo kuye: wajwayelana nomculo wasendulo wamakwaya wase-Italy wekhulu lesi-XNUMX (Palestrina) futhi ngasikhathi sinye nomsebenzi kaWagner (ikakhulukazi, nomculo. idrama "Tristan futhi Isolde").

Ngesikhathi esifanayo, isikhathi sokuhlala kukaDebussy e-Italy kwaphawulwa ukungqubuzana okubukhali nemibuthano esemthethweni yobuciko yaseFrance. Imibiko yabanqobi ngaphambi kwalesi sikole yethulwa ngendlela yezincwadi ezacatshangelwa eParis yijaji elikhethekile. Ukubuyekezwa kwemisebenzi yomqambi - i-symphonic ode "Zuleima", i-symphonic suite "Spring" kanye ne-cantata "Okhethiwe" (eyabhalwa kakade lapho ifika eParis) - kulokhu ithole igebe elingenakunqotshwa phakathi kwezifiso ezintsha zikaDebussy kanye ne-inertia ukuthi wabusa esikhungweni sobuciko esikhulu kunazo zonke eFrance. Umqambi usolwa ngesifiso esinamabomu "sokwenza into engavamile, engaqondakali, engenakwenzeka", "ngomqondo owedlulele wombala womculo", okwenza akhohlwe "ukubaluleka komdwebo onembile kanye nefomu". U-Debussy ubesolwa ngokusebenzisa amazwi abantu "avaliwe" kanye nokhiye we-F-sharp major, okusolakala ukuthi awamukeleki emsebenzini we-symphonic. Okuwukuphela kokulunga, mhlawumbe, kwakuyinkulumo mayelana nokungabikho "kokuphenduka okuphansi nokuvinjelwa" emisebenzini yakhe.

Zonke izingoma ezathunyelwa uDebussy eParis zazisekude nesitayela esivuthiwe somqambi, kodwa kakade zase zibonise izici ezintsha, ezazibonakalisa ngokuyinhloko ngolimi olumibalabala nomculo wezinsimbi. UDebussy waveza ngokucacile isifiso sakhe sokusungula izinto ezintsha encwadini ayibhalela omunye wabangane bakhe eParis: “Angikwazi ukuvala umculo wami kumafreyimu afanele kakhulu ... ngifuna ukusebenzela ukwakha umsebenzi wokuqala, futhi ngingawi ngaso sonke isikhathi okufanayo izindlela…”. Lapho ebuya e-Italy eya eParis, uDebussy ekugcineni wahlukana nesikole.

90s. Izimbali zokuqala zokusungula. Isifiso sokusondela kumikhuba emisha kwezobuciko, isifiso sokwandisa ukuxhumana kwabo nabajwayelene nabo emhlabeni wezobuciko kwaholela uDebussy emuva ngasekupheleni kweminyaka yama-80s esalon yembongi enkulu yaseFrance yasekupheleni kwekhulu lama-80 kanye nomholi wemibono yama-Symbolists. – Stefan Mallarmé. "NgoLwesibili" uMallarme waqoqa ababhali abavelele, izimbongi, abaculi - abameleli bezitayela ezihlukahlukene kakhulu zobuciko besimanje baseFrance (izimbongi uPaul Verlaine, uPierre Louis, uHenri de Regnier, umdwebi uJames Whistler nabanye). Lapha uDebussy wahlangana nababhali nezimbongi, omsebenzi wabo owakha isisekelo sezingoma zakhe eziningi zezwi, ezidalwe kuma-90-50s. Phakathi kwazo kugqame: “Mandolin”, “Ariettes”, “Belgian landscapes”, “Watercolors”, “Moonlight” emazwini kaPaul Verlaine, “Songs of Bilitis” emazwini kaPierre Louis, “Izinkondlo Ezinhlanu” Amazwi embongi enkulu yesiFulentshi engu-60—uCharles Baudelaire’s XNUMX (ikakhulukazi “I-Balcony”, “Evening Harmonies”, “At the Fountain”) nabanye.

Ngisho nohlu olulula lwezihloko zalezi zincwadi lwenza kube nokwenzeka ukwahlulela ukubikezela komqambi ngemibhalo yombhalo, equkethe ikakhulukazi i-landscape motifs noma izosha zothando. Lo mkhakha wezithombe zomculo ezisankondlo uba intandokazi kaDebussy kuwo wonke umsebenzi wakhe.

Ukuthandwa okucacile okunikezwa umculo wephimbo esikhathini sokuqala somsebenzi wakhe kuchazwa kakhulu uthando lomqambi wezinkondlo zeSymbolist. Emavesini ezimbongi ezingokomfanekiso, u-Debussy wakhangwa izifundo eziseduze naye kanye namasu amasha obuciko - ikhono lokukhuluma nge-laconic, ukungabikho kwe-rhetoric kanye ne-pathos, ukuchichima kokuqhathanisa okungokomfanekiso okumibalabala, isimo sengqondo esisha somlolozelo, lapho umculo inhlanganisela yamagama iyabanjwa. Uhlangothi olunjalo lwezimpawu njengesifiso sokudlulisa isimo esidabukisayo, ukwesaba okungaziwa, akukaze kuthumbe uDebussy.

Emisebenzini eminingi yale minyaka, u-Debussy uzama ukugwema kokubili ukungaqiniseki okungokomfanekiso kanye nokubukelwa phansi ekuvezeni imicabango yakhe. Isizathu salokhu ukwethembeka emasikweni entando yeningi omculo kazwelonke waseFrance, yonke imvelo yobuciko bomqambi nenempilo (akuyona into engaqondakali ukuthi uvame ukubhekisela ezinkondlweni zikaVerlaine, ezihlanganisa ngokuyinkimbinkimbi amasiko ezinkondlo zamakhosi amadala, ne isifiso sabo somcabango ocacile kanye nesitayela esilula, nokucwengwa okutholakala kubuciko bamasaluni asebukhosini besimanje). Ezingomeni zakhe zokuqala zephimbo, uDebussy uzama ukuhlanganisa izithombe ezinjalo zomculo ezigcina ukuxhumana nezinhlobo zomculo ezikhona - ingoma, umdanso. Kodwa lokhu kuxhumana kuvame ukuvela, njengakuVerlaine, ekuhlanjululweni okucwengisiswe kahle. Lunjalo uthando "Mandolin" emazwini kaVerlaine. Emculweni wothando, sizwa izingoma zezingoma zasemadolobheni zaseFrance ezivela ku-repertoire ye-"chansonnier", eyenziwa ngaphandle kwama-accents agcizelelwe, njengokuthi "kucula". Ukuphelekezela kwepiyano kudlulisa isimilo esinkenenezayo, umsindo ofana ne-mandolin noma isiginci. Inhlanganisela yamachord yengxenye yesihlanu "engenalutho" ifana nomsindo wezintambo ezivulekile zalezi zinsimbi:

Kakade kulo msebenzi, u-Debussy usebenzisa ezinye zezindlela zombala ezijwayelekile zesitayela sakhe esivuthiwe ngokuvumelana - "uchungechunge" lwamakhonsathi angaxazululiwe, ukuqhathanisa kwangempela kwama-triad amakhulu kanye nokuguqulwa kwawo kokhiye abakude,

Iminyaka yama-90s kwaba yisikhathi sokuqala sokuchuma kukaDebussy emkhakheni wokungagcini ngezwi kuphela, kodwa nomculo wepiyano (“I-Suite Bergamas”, “I-Little Suite” yezandla zopiyano ezine), i-chamber-instrumental (i-quartet yezintambo) futhi ikakhulukazi umculo we-symphonic ( ngalesi sikhathi, kudalwe imisebenzi emibili ye-symphonic ebaluleke kakhulu - isethulo esithi "Ntambama Yezilwane" kanye "Nocturnes").

Isethulo esithi “Ntambama Yenyamazane” sabhalwa ngesisekelo senkondlo kaStéphane Mallarmé ngo-1892. Umsebenzi kaMallarme wakhanga umqambi ngokuyinhloko ngobuhle obukhazimulayo besidalwa sasenganekwaneni esasiphupha ngosuku olushisayo mayelana neminyomfa emihle.

Esanduleleni, njengasenkondlweni kaMallarmé, asikho isakhiwo esithuthukisiwe, akukho ukuthuthukiswa okunamandla kwesenzo. Ingqikithi yokuqamba ilele, empeleni, isithombe esisodwa esimnandi se-"languor", esakhelwe phezu "kwezinto ezinwabuzelayo" ze-chromatic. UDebussy usebenzisa incarnation yakhe ye-orchestra cishe ngaso sonke isikhathi i-timbre yensimbi ethile ethile - umtshingo kurejista ephansi:

Konke ukuthuthukiswa kwe-symphonic yesandulela kwehla ekushintsheni ukuthungwa kwesethulo setimu nomculo wayo. Ukuthuthukiswa kwe-static kuqinisekiswa yimvelo yesithombe ngokwaso.

Ukwakheka komsebenzi kunezingxenye ezintathu. Engxenyeni encane emaphakathi kuphela yesandulela, lapho itimu entsha ye-diatonic yenziwa yiqembu lezintambo ze-orchestra, ingabe umlingisi ojwayelekile uba namandla kakhulu, aveze (i-dynamics ifinyelela ku-sonority yayo ephezulu esanduleleni. ff, okuwukuphela kwesikhathi lapho kusetshenziswa i-tutti yeqembu lonke lomculo wezinsimbi). I-reprise iphetha ngokunyamalala kancane kancane, njengokungathi, itimu eqedwayo ye "languor".

Izici zesitayela esivuthiwe sikaDebussy zivele kulo msebenzi ikakhulukazi ku-orchestration. Ukwehlukana okwedlulele kwamaqembu e-orchestra nezingxenye zezinsimbi ngazinye ngaphakathi kwamaqembu kwenza kube nokwenzeka ukuhlanganisa nokuhlanganisa imibala ye-orchestra ngezindlela ezihlukahlukene futhi ikuvumela ukuba uzuze ukuhluka okuhle kakhulu. Okuningi okuzuziwe kokubhala kwe-orchestra kulo msebenzi kamuva kwaba okujwayelekile kweminye yemisebenzi kaDebussy ye-symphonic.

Kuphela ngemva kokudlala "Faun" ngo-1894 lapho uDebussy umqambi ekhuluma emibuthanweni yomculo ebanzi yaseParis. Kodwa ukuhlukaniswa kanye nokulinganiselwa okuthile kwendawo yobuciko uDebussy ayengowakho, kanye nobuntu bokuqala besitayela sezingoma zakhe, kwavimbela umculo womqambi ukuba uvele esiteji sekhonsathi.

Ngisho nomsebenzi onjalo we-symphonic ovelele kaDebussy njengomjikelezo weNocturnes, owakhiwa ngo-1897-1899, wahlangana nesimo sengqondo esizithimbile. Ku-“Nocturnes” isifiso esinamandla sika-Debussy sezithombe zobuciko zangempela zokuphila sabonakaliswa. Ngokokuqala ngqá emsebenzini kaDebussy we-symphonic, umdwebo wohlobo olujabulisayo (ingxenye yesibili ye-Nocturnes - "Imikhosi") kanye nezithombe zemvelo ezicebile ngemibala (ingxenye yokuqala - "Amafu") ithole ukufana komculo okucacile.

Ngawo-90s, u-Debussy wasebenza ku-opera yakhe ewukuphela kwayo eqediwe, i-Pelléas et Mélisande. Umqambi wayefuna itulo eliseduze naye isikhathi eside (Waqala futhi wawuyeka umsebenzi we-opera ethi “Rodrigo and Jimena” esekelwe enhlekeleleni kaCorneille ethi “Sid”. Umsebenzi waqhubeka ungakaqedwa, njengoba uDebussy wayezonda (ngamazwi akhe) "ukubekwa kwesenzo", ukuthuthukiswa kwayo okunamandla, kugcizelele ukubonakaliswa okuthinta imizwa, kwaveza ngesibindi izithombe zemibhalo yamaqhawe.) futhi ekugcineni yazinza emdlalweni wombhali waseBelgium owuphawu uMaurice Maeterlinck "Pelléas et Mélisande". Sincane kakhulu isenzo sangaphandle kulo msebenzi, indawo yawo nesikhathi akuguquki neze. Konke ukunaka kombhali kugxile ekudluliseleni okucashile kwezengqondo ezicashile kwabalingiswa: UGolo, umkakhe uMélisande, umfowabo kaGolo uPelléas6. Isakhiwo salo msebenzi sakhanga uDebussy, ngamazwi akhe, ngokuthi "abalingiswa abaphikisani, kodwa bakhuthazelela ukuphila nesiphetho." Ubuningi bombhalo ongezansi, imicabango, njengokungathi, “kuye ngokwakhe” kwenza ukuba umqambi afeze isiqubulo sakhe esithi: “Umculo uqala lapho igama lingenawo amandla khona.”

U-Debussy ugcine ku-opera esinye sezici eziyinhloko zamadrama amaningi ka-Maeterlinck - ukubhujiswa okuyingozi kwabalingisi ngaphambi kwesiphetho esibulalayo esingenakugwenywa, ukungakholelwa komuntu enjabulweni yakhe. Kulo msebenzi ka-Maeterlinck, imibono yezenhlalo nezobuhle yengxenye ebalulekile ye-bourgeois intelligentsia ekuqaleni kwekhulu lesi-XNUMX nele-XNUMX ifakwe ngokucacile. U-Romain Rolland unikeze ukuhlola okunembe kakhulu komlando nezenhlalo kwedrama encwadini yakhe ethi “Musicians of Our Days”: “Isimo lapho idrama kaMaeterlinck eba khona siwukuzithoba okukhathele okunikeza isifiso sokuphila emandleni e-Rock. Akukho okungashintsha ukuhleleka kwemicimbi. […] Akekho onesibopho salokho akufunayo, ngalokho akuthandayo. […] Baphila futhi bafe bengazi ukuthi kungani. Lokhu kufatalism, okubonisa ukukhathala kwezicukuthwane ezingokomoya zaseYurophu, kwavezwa ngokuyisimangaliso umculo kaDebussy, owanezela kuwo izinkondlo zawo kanye nokukhanga okuthinta inkanuko ... “. UDebussy, ngokwezinga elithile, ukwazile ukuthambisa iphimbo elingenathemba ledrama ngamazwi acashile futhi avinjelwe, ubuqotho kanye neqiniso ekufanekisweni komculo kwenhlekelele yangempela yothando nomhawu.

Ubusha besitayela be-opera bubangelwa kakhulu ukuthi yayibhalwe ngephrozi. Izingxenye zephimbo ze-opera ka-Debussy ziqukethe izithunzi ezicashile kanye nama-nuances wenkulumo yesiFulentshi yezwi. Ukuthuthukiswa komculo we-opera kwenzeka kancane kancane (ngaphandle kokugxuma ngezikhathi ezinde), kodwa umugqa wokumemezela ozwakalayo ozwakalayo. Ukuchichima kwama-caesuras, isigqi esivumelana nezimo ngendlela engavamile kanye nezinguquko ezivamile ekwenzeni iphimbo kuvumela umqambi ukuba adlulisele ngokunembile nangokufanele incazelo yawo wonke umushwana wephrozi ngomculo. Noma yikuphi ukukhuphuka okuphawulekayo okungokomzwelo emgqeni we-melodic akukho ngisho naseziqeshini ezimangalisayo ze-opera. Ngesikhathi sokushuba okuphezulu kakhulu kwesenzo, uDebussy uhlala ethembekile esimisweni sakhe - ukuzibamba okuphezulu kanye nokungabikho okuphelele kokubonakaliswa kwangaphandle kwemizwa. Ngakho-ke, indawo kaPelléas ememezela uthando lwakhe kuMelisande, ngokuphambene nawo wonke amasiko okusebenza, yenziwa ngaphandle kokuthinta, njengokungathi "nge-whisper". Isimo sokushona kukaMélisande sixazululwa ngendlela efanayo. Kunenqwaba yezigcawu ku-opera lapho u-Debussy ekwazile ukuveza ngezindlela ezicashile ngendlela emangalisayo uhla oluyinkimbinkimbi nocebile lwezinhlobonhlobo ezihlukahlukene zokuhlangenwe nakho kwabantu: indawo enendandatho ngasemthonjeni esenzweni sesibili, isigameko esinezinwele zikaMélisande okwesithathu, isigameko sasemthonjeni okwesine kanye nesigameko sokushona kukaMélisande esenzweni sesihlanu.

I-opera yadlalwa ngo-Ephreli 30, 1902 e-Comic Opera. Naphezu kokudlala okumangalisayo, i-opera ayizange ibe nempumelelo yangempela nezilaleli eziningi. Ukugxekwa ngokuvamile kwakungenabo ubungane futhi kuvumele ukuhlaselwa okubukhali nokudelela ngemva kokudlala kokuqala. Bambalwa kuphela abaculi abakhulu abaye bakwazisa ukubaluleka kwalo msebenzi.

Ngemva kokwenza i-Pelléas, uDebussy wenze imizamo eminingana yokuqamba ama-opera ahluke ngohlobo nesitayela kunawokuqala. I-Libretto yabhalelwa ama-opera amabili asekelwe ezinganekwaneni ezisekelwe ku-Edgar Allan Poe - Ukufa Kwendlu ka-Escher kanye noDeveli eBell Tower - imidwebo yenziwa, umqambi ngokwakhe ayibhubhisa ngaphambi nje kokufa kwakhe. Futhi, inhloso kaDebussy yokudala i-opera esekelwe esakhiweni senhlekelele kaShakespeare iNkosi Lear ayizange igcwaliseke. Ngemva kokushiya izimiso zobuciko ze-Pelléas et Mélisande, u-Debussy akaphindanga wakwazi ukuzithola ekwezinye izinhlobo zomculo eziseduze namasiko e-French classical opera kanye nedramaturgy yasetiyetha.

1900-1918 – inani eliphakeme lokuqhakaza kwezimbali kukaDebussy. Umsebenzi obalulekile womculo. Ngaphambi nje kokukhiqizwa kwe-Pelléas, kwenzeka isenzakalo esibalulekile empilweni kaDebussy - kusukela ngo-1901 waba umhlaziyi womculo okhokhelwayo. Lo msebenzi omusha wakhe waqhubeka ngezikhathi ezithile ngo-1901, 1903 kanye no-1912-1914. Izindatshana ezibaluleke kakhulu nezitatimende zikaDebussy zaqoqwa nguye ngo-1914 encwadini ethi “Mnu. U-Krosh uyi-anti-amateur". Umsebenzi obalulekile ube nomthelela ekwakhekeni kwemibono yobuhle kaDebussy, indlela yakhe yobuciko. Kusivumela ukuba sahlulele imibono yomqambi eqhubekayo kakhulu emisebenzini yobuciko ekubunjweni kobuciko babantu, ngesimo sakhe sengqondo kubuciko be-classical nesimanje. Ngesikhathi esifanayo, akukhona ngaphandle kohlangothi olulodwa nokungahambisani nokuhlolwa kwezenzakalo ezihlukahlukene kanye nezahlulelo zobuhle.

U-Debussy uphikisa ngentshiseko ukucwasa, ukungazi kanye ne-dilettantism okubusa ukugxekwa kwamanje. Kodwa uDebussy uphinde aphikisane nokuhlaziywa okusemthethweni, okukhethekile kuphela lapho ehlola umsebenzi womculo. Uvikela njengekhwalithi eyinhloko nesithunzi sokugxekwa - ukudluliselwa "kwemibono eqotho, eyiqiniso nesuka enhliziyweni." Umsebenzi oyinhloko wokugxeka kukaDebussy ukulwa "nemfundo" yezikhungo ezisemthethweni zaseFrance ngaleso sikhathi. Ubeka amazwi ahlabayo nabukhali, ikakhulukazi angenzeleli ngeGrand Opera, lapho “izifiso ezinhle ziphihlizwa odongeni oluqinile nolungenakubhidlika lwenkambiso enenkani engavumeli noma yiluphi uhlobo lomsebe okhanyayo ukuba lungene.”

Izimiso nemibono yakhe yobuhle kuvezwe ngokucace kakhulu ezihlokweni nasencwadini kaDebussy. Okunye okubaluleke kakhulu isimo sengqondo somqambi senhloso yakhe ngezwe elimzungezile. Ubona umthombo womculo emvelweni: "Umculo usondelene nemvelo ...". “Abaculi kuphela abanelungelo lokwamukela izinkondlo zobusuku nemini, umhlaba nesibhakabhaka – bedala kabusha umkhathi nesigqi sokuzamazama okumangalisayo kwemvelo.” Lawa magama ngokungangabazeki embula uhlangothi oluthile lwemibono yobuhle yomqambi endimeni ekhethekile yomculo phakathi kwezinye izinhlobo zobuciko.

Ngesikhathi esifanayo, uDebussy wagomela ngokuthi ubuciko akufanele buphelele embuthanweni omncane wemibono efinyeleleka enanini elilinganiselwe labalaleli: “Umsebenzi womqambi awukona ukujabulisa idlanzana labathandi bomculo “abakhanyiselwe” noma ochwepheshe.” Ngokumangazayo zazifike ngesikhathi izitatimende zikaDebussy mayelana nokucekelwa phansi kwamasiko esizwe kwezobuciko baseFrance ekuqaleni kwekhulu lesi-XNUMX: “Umuntu angazisola ngokuthi umculo wesiFulentshi ulandele izindlela eziwuholele kude nezimfanelo ezihlukile zomlingiswa wesiFulentshi njengokucaca kwenkulumo. , ukunemba nokuhleleka kwefomu.” Ngesikhathi esifanayo, uDebussy wayemelene nokulinganiselwa kuzwelonke kwezobuciko: “Ngijwayelene kahle nenkolelo-mbono yokuhwebelana kwamahhala kwezobuciko futhi ngiyazi ukuthi imiphi imiphumela ebalulekile eye yaholela kuyo.” Inkulumo-ze yakhe eshisekayo yobuciko bomculo waseRussia eFrance iwubufakazi obuhle kakhulu balo mbono.

Umsebenzi wabaqambi abakhulu baseRussia - uBorodin, Balakirev, futhi ikakhulukazi uMussorgsky noRimsky-Korsakov - wafundwa ngokujulile nguDebussy emuva kuma-90s futhi waba nethonya elithile kwezinye izici zesitayela sakhe. U-Debussy wahlatshwa umxhwele kakhulu ubuhle nokubukeka okumibalabala kwe-orchestra ka-Rimsky-Korsakov. “Akukho okungadlulisa ukukhanga kwezindikimba nokucwebezela kwe-orchestra,” kubhala uDebussy nge-symphony ka-Rimsky-Korsakov ye-Antar. Emisebenzini ye-symphonic kaDebussy, kukhona amasu omculo we-orchestration eduze ne-Rimsky-Korsakov, ikakhulukazi, i-prediction ye-timbres "ehlanzekile", isici esikhethekile sokusebenzisa izinsimbi zomculo, njll.

Ezingomeni zikaMussorgsky kanye ne-opera ethi Boris Godunov, uDebussy wazisa imvelo ejulile yengqondo yomculo, ikhono lawo lokudlulisa konke ukunotha kwezwe elingokomoya lomuntu. “Akekho osaphendukele kwabangcono kakhulu kithi, emizweni emnene nejulile,” sithola emazwini omqambi. Kamuva, ezingomeni ezimbalwa zephimbo zika-Debussy nakwi-opera ethi Pelléas et Mélisande, umuntu angezwa ithonya lolimi luka-Mussorgsky oluzwakala kakhulu noluguquguqukayo, oludlulisa izithunzi ezicashile zenkulumo yomuntu ephilayo ngosizo lokuphindaphinda okumnandi.

Kodwa uDebussy wabona izici ezithile kuphela zesitayela nendlela yabaculi abakhulu baseRussia. Wayengajwayelene nokuthambekela kokumangalelwa ngentando yeningi kanye nezenhlalo emsebenzini kaMussorgsky. U-Debussy wayekude nezinhlelo ezijulile zobuntu nezefilosofi ezibaluleke kakhulu zama-operas ka-Rimsky-Korsakov, kusukela ekuxhumaneni okuqhubekayo nokungenakuhlukaniswa phakathi komsebenzi walaba baqambi kanye nemvelaphi yabantu.

Izici zokungaguquki kwangaphakathi kanye nokunye okusohlangothini olulodwa emsebenzini obucayi kaDebussy kwabonakala ekubukeleni phansi kwakhe okusobala indima yomlando nokubaluleka kobuciko bomsebenzi wabaqambi abanjengoHandel, Gluck, Schubert, Schumann.

Emazwini akhe agxekayo, uDebussy ngezinye izikhathi wayeba nemibono enengqondo, ephikisa ngokuthi “umculo uyizibalo ezingaqondakali, izici zazo ezihilelekile ekungapheli.”

Ekhuluma ezihlokweni eziningi esekela umbono wokudala inkundla yemidlalo yeshashalazi, uDebussy cishe ngesikhathi esifanayo uveza umbono oyindida wokuthi “ubuciko obuphakeme buyikusasa labahlonishwa bakamoya kuphela.” Le nhlanganisela yemibono yentando yeningi kanye nezikhulu ezaziwa kakhulu zazijwayelekile kubuhlakani bezobuciko baseFrance ekuqaleni kwekhulu lesi-XNUMX nele-XNUMX.

Iminyaka yawo-1900 iyisiteji esiphezulu emsebenzini wokudala womqambi. Imisebenzi edalwe nguDebussy ngalesi sikhathi ikhuluma ngamathrendi amasha ekudaleni futhi, okokuqala, ukusuka kukaDebussy ku-aesthetics of symbolism. Umqambi uya ngokuya akhangwa izigcawu zohlobo, izithombe zomculo nezithombe zemvelo. Kanye nezindikimba ezintsha neziqephu, izici zesitayela esisha ziyavela emsebenzini wakhe. Ubufakazi balokhu yimisebenzi yopiyano efana nethi “An Evening in Grenada” (1902), “Gardens in the Rain” (1902), “Island of Joy” (1904). Kulezi zingosi, u-Debussy uthola ukuxhumana okuqinile nomsuka wezwe womculo (ku-"An Evening in Grenada" - nge-Spanish folklore), ulondoloza isisekelo sohlobo lomculo ohlotsheni lokuphikiswa komdanso. Kuzo, umqambi uqhubeka andisa ububanzi bamakhono anemibala ye-timbre kanye nobuchwepheshe bepiyano. Usebenzisa ukuhleleka okuhle kakhulu kwemibala eguqukayo ngaphakathi kwesendlalelo somsindo owodwa noma uhlanganisa ukugqama okucijile okushukumisayo. Isigqi kulezi zingoma siqala ukudlala indima ezwakalayo ekudaleni isithombe sobuciko. Kwesinye isikhathi kuba nezimo, kukhululeke, kucishe kube ngcono. Ngasikhathi sinye, emisebenzini yale minyaka, uDebussy wembula isifiso esisha senhlangano ecacile neqinile enesigqi yengqikithi yokuqamba ngokuphindaphinda "umgogodla" owodwa onesigqi kuwo wonke umsebenzi noma isigaba sawo esikhulu (isandulela ku-A minor, "Izinsimu Emvuleni", "Kusihlwa eGrenada", lapho isigqi se-habanera "siwumgogodla" wakho wonke ukwakheka).

Imisebenzi yalesi sikhathi ihlukaniswa nombono wokuphila ogcwele igazi elimangalisayo, ovezwe ngesibindi, cishe ubonakala ngokubonakalayo, izithombe ezifakwe ngendlela evumelanayo. "I-impressionism" yale misebenzi itholakala kuphela ngomqondo ophakeme wombala, ekusetshenzisweni kwe-harmonic emibalabala "i-glare namabala", ekudlaleni okucashile kwama-timbres. Kodwa le nqubo ayiphuli ubuqotho bombono womculo wesithombe. Imane inikeze iqhubu ngaphezulu.

Phakathi kwemisebenzi ye-symphonic eyakhiwe nguDebussy kuma-900s, "Ulwandle" (1903-1905) kanye "Nezithombe" (1909) zigqamile, ezihlanganisa "i-Iberia" edumile.

I-suite "Ulwandle" iqukethe izingxenye ezintathu: "Olwandle kusukela ekuseni kuze kube semini", "Umdlalo wamagagasi" kanye "Ingxoxo yomoya nolwandle". Izithombe zolwandle bezilokhu zidonsela ukunaka kwabaqambi bezitayela ezahlukahlukene kanye nezikole zikazwelonke. Izibonelo eziningi zemisebenzi ye-symphonic yohlelo ezindikimbeni “zasolwandle” ngabaqambi baseNtshonalanga Yurophu zingacashunwa (i-overture ethi “Fingal’s Cave” ka-Mendelssohn, iziqephu ze-symphonic ezivela ku-“The Flying Dutchman” ka-Wagner, njll.). Kodwa izithombe zolwandle zabonakala ngokucacile futhi ngokugcwele emculweni waseRussia, ikakhulukazi eRimsky-Korsakov (isithombe se-symphonic Sadko, i-opera yegama elifanayo, i-Suite ye-Scheherazade, ukuphumula esenzweni sesibili se-opera ethi The Tale of Tsar Saltan),

Ngokungafani nemisebenzi ye-orchestra ka-Rimsky-Korsakov, u-Debussy usetha emsebenzini wakhe hhayi itulo, kodwa imisebenzi yezithombe kuphela neyombala. Ufuna ukudlulisa ngomculo ukushintsha kwemiphumela yokukhanya nemibala olwandle ngezikhathi ezihlukene zosuku, izimo ezihlukene zolwandle - ezolile, eziyaluzayo nezivunguvungu. Ngombono womqambi wemidwebo yolwandle, azikho nhlobo izisusa ezinjalo ezinganikeza imfihlakalo yokuhlwa embala wazo. I-Debussy ibuswa ukukhanya kwelanga okukhanyayo, imibala enegazi eligcwele. Umqambi ngesibindi usebenzisa kokubili isigqi somdanso kanye nezithombe ezihlaba umxhwele ukuze adlulisele izithombe zomculo ezikhululekile.

Engxenyeni yokuqala, isithombe sokuvuka kancane kancane kolwandle ekuntweleni kokusa, amagagasi avilaphayo anyakazayo, ukubenyezela kwemisebe yelanga yokuqala kuwo kuyavela. Isiqalo se-orchestra salo mnyakazo sinemibala egqamile ngokukhethekile, lapho, ngokumelene nesizinda “se-rustle” ye-timpani, ama-octave “aconsayo” amahabhu amabili kanye namavayolini “efriziwe” e-tremolo kurejista ephezulu, imishwana emifushane yomculo ovela ku-oboe. abonakale njengokubenyezela kwelanga phezu kwamagagasi. Ukubonakala kwesigqi somdanso akuphuli intelezi yokuthula okuphelele nokuzindla okuphuphile.

Ingxenye enamandla kakhulu yomsebenzi ingeyesithathu - "Ingxoxo Yomoya Nolwandle". Kusukela esithombeni esinganyakazi, esiyiqhwa solwandle oluzolile ekuqaleni kwengxenye, okusikhumbuza esokuqala, isithombe sesiphepho siyembuleka. I-Debussy isebenzisa zonke izindlela zomculo ekuthuthukisweni okuguquguqukayo nokushubile - i-melodic-rhythmic, ashukumisayo futhi ikakhulukazi i-orchestra.

Ekuqaleni komnyakazo, kuzwakala izisusa ezimfishane ezenzeka ngendlela yengxoxo phakathi kwe-cellos enamabhesi amabili kanye nama-oboes amabili ngokumelene nesizinda se-sonority ehlanganisiwe yesigubhu se-bass, i-timpani ne-tom-tom. Ngaphezu kokuxhumana kancane kancane kwamaqembu amasha e-orchestra kanye nokwanda okufanayo kwe-sonority, u-Debussy usebenzisa isimiso sokuthuthukiswa kwesigqi lapha: ukwethula isigqi somdanso emisha, ugcwalisa indwangu yomsebenzi ngenhlanganisela eguquguqukayo ye-rhythmic eminingana. amaphethini.

Ukuphela kwakho konke ukubunjwa akubonakali nje njengokuzijabulisa kwesici sasolwandle, kodwa njengehubo lomdlandla lolwandle, ilanga.

Okuningi esakhiweni esingokomfanekiso "soLwandle", izimiso ze-orchestration, zalungiselela ukubonakala kwesiqephu se-symphonic "Iberia" - enye yemisebenzi ebaluleke kakhulu neyokuqala kaDebussy. Ihlasela ngokuxhumana kwayo okuseduze nempilo yabantu baseSpain, ingoma yabo kanye nesiko lomdanso. Ngama-900s, uDebussy waphendukela izikhathi eziningana ezihlokweni ezihlobene neSpain: "Ubusuku eGrenada", izandulela "Isango Le-Alhambra" kanye "I-Serenade Ephazamisekile". Kodwa i-"Iberia" iphakathi kwemisebenzi engcono kakhulu yabaqambi abaphuma entwasahlobo engapheli yomculo wesintu waseSpain (Glinka in "Aragonese Jota" kanye "Nights in Madrid", Rimsky-Korsakov in "Spanish Capriccio", Bizet in "Carmen", Ravel in ”Bolero” kanye ne-trio, ingasaphathwa abaqambi baseSpain u-de Falla no-Albeniz).

"Iberia" iqukethe izingxenye ezintathu: "Emigwaqweni nasemigwaqweni yaseSpain", "Amakha asebusuku" kanye "Ekuseni kweholide". Ingxenye yesibili yembula imidwebo yemvelo eyintandokazi kaDebussy, egcwele iphunga elikhethekile, elibabayo lobusuku baseSpain, "ebhalwe" ngezithombe ezicashile zomqambi, ushintsho olusheshayo lwezithombe ezicwayizayo nezinyamalalayo. Ingxenye yokuqala neyesithathu zidweba izithombe zempilo yabantu eSpain. Imibalabala ikakhulukazi ingxenye yesithathu, equkethe inqwaba yezingoma ezihlukahlukene zezingoma nomdanso weSpanishi, okudala isithombe esijabulisayo seholide lesintu elimibalabala ngokushintshana ngokushesha. Umqambi omkhulu waseSpain u-de Falla washo lokhu ngo-Iberia: “Inanela yedolobhana ngesimo sesisusa esiyinhloko sayo yonke le ngoma (“Sevillana”) ibonakala indiza emoyeni ocwebile noma ekukhanyeni okuthuthumelayo. Umlingo odakisayo wobusuku base-Andalusia, ubukhazikhazi besixuku semikhosi, esidansela imisindo yezingoma “zeqembu” labashaya iziginci nama-bandist… - konke lokhu kusesivunguvungwini emoyeni, manje siyasondela, bese siyahlehla. , futhi umcabango wethu ohlale uphapheme uphuphuthekiswe izimfanelo ezinhle zomculo oveza imizwa ejulile nezici zawo ezicebile.”

Iminyaka eyishumi edlule empilweni kaDebussy ihlukaniswa ngomsebenzi wokudala ongapheli kanye nokwenza kuze kube yilapho kugqashuka iMpi Yezwe Yokuqala. Uhambo lwekhonsathi njengomqhubi e-Austria-Hungary lwaletha udumo lomqambi phesheya. Wamukelwa ngokufudumele ngokukhethekile eRussia ngo-1913. Amakhonsathi eSt. Petersburg naseMoscow aba impumelelo enkulu. Ukuxhumana kukaDebussy nabaculi abaningi baseRussia kwaqinisa ukunamathela kwakhe esikweni lomculo laseRussia.

Ukuqala kwempi kwabangela ukuba uDebussy akhule emizwa yokushisekela izwe. Ezincwadini ezinyathelisiwe, uzibiza ngokugcizelela: “UClaude Debussy ungumculi waseFrance.” Inqwaba yemisebenzi yale minyaka igqugquzelwe yindikimba yokushisekela izwe ethi: “Heroic Lullaby”, ingoma ethi “Khisimuzi Wezingane Ezingenamakhaya”; endaweni yamapiyano amabili “Omhlophe Nomnyama” uDebussy wayefuna ukuveza imibono yakhe ngokwesabeka kwempi yama-impiriyali. I-Ode eya e-France kanye ne-cantata Joan of Arc ayizange ibonakale.

Emsebenzini kaDebussy eminyakeni yamuva nje, umuntu angathola izinhlobonhlobo zezinhlobo ayengakaze ahlangane nazo ngaphambili. Emculweni wezwi legumbi, uDebussy uthola ukuhlobana kwezinkondlo zakudala zesiFulentshi zikaFrancois Villon, uCharles wase-Orleans nabanye. Ngalezi zimbongi, ufuna ukuthola umthombo wokuvuselelwa kwesihloko futhi ngesikhathi esifanayo akhokhe intela kubuciko obudala baseFrance abelokhu ewuthanda. Emkhakheni womculo wezinsimbi zegumbi, uDebussy uthola umjikelezo wama-sonata ayisithupha wezinsimbi ezihlukahlukene. Ngeshwa, wakwazi ukubhala ezintathu kuphela - a sonata for cello kanye upiyano (1915), a sonata for umtshingo, ihabhu kanye viola (1915) kanye sonata for violin kanye upiyano (1916-1917). Kulezi zingoma, uDebussy unamathela ezimisweni zokuqanjwa kwe-suite esikhundleni sokuqamba i-sonata, ngaleyo ndlela evuselela amasiko abaqambi baseFrance bekhulu lesi-XNUMX. Ngasikhathi sinye, lezi zingoma zifakazela ukuseshwa okungapheli kwamasu amasha obuciko, inhlanganisela yemibalabala yezinsimbi (ku-sonata yomtshingo, ihabhu neviola).

Ikakhulukazi impumelelo yobuciko kaDebussy eminyakeni eyishumi edlule yokuphila kwakhe emsebenzini wepiyano: “Ikhona Lezingane” (1906-1908), “Ibhokisi Lamathoyizi” (1910), izandulela ezingamashumi amabili nane (1910 no-1913), “I-Antique Eyisithupha Ama-Epigraphs” ezandleni ezine (1914), izifundo eziyishumi nambili (1915).

I-piano suite "Ikhona Lezingane" inikezelwe indodakazi kaDebussy. Isifiso sokuveza umhlaba wonke ngomculo ngeso lengane ezithombeni zayo ezivamile - uthisha oqinile, unodoli, umalusi omncane, indlovu yokudlala - yenza uDebussy asebenzise kabanzi izinhlobo zomdanso nezingoma zansuku zonke, nezinhlobo zomculo okhokhelwayo. ngendlela enyantisayo, ene-caricatured - iculo elithi “The Elephant's Lullaby”, ingoma kamalusi ethi “The Little Shepherd”, umdanso wokuhamba ngekhekhe owawusemfashinini ngaleso sikhathi, emdlalweni wegama elifanayo. Eduze kwabo, ucwaningo olujwayelekile ku-"Doctor Gradus ad Parnassum" luvumela u-Debussy ukuthi enze isithombe sikathisha ohamba ngezinyawo kanye nomfundi onesizungu esebenzisa i-caricature ethambile.

Izifundo eziyishumi nambili zika-Debussy zixhunywe nezivivinyo zakhe zesikhathi eside emkhakheni wesitayela sepiyano, ukusesha izinhlobo ezintsha zokwenza upiyano kanye nezindlela zokukhuluma. Kodwa ngisho nakule misebenzi, uzama ukuxazulula hhayi kuphela i-virtuoso kuphela, kodwa futhi nezinkinga ezizwakalayo (i-etude yeshumi ibizwa ngokuthi: "Ngokuqhathanisa i-sonorities"). Ngeshwa, akuzona zonke imidwebo kaDebussy ekwazile ukuhlanganisa umqondo wobuciko. Ezinye zazo zibuswa isimiso esakhayo.

Amanothibhuku amabili ezandulela zakhe zepiyano kufanele athathwe njengesiphetho esifanele sayo yonke indlela yokudala ye-Debussy. Lapha, njengokungathi, izici ezivelele kakhulu nezijwayelekile zombono wezwe wobuciko, indlela yokudala kanye nesitayela somqambi kwakugxilwe. Umjikelezo uqukethe uhla olugcwele lwendima engokomfanekiso nesankondlo yomsebenzi kaDebussy.

Kuze kube yizinsuku zokugcina zokuphila kwakhe (wafa ngo-March 26, 1918 ngesikhathi kuqhuma amabhomu eParis ngamaJalimane), naphezu kokugula okunzima, uDebussy akazange ayeke ukucinga kwakhe kokudala. Uthola izingqikithi ezintsha nezakhiwo, ephendukela ezinhlotsheni zendabuko, futhi aziguqule ngendlela engavamile. Konke lokhu kusesha akuthuthuki e-Debussy kube isiphetho ngokwayo - "okusha ngenxa entsha." Emisebenzini nasezitatimendeni ezibucayi zeminyaka yamuva mayelana nomsebenzi wabanye abaqambi besimanje, uphikisa ngokungakhathali ukuntuleka kokuqukethwe, ubunkimbinkimbi befomu, inkimbinkimbi yamabomu yolimi lomculo, okuyisici sabameleli abaningi bobuciko besimanje baseWestern Europe ngasekupheleni kwekhulu le-XNUMX. nasekuqaleni kwekhulu lesi-XNUMX. Waphawula ngokufanelekile: “Njengomthetho ovamile, noma iyiphi inhloso yokwenza inkimbinkimbi nomuzwa ibonisa ukuthi umlobi akukho angakusho.” “Umculo uba nzima njalo uma ungekho.” Umqondo ophilayo nonobuciko womqambi ngokuzikhandla ufuna ukuxhumana nempilo ngokusebenzisa izinhlobo zomculo ezingavinjwa izifundo ezomile nobunkimbinkimbi obuwohlokile. Lezi zifiso azizange zithole ukuqhubeka kwangempela kuDebussy ngenxa yokulinganiselwa okuthile kwemvelo yonxiwankulu kule nkathi yenhlekelele, ngenxa yobuncane bezithakazelo zobuciko, isici ngisho samaciko amakhulu njengaye.

B. Ionini

• Imisebenzi yepiyano ye-Debussy →
• Imisebenzi ye-Symphonic ye-Debussy →
• I-French musical impressionism →

Ukwakhiwa:

ama-opera - URodrigue noJimena (1891-92, abazange baphele), uPelléas noMélisande (idrama yamagama ngemva kukaM. Maeterlinck, 1893-1902, eyadlalwa ngo-1902, Opera Comic, Paris); amabhalethi – Imidlalo (Jeux, lib. V. Nijinsky, 1912, post. 1913, tr Champs Elysees, Paris), Kamma (Khamma, 1912, upiyano score; orchestrated by Ch. Kouklen, ukusebenza kokugcina 1924, Paris), Toy Box (La boîte à joujoux, i-ballet yezingane, ngo-1913, ehlelelwe u-2 fp., ehlelwa ngu-A. Caplet, c. 1923); kwabacula ngabodwana, ikwaya kanye ne-orchestra – UDaniel (cantata, 1880-84), Spring (Printemps, 1882), Call (Invocation, 1883; upiyano olugciniwe nezingxenye zezwi), Indodana Yolahleko (L'enfant prodigue, lyrical scene, 1884), Diana ehlathini (cantata , esekelwe emdlalweni wamahlaya wamaqhawe ka-T. de Banville, 1884-1886, ongaqediwe), Okhethiwe (La damoiselle élue, inkondlo eyingoma, esekelwe esakhiweni senkondlo yembongi yesiNgisi u-DG Rossetti, inguqulo yesiFulentshi ka-G. Sarrazin, 1887-88), Ode to France (Ode à la France, cantata, 1916-17, engakapheli, ngemva kokufa kukaDebussy imidwebo yaqedwa futhi yanyatheliswa nguMF Gaillard); ye-orchestra – The Triumph of Bacchus (divertimento, 1882), Intermezzo (1882), Spring (Printemps, symphonic suite ngehora lesi-2, 1887; yahlelwa kabusha ngokwemiyalelo kaDebussy, umqambi nombhidisi waseFrance u-A. Busset, 1907) , Isethulo SeNtambama Yezilwane ( Prélude à l'après-midi d'un faune, esekelwe ku-eclogue yegama elifanayo lika-S. Mallarme, 1892-94), Nocturnes: Amafu, Imikhosi, Sirens (Nocturnes: Nuages , Fêtes; Sirènes, nekhwaya yabesifazane; 1897-99 ), Ulwandle (La mer, 3 symphonic sketches, 1903-05), Izithombe: Gigues (i-orchestration eqedwe nguCaplet), Iberia, Imidanso Yasentwasahlobo (Izithombe: Gigues, Ibéria, Rondes de printemps, 1906-12); eyensimbi yomculo ne-orchestra — I-Suite ye-cello (Intermezzo, c. 1880-84), i-Fantasia yepiyano (1889-90), i-Rhapsody ye-saxophone (1903-05, engaqediwe, yaqedwa ngu-JJ Roger-Ducas, publ. 1919), Dances (yehabhu ngehabhu string orchestra, 1904), First Rhapsody for clarinet (1909-10, ekuqaleni clarinet kanye upiyano); ama-ensembles wezinsimbi zegumbi - i-piano trio (G-dur, 1880), i-quartet yezintambo (g-moll, op. 10, 1893), i-sonata yomtshingo, i-viola nehabhu (1915), i-sonata ye-cello nepiyano (d-moll, 1915), i-sonata yevayolini nopiyano (g-moll, 1916); ngoba upiyano 2 izandla - Umdanso wamaGypsy (Danse bohémienne, 1880), ama-arabesque amabili (1888), i-Bergamas suite (1890-1905), Amaphupho (Rêverie), Ballad (isigqila se-Ballade), Umdanso (i-Styrian tarantella), i-Romantic waltz, i-Nocturne, i-Mazurka (onke 6 imidlalo – 1890), Suite (1901), Prints (1903), Island of Joy (L'isle joyeuse, 1904), Masks (Masques, 1904), Izithombe (Izithombe, 1st series, 1905; 2nd series, 1907), Izingane Ikhona (Ikhona lezingane, i-piano suite, 1906-08), Izandulela Ezingamashumi amabili Nane (incwajana yokuqala, 1; incwadi yesi-1910, 2-1910), ingoma yobuqhawe (Berceuse héroïque, 13; uhlelo lwe-orchestral, 1914) Izifundo zeTwelve nabanye; ngoba upiyano 4 izandla – Divertimento and Andante cantabile (c. 1880), symphony (h-moll, 1 hour, 1880, found and published in Moscow, 1933), Little Suite (1889), Scottish March on a Folk Theme (Marche écossaise sur un theme populaire , 1891, futhi yabhalwa nge-symphonic orchestra nguDebussy), ama-Six Antique Epigraphs (Ama-Six épigraphes antiques, 1914), njll.; amapiyano angu-2 4 izandla – Lindaraja (Lindaraja, 1901), On white and black (En blanc et noir, suite of 3 pieces, 1915); ngomtshingo - Umtshingo wePan (Syrinx, 1912); yekwaya ye-cappella - Izingoma ezintathu zikaCharles d'Orleans (1898-1908); okwezwi nopiyano - Izingoma nezothando (amagama engoma ka-T. de Banville, P. Bourget, A. Musset, M. Bouchor, c. 1876), Izingoma ezintathu zothando (amagama ka-L. de Lisle, 1880-84), Izinkondlo ezinhlanu zika-Baudelaire (1887 - 89), Izingoma ezikhohliwe (Ariettes oubliées, lyrics by P. Verlaine, 1886-88), Izothando ezimbili (amagama kaBourget, 1891), Imiculo emithathu (amagama kaVerlaine, 1891), iphrozi yeLyric (Proses lyriques, lyrics by D . , 1892-93), Izingoma ze-Bilitis (Chansons de Bilitis, amazwi kaP. Louis, 1897), Izingoma Ezithathu ZaseFrance (Trois chansons de France, lyrics ka-C. Orleans no-T. Hermite, 1904), Ama-ballads amathathu amazwi. F. Villon (1910), Izinkondlo ezintathu zika-S. Mallarmé (1913), uKhisimusi wezingane ezingasenayo indawo yokuhlala ( Noël des enfants qui n'ont plus de maison, lyrics by Debussy, 1915), njll.; umculo wemidlalo yeshashalazi – King Lear (imidwebo nemidwebo, 1897-99), The Martyrdom of St. Sebastian (umculo we-oratorio-mystery yegama elifanayo nguG. D'Annunzio, 1911); okulotshiweyo - isebenza ngu-KV Gluck, R. Schumann, C. Saint-Saens, R. Wagner, E. Satie, PI Tchaikovsky (3 imidanso evela ku-ballet "Swan Lake"), njll.