Ludwig van Beethoven |

ULudwig van Beethoven

Ukuzimisela kwami ​​ukukhonza abantu abahluphekayo abahluphekayo ngobuciko bami akukaze, kusukela ebuntwaneni bami... kudinga noma yimuphi umvuzo ngaphandle kokwaneliseka kwangaphakathi... L. Beethoven

I-Musical Europe yayisagcwele amahlebezi mayelana nengane eyisimangaliso emangalisayo - u-WA ​​Mozart, lapho uLudwig van Beethoven ezalwa eBonn, emndenini we-tenorist yesonto lenkantolo. Babhapathizwa ngo-December 17, 1770, bemetha ngomkhulu wakhe, umqeqeshi weqembu ohlonishwayo, ongowokuzalwa eFlanders. U-Beethoven wathola ulwazi lwakhe lokuqala lomculo kuyise kanye nozakwabo. Ubaba wayefuna ukuba abe "i-Mozart yesibili", futhi waphoqa indodana yakhe ukuba iqeqeshe ngisho nasebusuku. U-Beethoven akazange abe yingane eyingane, kodwa wathola ithalenta lakhe njengomqambi ekuseni kakhulu. U-K. Nefe, owamfundisa ukuqamba nokudlala i-ogani, waba nethonya elikhulu kuye - indoda enobuhle obuphambili kanye nezinkolelo zezombusazwe. Ngenxa yobumpofu bomndeni, u-Beethoven waphoqeleka ukuba angene enkonzweni ekuseni kakhulu: eneminyaka engu-13 ubudala, wabhaliswa esontweni njengomsizi we-ogani; kamuva wasebenza njengomphelezeli eBonn National Theatre. Ngo-1787 wavakashela eVienna futhi wahlangana nesithixo sakhe, uMozart, okwathi ngemva kokulalela ukulungiswa kwalensizwa, sathi: “Mnake; ngelinye ilanga uyokwenza umhlaba ukhulume ngaye.” U-Beethoven wehlulekile ukuba ngumfundi waseMozart: ukugula okunzima nokufa kukanina kwamphoqa ukuba abuyele eBonn ngokushesha. Lapho, u-Beethoven wathola ukwesekwa kokuziphatha emndenini okhanyiselwe wakwaBreining futhi wasondelana nemvelo yaseyunivesithi, eyabelana ngemibono eqhubekayo kakhulu. Imibono yeNguquko YaseFrance yamukelwa ngentshiseko abangane bakaBeethoven bakaBonn futhi yaba nethonya elinamandla ekwakhekeni kwezinkolelo zakhe zentando yeningi.

E-Bonn, u-Beethoven wabhala inqwaba yemisebenzi emikhulu nemincane: ama-cantata ama-2 abacula ngabodwana, ikhwaya ne-orchestra, ama-quartet epiyano ama-3, ama-sonata amapiyano amaningana (manje abizwa ngokuthi ama-sonatinas). Kumele kuqashelwe ukuthi i-sonatas eyaziwa yibo bonke abadlali bopiyano abaqalayo usawoti и F ezinkulu ku-Beethoven, ngokusho kwabacwaningi, azikho, kodwa kuthiwa kuphela, kodwa enye, i-Sonatina ka-Beethoven ngempela ku-F enkulu, etholwe futhi yanyatheliswa ngo-1909, isala, njengokungathi, emthunzini futhi ayidlalwa yinoma ubani. Iningi lobuciko be-Bonn nalo lwenziwe ukwehluka nezingoma ezihloselwe ukwenza umculo wezimfundamakhwela. Phakathi kwazo kukhona ingoma eyaziwayo ethi "Marmot", ingoma ethinta inhliziyo ethi "Elegy on the Death of a Poodle", iphosta evukelayo ethi "Free Man", ingoma ephuphile ethi "Sigh of the unloved and happy love", equkethe isibonelo setimu yesikhathi esizayo ye injabulo evela ku-Ninth Symphony, "Ingoma Yomhlatshelo", uBeethoven ayithanda kakhulu kangangokuthi wabuyela kuyo izikhathi ezingu-5 (uhlelo lokugcina - 1824). Naphezu kokusha nokukhanya kwezingoma zentsha, uBeethoven waqonda ukuthi kwakudingeka afunde ngokujulile.

NgoNovemba 1792, ekugcineni wayishiya iBonn futhi wathuthela eVienna, isikhungo esikhulu somculo eYurophu. Lapha wafunda i-counterpoint kanye nokwakheka no-J. Haydn, I. Schenck, I. Albrechtsberger kanye no-A. Salieri. Nakuba umfundi ayephawuleka ngokuba nenkani, wafunda ngentshiseko futhi kamuva wakhuluma ngokwazisa ngabo bonke othisha bakhe. Ngesikhathi esifanayo, u-Beethoven waqala ukwenza njengomdlali wepiyano futhi ngokushesha wathola udumo njengomuntu ongcono kakhulu kanye ne-virtuoso ekhanyayo. Ohambweni lwakhe lokuqala nolokugcina olude (1796), wanqoba izethameli zasePrague, eBerlin, eDresden, eBratislava. I-virtuoso esencane yayixhaswe abathandi bomculo abaningi abavelele - u-K. Likhnovsky, F. Lobkowitz, F. Kinsky, inxusa laseRussia u-A. Razumovsky nabanye, ama-sonatas kaBeethoven, ama-trios, ama-quartet, futhi kamuva ngisho nama-symphonies azwakala okokuqala ngqa kumculo wabo. amasaluni. Amagama abo angatholakala ekunikezelweni kwemisebenzi eminingi yomqambi. Kodwa-ke, indlela kaBeethoven yokusebenzelana nabaxhasi bakhe yayingakaze izwakale ngaleso sikhathi. Ngokuziqhenya nokuzimela, akazange athethelele muntu ngemizamo yokudicilela phansi isithunzi sakhe. Amagama ayinganekwane ajikijelwa umqambi kumsizi owamcasula ayaziwa: “Kube khona futhi kuzoba nezinkulungwane zezikhulu, uBeethoven munye kuphela.” Kubafundi abaningi abayizicukuthwane bakaBeethoven, u-Ertman, odade u-T. no-J. Bruns, kanye noM. Erdedy baba abangane bakhe abaqhubekayo nabagqugquzeli bomculo wakhe. Engathandi ukufundisa, u-Beethoven nokho wayenguthisha ka-K. Czerny kanye no-F. Ries ku-piano (bobabili kamuva bazuza udumo lwase-Europe) kanye ne-Archduke Rudolf yase-Austria ekuqanjweni kwayo.

Eminyakeni eyishumi yokuqala yaseViennese, uBeethoven wabhala ikakhulukazi umculo wepiyano nowegumbi. Ngo-1792-1802. Kwadalwa amakhonsathi epiyano angu-3 kanye nama-sonata angu-2 ayishumi nambili. Kulawa, ngu-Sonata No. 8 kuphela (“Odabukisayo”) onesihloko sombhali. I-Sonata No. 14, enesihloko esithi sonata-fantasy, yayibizwa ngokuthi "Lunar" yimbongi yothando u-L. Relshtab. Amagama azinzile aphinde aqiniswa ngemuva kwe-sonatas No. 12 ("NgoMashi Womngcwabo"), No. 17 ("Nge-Recitatives") futhi kamuva: No. 21 ("Aurora") kanye No. 23 ("Appassionata"). Ngaphezu kwepiyano, i-9 (ku-10) i-violin sonatas ingeyenkathi yokuqala yase-Viennese (kuhlanganise No. 5 - "Spring", No. 9 - "Kreutzer"; amagama womabili nawo awawona umbhali); Ama-cello sonatas angu-2, ama-quartet ezintambo ezingu-6, inani lama-ensemble ezinsimbi ezihlukahlukene (okuhlanganisa ne-Septet ekhaliphile).

Ekuqaleni kwekhulu le-XIX. U-Beethoven naye waqala njengomculi we-symphonist: ngo-1800 waqeda i-Symphony yakhe yokuqala, kwathi ngo-1802 yakhe yesibili. Ngesikhathi esifanayo, okuwukuphela kwenkulumo yakhe ethi “Kristu ENtabeni Yeminqumo” yalotshwa. Izimpawu zokuqala zesifo esingelapheki esabonakala ngo-1797 - ubuthulu obuqhubekayo kanye nokugcwaliseka kokuphelelwa ithemba kwayo yonke imizamo yokwelapha lesi sifo kwaholela u-Beethoven ebunzimeni obungokomoya ngo-1802, owabonakala embhalweni odumile - iTestamente le-Heiligenstadt. Ukudala kwakuyindlela yokuphuma kule nkinga: “… Bekungenele ukuthi ngizibulale,” kubhala umqambi. - "Yiyo kuphela, ubuciko, eyangigcina."

1802-12 - isikhathi sokuqhakaza okukhazimulayo kobuhlakani bukaBeethoven. Imibono yokunqoba ukuhlupheka ngamandla omoya kanye nokunqoba kokukhanya phezu kobumnyama, ahlushwa ngokujulile nguye, ngemva komzabalazo onzima, kwavela ukuthi ihambisana nemibono eyinhloko ye-Revolution yesiFulentshi kanye nezinhlangano zokukhulula zasekuqaleni kwe-23. ikhulu leminyaka. Le mibono ifakwe kweyesiThathu (“Amaqhawe”) kanye ne-Fifth Symphonies, ku-opera enonya ethi “Fidelio”, emculweni wenhlekelele ethi “Egmont” ka-JW Goethe, ku-Sonata No. 21 (“Appassionata”). Umqambi wabuye waphefumulelwa imibono yefilosofi neyokuziphatha ye-Enlightenment, eyamukela ebusheni bakhe. Umhlaba wemvelo ubonakala ugcwele ukuvumelana okunamandla kuSixth (“Pastoral”) Symphony, ku-Violin Concerto, kuPiano (No. 10) kanye ne-Violin (No. 7) Sonatas. Izingoma zomdabu noma ezisondelene nezingoma zomdabu zizwakala ku-Seventh Symphony kanye namaquartets Nos. 9-8 (okuthiwa “isiRashiya” - zinikezelwe ku-A. Razumovsky; I-Quartet No. 2 iqukethe izingoma eziyi-XNUMX zezingoma zomdabu zaseRussia: zisetshenzisiwe. kamuva kakhulu futhi nguN. Rimsky-Korsakov "Inkazimulo" futhi "Ah, ithalenta lami, ithalenta"). I-Fourth Symphony igcwele ithemba elinamandla, eyesishiyagalombili igcwele amahlaya kanye nokulangazelela okuxakayo kwezikhathi zika-Haydn no-Mozart. Uhlobo lwe-virtuoso luphathwa ngendlela ebabazekayo nangokwesikhumbuzo ku-Fourth and Fifth Piano Concertos, kanye naku-Triple Concerto ye-Violin, i-Cello ne-Piano ne-Okhestra. Kuyo yonke le misebenzi, isitayela se-Viennese classicism sathola ukufana kwaso okuphelele nokugcina nokholo lwayo oluqinisekisa ukuphila ngesizathu, ubuhle kanye nobulungisa, oluvezwe ezingeni lomqondo njengomnyakazo "wokudlula ukuhlupheka kuya enjabulweni" (kusuka encwadini kaBeethoven eya kuM. . Erdedy), nasezingeni lokuqamba - njengebhalansi phakathi kobunye nokuhlukahluka kanye nokugcinwa kwezilinganiso eziqinile esikalini esikhulu kunazo zonke sokuqanjwa.

1812-15 - amaphuzu aguqukayo empilweni yezombangazwe nengokomoya yaseYurophu. Isikhathi sezimpi zamaNapoleon kanye nokukhuphuka kwenhlangano yenkululeko kwalandelwa yiCongress of Vienna (1814-15), okwathi ngemva kwalokho ukuthambekela kombuso we-reactionary-monarchist kwaqina kunqubomgomo yasekhaya neyangaphandle yamazwe aseYurophu. Isitayela se-heroic classicism, eveza umoya wokuvuselelwa kabusha kwekhulu le-1813. kanye nemizwelo yokushisekela izwe ekuqaleni kwekhulu le-17, kwakudingeka nakanjani iphenduke ibe ubuciko bokuziqhenya obuthile obusemthethweni, noma inikeze indlela yothando, okwaba umkhuba ohamba phambili ezincwadini futhi yakwazi ukuzenza yaziwe emculweni (F. Schubert). UBeethoven naye kwadingeka axazulule lezi zinkinga ezingokomoya eziyinkimbinkimbi. Wakhokha intela ekujabuleleni okunqobile, wenza iphupho elimangalisayo le-symphonic "The Battle of Vittoria" kanye ne-cantata "Happy Moment", ama-premiere ahlelwe ukuthi ahambisane neCongress of Vienna futhi alethe uBeethoven impumelelo engakaze izwakale. Nokho, kweminye imibhalo ye-4-5. kubonise ukuphikelela nokufuna izindlela ezintsha ngezinye izikhathi okubuhlungu. Ngalesi sikhathi, i-cello (Nos. 27, 28) kanye ne-piano (Nos. 1815, XNUMX) kwabhalwa ama-sonatas, izinhlelo eziningana zezingoma zezizwe ezahlukene zezwi nge-ensemble, umjikelezo wokuqala wezwi emlandweni wohlobo " Kosithandwa Esikude” (XNUMX). Isitayela sale misebenzi, njengokungathi, siwukuhlola, ngokutholwa okuningi okuhle, kodwa asiqinile ngaso sonke isikhathi njengasenkathini “yenguquko yakudala.”

Iminyaka eyishumi yokugcina yokuphila kuka-Beethoven yasibekela kokubili isimo sezombangazwe nesomoya esicindezelayo e-Metternich's Austria, kanye nobunzima neziyaluyalu zomuntu siqu. Ukungezwa komqambi kwaba okuphelele; kusukela ngo-1818, waphoqeleka ukuthi asebenzise "izincwadi zezingxoxo" lapho abaxoxisana nabo bebhala khona imibuzo eqondiswe kuye. Njengoba ulahlekelwe ithemba ngenjabulo yomuntu siqu (igama elithi “othandekayo ongafi”, okuqondiswe kuye incwadi yokuvalelisa kaBeethoven kaJulayi 6-7, 1812, ayaziwa; abanye abacwaningi bambheka njengoJ. Brunswick-Deym, abanye – A. Brentano) , uBeethoven wanakekela ukukhulisa umshana wakhe uKarl, indodana yomfowabo omncane owashona ngo-1815. Lokhu kwaholela empini ethathe isikhathi eside (1815-20) nonina womfana mayelana namalungelo okuthola umntwana yedwa. Umshana onekhono kodwa ongenangqondo wanikeza uBeethoven usizi olukhulu. Umehluko phakathi kwezimo zokuphila ezidabukisayo futhi ngezinye izikhathi ezidabukisayo kanye nobuhle obufanele bemisebenzi edaliwe kuwukubonakaliswa kwesenzo esingokomoya esenza u-Beethoven waba omunye wamaqhawe esiko laseYurophu ezikhathini zanamuhla.

I-Creativity 1817-26 yabonisa ukukhuphuka okusha kobuhlakani bukaBeethoven futhi ngesikhathi esifanayo yaba isiqephu senkathi ye-classicism yomculo. Kuze kube yizinsuku zokugcina, ehlala ethembekile emibonweni yakudala, umqambi wathola amafomu amasha nezindlela zokwenziwa kwawo, emngceleni wezothando, kodwa angangeni kuzo. Isitayela sikaBeethoven sekwephuzile siyinto eyingqayizivele yobuhle. Umbono oyinhloko ka-Beethoven wobudlelwane be-dialectical of umehluko, umzabalazo phakathi kokukhanya nobumnyama, uthola umsindo ozwakalayo wefilosofi emsebenzini wakhe wakamuva. Ukunqoba ukuhlupheka akusanikezwa ngesenzo sobuqhawe, kodwa ngokuhamba komoya nokucabanga. Inkosi enkulu yefomu le-sonata, lapho izingxabano ezinkulu zaqala khona ngaphambili, u-Beethoven ezingomeni zakhe zakamuva uvame ukubhekisela kufomu le-fugue, elifaneleka kakhulu ukuhlanganisa ukwakheka kancane kancane komqondo wefilosofi ojwayelekile. I-piano sonatas yokugcina engu-5 (Nos. 28-32) kanye nama-quartets angu-5 wokugcina (Nos. 12-16) ahlukaniswa ngolimi lomculo oluyinkimbinkimbi ngokukhethekile nolucwengisisiwe oludinga ikhono elikhulu kunawo wonke kubadlali, kanye nombono ongenele ovela kubalaleli. Izinguquko ezingu-33 ku-waltz ngu-Diabelli no-Bagatelli, op. I-126 nayo iyimisebenzi yobuciko yangempela, naphezu komehluko esikalini. Umsebenzi kaBeethoven sekwephuzile wawuyimpikiswano isikhathi eside. Kubantu besikhathi sakhe, abambalwa kuphela abakwazi ukuqonda nokwazisa imibhalo yakhe yokugcina. Omunye walaba bantu kwakunguN. Golitsyn, okwabhalwa futhi kwanikezelwa kuye ama-quartets angu-12, 13 no-15. I-overture The Consecration of the House (1822) nayo inikezelwe kuye.

Ngo-1823, u-Beethoven waqeda iMisa Elingcwele, yena ngokwakhe ayebheka umsebenzi wakhe omkhulu kunayo yonke. Lesi sixuku, esiklanyelwe kakhulu ikhonsathi kunomdlalo wehlelo, saba ngesinye sezigigaba zomlando we-oratorio waseJalimane (G. Schütz, JS Bach, GF Handel, WA ​​Mozart, J. Haydn). Inqwaba yokuqala (1807) yayingekho ngaphansi kwezixuku zikaHaydn noMozart, kodwa ayizange ibe igama elisha emlandweni wohlobo, njenge "Solemn", lapho lonke ikhono likaBeethoven njengomculi we-symphonist nombhali wemidlalo lalikhona. qaphela. Ephendukela embhalweni wesiLatini we-canonical, u-Beethoven waqoka kuwo umqondo wokuzidela egameni lenjabulo yabantu futhi wethula esicelweni sokugcina sokuthula izindlela ezishisekayo zokuphika impi njengobubi obukhulu kakhulu. Ngosizo lukaGolitsyn, iMisa Elingcwele lenziwa okokuqala ngo-April 7, 1824 eSt. Ngemva kwenyanga, ikhonsathi yokugcina ka-Beethoven yokuhlomula yaba e-Vienna, lapho, ngaphezu kwezingxenye zeMisa, i-Ninth Symphony yakhe yokugcina yenziwa ngekhwaya yokugcina emazwini ka-F. Schiller ethi “Ode to Joy”. Umqondo wokunqoba ukuhlupheka kanye nokunqoba kokukhanya uqhutshwa ngokungaguquki kuyo yonke i-symphony futhi uvezwa ngokucacile okukhulu ekugcineni ngenxa yokwethulwa kombhalo oyinkondlo u-Beethoven ayephupha ukuwubeka emculweni e-Bonn. I-Ninth Symphony enocingo lwayo lokugcina – “Hug, millions!” - yaba ubufakazi bombono kaBeethoven esintwini futhi yaba nethonya elinamandla ku-symphony yekhulu lesi-XNUMX nele-XNUMX.

G. Berlioz, F. Liszt, I. Brahms, A. Bruckner, G. Mahler, S. Prokofiev, D. Shostakovich wamukela futhi waqhubeka namasiko kaBeethoven ngendlela eyodwa noma enye. Njengothisha wabo, u-Beethoven waphinde wahlonishwa abaqambi besikole saseNovovensk - "ubaba we-dodecaphony" A. Schoenberg, isazi sobuntu esishisekayo u-A. Berg, umsunguli kanye nomculi wezingoma u-A. Webern. Ngo-December 1911, uWebrn wabhalela uBerg: “Zimbalwa izinto ezimangalisayo njengedili likaKhisimusi. … Akumele yini usuku lokuzalwa luka-Beethoven lugujwe ngale ndlela futhi?”. Abaculi abaningi nabathandi bomculo bangavumelana nalesi siphakamiso, ngoba ezinkulungwaneni (mhlawumbe izigidi) zabantu, u-Beethoven akagcini nje ngokuba ngomunye wezihlakaniphi ezinkulu kunazo zonke zezikhathi nabantu, kodwa futhi ukwenziwa samuntu kwesimiso sokuziphatha esingapheli, umgqugquzeli wokuphila. ocindezelweyo, umduduzi wabahluphekileyo, umngane othembekileyo osizini nasentokozweni.

L. Kirillina

• Impilo nendlela yokudala →
• Ubuhlakani be-Symphonic →
• Ikhonsathi →
• Ubuciko bepiyano →
• I-piano sonatas →
• I-Violin sonatas →
• Izinguquko →
• Ubuciko bezinsimbi ze-Chamber →
• Ubuciko bezwi →
• U-Beethoven-pianist →
• I-Beethoven Music Academies →
• Ama-Overtures →
• Uhlu lwemisebenzi →
• Ithonya lika-Beethoven emculweni wesikhathi esizayo →

I-Beethoven ingenye yezenzakalo ezinkulu kakhulu zesiko lomhlaba. Umsebenzi wakhe uthatha indawo ngokulingana nobuciko be-titans yomcabango wobuciko njengoTolstoy, Rembrandt, Shakespeare. Mayelana nokujula kwefilosofi, ukuqondiswa kwentando yeningi, isibindi sokusungula izinto ezintsha, u-Beethoven akanakulinganiswa nalutho kwezobuciko bomculo baseYurophu emakhulwini eminyaka adlule.

Umsebenzi kaBeethoven wathwebula ukuphaphama okukhulu kwabantu, ubuqhawe kanye nedrama yenkathi yenguquko. Ekhuluma nabo bonke abantu abathuthukile, umculo wakhe wawuyinselelo enesibindi kubuhle be-feudal aristocracy.

Ukubuka komhlaba kukaBeethoven kwakhiwe ngaphansi kwethonya lenhlangano yezinguquko eyasakazeka emibuthanweni ethuthukile yomphakathi ekuqaleni kwekhulu lesi-XNUMX nele-XNUMX. Njengokubonakaliswa kwayo kwasekuqaleni komhlabathi waseJalimane, ukuKhanya konxiwankulu kwavela eJalimane. Umbhikisho omelene nokucindezelwa komphakathi kanye ne-despotism wanquma izikhombisi-ndlela ezihamba phambili zefilosofi yaseJalimane, izincwadi, izinkondlo, imidlalo yaseshashalazini nomculo.

U-Lessing uphakamise ibhanela lomzabalazo wemibono yesintu, ukucabanga kanye nenkululeko. Imisebenzi kaSchiller kanye noGoethe osemncane yayigcwele umuzwa womphakathi. Ababhali bemidlalo yeshashalazi benhlangano ye-Sturm und Drang bahlubuka ekuziphatheni okuncane komphakathi wama-feudal-bourgeois. Izikhulu eziphendulayo ziphonselwa inselelo kweka-Lessing ethi Nathan the Wise, Goethe von Berlichingen ka-Goethe, eka-Schiller ethi The Robbers kanye ne-Insidiousness and Love. Imibono yomzabalazo wenkululeko yomphakathi igcwele uDon Carlos noWilliam Tell kaSchiller. Ukungezwani kokungqubuzana komphakathi kwabonakala nasesithombeni sikaGoethe's Werther, "umfel' ukholo ohlubukayo", emazwini kaPushkin. Umoya wokuphonselwa inselelo waphawula yonke imisebenzi yobuciko evelele yangaleso sikhathi, eyadalwa emhlabathini waseJalimane. Umsebenzi kaBeethoven wawuyinkulumo evame kakhulu futhi esebenza kahle kakhulu kwezobuciko beminyakazo edumile eJalimane ekuqaleni kwekhulu lesi-XNUMX nele-XNUMX.

Isiyaluyalu esikhulu senhlalo eFrance saba nomthelela oqondile nonamandla kuBeethoven. Lo mculi okhaliphile, owayephila ngesikhathi soguquko, wazalwa enkathini ehambisana ngokuphelele nenqolobane yethalente lakhe, imvelo yakhe emangalisayo. Ngamandla okudala ayivelakancane nokukhalipha okungokomzwelo, u-Beethoven wacula ubukhosi nomfutho wesikhathi sakhe, idrama yalo enesiphepho, injabulo nosizi lwesixuku esikhulu sabantu. Kuze kube namuhla, ubuciko buka-Beethoven buhlala bungenakuqhathaniswa njengokubonakaliswa kobuciko kwemizwa yobuqhawe bomphakathi.

Itimu yoguquko ayiliqedi nakancane ifa lika-Beethoven. Ngokungangabazeki, imisebenzi evelele kakhulu ka-Beethoven ingeyobuciko bohlelo lwamaqhawe-amadrama. Izici eziyinhloko zobuhle bakhe zibonakala ngokucace kakhulu emisebenzini ebonisa indikimba yomzabalazo nokunqoba, ekhazimulisa isiqalo sempilo yentando yeningi yendawo yonke, isifiso senkululeko. I-symphonies yamaHeroic, Eyesihlanu kanye Neyesishiyagalolunye, i-overtures i-Coriolanus, i-Egmont, i-Leonora, i-Pathetique Sonata ne-Appassionata - kwakuyilo mbuthano wemisebenzi owazuza ngokushesha u-Beethoven ukuqashelwa okubanzi emhlabeni wonke. Futhi empeleni, umculo kaBeethoven uhlukile ekwakhekeni komcabango kanye nendlela yokukhuluma yabanduleli bawo ngokuyinhloko ekusebenzeni kwawo, amandla amabi, kanye nesilinganiso esikhulu. Akukho okumangazayo eqinisweni lokuthi ukusungula kwakhe emkhakheni wamaqhawe-enhlekelele, ngaphambili kunakwabanye, kudonse ukunaka okujwayelekile; ikakhulukazi ngesisekelo semisebenzi emangalisayo kaBeethoven, abantu besikhathi sakhe kanye nezizukulwane ezabalandela ngokushesha benza isahlulelo ngomsebenzi wakhe usuwonke.

Nokho, umhlaba womculo kaBeethoven uhluke ngendlela emangalisayo. Kunezinye izici ezibalulekile ngokuyisisekelo kubuciko bakhe, ngaphandle kwalokho umbono wakhe ngokuqinisekile uyoba ohlangothini olulodwa, omncane, futhi ngenxa yalokho uhlanekezelwe. Futhi ngaphezu kwakho konke, lokhu ukujula nobunkimbinkimbi besimiso sobuhlakani esitholakala kuso.

I-psychology yendoda entsha, ekhululwe emaketangeni e-feudal, yembulwa u-Beethoven hhayi kuphela ohlelweni lwezingxabano-inhlekelele, kodwa futhi nangomkhakha womcabango ophezulu okhuthazayo. Iqhawe lakhe, elinesibindi esingenakunqotshwa nothando, ngesikhathi esifanayo linikezwe ubuhlakani obucebile, obuthuthuke kahle. Akayena nje umlwi kuphela, kodwa futhi ungumcabangi; kanye nesenzo, unokuthambekela kokuzindla okugxilile. Akekho noyedwa umqambi wezwe ngaphambi kokuba uBeethoven azuze ukujula kwefilosofi nesilinganiso somqondo. E-Beethoven, ukukhazinyuliswa kwempilo yangempela ezicini zayo ezinezici eziningi kwahlanganiswa nomqondo wobukhulu bendawo yonke. Izikhathi zokuzindla okuphefumulelwe emculweni wakhe zihambisana nezithombe zobuqhawe-ezibuhlungu, ezikhanyisa ngendlela engavamile. Ngobuhlakani bobuhlakani obuphakeme futhi obujulile, impilo kukho konke ukwehlukahlukana kwayo iphikiswa emculweni kaBeethoven - inkanuko enesivunguvungu kanye nokuphupha okugobile, izindlela ezimangalisayo zaseshashalazini kanye nokuvuma kwamagama, izithombe zemvelo nezigcawu zempilo yansuku zonke ...

Ekugcineni, ngokumelene nesizinda somsebenzi wabanduleli bawo, umculo ka-Beethoven ugqama kulokho kuhlukaniswa kwesithombe komuntu ngamunye, okuhlotshaniswa nomgomo ongokwengqondo kwezobuciko.

Hhayi njengommeleli wefa, kodwa njengomuntu onomhlaba wakhe wangaphakathi ocebile, umuntu womphakathi omusha, wangemva kokuguquguquka wazibona. Kwakungalomoya lapho uBeethoven ahumusha khona iqhawe lakhe. Uhlale ebalulekile futhi eyingqayizivele, ikhasi ngalinye lempilo yakhe liyinani elizimele elingokomoya. Ngisho nama-motifs ahlobene nomunye ngohlobo athola emculweni ka-Beethoven ukunotha kwamathunzi ekudluliseni isimo kangangokuthi ngasinye sazo sithathwa njengehlukile. Ngokuvumelana okungenamibandela kwemibono egcwele kuwo wonke umsebenzi wakhe, enophawu olujulile lomuntu ngamunye onamandla wokuqamba otholakala kuyo yonke imisebenzi ka-Beethoven, i-opses yakhe ngayinye iyisimanga sobuciko.

Mhlawumbe yilesi sifiso esingapheli sokuveza ingqikithi eyingqayizivele yesithombe ngasinye esenza inkinga yesitayela sikaBeethoven ibe nzima kakhulu.

U-Beethoven uvame ukukhulunywa ngaye njengomqambi othi, ngakolunye uhlangothi, aqedele i-classicist (Ezifundweni zeshashalazi zasekhaya kanye nezincwadi zomculo zakwamanye amazwe, igama elithi “classicist” liye lasungulwa maqondana nobuciko be-classicism. Ngakho, ekugcineni, ukudideka okuvela ngokungagwemeki lapho igama elilodwa elithi “classical” lisetshenziswa ukukhombisa isiqongo, “ izenzakalo zaphakade” zanoma ibuphi ubuciko, nokuchaza isigaba esisodwa sesitayela, kodwa siyaqhubeka nokusebenzisa igama elithi “classical” nge-inertia maqondana nesitayela somculo sekhulu lesi-XNUMX kanye nezibonelo zakudala emculweni wezinye izitayela (ngokwesibonelo, i-romanticism. , i-baroque, impressionism, njll.)) inkathi emculweni, ngakolunye uhlangothi, ivula indlela “yenkathi yothando”. Ngamagama abanzi omlando, ukwakheka okunjalo akuphakamisi ukuphikisa. Kodwa-ke, akwenzi okuncane ukuqonda ingqikithi yesitayela sikaBeethoven uqobo. Ngoba, ngokuthinta izinhlangothi ezithile ezigabeni ezithile zokuziphendukela kwemvelo ngomsebenzi wama-classicist ekhulunyaka lesi-XNUMX kanye nezothando zesizukulwane esilandelayo, umculo ka-Beethoven empeleni awuhlangani kwezinye izici ezibalulekile, ezinqumayo nezidingo zanoma yisiphi isitayela. Ngaphezu kwalokho, ngokuvamile kunzima ukuyibeka ngosizo lwemibono yesitayela eye yathuthukiswa ngesisekelo sokutadisha umsebenzi wabanye abaculi. U-Beethoven ungumuntu ngamunye. Ngesikhathi esifanayo, inezinhlangothi eziningi futhi inezici eziningi kangangokuthi azikho izigaba ezijwayelekile zesitayela ezihlanganisa konke ukuhlukahluka kokubukeka kwayo.

Ngesilinganiso esikhulu noma esincane sokuqiniseka, singakhuluma kuphela ngokulandelana kwezigaba ezithile ekufuneni komqambi. Kuwo wonke umsebenzi wakhe, u-Beethoven waqhubeka enweba imingcele ecacile yobuciko bakhe, engashiyi kuphela abanduleli bakhe nabaphila ngesikhathi sakhe, kodwa futhi impumelelo yakhe yenkathi yangaphambili. Namuhla, kuwumkhuba ukumangala ngesitayela se-multi-style se-Stravinsky noma i-Picasso, sibona lokhu njengophawu lokuqina okukhethekile kokuvela komcabango wobuciko, isici sekhulu lama-59. Kodwa u-Beethoven ngalo mqondo akakho ngaphansi kwalezi zikhanyiso ezishiwo ngenhla. Kwanele ukuqhathanisa cishe noma yimiphi imisebenzi kaBeethoven ekhethwe ngokungafanele ukuze uqiniseke ngokuguquguquka okumangalisayo kwesitayela sakhe. Ingabe kulula ukukholelwa ukuthi i-septet enhle ngesitayela se-Viennese divertissement, i-monumental dramatic "Heroic Symphony" kanye ne-deeply philosophical quartets op. XNUMX ingeyepeni elifanayo? Ngaphezu kwalokho, zonke zidalwe phakathi nenkathi efanayo yeminyaka eyisithupha.

Akukho neyodwa ye-sonata ka-Beethoven engahlukaniswa njengesici esikhulu kakhulu sesitayela somqambi emkhakheni womculo wepiyano. Awukho umsebenzi owodwa ofanekisela ukusesha kwakhe kumkhakha we-symphonic. Ngezinye izikhathi, ngonyaka ofanayo, u-Beethoven ushicilela imisebenzi ehluke kakhulu komunye nomunye kangangokuthi lapho efika kuqala kunzima ukuqaphela ukufana phakathi kwabo. Ake sikhumbule okungenani ama-symphonies e-Fifth and Sixth aziwayo. Yonke imininingwane ye-thematism, zonke izindlela zokubumba kuzo ziphikisana kakhulu njengoba imiqondo yobuciko ejwayelekile yalawa ma-symphonies engahambisani - owesihlanu obuhlungu kakhulu kanye ne-Idyllic pastoral Sixth. Uma siqhathanisa imisebenzi edalwe ezigabeni ezihlukene, eziqhele kakhulu komunye nomunye wendlela yokudala - isibonelo, i-First Symphony kanye ne-Solemn Mass, ama-quartets op. I-18 kanye ne-quartet yokugcina, i-Piano Sonatas Yesithupha ne-XNUMX, njll., njll., lapho-ke sizobona indalo ehluke ngokuphawulekayo komunye nomunye kangangokuthi ekuqaleni umbono wabo ubonakala ngaphandle kwemibandela njengomkhiqizo wengqondo ehlukene kuphela, kodwa. futhi kusukela ezikhathini zobuciko ezahlukene. Ngaphezu kwalokho, i-opuse ngayinye eshiwo ibaluleke kakhulu ku-Beethoven, ngayinye iyisimangaliso sokuphelela kwesitayela.

Umuntu angakhuluma ngesimiso sobuciko esisodwa esiveza imisebenzi kaBeethoven ngokwemibandela evamile kuphela: kuyo yonke indlela yokudala, isitayela somqambi sathuthukiswa ngenxa yokufuna ukuphila komuntu kwangempela. Ukumbozwa okunamandla kweqiniso, ukunotha kanye namandla ekudluliselweni kwemicabango nemizwa, ekugcineni ukuqonda okusha kobuhle uma kuqhathaniswa nabandulele ngaphambili, kwaholela ezinhlotsheni eziningi zokukhuluma zangempela nezingabuni zobuciko ezingavezwa kuphela ngomqondo wokuthi "isitayela sika-Beethoven" esiyingqayizivele.

Ngokwencazelo kaSerov, u-Beethoven wayeqonda ubuhle njengokubonakaliswa kokuqukethwe okuphezulu kwemibono. I-hedonistic, uhlangothi oluhle lokwehlukanisa lokuvezwa komculo lwanqotshwa ngokuqaphela emsebenzini ovuthiwe ka-Beethoven.

Njengoba nje u-Lessing emele inkulumo enembayo nengenangqondo ephikisana nesitayela sokwenziwa, esihlobisayo sezinkondlo zasesalon, ezigcwele izifaniso ezinhle nezimfanelo zezinganekwane, kanjalo no-Beethoven wenqaba yonke into yokuhlobisa kanye nenhle ngokwejwayelekile.

Emculweni wakhe, akuwona kuphela umhlobiso omuhle kakhulu, ongenakuhlukaniswa nesitayela sokuvezwa sekhulu lesi-XNUMX, owanyamalala. Ibhalansi nokulinganisa kolimi lomculo, ukushelela kwesigqi, ukukhanya kwekamelo lomsindo - lezi zici zesitayela, izici zabo bonke abanduleli bakaBeethoven baseViennese ngaphandle kokukhetha, nazo zaxoshwa kancane kancane enkulumweni yakhe yomculo. Umbono kaBeethoven womuhle wawufuna ubunqunu bemizwa obudwetshelwe. Wayefuna amanye amaphimbo - ashukumisayo futhi angaphumuli, abukhali futhi anenkani. Umsindo womculo wakhe waba ugcwele, uminyene, uhluke kakhulu; izingqikithi zakhe kuze kube manje zithole ukufinyela okungakaze kubonwe ngaphambili, ubulula obukhulu. Kubantu abakhuliswe ngomculo wakudala wekhulu lesi-XNUMX, indlela kaBeethoven yokukhuluma yayibonakala ingajwayelekile, “ingaguquki”, kwesinye isikhathi iyimbi, kangangokuthi umqambi wayehlanjalazwa kaningi ngesifiso sakhe sokuba ngowokuqala, babona kumasu akhe amasha okuveza imizwa. cinga imisindo engavamile, ephikisayo ngamabomu esike indlebe.

Futhi, nokho, ngayo yonke imvelaphi, isibindi nobusha, umculo ka-Beethoven uxhumene ngokungenakuhlukaniswa nesiko langaphambili kanye nesistimu yokucabanga yakudala.

Izikole ezithuthukile zekhulu lesi-XNUMX, ezihlanganisa izizukulwane ezimbalwa zobuciko, zalungiselela umsebenzi kaBeethoven. Abanye babo bathola i-generalization kanye nefomu lokugcina kuyo; amathonya abanye embulwa ku-refraction entsha yasekuqaleni.

Umsebenzi kaBeethoven uhlobene kakhulu nobuciko baseJalimane nase-Austria.

Okokuqala, kunokuqhubeka okubonakalayo nge-Viennese classicism yekhulu lesi-XNUMX. Akuyona into engaqondakali ukuthi u-Beethoven wangena emlandweni weSiko njengommeleli wokugcina walesi sikole. Waqala endleleni eyabekwa abanduleli bakhe ngaleso sikhathi uHaydn noMozart. U-Beethoven futhi wakubona ngokujulile ukwakheka kwezithombe zobuqhawe nezidabukisayo zedrama yomculo kaGluck, ngokwengxenye ngenxa yezincwadi zikaMozart, ezasiphikisa ngendlela yazo lesi siqalo esingokomfanekiso, ngokwengxenye ngokuqondile ezinhlekeleleni zomculo zikaGluck. U-Beethoven ubonwa ngokucacile njengendlalifa engokomoya ye-Handel. Izithombe zokunqoba, ezinobuqhawe obukhanyayo ze-oratorios ye-Handel zaqala impilo entsha ngesisekelo sensimbi kuma-sonatas ka-Beethoven nama-symphonies. Ekugcineni, imicu ecacile elandelanayo ixhuma u-Beethoven nalowo mugqa wefilosofi nowokuzindla kwezobuciko bomculo, osekunesikhathi eside wathuthukiswa ezikoleni zamakhwaya nezitho zomculo zaseJalimane, waba yisiqalo sawo esivamile kazwelonke futhi wafinyelela ukubonakaliswa kwawo okuphezulu kwezobuciko be-Bach. Ithonya lamagama ezinhlamvu zefilosofi ka-Bach kuso sonke isakhiwo somculo ka-Beethoven lijulile futhi alinakuphikwa futhi lingalandelelwa kusukela kuPiyano Lokuqala Sonata kuya ku-Ninth Symphony kanye namaquartets okugcina adalwe ngaphambi nje kokufa kwakhe.

I-chorale yamaProthestani kanye nengoma yesiJalimane yansuku zonke, ingoma yentando yeningi kanye nezingoma zasemgwaqweni zase-Viennese - lezi nezinye izinhlobo eziningi zobuciko bezwe nazo zifakwe ngendlela ehlukile emsebenzini ka-Beethoven. Ibona kokubili izinhlobo ezisungulwe ngokomlando zokubhala izingoma zabalimi kanye namazwi endabuko yesimanje yasemadolobheni. Empeleni, yonke into engokwemvelo ngokwesiko laseJalimane nase-Austria yabonakala emsebenzini kaBeethoven we-sonata-symphony.

Ubuciko bamanye amazwe, ikakhulukazi iFrance, nabo baba nesandla ekwakhiweni kobuhlakani bakhe obunezinhlangothi eziningi. Umculo ka-Beethoven ufana ne-Rousseauist motifs efakwe ku-opera yamahlaya yase-French ekhulwini lesi-XNUMX, eqala ngekaRousseau ethi The Village Sorcerer futhi egcina ngemisebenzi yakudala kaGretry kulolu hlobo. Iphosta, imvelo eqinile yezinhlobo zoguquko olukhulu lwaseFrance ishiye uphawu olungacimeki kuyo, okumaka ikhefu ngobuciko begumbi bekhulu lesi-XNUMX. Ama-opera e-Cherubini alethe ama-pathos abukhali, ukuzenzela kanye nokuguquguquka kwezinkanuko, eduze nesakhiwo somzwelo sesitayela sikaBeethoven.

Njengoba nje umsebenzi ka-Bach wathatha futhi wajwayela ezingeni eliphezulu kakhulu lobuciko kuzo zonke izikole ezibalulekile zenkathi edlule, kanjalo nemikhathizwe ye-symphonist ekhaliphile yekhulu lesi-XNUMX yamukele yonke imisinga yomculo esebenzayo yekhulunyaka eledlule. Kodwa ukuqonda okusha kuka-Beethoven ngobuhle bomculo kuphinde kwalungisa le mithombo yaba uhlobo lwangempela kangangokuthi kumongo wemisebenzi yakhe azibonakali kalula ngaso sonke isikhathi.

Ngendlela efanayo, ukwakheka komcabango we-classicist kwaphikiswa emsebenzini kaBeethoven ngendlela entsha, kude nesitayela sokukhuluma sikaGluck, uHaydn, uMozart. Lolu uhlobo olukhethekile, oluphelele lwe-Beethovenian lwe-classicism, olungenayo i-prototypes kunoma yimuphi umculi. Abaqambi bekhulu lesi-XNUMX abazange bacabange ngisho nokuba nokwenzeka kwezakhiwo ezinkulu kangaka ezaba yinto evamile kuBeethoven, njengenkululeko yentuthuko ngaphakathi kohlaka lokwakhiwa kwe-sonata, mayelana nezinhlobo ezihlukahlukene ezinjalo zezingqikithi zomculo, kanye nobunkimbinkimbi nokunotha kwe ukuthungwa komculo ka-Beethoven bekumele bakuthathe njengokungenamibandela okuyisinyathelo sokubuyela endleleni enqatshiwe yesizukulwane sika-Bach. Noma kunjalo, ukuthi u-Beethoven oyingxenye yesakhiwo somcabango we-classicist kuvela ngokusobala ngokumelene nesizinda salezo zimiso ezintsha zobuhle ezaqala ukubusa ngaphandle kwemibandela emculweni wenkathi yangemva kuka-Beethoven.

Kusukela emsebenzini wokuqala kuya kowokugcina, umculo kaBeethoven ubonakala ngokungaguquguquki ngokucaca kanye nokuhluzeka kokucabanga, isikhumbuzo nokuvumelana kwefomu, ibhalansi enhle kakhulu phakathi kwezingxenye zayo yonke, okuyizici ze-classicism kwezobuciko ngokujwayelekile, emculweni ikakhulukazi. . Ngalo mqondo, u-Beethoven angabizwa ngokuthi umlandeli oqondile hhayi kuphela ku-Gluck, u-Haydn no-Mozart, kodwa futhi kumsunguli wesitayela sakudala emculweni, umFulentshi uLully, owasebenza iminyaka eyikhulu ngaphambi kokuba uBeethoven azalwe. U-Beethoven wazibonakalisa ngokugcwele ngaphakathi kohlaka lwalezo zinhlobo ze-sonata-symphonic ezathuthukiswa abaqambi boLwazi futhi zafinyelela ezingeni lakudala emsebenzini kaHaydn noMozart. Ungumqambi wokugcina wekhulu lesi-XNUMX, kuye i-sonata ye-classicist bekuyindlela yokucabanga engokwemvelo, ephilayo, eyokugcina lapho umqondo wangaphakathi womcabango womculo ubusa isiqalo sangaphandle, esinemibala ehehayo. Ubonwa njengokuthululwa kwemizwa okuqondile, umculo ka-Beethoven empeleni uncike ku-virtuoso eyakhiwe, isisekelo esinengqondo esishiselwe ngokuqinile.

Kukhona, ekugcineni, elinye iphuzu elibaluleke kakhulu elixhumanisa u-Beethoven nohlelo lomcabango lwakudala. Lona umbono wezwe ovumelanayo obonakala kubuciko bakhe.

Yiqiniso, ukwakheka kwemizwa emculweni kaBeethoven kuhlukile kuneyabaqambi boLwazi. Izikhathi zokuthula kwengqondo, ukuthula, ukuthula azikubuse. Inani elikhulu lesici samandla sobuciko buka-Beethoven, ukushuba okuphezulu kwemizwa, amandla amakhulu acindezela izikhathi "zobufundisi" ezingabonakali ngemuva. Kodwa-ke, njengabaqambi bakudala bekhulu lesi-XNUMX, umuzwa wokuzwana nomhlaba uyisici esibaluleke kakhulu sobuhle bukaBeethoven. Kodwa izalwa cishe njalo ngenxa yomzabalazo we-titanic, ukuzikhandla okukhulu kwamandla omoya okunqoba izithiyo ezinkulu. Njengesiqiniseko sobuqhawe sempilo, njengokunqoba kokunqoba okunqotshiwe, u-Beethoven unomuzwa wokuzwana nesintu kanye nomhlaba wonke. Ubuciko bakhe bugcwele lolo kholo, amandla, ukudakwa yinjabulo yokuphila, okwaphela emculweni ngokufika “kwenkathi yothando”.

Ephetha inkathi ye-classicism yomculo, u-Beethoven ngesikhathi esifanayo wavula indlela yekhulu leminyaka elizayo. Umculo wakhe ukhuphuka ngaphezu kwakho konke okudalwe abantu besikhathi sakhe kanye nesizukulwane esilandelayo, kwesinye isikhathi uphinda izimfuno zesikhathi sakamuva kakhulu. Ukuqonda kukaBeethoven ngekusasa kuyamangalisa. Kuze kube manje, imibono nezithombe zomculo zobuciko be-Beethoven obukhazimulayo azikaqedwa.

V. Konen

• Impilo nendlela yokudala →
• Ithonya lika-Beethoven emculweni wesikhathi esizayo →