Johannes Brahms |

Johannes uBrahms

Inqobo nje uma kunabantu abakwaziyo ukusabela emculweni ngezinhliziyo zabo zonke, futhi inqobo nje uma kuyimpendulo enjalo nje umculo kaBrahms ozoveza kubo, lo mculo uzoqhubeka uphila. G. Umlilo

Engena empilweni yomculo njengomlandeli ka-R. Schumann kwezothando, u-J. Brahms walandela indlela yokusetshenziswa okubanzi nokomuntu ngamunye kwamasiko ezikhathi ezihlukene zomculo wesiJalimane-Austrian nesiko laseJalimane lilonke. Ngesikhathi sokuthuthukiswa kwezinhlobo ezintsha zezinhlelo nomculo weshashalazi (ka-F. Liszt, R. Wagner), u-Brahms, owaphendukela ikakhulukazi ezinhlotsheni zezinsimbi zomculo zasendulo, wabonakala efakazela ukusebenza kwawo kanye nombono wawo, ebacebisa ngekhono futhi. isimo sengqondo somculi wesimanje. Izingoma eziculayo (ezodwa, iqoqo, ikhwaya) azibalulekile kangako, lapho kuzwakala khona uhla lokuhlanganisa isiko - kusukela kokuhlangenwe nakho kongcweti beRenaissance kuya emculweni wesimanje wansuku zonke kanye nezinhlamvu zothando.

UBrahms wazalelwa emndenini womculo. Uyise, owadlula endleleni enzima esuka kumculi oyingcweti ozulazulayo waya kumdlali we-bassist ophindwe kabili ne-Hamburg Philharmonic Orchestra, wanika indodana yakhe amakhono okuqala ekudlaleni izinsimbi ezihlukahlukene ezinezintambo nezifuthwayo, kodwa uJohannes wakhangwa kakhulu upiyano. Ukuphumelela ezifundweni noF. Kossel (kamuva - nothisha odumile u-E. Marksen) wamvumela ukuba abambe iqhaza ekuhlanganiseni kwekamelo eneminyaka engu-10, futhi ku-15 - ukunikeza ikhonsathi eyedwa. Kusukela esemncane, u-Brahms wasiza uyise ukuba ondle umkhaya wakhe ngokudlala upiyano emathaveni asechwebeni, enzela umshicileli uKranz, esebenza njengomdlali wopiyano endlini ye-opera, njll. Umdlali wevayolini waseHungary u-E. Remenyi (ovela kumculo wesintu owenziwa kumakhonsathi, "Imidanso yaseHungary" edumile yepiyano ezandleni ezi-1853 nezi-4 yazalwa kamuva), wayesevele engumbhali wemisebenzi eminingi ezinhlotsheni ezihlukene, ezibhujiswe kakhulu.

Izingoma zokuqala ezishicilelwe (i-sonatas ezi-3 kanye ne-scherzo ye-pianoforte, izingoma) zembula ukuvuthwa kokuqala komqambi oneminyaka engamashumi amabili ubudala. Bavusa ukuthakasela kukaSchumann, umhlangano okwathi ngawo ekwindla ka-1853 eDüsseldorf wanquma yonke impilo eyalandela yamaBrahms. Umculo kaSchumann (ithonya lawo laliqondile ikakhulukazi ku-Third Sonata - 1853, ku- Variations on a Theme of Schumann - 1854 futhi ekugcineni kwama-ballads amane - 1854), wonke umoya wendlu yakhe, ukusondela kwezithakazelo zobuciko ( ebusheni bakhe, uBrahms, njengoSchumann, wayethanda izincwadi zothando - uJean-Paul, TA Hoffmann, no-Eichendorff, njll.) babe nomthelela omkhulu kumqambi osemusha. Ngesikhathi esifanayo, umthwalo wemfanelo wekusasa lomculo waseJalimane, njengokungathi uphathiswe uSchumann kuBrahms (wamncoma kubashicileli baseLeipzig, wabhala isihloko esithakazelisayo ngaye "Izindlela Ezintsha"), okwalandelwa ngokushesha inhlekelele (ukuzibulala. umzamo owenziwa uSchumann ngo-1854, ukuhlala kwakhe esibhedlela kwabagula ngengqondo, lapho uBrahms amvakashela khona, ekugcineni, ukufa kukaSchumann ngo-1856), umuzwa wothando wothando olujulile ngoClara Schumann, uBrahms amsiza ngokuzinikela kulezi zinsuku ezinzima - konke lokhu. kwandise ukushuba okumangazayo komculo wama-Brahms, ukuzenzela kwawo okunezivunguvungu (ikhonsathi yokuqala yepiyano ne-orchestra - 1854-59; imidwebo ye-First Symphony, i-Third Piano Quartet, eyaqedwa kamuva kakhulu).

Ngokwendlela yokucabanga, ama-Brahms ngesikhathi esifanayo ayengokwemvelo esifisweni sombono, wokuhleleka okunengqondo okuqinile, isici sobuciko bakudala. Lezi zici zaqiniswa ikakhulukazi ngokuthuthela kukaBrahms eDetmold (1857), lapho athatha khona isikhundla somculi enkantolo yezikhulu, ehola iqembu labahlabeleli, wafunda amaphuzu ongcweti abadala, uGF Handel, JS Bach, J. Haydn. kanye no-WA Mozart, badale imisebenzi ngohlobo lwezinhlobo zomculo wekhulu lesi-2. (1857 ama-orchestral serenades - 59-1860, izingoma zamakhwaya). Intshisekelo yomculo wamakhwaya yabuye yakhuthazwa amakilasi ekwaya yabesifazane abayizimfundamakhwela eHamburg, lapho uBrahms abuya khona eneminyaka engu-50 (wayesondelene kakhulu nabazali bakhe nedolobha lakubo, kodwa akazange awuthole unomphela umsebenzi lapho owanelisa izifiso zakhe). Umphumela wokudala kuma-60s - ekuqaleni kwe-2s. i-chamber ensembles ngokubamba iqhaza kwepiyano yaba imisebenzi emikhulu, njengokungathi esikhundleni se-Brahms sifaka ama-symphonies (1862 quartets - 1864, Quintet - 1861), kanye nemijikelezo eguquguqukayo (Izinguquko kanye ne-Fugue ku-Theme of Handel - 2, 1862 notebook notebook Ukuhlukahluka Kwendikimba YePaganini - 63-XNUMX) yizibonelo ezimangalisayo zesitayela sakhe sepiyano.

Ngo-1862, uBrahms waya eVienna, lapho kancane kancane wazinza khona ukuze athole indawo yokuhlala unomphela. Ukuhlonipha isiko laseViennese (kuhlanganise noSchubert) lomculo wansuku zonke kwakungama-waltze opiyano ezandleni ezi-4 nezi-2 (1867), kanye "Nezingoma Zothando" (1869) kanye "Nezingoma Ezintsha Zothando" (1874) - ama-waltzes we upiyano ezandleni ze-4 kanye ne-quartet yezwi, lapho i-Brahms ngezinye izikhathi ihlangana nesitayela "senkosi yama-waltzes" - I. Strauss (indodana), omculo wakhe owazisa kakhulu. U-Brahms naye uthola udumo njengomdlali wopiyano (wawenza kusukela ngo-1854, ikakhulukazi ngokuzithandela wadlala indima yepiyano kuma-ensembles akhe ekamelo, wadlala uBach, Beethoven, Schumann, imisebenzi yakhe, ehambisana nabahlabeleli, waya eJalimane Switzerland, Denmark, Holland, Hungary. , emadolobheni ahlukahlukene aseJalimane), nangemva kokudlala ngo-1868 eBremen ye-“German Requiem” - umsebenzi wakhe omkhulu kunayo yonke (yekwaya, abadlali abacula yedwa kanye ne-orchestra emibhalweni yeBhayibheli) - nanjengomqambi. Ukuqinisa igunya likaBrahms eVienna kwaba nesandla emsebenzini wakhe njengenhloko yekhwaya yeSinging Academy (1863-64), kwase kuba ikhwaya ne-orchestra yeNhlangano Yabathandi Bomculo (1872-75). Imisebenzi ka-Brahms ibigxile ekuhleleni imisebenzi yepiyano ka-WF Bach, F. Couperin, F. Chopin, R. Schumann wenhlangano yokushicilela i-Breitkopf ne-Hertel. Waba nesandla ekushicilelweni kwemisebenzi ka-A. Dvorak, ngaleso sikhathi owayengumqambi owaziwayo kancane, owayekweleta uBrahms ukusekela kwakhe okufudumele nokubamba iqhaza esiphethweni sakhe.

Ukuvuthwa okugcwele kokudala kwaphawulwa ngokukhanga kwamaBrahms ku-symphony (Okokuqala - 1876, Okwesibili - 1877, Okwesithathu - 1883, Okwesine - 1884-85). Ezindleleni zokuqaliswa kwalo msebenzi oyinhloko wempilo yakhe, uBrahms ucija amakhono akhe ngamaquartet ezintambo ezintathu (Owokuqala, Owesibili - 1873, Owesithathu - 1875), ku-orchestral Variations on a Theme of Haydn (1873). Izithombe ezisondelene nama-symphonies zifakwe ku-"Song of Fate" (ngemuva kuka-F. Hölderlin, 1868-71) kanye "kwiNgoma Yamapaki" (ngemuva kwe-IV Goethe, 1882). Ukuvumelana okulula nokugqugquzelayo kwe-Violin Concerto (1878) kanye ne-Second Piano Concerto (1881) kubonise okuvelayo kohambo oluya e-Italy. Ngemvelo yayo, kanye nesimo sase-Austria, eSwitzerland, eJalimane (ama-Brahms ngokuvamile aqanjwa ngezinyanga zasehlobo), imibono yemisebenzi eminingi ye-Brahms ixhunyiwe. Ukusabalala kwabo eJalimane nasemazweni angaphandle kwaqhutshwa imisebenzi yabadlali abavelele: uG. Bülow, umbhidisi weqembu elihamba phambili eJalimane, i-Meiningen Orchestra; umdlali wevayolini u-I. Joachim (umngane oseduze kaBrahms), umholi weqembu le-quartet nomdlali oyedwa; umculi uJ. Stockhausen nabanye. Ukuhlanganiswa kwamakamelo ezingoma ezihlukahlukene (ama-sonata ama-3 we-violin nopiyano - 1878-79, 1886, 1886-88; I-sonata yesibili ye-cello nepiyano - 1886; 2 trios ye-violin, i-cello nepiyano - 1880-82, 1886; - 2, 1882), Concerto for violin kanye cello kanye orchestra (1890), usebenzela khwaya cappella babengabangane abafanelekayo symphonies. Lezi zisuka ngasekupheleni kweminyaka yama-1887s. ulungiselele ukushintshela esikhathini sakamuva sokuqamba, esimakwa ukubusa kwezinhlobo zegumbi.

Ezifuna kakhulu, uBrahms, esaba ukukhathala komcabango wakhe wokudala, wacabanga ukumisa umsebenzi wakhe wokuqamba. Kodwa-ke, umhlangano entwasahlobo ka-1891 no-clarinetist we-Meiningen Orchestra R. Mülfeld wamshukumisela ukuba enze i-Trio, i-Quintet (1891), bese kuba ama-sonatas amabili (1894) ne-clarinet. Ngokuhambisanayo, uBrahms wabhala izingcezu zepiyano ezingu-20 (ikhasi 116-119), okwathi, kanye nama-clarinet ensembles, kwaba umphumela wokusesha komqambi wokudala. Lokhu kuyiqiniso ikakhulukazi nge-Quintet kanye ne-piano intermezzo - "izinhliziyo zamanothi osizi", okuhlanganisa ubukhali kanye nokuzethemba kwenkulumo yelyrical, ubunkimbinkimbi nobulula bokubhala, ukuzwakala okugcwele okugcwele kwamaphimbo. Iqoqo 1894 German Folk Songs (yezwi nopiyano) elanyatheliswa ngo-49 laliwubufakazi bokuthi u-Brahms wayelokhu enaka iculo lesintu - ukulunga kwakhe kwesimilo nobuhle. U-Brahms wayehlanganyela ezinhlelweni zezingoma zomdabu zaseJalimane (kuhlanganise nekwaya ye-cappella) kukho konke ukuphila kwakhe, wayethanda nezingoma zesiSlavic (Czech, Slovak, Serbian), evuselela umlingiswa wabo ezingomeni zakhe ezisekelwe emibhalweni yabantu. I-“Four Strict Melodies” yezwi nepiyano (uhlobo lwe-cantata eyedwa emibhalweni yeBhayibheli, 1895) kanye namaculo angu-11 omculo wamakhwaya (1896) kwenezela “iTestamente elingokomoya” lomqambi ngokunxusa izinhlobo nezindlela zobuciko zeBach. inkathi, esondelene nesakhiwo somculo wakhe, kanye nezinhlobo zesintu.

Emculweni wakhe, u-Brahms udale isithombe esiyiqiniso nesiyinkimbinkimbi sempilo yomoya womuntu - esivunguvungu emifunweni engazelelwe, eqinile futhi enesibindi ekunqobeni izithiyo ngaphakathi, ejabule futhi ejabule, ethambile ethambile futhi ngezinye izikhathi ekhathele, ehlakaniphile futhi eqinile, ethambile futhi esabela ngokomoya. . Ukulangazelela ukuxazululwa okuhle kwezingxabano, ukuthembela ezimisweni ezizinzile naphakade zokuphila komuntu, uBrahms azibona emvelweni, ingoma yesintu, kubuciko bamakhosi amakhulu esikhathi esidlule, esikweni lamasiko lezwe lakubo. , enjabulweni yomuntu elula, ihlanganiswa njalo emculweni wakhe nomuzwa wokuvumelana okungafinyeleleki, ukuphikisana okudabukisayo okukhula. Ama-symphonies angu-4 we-Brahms abonisa izici ezihlukahlukene zesimo sakhe sengqondo. Kowokuqala, owalandela ngokuqondile i-symphonism ka-Beethoven, ubukhali bokungqubuzana okukhazimulayo okusheshayo kuxazululwa esiphethweni seculo lenjabulo. I-symphony yesibili, i-Viennese ngempela (emsuka wayo - uHaydn no-Schubert), ingabizwa ngokuthi "i-symphony yenjabulo." Okwesithathu - okuthandana kakhulu kuwo wonke umjikelezo - kusuka ekudakeni okunomdlandla ngokuphila kuya ekukhathazekeni okudangele kanye nedrama, ngokuzumayo kwehle ngaphambi "kobuhle baphakade" bemvelo, ukusa okukhanyayo nokucacile. I-Fourth Symphony, impumelelo eyinhloko ye-symphonism kaBrahms, ithuthukisa, ngokwencazelo ka-I. Sollertinsky, “isuka ku-elegy iye enhlekeleleni.” Ubukhulu obakhiwe nguBrahms - i-symphonist enkulu kunazo zonke engxenyeni yesibili yekhulu le-XIX. - izakhiwo azibandakanyi amazwibela ajulile ajwayelekile ethoni etholakala kuwo wonke ama-symphonies futhi "okuyisihluthulelo esiyinhloko" somculo wakhe.

E. Tsareva

Ekujuleni kokuqukethwe, ikhono eliphelele, umsebenzi we-Brahms ungowempumelelo yobuciko emangalisayo yesiko laseJalimane engxenyeni yesibili yekhulu lesi-XNUMX. Esikhathini esinzima sokuthuthuka kwayo, eminyakeni yokudideka kwengqondo nobuciko, uBrahms wasebenza njengomlandeli kanye nokuqhubeka. classical amasiko. Wabacebisa ngempumelelo yamaJalimane ezothando. Kwavela ubunzima obukhulu endleleni. Ama-Brahms afuna ukuwanqoba, ephendukela ekuqondeni umoya wangempela womculo wesintu, amathuba acebe kakhulu aveza omculo angasoze wabuna wakudala.

“Ingoma yesintu ingifanele,” kusho uBrahms. Ngisho nasebusheni bakhe wayesebenza nekhwaya yasemakhaya; kamuva wachitha isikhathi eside engumbhidisi wamakwaya futhi, ebhekisela njalo engomeni yomdabu yaseJalimane, eyithuthukisa, wayicubungula. Yingakho umculo wakhe unezici zezwe ezingavamile.

Ngokunaka okukhulu nesithakazelo, ama-Brahms aphatha umculo wesintu wezinye izizwe. Umqambi wachitha ingxenye ebalulekile yokuphila kwakhe e-Vienna. Ngokwemvelo, lokhu kwaholela ekufakweni kwezinto ezihlukile ezweni lonke zobuciko besintu base-Austria emculweni we-Brahms. I-Vienna iphinde yanquma ukubaluleka okukhulu komculo wesiHungary nesiSlavic emsebenzini wamaBrahms. "AmaSlavicism" abonakala ngokucacile emisebenzini yakhe: ekuphendukeni okuvame ukusetshenziswa kanye nesigqi se-Czech polka, kwezinye izindlela zokuthuthukisa iphimbo, ukuguqulwa kwezwi. Iphimbo nesigqi somculo wesintu waseHungary, ikakhulukazi osesitayela sama-verbunko, okungukuthi, ngomoya wezinganekwane zasemadolobheni, kwathinta ngokusobala izingoma ezimbalwa zama-Brahms. V. Stasov waphawula ukuthi “Imidanso YaseHungary” edumile kaBrahms “iyifanelekela inkazimulo yayo enkulu.”

Ukungena okuzwelayo esakhiweni somqondo sesinye isizwe kutholakala kuphela kumaciko axhumene ngokwendalo nesiko lawo lesizwe. Injalo i-Glinka ngesi-Spanish Overtures noma i-Bizet e-Carmen. Unjalo u-Brahms, umculi wezwe ovelele wabantu baseJalimane, owaphendukela ku-Slavic kanye ne-Hungarian folk elements.

Eminyakeni yakhe ewohlokayo, u-Brahms walahla umusho obalulekile: “Izehlakalo ezimbili ezinkulu empilweni yami ukuhlangana kweJalimane nokuphothulwa kokushicilelwa kwezincwadi zikaBach.” Lapha emgqeni ofanayo kukhona, kubonakala sengathi, izinto ezingenakuqhathaniswa. Kodwa ama-Brahms, ngokuvamile ahlabayo ngamazwi, afaka incazelo ejulile kulo musho. Ukushisekela izwe, intshisekelo ebalulekile esiphethweni sezwe likamama, ukholo oluqinile emandleni abantu ngokwemvelo kuhlangene nomuzwa wokuncoma nokuncoma impumelelo kazwelonke yomculo waseJalimane nowase-Austrian. Imisebenzi kaBach noHandel, uMozart noBeethoven, uSchubert noSchumann yasebenza njengezibani zakhe eziqondisayo. Wabuye wafunda eduze umculo we-polyphonic wasendulo. Izama ukuqonda kangcono amaphethini okuthuthukiswa komculo, i-Brahms inake kakhulu izindaba zekhono lobuciko. Wafaka amazwi ahlakaniphile kaGoethe encwadini yakhe yokubhala: “Ifomu (ngobuciko. MD) kwakhiwa izinkulungwane zeminyaka yemizamo yongcweti abaphawuleka kakhulu, futhi lowo obalandelayo, kude kakhulu nokukwazi ukukubamba ngokushesha okungaka.

Kodwa uBrahms akazange afulathele umculo omusha: enqaba noma yikuphi ukubonakaliswa kokuwohloka kwezobuciko, wakhuluma ngozwela lweqiniso ngemisebenzi eminingi yabantu besikhathi sakhe. U-Brahms wazisa kakhulu "i-Meistersingers" futhi kakhulu "e-Valkyrie", nakuba ayenombono ongemuhle ngo-"Tristan"; ngituse isipho somculo nesisetshenziswa esisobala sika-Johann Strauss; wakhuluma ngokufudumele ngoGrieg; i-opera ethi “Carmen” Bizet wayibiza ngokuthi “intandokazi” yakhe; e-Dvorak uthole “ithalente langempela, elicebile, nelikhangayo.” Ubuciko bokunambitha kuka-Brahms kumkhombisa njengomculi ophilayo, oqondile, ongaziwa ezifundweni zakhe.

Ubonakala kanje emsebenzini wakhe. Igcwele okuqukethwe okujabulisayo kwempilo. Ezimweni ezinzima zeqiniso laseJalimane lekhulu lesi-XNUMX, amaBrahms alwela amalungelo nenkululeko yomuntu ngamunye, acula ngesibindi namandla okuziphatha. Umculo wakhe ugcwele ukukhathazeka ngesiphetho somuntu, uphethe amazwi othando nenduduzo. Unezwi elingaphumuli, eliyaluzayo.

Ubuqotho nobuqotho bomculo kaBrahms, eduze no-Schubert, kwembulwa ngokugcwele emazwini ephimbo, athatha indawo ebalulekile emlandweni wakhe wokudala. Emibhalweni ye-Brahms kukhona namakhasi amaningi wezinhlamvu zefilosofi, okuyizimpawu ze-Bach. Ekuthuthukiseni izithombe zamagama, ama-Brahms ayevame ukuthembela ezinhlotsheni ezikhona namaphimbo, ikakhulukazi inganekwane yase-Austria. Waphendukela ekuhlanganiseni okujwayelekile kohlobo, wasebenzisa izici zokudansa zomnikazi wendawo, i-waltz, ne-chardash.

Lezi zithombe zikhona futhi emisebenzini yezinsimbi ze-Brahms. Lapha, izici zedrama, uthando oluhlubukayo, umfutho ovuthayo uzwakala kakhudlwana, okumsondeza kuSchumann. Emculweni wama-Brahms, kukhona nezithombe ezigcwele umdlandla nesibindi, amandla anesibindi namandla amakhulu. Kule ndawo, ubonakala njengokuqhubeka kwesiko likaBeethoven emculweni waseJalimane.

Okuqukethwe okungqubuzana kakhulu kutholakala emisebenzini eminingi ye-chamber-instrumental kanye ne-symphonic ye-Brahms. Bakha kabusha amadrama avusa amadlingozi angokomzwelo, ngokuvamile okuba yisimo esidabukisayo. Le misebenzi ibonakala ngesasasa lendaba exoxwayo, kukhona okuthile okune-rhapsodic esethulweni sayo. Kodwa inkululeko yokukhuluma emisebenzini ebaluleke kakhulu yeBrahms ihlanganiswe ne-iron logic yentuthuko: wazama ukugqoka i-lava ebilayo yemizwa yothando ngezindlela eziqinile zakudala. Umqambi wayegajwe yimibono eminingi; umculo wakhe wawugcwele ingcebo engokomfanekiso, ukushintsha kwemizwa okungafani, izinhlobonhlobo zemithunzi. Ukuhlanganiswa kwawo kwemvelo kwakudinga umsebenzi womcabango oqinile nonembayo, indlela ephezulu yokuphikisana eyayiqinisekisa ukuxhumana kwezithombe ezihlukahlukene.

Kodwa hhayi ngaso sonke isikhathi futhi hhayi kuyo yonke imisebenzi yakhe Brahms wakwazi ukulinganisela injabulo ngokomzwelo kanye logic esiqinile ukuthuthukiswa zomculo. abaseduze naye uthando izithombe ngezinye izikhathi zazishayisana Classic indlela yokwethula. Ukulinganisela okuphazamisekile ngezinye izikhathi kwakuholela ekuchazeni okungacacile, inkungu yenkungu yenkulumo, kwaholela ezithombeni ezingaqediwe, ezingazinzile; ngakolunye uhlangothi, lapho umsebenzi womcabango uthatha indawo yokuqala kunomzwelo, umculo kaBrahms wazuza izici ezinengqondo, zokuzindla. (UTchaikovsky wabona kuphela lezi, ezikude kuye, izinhlangothi emsebenzini weBrahms ngakho-ke akakwazanga ukumhlola kahle. Umculo kaBrahms, ngamazwi akhe, "njengokungathi uhlekisa futhi ucasula umuzwa womculo"; wathola ukuthi womile, kubanda, kunenkungu, okungapheli.).

Kodwa sekukonke, imibhalo yakhe idonsa ngobuchule obumangalisayo kanye nokushesha ngokomzwelo ekudluliseleni imibono ebalulekile, ukuqaliswa kwayo okunengqondo. Ngoba, naphezu kokungqubuzana kwezinqumo zobuciko zomuntu ngamunye, umsebenzi we-Brahms ugcwele umzabalazo wokuqukethwe kwangempela komculo, ngenxa yemibono ephezulu yobuciko bobuntu.

Impilo nendlela yokudala

UJohannes Brahms wazalelwa enyakatho yeJalimane, eHamburg, ngoMeyi 7, 1833. Uyise, odabuka emndenini ompofu, wayengumculi wedolobha (umdlali wempondo, kamuva owadlala i-bass ephindwe kabili). Ubuntwana bomqambi badlulela ekusweleni. Kusukela esemncane, eneminyaka eyishumi nantathu, usevele edlala njengomdlali wepiyano emaphathini okudansa. Eminyakeni elandelayo, uhola imali ngezifundo zangasese, udlala njengomdlali wopiyano ngezikhathi zetiyetha, futhi ngezikhathi ezithile uhlanganyela emakhonsathini abalulekile. Ngesikhathi esifanayo, ngemva kokuphothula izifundo zokuqamba nothisha ohlonishwayo u-Eduard Marksen, owafaka kuye uthando lomculo we-classical, uqamba okuningi. Kodwa imisebenzi yamaBrahm asemancane akwaziwa muntu, futhi ngenxa yemali eyisenti, umuntu kufanele abhale imidlalo yasesalon nemibhalo eqoshiwe, enyatheliswa ngamagama-mbumbulu ahlukahlukene (cishe ama-opus angu-150 esewonke.) “Bambalwa ababephila kanzima njengaye. Ngenzile,” kusho uBrahms, ekhumbula iminyaka yobusha bakhe.

Ngo-1853 uBrahms walishiya idolobha lakubo; kanye nomdlali wevayolini u-Eduard (Ede) Remenyi, owayedingisiwe kwezombusazwe waseHungary, waya ohambweni olude lwekhonsathi. Lesi sikhathi sihlanganisa nokujwayelana kwakhe noLiszt noSchumann. Owokuqala wabo, ngomusa wakhe ojwayelekile, waphatha umqambi ongaziwa, onesizotha futhi onamahloni oneminyaka engamashumi amabili ubudala. Ukwamukelwa okufudumele nakakhulu kwakumlindile e-Schumann. Sekudlule iminyaka eyishumi lesi sakamuva sayeka ukubamba iqhaza ku-New Musical Journal ayidalile, kodwa, emangazwe ithalente lokuqala likaBrahms, uSchumann waphula ukuthula kwakhe - wabhala isihloko sakhe sokugcina esinesihloko esithi "Izindlela Ezintsha". Wabiza umqambi osemusha ngokuthi inkosi ephelele ‘ewubonisa ngokugcwele umoya wezikhathi. Umsebenzi we-Brahms, futhi ngalesi sikhathi wayesevele engumlobi wemisebenzi ebalulekile yepiyano (phakathi kwazo ama-sonatas amathathu), yakhangwa wonke umuntu: abameleli bezikole ze-Weimar neLeipzig babefuna ukumbona ezinhlwini zabo.

UBrahms wayefuna ukuqhela ebutha balezi zikole. Kodwa wawela ngaphansi kobuhle obungenakuvinjelwa bobuntu bukaRobert Schumann nomkakhe, umshayi wepiyano odumile uClara Schumann, uBrahms abagcinele uthando nobungane beqiniso eminyakeni engamashumi amane eyalandela. Imibono yobuciko nezinkolelo (kanye nokucwasa, ikakhulukazi ngokumelene no-Liszt!) walo mbhangqwana omangalisayo wawungenakuphikiswa kuye. Ngakho-ke, lapho ngasekupheleni kweminyaka yama-50s, ngemva kokufa kuka-Schumann, umzabalazo wemibono yefa lakhe lobuciko wavutha, uBrahms akakwazanga kodwa ukubamba iqhaza kuwo. Ngo-1860, wakhuluma ngokuphrinta (okwakuphela isikhathi empilweni yakhe!) ngokumelene nokugomela kwesikole saseJalimane esisha sokuthi imibono yaso yobuhle yahlanganyelwa. konke abaqambi abahamba phambili baseJalimane. Ngenxa yengozi ewumbudane, kanye negama likaBrahms, ngaphansi kwalombhikisho kwakusayinwe abaculi abathathu kuphela abasebasha (kuhlanganise nomshayi wevayolini ovelele uJosef Joachim, umngane kaBrahms); amanye, amagama adume kakhulu awazange akhishwe ephephandabeni. Lokhu kuhlasela, ngaphezu kwalokho, okuqanjwe ngamagama ahlabayo, angenangqondo, kwahlangatshezwana nobutha abaningi, ikakhulukazi uWagner.

Ngaphambi kwalokho, ukudlala kuka-Brahms nge-First Piano Concerto e-Leipzig kumakwe ukwehluleka okuyihlazo. Abamele isikole saseLeipzig basabela kabi kuye njenge "Weimar". Ngakho, ngokuphambuka kolunye ugu, amaBrahms akakwazanga ukunamathela kolunye. Indoda enesibindi futhi ehloniphekile, yena, naphezu kobunzima bokuphila kanye nokuhlaselwa okunonya kwama-Wagnerian aphikisayo, akazange enze ukuyekethisa kokudala. U-Brahms wahoxa wangena kuye, wazibiyela engxabanweni, waphumela ngaphandle waqhela emzabalazweni. Kodwa emsebenzini wakhe waqhubeka: ethatha okuhle kakhulu emibonweni yobuciko yazo zombili izikole, ngomculo wakho kwafakazela (nakuba kungenzeki njalo) ukungahlukaniseki kwezimiso zemibono, ubuzwe kanye nentando yeningi njengezisekelo zobuciko obuneqiniso lempilo.

Ukuqala kweminyaka yama-60s, ngokwezinga elithile, kwakuyisikhathi senhlekelele ye-Brahms. Ngemva kweziphepho nokulwa, kancane kancane ufika ekufezekeni kwemisebenzi yakhe yokudala. Kungalesi sikhathi lapho aqala khona umsebenzi wesikhathi eside wemisebenzi emikhulu yohlelo lwezwi-symphonic (“Requiem German”, 1861-1868), ku-First Symphony (1862-1876), uzibonakalisa ngokujulile emkhakheni wekamelo. izincwadi (amaquartet upiyano, i-quintet, i-cello sonata). Ezama ukunqoba ukuthuthukiswa kwezothando, ama-Brahms afunda ngokujulile izingoma zesintu, kanye nezakudala zaseViennese (izingoma, ama-vocal ensembles, amakhwaya).

U-1862 uyinkathi yoshintsho ekuphileni kwamaBrahms. Engawasebenzisi amandla akhe ezweni lakubo, uthuthela eVienna, lapho ehlala khona kwaze kwaba sekufeni kwakhe. Umshayi wopiyano omangalisayo kanye nombhidisi, ufuna umsebenzi waphakade. Idolobha lakubo iHamburg limphikile lokhu, wamthela isilonda esingapholi. E-Vienna, wazama kabili ukuthola indawo enkonzweni njengenhloko yeSinging Chapel (1863-1864) kanye nomqhubi we-Society of Friends of Music (1872-1875), kodwa washiya lezi zikhundla: abazange balethe. ukwaneliseka okuningi kwezobuciko noma ukulondeka ngokwezinto ezibonakalayo. Isikhundla sika-Brahms saba ngcono kuphela maphakathi nawo-70s, lapho ekugcineni ethola ukuqashelwa emphakathini. U-Brahms wenza okuningi ngemisebenzi yakhe ye-symphonic ne-chamber, uvakashela amadolobha amaningana eJalimane, eHungary, eHolland, eSwitzerland, eGalicia, ePoland. Wayeluthanda lolu hambo, ukwazi amazwe amasha futhi, njengesivakashi, wayese-Italy izikhathi eziyisishiyagalombili.

Iminyaka yama-70s kanye nama-80s isikhathi sokuvuthwa kokudala kwe-Brahms. Phakathi nale minyaka, kwabhalwa ama-symphonies, i-violin namakhonsathi e-piano yesibili, imisebenzi eminingi yekamelo (i-violin sonatas ezintathu, i-cello yesibili, i-trios yepiyano yesibili neyesithathu, ama-quartet ezintambo ezintathu), izingoma, amakhwaya, ama-vocal ensembles. Njengangaphambili, uBrahms emsebenzini wakhe ubhekisela ezinhlotsheni ezihluke kakhulu zobuciko bomculo (ngaphandle kwedrama yomculo kuphela, nakuba ayezobhala i-opera). Ulwela ukuhlanganisa okuqukethwe okujulile nokuqonda kwentando yeningi ngakho-ke, kanye nemijikelezo yezinsimbi eyinkimbinkimbi, udala umculo wohlelo olulula lwansuku zonke, ngezinye izikhathi lomculo wasekhaya (izingoma zomculo "Izingoma Zothando", "Imidanso yaseHungary", ama-waltzes wepiyano. njll.). Ngaphezu kwalokho, esebenza ngazo zombili izici, umqambi akayishintshi indlela yakhe yokudala, esebenzisa ikhono lakhe elimangalisayo lokweqa emisebenzini edumile futhi ngaphandle kokulahlekelwa ubulula nobubele kuma-symphonies.

Ububanzi bemibono ye-Brahms ye-ideological kanye nobuciko bubuye bubonakale ngokufana okungavamile ekuxazululeni izinkinga zokudala. Ngakho, cishe kanyekanye, wabhala serenades ezimbili orchestral ukubunjwa ezahlukene (1858 futhi 1860), quartets upiyano ezimbili (op. 25 kanye 26, 1861), quartet string ezimbili (op. 51, 1873); ngokushesha ngemva kokuphela kwe-Requiem ithathwa "Izihlabelelo Zothando" (1868-1869); kanye nethi "Festive" idala "I-Tragic Overture" (1880-1881); Eyokuqala, i-symphony “edabukisayo” incikene neyesibili, “yokwalusa” (1876-1878); Okwesithathu, "iqhawe" - ngeyesine, "inhlekelele" (1883-1885) (Ukuze kuqashelwe izici ezivelele zokuqukethwe kwama-symphonies ka-Brahms, amagama awo anemibandela akhonjisiwe lapha.). Ehlobo lika-1886, imisebenzi enjalo ephikisanayo yohlobo lwegumbi njenge-Second Cello Sonata (op. 99), ukukhanya, i-idyllic in mood I-Violin Yesibili Sonata (op. 100), i-Epic Third Piano Trio (op. 101) kanye nesasasa elijulile, i-Violin Yesithathu edabukisayo (ikhasi 108).

Ngasekupheleni kokuphila kwakhe - uBrahms washona ngo-Ephreli 3, 1897 - umsebenzi wakhe wokudala uba buthaka. Wakhulelwa i-symphony kanye nezinye izingoma eziningi ezinkulu, kodwa kuphela izingcezu zegumbi nezingoma ezenziwa. Akugcinanga nje ngokuba mncane izinhlobo zezinhlobo, ububanzi bezithombe bunciphile. Akunakwenzeka ukungaboni kulokhu ukubonakaliswa kokukhathala kokudala komuntu onesizungu, odumele emzabalazweni wokuphila. Ukugula okubuhlungu okwamletha ethuneni (umdlavuza wesibindi) kwaba nomthelela. Noma kunjalo, leminyaka yokugcina futhi yaphawuleka ngokusungulwa komculo weqiniso, wesintu, okhazimulisa izimiso eziphakeme zokuziphatha. Kwanele ukusho njengezibonelo upiyano intermezzos (op. 116-119), i-clarinet quintet (op. 115), noma i-Four Strict Melodies (op. 121). Futhi u-Brahms wathwebula uthando lwakhe olungapheli lobuciko bendabuko eqoqweni elimangalisayo lezingoma zomdabu zaseJalimane ezingamashumi amane nesishiyagalolunye zezwi nepiyano.

Izici zesitayela

UBrahms ungummeleli wokugcina omkhulu womculo waseJalimane wekhulu lesi-XNUMX, owathuthukisa amasiko obuciko nobuciko besiko lesizwe elithuthukile. Nokho, umsebenzi wakhe awukho ngaphandle kokungqubuzana okuthile, ngoba wayengakwazi ngaso sonke isikhathi ukuqonda izinto eziyinkimbinkimbi zesimanje, akazange afakwe emzabalazweni wezenhlalo nezombusazwe. Kodwa ama-Brahms awazange akhaphele izimiso eziphakeme zobuntu, akazange ayekethise nemibono yonxiwankulu, wenqaba yonke into engamanga, eyesikhashana emasikweni nasezobuciko.

U-Brahms udale esakhe isitayela sokudala soqobo. Ulimi lwakhe lomculo luphawulwa ngezici zomuntu ngamunye. Okujwayelekile kuye amaphimbo ahlotshaniswa nomculo wesintu waseJalimane, othinta ukwakheka kwezindikimba, ukusetshenziswa kwemiculo ngokuya ngamathoni angonxantathu, kanye nokuphenduka kwe-plagal okungokwemvelo ezingqimbeni zasendulo zokubhala izingoma. Futhi i-plagality idlala indima enkulu ekuzwaneni; ngokuvamile, i-subdominant encane ibuye isetshenziswe enkulu, futhi enkulu kwencane. Imisebenzi ye-Brahms ibonakala ngokusuka kwe-modal. "Ukucwayiza" kokukhulu - okuncane kuyisici sakhe kakhulu. Ngakho-ke, isisusa esiyinhloko somculo we-Brahms singavezwa yilolu hlelo olulandelayo (uhlelo lokuqala lubonisa isihloko sengxenye eyinhloko ye-Symphony yokuqala, eyesibili - isihloko esifanayo se-Third Symphony):

Isilinganiso esinikeziwe sokuthathu nesithupha ekwakhekeni komculo, kanye nezindlela zokuphindaphinda okwesithathu noma kwesithupha, ziyizintandokazi ze-Brahms. Ngokuvamile, ibonakala ngokugcizelela izinga lesithathu, elibucayi kakhulu ekubaleni kwesimo se-modal. Ukuchezuka kokuguquguquka okungalindelekile, ukuhlukahluka kwe-modal, imodi enkulu-encane, i-melodic ne-harmonic enkulu - konke lokhu kusetshenziselwa ukukhombisa ukuhlukahluka, ukunotha kwezithunzi zokuqukethwe. Izigqi eziyinkimbinkimbi, inhlanganisela yamamitha alinganayo nayinqaba, ukwethulwa kwama-triplets, isigqi esinamachashazi, ukuvumelanisa emgqeni we-melodic obushelelezi nakho kuyasiza lokhu.

Ngokungafani nemiculo yephimbo eyindilinga, izingqikithi zezinsimbi ze-Brahms zivame ukuvuleka, okwenza kube nzima ukuzibamba ngekhanda nokuzibona. Ukuthambekela okunjalo "kokuvula" imingcele yetimu kubangelwa isifiso sokugcwalisa umculo ngentuthuko ngangokunokwenzeka. (UTaneyev naye wayefisa lokhu.). U-BV Asafiev waphawula kahle ukuthi ama-Brahms ngisho nakuma-lyrical miniatures "yonke indawo umuntu azizwa ukuthuthukiswa".

Ukuhumusha kuka-Brahms izimiso zokubunjwa kumakwa ngokwangempela okukhethekile. Wayelwazi kahle ulwazi oluningi olwaqoqwa isiko lomculo laseYurophu, futhi, kanye nezinhlelo zesimanje ezisemthethweni, wasebenzisa kudala, kubonakala sengathi, ayisasebenzi: lezo ziyifomu elidala le-sonata, i-variation suite, amasu e-basso ostinato. ; wanikeza ukuchayeka okuphindwe kabili ekhonsathini, wasebenzisa izimiso zekhonsathi grosso. Kodwa-ke, lokhu akwenziwanga ngenjongo yokwenza isitayela, hhayi ngenjongo yokutuswa kobuhle bamafomu aphelelwe yisikhathi: ukusetshenziswa okunjalo okuphelele kwamaphethini esakhiwo amisiwe kwakungokwesimo esiyisisekelo esijulile.

Ngokungafani nabameleli benkambiso ye-Liszt-Wagner, i-Brahms yayifuna ukufakazela ikhono endala ukuhlanganisa kusho ukudlulisa yesimanje ukwakha imicabango nemizwa, futhi empeleni, ngobuhlakani bakhe, wakufakazela lokhu. Ngaphezu kwalokho, wayebheka izindlela ezibaluleke kakhulu, ezibalulekile zokukhuluma, ezizinze emculweni we-classical, njengethuluzi lokulwa nokubola kwefomu, ukubandlulula kwezobuciko. Umphikisi we-subjectivism kwezobuciko, u-Brahms wavikela imiyalo yobuciko bakudala. Waphendukela kubo futhi ngoba wayefuna ukunqanda ukuqhuma okungenakulinganisela komcabango wakhe, okwakuqeda imizwa yakhe yenjabulo, ukukhathazeka, nokungaphumuli. Akazange aphumelele ngaso sonke isikhathi kulokhu, ngezinye izikhathi kwavela ubunzima obukhulu ekusetshenzisweni kwezinhlelo ezinkulu. I-Brahms yenza ngokuphikelela kakhulu ekuhumusheni amafomu amadala nezimiso ezimisiwe zentuthuko. Waletha izinto eziningi ezintsha.

Okubaluleke kakhulu impumelelo yakhe ekuthuthukiseni izimiso zokuthuthuka ezishintshashintshayo, azihlanganisa nezimiso ze-sonata. Ngokusekelwe ku-Beethoven (bona ukuhluka kwakhe okungu-32 kwepiyano noma isiphetho se-Ninth Symphony), u-Brahms wazuza emijikelezweni yakhe umdlalo ohlukile, kodwa onenjongo, "ngokusebenzisa" idrama. Ubufakazi balokhu Ukuhlukahluka kwetimu ye-Handel, endikimbeni ka-Haydn, noma i-passacaglia ehlakaniphile ye-Fourth Symphony.

Ekuhumusheni ifomu le-sonata, i-Brahms iphinde yanikeza izixazululo ngazinye: wahlanganisa inkululeko yokukhuluma kanye nengqondo yakudala yentuthuko, injabulo yothando nokuziphatha okunengqondo okunengqondo. Ubuningi bezithombe ekufanekisweni kokuqukethwe okumangalisayo kuyisici esivamile somculo wama-Brahms. Ngakho-ke, isibonelo, izingqikithi ezinhlanu ziqukethwe ekuvezweni kwengxenye yokuqala ye-piano quintet, ingxenye eyinhloko yesiphetho se-Third Symphony inezihloko ezintathu ezihlukahlukene, izingqikithi ezimbili eziseceleni ziyingxenye yokuqala ye-Fourth Symphony, njll. . Lezi zithombe ziqhathaniswa ngokuphambene, okuvame ukugcizelelwa ubudlelwane be-modal (ngokwesibonelo, engxenyeni yokuqala ye-First Symphony, ingxenye eseceleni inikezwe ngo-Es-dur, kanye nengxenye yokugcina ku-es-moll; engxenyeni efanayo. ye-Third Symphony, lapho kuqhathaniswa izingxenye ezifanayo A-dur – a-moll; esiphethweni se-symphony ebizwa ngokuthi – C-dur – c -moll, njll.).

I-Brahms inake ngokukhethekile ukuthuthukiswa kwezithombe zeqembu eliyinhloko. Izindikimba zakhe kulo lonke ukunyakaza zivame ukuphindaphindwa ngaphandle kwezinguquko nakukhiye ofanayo, okuyisici sefomu le-rondo sonata. Izici ze-ballad zomculo wama-Brahms nazo ziyazibonakalisa kulokhu. Iqembu elikhulu limelene kakhulu nowamanqamu (ngezinye izikhathi oxhumanisa), onikezwe isigqi esinamachashazi ashubile, ukuhamba, okuvamise ukuphenduka okuqhoshayo okuthathwe kumlando waseHungary (bheka izingxenye zokuqala ze-First and Fourth Symphonies, i-Violin ne-Second Piano Concertos. nabanye). Izingxenye eziseceleni, ezisekelwe emazwini nasezinhlotsheni zomculo wansuku zonke wase-Viennese, aziqediwe futhi azibi yizikhungo zezingoma zokunyakaza. Kodwa ziyisici esiphumelelayo ekuthuthukisweni futhi ngokuvamile zithola izinguquko ezinkulu ekuthuthukisweni. Lesi sakamuva sibanjwa kafushane futhi siguquguqukayo, njengoba izakhi zokuthuthukiswa sezivele zethuliwe ekuvezweni.

U-Brahms wayeyingcweti enhle kakhulu yobuciko bokushintsha imizwelo, yokuhlanganisa izithombe zezimfanelo ezihlukene ekuthuthukisweni okukodwa. Lokhu kusizwa ukuxhumana kwe-motivic okuthuthukisiwe okuhlukahlukene, ukusetshenziswa koguquko lwazo, kanye nokusetshenziswa kabanzi kwezindlela zokwephula umthetho. Ngakho-ke, waphumelela kakhulu ekubuyeleni ekuqaleni kokulandisa - ngisho nangaphakathi kohlaka lwefomu le-tripartite elula. Lokhu konke kuzuzwe ngempumelelo ku-sonata allegro lapho kusondela i-reprise. Ngaphezu kwalokho, ukuze kuthuthukiswe idrama, i-Brahms ithanda, njengoTchaikovsky, ukuguqula imingcele yentuthuko nokuphindaphinda, ngezinye izikhathi okuholela ekwenqatshweni kokusebenza okugcwele kwengxenye eyinhloko. Ngokuhambisanayo, ukubaluleka kwekhodi njengomzuzwana wokungezwani okuphezulu ekuthuthukisweni kwengxenye kuyanda. Izibonelo eziphawulekayo zalokhu zitholakala ekunyakazeni kokuqala kwe-Third and Fourth Symphonies.

UBrahms uyingcweti yedramaturgy yomculo. Kokubili ngaphakathi kwemingcele yengxenye eyodwa, nakuwo wonke umjikelezo wezinsimbi, wanikeza isitatimende esingaguquki sombono owodwa, kodwa, egxile kukho konke ukunaka. ngaphakathi umqondo wokuthuthuka komculo, ovame ukunganakwa ngaphandle umcabango onemibalabala. Sinjalo isimo sengqondo sikaBrahms ngenkinga yobuhle; kanjalo ukuhumusha kwakhe amathuba ezinsimbi zomculo, i-orchestra. Akazange asebenzise imiphumela ye-orchestra kuphela futhi, ekubikezeleni kwakhe kokuvumelana okugcwele nokushubile, izingxenye eziphindwe kabili, amazwi ahlangene, akazange alwele ukuhlukana nokuphikiswa kwabo. Noma kunjalo, lapho okuqukethwe komculo kukudinga, ama-Brahms athola ukunambitheka okungajwayelekile ayekudinga (bona izibonelo ezingenhla). Ekuzithibeni okunjalo, esinye sezici ezibaluleke kakhulu zendlela yakhe yokudala ivezwa, esibonakala ngokuzithiba okuhle kokukhuluma.

UBrahms uthe: “Ngeke sisakwazi ukubhala kahle njengoMozart, sizozama ukubhala okungenani ngokuhlanzekile njengaye.” Akukhona nje ngesu kuphela, kodwa futhi mayelana nokuqukethwe komculo kaMozart, ubuhle bawo bokuziphatha. U-Brahms wadala umculo oyinkimbinkimbi kakhulu kuno-Mozart, obonisa ubunkimbinkimbi nokungahambisani kwesikhathi sakhe, kodwa walandela lesi siqubulo, ngoba isifiso sezimiso zokuziphatha eziphakeme, umuzwa wokuzibophezela ojulile kukho konke akwenza kwaphawula impilo yokudala kaJohannes Brahms.

M. Druskin

• Ubuciko bezwi be-Brahms →
• Ubuciko be-Chamber-instrumental be-Brahms →
• Imisebenzi ye-Symphonic ye-Brahms →

• Umsebenzi wepiyano we-Brahms →

• Uhlu lwemisebenzi ka-Brahms →