Claude Debussy |

ʻO Claude Debussy

Ke ho'āʻo nei au e ʻimi i nā mea ʻoiaʻiʻo hou… kapa ʻia e ka naʻaupō he impressionism. C. Debussy

ʻO ka mea haku mele Farani ʻo C. Debussy i kapa pinepine ʻia ʻo ka makuakāne o ke mele o ke kenekulia XNUMX. Ua hōʻike ʻo ia i kēlā me kēia leo, chord, tonality hiki ke lohe ʻia i ke ʻano hou, hiki ke ola i kahi ola kūʻokoʻa, ʻano like ʻole, me he mea lā e leʻaleʻa ana i kona kani ponoʻī, kona hoʻoheheʻe ʻana a me ka pohihihi i ka hāmau. Nui maoli ka Debussy e pili ana i ka manaʻo kiʻi kiʻi: ʻo ka ʻoluʻolu ponoʻī o ka paʻakikī, nā manawa hoʻoneʻe wai, ke aloha i ka ʻāina, ka haʻalulu o ka lewa. ʻAʻole ia he coincidence i manaʻo ʻia ʻo Debussy ka mea nui o ka impressionism i ke mele. Eia naʻe, ʻoi aku ʻo ia ma mua o nā mea pena Impressionist, ua hele ʻo ia mai nā ʻano kuʻuna, ua kuhikuhi ʻia kāna mele i ko mākou kenekulia i ʻoi aku ka hohonu ma mua o ka pena ʻana o C. Monet, O. Renoir a i ʻole C. Pissarro.

Manaʻo ʻo Debussy he ʻano like ke mele i kona ʻano kūlohelohe, ʻokoʻa pau ʻole a me nā ʻano like ʻole: "ʻO ke mele ke ʻano mea kokoke loa i ke ʻano ... ko lakou lewa a me ka rhythmically hōʻike i ko lākou puʻupuʻu nui. Manaʻo ʻia ke ʻano a me ke mele e Debussy ma ke ʻano he mea pohihihi, a ma luna o nā mea a pau, ka pohihihi o ka hānau ʻana, kahi hoʻolālā i manaʻo ʻole ʻia o kahi pāʻani capricious o ka manawa. No laila, hiki ke hoʻomaopopo i ka manaʻo kānalua a me ka hoʻohenehene o ka haku mele i nā ʻano clichés a me nā lepili e pili ana i ka hana noʻeau, me ka hoʻomaʻamaʻa ʻole ʻana i ka ʻoiaʻiʻo ola o ke kiʻi.

Ua hoʻomaka ʻo Debussy e aʻo i ka mele i ka makahiki 9 a ua komo ʻo ia i ka makahiki 1872 i ke keʻena ʻōpio o ka Conservatory Paris. Aia i loko o nā makahiki conservatory, ua hōʻike ʻia ke ʻano like ʻole o kona noʻonoʻo, ka mea i hoʻopiʻi ai i nā hakakā me nā kumu lokahi. Ma kekahiʻaoʻao, ua loaʻa i ka mea hoʻokani mele novice kaʻoluʻolu maoli i nā papa o E. Guiraud (composition) a me A. Mapmontel (piano).

I ka makahiki 1881, hele pū ʻo Debussy, ma ke ʻano he pianist hale, me ka philanthropist Lūkini ʻo N. von Meck (he hoaaloha nui o P. Tchaikovsky) ma kahi huakaʻi i ʻEulopa, a laila, ma kāna kono, kipa ʻelua ʻo Russia (1881, 1882). Pēlā i hoʻomaka ai ka kamaʻilio ʻana o Debussy me nā mele Lūkini, kahi i hoʻoikaika nui ai i ka hoʻokumu ʻana i kāna ʻano ponoʻī. "E hāʻawi mai nā Lūkini iā ​​​​mākou i nā manaʻo hou e hoʻokuʻu iā mākou iho mai ka paʻa ʻole. Ua wehe lākou i ka puka makani e nānā ana i ka ākea o nā kula. Ua hoʻopio ʻia ʻo Debussy e ka ʻōlinolino o nā timbres a me nā hiʻohiʻona maʻalahi, ke kiʻi o ke mele a N. Rimsky-Korsakov, ka hou o nā mele a A. Borodin. Ua kapa ʻo ia iā M. Mussorgsky kāna haku mele punahele: “ʻAʻohe mea i kamaʻilio i ka mea maikaʻi loa i loaʻa iā mākou, me ka ʻoi aku ka palupalu a me ka hohonu. He kūʻokoʻa ʻo ia a e noho kūʻokoʻa hoʻi i kāna hana kiʻi me ka ʻole o nā ʻenehana mamao loa, me ka ʻole o nā lula maloʻo. ʻO ka maʻalahi o ka leo leo leo o ka Russian innovator, ke kūʻokoʻa mai ka mea i hoʻokumu mua ʻia, "administrative", i nā ʻōlelo a Debussy, ua hoʻokō ʻia nā palapala ma ko lākou ala ponoʻī e ka mea haku mele Farani, lilo i mea hoʻohui o kāna mele. “E hele e hoʻolohe iā Boris. Loaʻa iā ia ka Pelléas holoʻokoʻa, "i ʻōlelo ai ʻo Debussy e pili ana i ke kumu o ka ʻōlelo mele o kāna opera.

Ma hope o kona puka 'ana mai ka conservatory i ka makahiki 1884, ua komo 'o Debussy i nā ho'okūkū no ka makana nui o Roma, e hā'awi ana i ka pono no ka ho'omaika'i 'ana i 'ehā makahiki ma Roma, ma ka Villa Medici. I loko o nā makahiki i hala ma Italia (1885-87), ua aʻo ʻo Debussy i ka mele mele o ka Renaissance (G. Palestrina, O. Lasso), a me nā mea i hala (a me ka originality o nā mele Lūkini) i lawe mai i kahi kahawai hou, i hoʻonui ʻia. kona manao harmonic. ʻO nā hana symphonic i hoʻouna ʻia i Paris no kahi hōʻike ("Zuleima", "Spring") ʻaʻole i ʻoluʻolu i ka conservative "masters of musical destinies".

Ke hoʻi nei ʻo Debussy ma mua o ka papa manawa i Palika, hoʻokokoke ʻo Debussy i ka pōʻai o nā haku mele hōʻailona i alakaʻi ʻia e S. Mallarme. ʻO ke mele mele o nā mele hōʻailona, ​​​​ka ʻimi ʻana i nā pilina pohihihi ma waena o ke ola o ka ʻuhane a me ke ao kūlohelohe, ko lākou hui ʻana - ua hoihoi nui kēia mau mea iā Debussy a ua hoʻohālikelike ʻia i kāna aesthetics. ʻAʻole ia he mea kuhi wale ʻo ka mea mua loa a maikaʻi loa o nā hana mua a ka mea haku mele he mau mele aloha i nā huaʻōlelo a P. Verdun, P. Bourget, P. Louis, a me C. Baudelaire pū kekahi. Ua kākau ʻia kekahi o lākou ("Wonderful Evening", "Mandolin") i nā makahiki o ke aʻo ʻana ma ka conservatory. Ua hoʻoulu ʻia ka poetry Symbolist i ka hana orchestral mua loa - ka prelude "Afternoon of a Faun" (1894). I loko o kēia kiʻi kiʻi mele o ka eclogue a Mallarmé, ua hoʻomohala ʻia ke ʻano orchestral ʻano ʻokoʻa a Debussy.

Ua ʻike piha ʻia ka hopena o ka hōʻailona ma ka opera wale nō a Debussy ʻo Pelléas et Mélisande (1892-1902), i kākau ʻia i ka moʻolelo prose o ka hana keaka a M. Maeterlinck. He moʻolelo aloha kēia, kahi, e like me ka mea haku mele, "ʻaʻole hoʻopaʻapaʻa nā mea, akā hoʻomanawanui i ko lākou ola a me nā hopena." ʻO Debussy maʻaneʻi, me he mea lā, hoʻopaʻapaʻa me R. Wagner, ka mea kākau o Tristan a me Isolde, ua makemake ʻo ia e kākau i kāna Tristan ponoʻī, ʻoiai ʻo ia i kona wā ʻōpio ua makemake nui ʻo ia i ka opera a Wagner a ua ʻike ma ka puʻuwai. Ma kahi o ka makemake ākea o nā mele Wagnerian, eia ka hōʻike o kahi pāʻani kani hoʻomaʻemaʻe, piha i nā ʻōlelo a me nā hōʻailona. “Aia ke mele no ka mea hiki ole ke haiia; Makemake au iā ia e puka mai i waho o ka pō, me he mea lā, a i kekahi mau manawa e hoʻi i ka pō; no laila e haʻahaʻa mau ʻo ia, "i kākau ai ʻo Debussy.

ʻAʻole hiki ke noʻonoʻo iā Debussy me ka ʻole o ke mele piano. ʻO ka mea haku mele ʻo ia iho he mea hoʻokani piano akamai (me ke alakaʻi hoʻi); "Aneane hoʻokani mau ʻo ia i nā semitones, me ka ʻole o ka ʻoi, akā me ka piha a me ka nui o ke kani e like me Chopin i hoʻokani ai," i hoʻomanaʻo ai ka mea hoʻokani piano ʻo M. Long. Mai ka lewa o Chopin, ka leo o ka lole piano a Debussy i hoʻolei ai i kāna mau ʻimi kala. Akā aia kekahi kumu. ʻO ke kaohi ʻana a me ka like ʻole o ke kani ʻana o ke mele a Debussy i manaʻo ʻole ʻia ua hoʻokokoke ʻo ia i ke mele kahiko kahiko - ʻoi aku ka nui o ka poʻe harpsichordists Farani o ka wā Rococo (F. Couperin, JF Rameau). ʻO nā ʻano kahiko mai ka "Suite Bergamasco" a me ka Suite no ka Piano (Prelude, Minuet, Passpier, Sarabande, Toccata) e hōʻike ana i kahi ʻano "impressionistic" o ka neoclassicism. ʻAʻole hoʻohana ʻo Debussy i ka stylization, akā hana ʻo ia i kāna kiʻi ponoʻī o ke mele kahiko, ʻoi aku ka manaʻo o ia ma mua o kāna "kiʻi".

ʻO ke ʻano punahele a ka mea haku mele he papahana papahana (orchestral a me ka piano), e like me ke ʻano o nā kiʻi pena like ʻole, kahi e hoʻoneʻe ʻia ai nā ʻāina paʻa e ka neʻe wikiwiki ʻana, nā mele hula pinepine. ʻO ia nā suites no ka orchestra "Nocturnes" (1899), "The Sea" (1905) a me "Images" (1912). No ka piano, "Prints", 2 puke puke o "Kiʻi", "Children's Corner", i hoʻolaʻa ʻia e Debussy i kāna kaikamahine. Ma Prints, ʻo ka mea haku mele no ka manawa mua e hoʻāʻo e hoʻomaʻamaʻa i nā honua mele o nā moʻomeheu like ʻole a me nā lāhui: ke kiʻi kani o ka Hikina ("Pagodas"), Sepania ("Evening in Grenada") a me kahi ʻāina piha i ka neʻe. pāʻani o ka mālamalama a me ke aka me ka mele Farani ("Gardens in the rain").

I loko o ʻelua puke o nā preludes (1910, 1913) i hōʻike ʻia ka honua kiʻi a pau o ka mea haku mele. Hoʻohālikelike ʻia nā leo wai aniani o The Girl with the Flaxen Hair a me The Heather e ka momona o ka palette kani ma The Terrace Haunted by Moonlight, i ka prelude Aromas and Sounds in the Evening Air. Ke ola nei ka moʻolelo kahiko i ke kani epic o ka Sunken Cathedral (ʻo ia kahi i ʻōlelo nui ʻia ai ka mana o Mussorgsky a me Borodin!). A i loko o ka "Delphian Dancers" ʻike ka mea haku mele i kahi hui kahiko kahiko o ke koʻikoʻi o ka luakini a me ka hana me ka naʻau pagan. I ke koho ʻana i nā hiʻohiʻona no ka hoʻokani mele, loaʻa iā Debussy ke kūʻokoʻa kūpono. Me ka maʻalahi like, no ka laʻana, komo ʻo ia i ka honua o nā mele Spanish (The Alhambra Gate, The Interrupted Serenade) a hana hou (me ka hoʻohana ʻana i ke kani o ka hele wāwae) i ka ʻuhane o ka hale keaka minstrel ʻAmelika (General Lavin the Eccentric, The Minstrels. ).

Ma nā preludes, hōʻike ʻo Debussy i kāna honua mele holoʻokoʻa ma kahi ʻano pōkole, hoʻopaʻa ʻia, hoʻomāhuahua a haʻi aku iā ia ma nā ʻano he nui - me kāna ʻōnaehana mua o nā leka ʻike-mele. A laila, i nā makahiki 5 i hala o kona ola ʻana, ʻo kāna mele, e lilo ana i mea paʻakikī loa, e hoʻonui i nā ʻano ʻano, hoʻomaka kekahi ʻano hopohopo, capricious irony e ʻike ʻia i loko. Ke hoʻonui nei i ka hoihoi i nā ʻano papa. ʻO kēia nā ballets ("Kamma", "Games", i hoʻokumuʻia e V. Nijinsky a me ka hui o S. Diaghilev i ka makahiki 1912, a me ka ballet puppet no nā keiki "Toy Box", 1913), mele no ka mea pohihihi o ka Italian futurist G . d'Annunzio ” Ka make ʻana o Saint Sebastian” (1911). ʻO ka balerina ʻo Ida Rubinshtein, choreographer M. Fokin, ka mea pena L. Bakst i komo i ka hana o ka mea pohihihi. Ma hope o ka hoʻokumu ʻia ʻana o Pelléas, ua hoʻāʻo pinepine ʻo Debussy e hoʻomaka i kahi opera hou: ua huki ʻia ʻo ia e nā manaʻo o E. Poe (Devil in the Bell Tower, The Fall of the House of Escher), akā ʻaʻole i hoʻokō ʻia kēia mau hoʻolālā. Ua hoʻolālā ka mea haku mele e kākau i 6 sonata no nā hui keʻena, akā ua hana ʻo ia i 3: no cello a me ka piano (1915), no ka ʻohe, viola a me ka harp (1915) a no ka violin a me ka piano (1917). ʻO ka hoʻoponopono ʻana i nā hana a F. Chopin i paipai iā Debussy e kākau i ʻumikumamālua Etudes (1915), i hoʻolaʻa ʻia no ka hoʻomanaʻo ʻana i ka haku mele nui. Ua hana ʻo Debussy i kāna mau hana hope loa i ka wā i maʻi ʻia ai ʻo ia: i ka makahiki 1915 ua hana ʻo ia i kahi hana, a ma hope o kona noho ʻana no ʻelua makahiki wale nō.

Ma kekahi o nā haku mele a Debussy, ua hōʻike ʻia nā hanana o ke Kaua Honua Mua: i ka "Heroic Lullaby", i ke mele "The Nativity of Homeless Children", i ka "Ode to France" i pau ʻole. ʻO ka papa inoa o nā poʻo inoa wale nō e hōʻike ana i nā makahiki i hala iho nei ua piʻi nui ka hoihoi i nā kumumanaʻo a me nā kiʻi. Ma ka ʻaoʻao ʻē aʻe, lilo ka manaʻo o ka mea haku mele i mea hoʻohenehene. Ua hele mau ka hoʻohenehene a me ka hoʻohenehene a, me he mea lā, ua hoʻokō i ka palupalu o ke ʻano o Debussy, kona wehe ʻana i nā manaʻo. ʻAʻole lākou i hōʻike iā lākou iho ma ke mele wale nō, akā, i nā ʻōlelo i manaʻo maikaʻi ʻia e pili ana i nā haku mele, nā leka, a me nā ʻatikala koʻikoʻi. No nā makahiki he 14 ʻo Debussy he loea mele ʻoihana; ʻO ka hopena o kēia hana ka puke "Mr. Krosh - Antidilettante" (1914).

I nā makahiki ma hope o ke kaua, ua ʻike ʻia ʻo Debussy, a me nā mea hoʻopau impudent o nā mea hoʻonaninani aloha e like me I. Stravinsky, S. Prokofiev, P. Hindemith, i ʻike ʻia e nā mea he nui e like me ka ʻelele o ka impressionist i nehinei. Akā ma hope aku, a ʻoi loa i ko mākou manawa, ua hoʻomaka ke ʻano nui o ka mea hou Farani, ka mea i hoʻoikaika pololei iā Stravinsky, B. Bartok, O. Messiaen, ka mea i manaʻo i ka ʻenehana sonor a, ma ke ʻano he manaʻo hou. o ke keena mele a me ka manawa - a ma keia ano hou i oleloia manaʻo kanaka e like me ke ʻano o ke akamai.

K. Zenkin

ʻO ke ola a me ke ala hana

ʻO ka wā kamaliʻi a me nā makahiki o ke aʻo ʻana. Ua hānau ʻia ʻo Claude Achille Debussy ma ʻAukake 22, 1862 ma Saint-Germain, Paris. ʻO kona mau mākua - petty bourgeois - makemake i nā mele, akā mamao loa lākou mai ka ʻoihana ʻoihana maoli. He mea liʻiliʻi nā manaʻo mele maʻamau o ka wā kamaliʻi i ka ulu ʻana o ka haku mele e hiki mai ana. ʻO ka mea ʻoi loa o kēia mau kipa ʻana i ka opera. I ka makahiki ʻeiwa wale nō i hoʻomaka ai ʻo Debussy e aʻo i ka hoʻokani piano. Ma ke koi ʻana o kahi pianist kokoke i ko lākou ʻohana, nāna i ʻike i ko Claude mau mana kupaianaha, ua hoʻouna kona mau mākua iā ia i ka makahiki 1873 i ka Conservatory Paris. I nā makahiki 70 a me 80 o ke kenekulia XNUMX, ʻo kēia kula hoʻonaʻauao kahi paʻa o nā ʻano conservative a me nā hana maʻamau o ke aʻo ʻana i nā mea mele ʻōpio. Ma hope o Salvador Daniel, ke komisina mele o ka Commune Paris, i pana ʻia i nā lā o kona pio ʻana, ʻo ke alakaʻi o ka conservatory ʻo ia ka haku mele ʻo Ambroise Thomas, he kanaka i kaupalena ʻia i nā mea o ka hoʻonaʻauao mele.

Ma waena o nā kumu o ka conservatory aia kekahi mau mea hoʻokani pila - S. Frank, L. Delibes, E. Giro. Ua kākoʻo lākou i nā mea hou a pau i ke ola mele o Parisa, i kēlā me kēia kālena hana mua a haku mele.

ʻO nā haʻawina ikaika o nā makahiki mua i lawe mai iā Debussy i nā makana makahiki solfeggio. I loko o nā papa solfeggio a me nā papa hoʻokani pila (nā hoʻomaʻamaʻa hoʻomaʻamaʻa no ka piano i ka lokahi), no ka manawa mua, ʻike ʻia kona hoihoi i nā huli harmonic hou, nā ʻano mele like ʻole a paʻakikī. ʻO nā hiʻohiʻona kala a me ka waihoʻoluʻu o ka ʻōlelo harmonic e wehe ʻia i mua ona.

Ua ulu wikiwiki ka talena piano a Debussy. I loko o kāna mau makahiki haumāna, ua ʻike ʻia kāna pāʻani e kona ʻike i loko, ka manaʻo, ka maʻalahi o ka nuance, nā ʻano like ʻole a me ka waiwai o ka palette kani. Akā ʻo ke kumu maoli o kāna ʻano hana, me ka ʻole o ka virtuosity waho a me ka nani, ʻaʻole i ʻike ʻia ma waena o nā kumu o ka conservatory a i waena o nā hoa o Debussy. No ka manawa mua, ua hāʻawi ʻia kāna talena piano i ka makana i ka makahiki 1877 wale nō no ka hana ʻana i ke sonata a Schumann.

ʻO nā hakakā koʻikoʻi mua me nā ʻano o ke aʻo conservatory e kū nei me Debussy i ka papa harmoni. ʻAʻole hiki i ka noʻonoʻo harmonic kūʻokoʻa iā Debussy ke hoʻomanawanui i nā kapu kuʻuna i noho aliʻi i ka wā o ka lokahi. ʻO ka mea haku mele ʻo E. Guiraud wale nō, ka mea a Debussy i aʻo ai i ka haku mele, ua hoʻopiha maoli ʻia me ka manaʻo o kāna haumāna a loaʻa i ka lokahi me ia ma nā manaʻo noʻeau a me ka nani a me nā ʻono mele.

ʻO nā mele mele mua loa a Debussy, e pili ana i ka hopena o 70s a me 80s mua ("Wonderful Evening" i nā ʻōlelo a Paul Bourget a ʻoi aku hoʻi ʻo "Mandolin" i nā ʻōlelo a Paul Verlaine), i hōʻike ʻia i ke kumu o kāna talena.

ʻOiai ma mua o kona puka ʻana mai ka conservatory, ua hana ʻo Debussy i kāna huakaʻi haole mua i ʻEulopa ma ke kono ʻana a ka philanthropist Lūkini ʻo NF von Meck, nona nā makahiki he nui i ka helu o nā hoaaloha pili o PI Tchaikovsky. I ka makahiki 1881, hele mai ʻo Debussy i Rūsia ma ke ʻano he piano e komo i nā ʻaha mele home a von Meck. ʻO kēia huakaʻi mua i Rusia (a laila hele hou ʻo ia i laila ʻelua mau manawa - i ka makahiki 1882 a me 1913) ua hoʻāla i ka hoihoi nui o ka haku mele i nā mele Lūkini, ʻaʻole i nāwaliwali a hiki i ka hopena o kona ola.

Mai ka makahiki 1883, hoʻomaka ʻo Debussy e komo ma ke ʻano he haku mele i nā hoʻokūkū no ka makana nui o Roma. I ka makahiki aʻe, ua loaʻa iā ia ka makana no ka cantata The Prodigal Son. ʻO kēia hana, ʻo ia hoʻi ma nā ʻano he nui e hoʻomau i ka mana o ka lyric opera Farani, kū i waho no ka hana keaka maoli o nā hiʻohiʻona pākahi (e like me ka aria a Leah). ʻO ka noho ʻana o Debussy ma Italia (1885-1887) ua lilo ia i mea hua nona: ua kamaʻāina ʻo ia i ka mele kahiko kahiko o Italia o ke kenekulia XNUMX (Palestrina) a ma ka manawa like me ka hana a Wagner (ʻo ia hoʻi, me ka mele mele. keaka "Tristan and Isolde").

I ka manawa like, ua hōʻailona ʻia ka manawa o ka noho ʻana o Debussy ma Italia e kahi hakakā ʻoi loa me nā pōʻai kiʻi kūhelu o Farani. Ua hōʻike ʻia nā hōʻike a ka poʻe laureates ma mua o ke kula ma ke ʻano o nā hana i noʻonoʻo ʻia ma Paris e kahi jure kūikawā. ʻO nā loiloi o nā hana a ka mea haku mele – ka symphonic ode “Zuleima”, ka symphonic suite “Spring” a me ka cantata “The Chosen One” (i kākau ʻia ma ka hōʻea ʻana i Palika) - i kēia manawa ua ʻike ʻia kahi awāwa hiki ʻole ke hoʻokō ʻia ma waena o nā manaʻo hou o Debussy a me ka inertia e Ua noho aliʻi ʻo ia i loko o ka hale hana kiʻi nui loa o Farani. Ua hoʻopiʻi ʻia ka mea haku mele no ka makemake nui e "hana i kahi mea ʻē, hiki ʻole ke hoʻomaopopo ʻia, hiki ʻole ke hana", ʻo "kahi manaʻo nui o ke kala mele", e hoʻopoina iā ia "ke koʻikoʻi o ke kaha kiʻi a me ke ʻano". Ua hoʻopiʻi ʻia ʻo Debussy no ka hoʻohana ʻana i nā leo kanaka "pani" a me ke kī o F-sharp major, i ʻōlelo ʻia ʻaʻole hiki ke ʻae ʻia i kahi hana symphonic. ʻO ka mea maikaʻi wale nō paha, ʻo ia ka ʻōlelo e pili ana i ka loaʻa ʻole o ka "huli palahalaha a me ka banality" i kāna mau hana.

ʻO nā haku mele a pau i hoʻouna ʻia e Debussy i Palika, ʻaʻole mamao loa ia mai ke ʻano oʻo o ka haku mele, akā ua hōʻike mua lākou i nā hiʻohiʻona hou, i hōʻike mua ʻia iā lākou iho ma ka ʻōlelo harmonic colorful a me ka orkestra. Ua hōʻike maopopo ʻo Debussy i kona makemake i ka hana hou ma kahi leka i kekahi o kāna mau hoaaloha ma Paris: “ʻAʻole hiki iaʻu ke pani i kaʻu mele ma nā kiʻi pololei loa ... nā ala…”. I kona hoʻi ʻana mai Italia i Paris, ua haʻi hope ʻo Debussy me ke kula.

90s. ʻO ka pua mua o ka noʻonoʻo. ʻO ka makemake e hoʻokokoke i nā ʻano hou o ka hana kiʻi, ʻo ka makemake e hoʻonui i ko lākou mau pilina a me nā kamaʻāina i ka honua kiʻi alakaʻi iā Debussy i ka hopena o 80s i ka salon o kahi haku mele Farani nui o ka hopena o ke kenekulia 80 a me ke alakaʻi ideological o ka Symbolists. – Stefan Mallarmé. Ma ka "Poalua" ua hōʻuluʻulu ʻo Mallarme i nā mea kākau koʻikoʻi, nā haku mele, nā mea pena - nā ʻelele o nā ʻano like ʻole o nā kiʻi Farani hou (poets Paul Verlaine, Pierre Louis, Henri de Regnier, artist James Whistler a me nā mea ʻē aʻe). Maʻaneʻi ua hālāwaiʻo Debussy me nā mea kākau a me nā haku mele, nona nā hana i hoʻokumu i ke kumu o kāna mau mele leo, i hanaʻia i ka 90-50s. Ma waena o lākou e kū i waho: "Mandolin", "Ariettes", "Belgian landscapes", "Watercolors", "Moonlight" i nā ʻōlelo a Paul Verlaine, "Songs of Bilitis" i nā ʻōlelo a Pierre Louis, "Five Poems" i ka ʻO nā huaʻōlelo a ka haku mele Farani nui loa 60— Charles Baudelaire's XNUMXs (ʻoi aku ka "Balcony", "Evening Harmonies", "Ma ka Punawai") a me nā mea ʻē aʻe.

ʻO ka papa inoa maʻalahi o nā poʻo inoa o kēia mau hana e hiki ai ke hoʻoholo i ka manaʻo o ka mea haku mele no nā kikokikona moʻokalaleo, aia ka nui o nā kumu ʻāina a i ʻole nā ​​mele aloha. Ua lilo kēia ʻāpana o nā kiʻi mele mele i mea punahele no Debussy i kāna ʻoihana.

ʻO ka makemake maopopo i hāʻawi ʻia i nā mele leo i ka manawa mua o kāna hana i wehewehe nui ʻia e ka makemake o ka mea haku mele no ka Symbolist poetry. Ma nā pauku o ka poʻe haku mele hōʻailona, ​​ua hoihoi ʻia ʻo Debussy e nā kumuhana kokoke iā ia a me nā ʻano hana hana hou - ka hiki ke kamaʻilio laconicly, ka nele o ka rhetoric a me nā pathos, ka nui o nā hoʻohālikelike kiʻi like ʻole, kahi ʻano hou i ka rhyme, kahi mele. hopu ʻia nā hui ʻōlelo. ʻO kēlāʻaoʻao o ka hōʻailona e like me ka makemake e haʻi aku i kahi kūlana o ka makaʻu i ka mea iʻikeʻoleʻia,ʻaʻole loa i hopuʻia iā Debussy.

I ka hapa nui o nā hana o kēia mau makahiki, hoʻāʻo ʻo Debussy e pale aku i ka kānalua ʻole o ka hōʻailona a me ka hoʻohaʻahaʻa i ka hōʻike ʻana o kona mau manaʻo. ʻO ke kumu o kēia, ʻo ia ka kūpaʻa i nā kuʻuna democratic o nā mele Palani aupuni, ke ʻano a me ke olakino olakino o ka mea haku mele (ʻaʻole ia he mea kuhi ʻo ia e kuhikuhi pinepine ai i nā mele a Verlaine, e hoʻohui pū ana i nā kuʻuna poetic o nā haku kahiko, me ʻO ko lākou makemake no ka noʻonoʻo a me ka maʻalahi o ke ʻano, me ka hoʻomaʻemaʻe ʻana i ke ʻano o nā salons aristocratic o kēia manawa). Ma kāna mau mele mele mua loa, hoʻoikaika ʻo Debussy e hoʻokomo i nā kiʻi mele e hoʻomau i ka pilina me nā ʻano mele e kū nei - mele, hula. Akā ʻike pinepine ʻia kēia pili, e like me Verlaine, i kahi refraction hoʻomaʻemaʻe nani. ʻO ia ke aloha "Mandolin" i nā ʻōlelo a Verlaine. I loko o ke mele o ke aloha, lohe mākou i nā leo o nā mele kūlanakauhale Farani mai ka repertoire o ka "chansonnier", i hana ʻia me ka ʻole o nā leo, me he mea lā "mele". Hāʻawi ka hoʻokani piano i ke kani ʻana o ka mandolin a i ʻole ke kīkā. ʻO ka hui pū ʻana o ka hapalima o ka "empty" e like me ke kani o nā kaula hāmama o kēia mau mea kani:

Aia i loko o kēia hana, hoʻohana ʻo Debussy i kekahi o nā ʻenehana coloristic maʻamau o kona ʻano oʻo i ka lokahi - "series" o nā consonances i hoʻoholo ʻole ʻia, kahi hoʻohālikelike kumu o nā triads nui a me kā lākou inversions i nā kī mamao.

ʻO nā makahiki 90 ka manawa mua o ka ulu ʻana o ka hana ʻana a Debussy ma ke kula ʻaʻole wale ka leo, akā ke mele piano ("Suite Bergamas", "Little Suite" no ka piano ʻehā mau lima), ke keʻena-instrumental (string quartet) a me nā mele symphonic ( i kēia manawa, hana ʻia ʻelua o nā hana symphonic nui loa - ka prelude "Afternoon of a Faun" a me "Nocturnes").

Ua kākau ʻia ka prelude "Afternoon of a Faun" ma muli o kahi mele na Stéphane Mallarmé i ka makahiki 1892. ʻO ka hana a Mallarme i hoihoi i ka haku mele ma muli o ke kiʻi nani o kahi mea moʻokalaleo e moeʻuhane ana i kahi lā wela e pili ana i nā nymphs nani.

I ka prelude, e like me ka mele a Mallarmé, ʻaʻohe mea i kūkulu ʻia, ʻaʻohe hoʻomohala ikaika o ka hana. Aia ma ka puʻuwai o ka haku mele, ma ke ʻano, hoʻokahi kiʻi melodic o "languor", i kūkulu ʻia ma luna o nā leo chromatic "kolo". Hoʻohana ʻo Debussy no kāna ʻano orchestral incarnation kokoke i nā manawa a pau i ka mea kani kikoʻī like ʻole - he ʻohe i kahi papa inoa haʻahaʻa:

ʻO ka hoʻomohala symphonic holoʻokoʻa o ka prelude e iho mai i ka hoʻololi ʻana i ke ʻano o ka hōʻike ʻana o ke kumumanaʻo a me kāna orkestra. Hoʻopono ʻia ka hoʻomohala static e ke ʻano o ke kiʻi ponoʻī.

ʻEkolu ʻāpana o ka hana. Ma kahi hapa waena liʻiliʻi o ka prelude, i ka wā e lawe ʻia ai kahi kumuhana diatonic hou e ka hui string o ka orchestra, ʻoi aku ka ikaika o ke ʻano maʻamau, hōʻike (hiki i ka dynamics i kona sonority kiʻekiʻe i ka prelude. ff, ʻo ka manawa wale nō e hoʻohana ʻia ai ka tutti o ka orkestra holoʻokoʻa). Hoʻopau ka reprise me ka nalo ʻana, me he mea lā, hoʻopau i ke kumuhana o "languor".

Ua ʻike mua ʻia nā hiʻohiʻona o ke ʻano oʻo o Debussy i kēia hana ma ka hoʻokani pila. ʻO ka ʻokoʻa loa o nā hui orchestra a me nā ʻāpana o nā mea kani i loko o nā hui e hiki ai ke hoʻohui a hoʻohui i nā kala orchestral i nā ʻano like ʻole a hiki iā ʻoe ke hoʻokō i nā nuances maikaʻi loa. ʻO ka nui o nā mea i loaʻa i ke kākau ʻana i ka orchestral ma kēia hana i lilo i mea maʻamau o ka hapa nui o nā hana symphonic a Debussy.

Ma hope o ka hana ʻana o "Faun" i ka makahiki 1894, ʻōlelo ʻo Debussy ka mea haku mele i nā pōʻai mele ākea o Paris. Akā, ʻo ke kaʻawale a me kekahi mau palena o ke kaiapuni noʻeau i loaʻa ai ʻo Debussy, a me ke ʻano o ke ʻano o kāna mau haku mele, ʻaʻole i ʻike ʻia ke mele a ka mea haku mele ma ke kahua ʻaha mele.

ʻO ia ʻano hana symphonic koʻikoʻi e Debussy e like me ka Nocturnes cycle, i hana ʻia i ka makahiki 1897-1899, i hui pū me kahi ʻano paʻa. Ma "Nocturnes" ua hōʻike ʻia ka makemake nui o Debussy i nā kiʻi noʻeau ola maoli. No ka manawa mua ma ka hana symphonic a Debussy, ua loaʻa i kahi kiʻi pena kiʻi ola (ʻo ka ʻāpana ʻelua o ka Nocturnes - "Festivities") a me nā kiʻi o ke ʻano waiwai i nā kala (ʻo ka hapa mua - "Clouds") i loaʻa i kahi ʻano mele.

I ka makahiki 90, ua hana ʻo Debussy i kāna opera i hoʻopau ʻia, ʻo Pelléas et Mélisande. Ua ʻimi ka mea haku mele i kahi hoʻolālā kokoke iā ia no ka manawa lōʻihi (Ua hoʻomaka ʻo ia a haʻalele i ka hana ma ka opera "Rodrigo a me Jimena" e pili ana i ka pōʻino o Corneille "Sid". "ka hoʻokau ʻana o ka hana", kona hoʻomohala ikaika, hoʻoikaika i ka hōʻike ʻana i nā manaʻo, hōʻike wiwo ʻole i nā kiʻi moʻokalaleo o nā meʻe.) ʻAʻole liʻiliʻi nā hana waho i kēia hana, ʻaʻole hiki ke loli kona wahi a me kona manawa. Hoʻopili ʻia ka manaʻo a pau o ka mea kākau i ka hoʻololi ʻana i nā nuances psychological maʻalahi i nā ʻike o nā ʻano: Golo, kāna wahine ʻo Mélisande, ke kaikunāne o Golo ʻo Pelléas6. ʻO ka manaʻo o kēia hana i hoʻowalewale iā Debussy, ma kāna mau ʻōlelo, ma ka ʻoiaʻiʻo i loko o ia "ʻaʻole hoʻopaʻapaʻa nā ʻano, akā hoʻomanawanui i ke ola a me ka hopena." ʻO ka nui o nā subtext, nā manaʻo, me he mea lā, "no ke kanaka" i hiki ai i ka haku mele ke hoʻomaopopo i kāna ʻōlelo: "Hoʻomaka ke mele ma kahi ʻole o ka ʻōlelo."

Ua mālama ʻo Debussy i ka opera i kekahi o nā hiʻohiʻona nui o ka nui o nā hana keaka a Maeterlinck - ʻo ka make o ka poʻe kiʻi ma mua o ka hiki ʻole ke hoʻopau ʻia, ka manaʻoʻiʻo ʻole o ke kanaka i kona hauʻoli ponoʻī. Ma kēia hana a Maeterlinck, ua hoʻohālikelike ʻia nā manaʻo pilikanaka a me ka nani o kahi ʻāpana koʻikoʻi o ka bourgeois intelligentsia i ka huli ʻana o nā kenekulia XNUMXth a me XNUMXth. Ua hāʻawi ʻo Romain Rolland i kahi loiloi mōʻaukala a me ka pilikanaka pololei loa o ka pāʻani ma kāna puke "Musicians of Our Days": "ʻO ka lewa kahi e ulu ai ka hana pāʻani a Maeterlinck he haʻahaʻa luhi e hāʻawi i ka makemake e ola i ka mana o Rock. ʻAʻohe mea hiki ke hoʻololi i ke ʻano o nā hanana. […] ʻAʻohe kuleana o kekahi no kāna makemake, no kāna mea i aloha ai. […] Noho lākou a make me ka ʻike ʻole i ke kumu. ʻO kēia fatalism, e hōʻike ana i ka luhi o ka aristocracy ʻuhane o ʻEulopa, ua hoʻopuka kupanaha ʻia e ka mele a Debussy, i hoʻohui ʻia i kāna mele ponoʻī a me kāna ʻano nani ... ". ʻO Debussy, i kekahi ʻano, ua hoʻokō ʻo ia e hoʻoluliluli i ka leo hopelessly pessimistic o ka pāʻani me ka lyricism maʻalahi a kāohi ʻia, ka ʻoiaʻiʻo a me ka ʻoiaʻiʻo i ke ʻano mele o ka pōʻino maoli o ke aloha a me ka lili.

ʻO ka mea hou stylistic o ka opera ma muli o ka mea i kākau ʻia ma ka prose. Aia nā ʻāpana leo o ka opera a Debussy i nā aka a me nā nuances o ka ʻōlelo Farani. ʻO ka hoʻomohala melodic o ka opera he lohi (me ka ʻole o ka lele ʻana i nā wā lōʻihi), akā e hōʻike i ka laina melodious-declamatory. ʻO ka nui o nā caesuras, ka puʻupuʻu maʻalahi a me nā loli pinepine i ka hoʻokani ʻana i ka leo e hiki ai i ka mea haku mele ke haʻi pololei a pololei i ke ʻano o nā ʻōlelo a pau me nā mele. ʻAʻole ʻike ʻia ka piʻi ʻana o ka manaʻo nui i ka laina melodic ʻoiai i nā ʻāpana climactic dramatic o ka opera. I ka manawa o ka hoʻopaʻapaʻa kiʻekiʻe loa o ka hana, hoʻomau ʻo Debussy i kāna kumu - ka palena kiʻekiʻe a me ka pau ʻole o nā hōʻike waho o nā manaʻo. No laila, ʻo ke ʻano o Pelléas e haʻi aku ana i kona aloha iā Melisande, kūʻē i nā kuʻuna operatic āpau, hana ʻia me ka ʻole o ka manaʻo, me he mea lā i ka "half-whisper". Hoʻoholo ʻia ke ʻano o ka make ʻana o Mélisande ma ke ʻano like. Aia kekahi mau hiʻohiʻona i loko o ka opera kahi i hiki ai iā Debussy ke hoʻopuka me ka maʻalahi kamahaʻo, ʻo ia ka mea paʻakikī a waiwai hoʻi o nā ʻano like ʻole o nā ʻike kanaka: ʻo ke ʻano me ke apo e ka pūnāwai i ka hana ʻelua, ke ʻano me ka lauoho o Mélisande i ka ʻO ke kolu, ʻo ka hiʻohiʻona ma ka pūnāwai i ka hā a me ke kahua o ka make ʻana o Mélisande i ka hana ʻelima.

Ua hoʻokani ʻia ke keaka ma ka lā 30 ʻApelila, 1902 ma ka Comic Opera. ʻOiai ka hana nani, ʻaʻole i lanakila maoli ka opera me ka lehulehu ākea. ʻAʻole ʻoluʻolu ka hoʻohewa ʻana a ua ʻae ʻo ia i nā hoʻouka ʻoi a me ka ʻino ma hope o nā hana mua. He kakaikahi wale no ka poe mele nui i mahalo i ka pono o keia hana.

Ma hope o ka hana ʻana iā Pelléas, ua hoʻāʻo ʻo Debussy e haku i nā keaka ʻokoʻa ma ke ʻano a me ke ʻano mai ka mua. Ua kākau ʻia ʻo Libretto no ʻelua mau opera e pili ana i nā moʻolelo moʻolelo e pili ana iā Edgar Allan Poe - The Death of the House of Escher and The Devil in the Bell Tower - ua hana ʻia nā kiʻi kiʻi, a ka mea haku mele i luku koke ma mua o kona make ʻana. Eia kekahi, ʻaʻole i ʻike ʻia ka manaʻo o Debussy e hana i kahi keaka e pili ana i ka manaʻo o ka pōʻino o Shakespeare ʻo King Lear. Ma hope o ka haʻalele ʻana i nā loina noʻeau o Pelléas et Mélisande, ʻaʻole i hiki iā Debussy ke ʻike iā ia iho i nā ʻano operatic ʻē aʻe e pili kokoke ana i nā kuʻuna o ka French classical opera and theater dramaturgy.

1900-1918 – ke kiʻekiʻe o ka ulu ʻana o Debussy. Hana hoʻokani pila. Ma mua koke o ka hana ʻana o Pelléas, ua hana ʻia kahi hanana koʻikoʻi ma ke ola o Debussy - mai 1901 ua lilo ʻo ia i mea hoʻokani mele ʻoihana. Ua hoʻomau ʻia kēia hana hou nona i ka makahiki 1901, 1903 a me 1912-1914. ʻO nā ʻatikala a me nā ʻōlelo a Debussy i hōʻiliʻili ʻia e ia i ka makahiki 1914 ma ka puke "Mr. He anti-amateur ʻo Krosh. Ua kōkua ka hana koʻikoʻi i ka hoʻokumu ʻana i nā manaʻo nani o Debussy, kāna mau pae kiʻi. Hiki iā mākou ke hoʻoponopono i nā manaʻo holomua loa o ka haku mele i nā hana o ka hana noʻeau i ka hoʻokumu ʻana i nā kānaka, ma kona ʻano i ka hana kahiko a me nā kiʻi hou. I ka manawa like, ʻaʻole ia me ka ʻole o ka ʻaoʻao hoʻokahi a me ke kūlike ʻole i ka loiloi ʻana i nā ʻano mea like ʻole a me nā hoʻoholo aesthetic.

Ke kū'ē nei ʻo Debussy i ka manaʻo ʻino, ka naʻaupō a me ka dilettantism e hoʻomalu nei i ka hoʻohewa o kēia wā. Akā ʻaʻole ʻo Debussy e kūʻē i kahi loiloi ʻenehana kūʻokoʻa i ka wā e loiloi ai i kahi hana mele. Ua pale ʻo ia ma ke ʻano he ʻano nui a me ka hanohano o ka hoʻohewa ʻana - ka hoʻouna ʻana i nā "manaʻo ʻoiaʻiʻo, ʻoiaʻiʻo a me ka naʻau." ʻO ka hana nui o ka ʻōlelo hoʻohewa a Debussy ʻo ia ka hakakā ʻana i ka "academism" o nā keʻena kūhelu o Farani i kēlā manawa. Hāʻawi ʻo ia i nā ʻōlelo koʻikoʻi a maikaʻi loa e pili ana i ka Grand Opera, kahi "ʻoi aku ka maikaʻi o nā manaʻo maikaʻi loa i ka paia ikaika a hiki ʻole ke hoʻopau ʻia o ka formalism paʻakikī ʻaʻole e ʻae i ke ʻano o ke kukui uila e komo."

Hōʻike maopopo ʻia kāna mau loina nani a me kāna mau manaʻo ma nā ʻatikala a me ka puke a Debussy. ʻO kekahi o nā mea koʻikoʻi ʻo ia ka manaʻo o ka haku mele i ka honua a puni ona. ʻIke ʻo ia i ke kumu o ke mele ma ke ʻano: "Ua kokoke loa ke mele i ke ʻano ...". "ʻO nā mea hoʻokani mele wale nō ke kuleana o ke apo ʻana i nā mele o ka pō a me ke ao, ka honua a me ka lani - e hana hou ana i ka lewa a me ke kani o ka haʻalulu hanohano o ke ʻano." Hōʻike ʻia kēia mau ʻōlelo i kahi ʻaoʻao hoʻokahi o ka manaʻo nani o ka mea haku mele i ke kuleana kūʻokoʻa o ke mele ma waena o nā ʻano hana noʻeau ʻē aʻe.

Ma ka manawa like, ua hoʻopaʻapaʻa ʻo Debussy ʻaʻole pono e hoʻopili ʻia ke kiʻi i kahi pōʻai haiki o nā manaʻo i hiki ke loaʻa i kahi helu o ka poʻe hoʻolohe: "ʻO ka hana a ka mea haku mele ʻaʻole e hoʻokipa i kahi liʻiliʻi o nā mea aloha mele "mālamalama" a i ʻole nā ​​​​mea loea. ʻO ka mea kupanaha i ka manawa kūpono nā ʻōlelo a Debussy e pili ana i ka hoʻohaʻahaʻa ʻana o nā kuʻuna aupuni i ka ʻoihana Farani i ka hoʻomaka ʻana o ke kenekulia XNUMX: "Hiki i kekahi ke mihi wale i ka hahai ʻana o nā mele Farani i nā ala i alakaʻi hoʻopunipuni iā ​​​​ia mai nā ʻano kūʻokoʻa o ka ʻano Farani e like me ka maopopo o ka ʻōlelo. , pololei a me ka hoʻopaʻa ʻana o ke ʻano." I ka manawa like, ua kūʻē ʻo Debussy i nā palena ʻāina i ka hana kiʻi: "Ua kamaʻāina maikaʻi wau i ke kumumanaʻo o ka hoʻololi manuahi ʻana i ke kiʻi a ʻike wau i nā hopena waiwai i alakaʻi ʻia ai." ʻO kāna hoʻolaha hoʻolaha nui o nā kiʻi mele Lūkini ma Farani ka hōʻoia maikaʻi loa o kēia kumumanaʻo.

ʻO ka hana a nā mea haku mele Lūkini nui - ʻo Borodin, Balakirev, a me Mussorgsky a me Rimsky-Korsakov - ua aʻo nui ʻia e Debussy i ka makahiki 90 a ua loaʻa kekahi mana i kekahi mau ʻano o kona ʻano. Ua hauʻoli loa ʻo Debussy i ka nani a me ke kiʻi waihoʻoluʻu o kā Rimsky-Korsakov kākau mele. "ʻAʻohe mea hiki ke hōʻike i ka nani o nā kumuhana a me ka nani o ka orkestra," i kākau ai ʻo Debussy e pili ana i ka symphony Antar a Rimsky-Korsakov. Ma nā hana symphonic a Debussy, aia nā ʻenehana orchestration kokoke iā Rimsky-Korsakov, ʻo ia hoʻi, kahi predilection no nā timbres "maʻemaʻe", kahi hoʻohana kūikawā o nā mea kani, a pēlā aku.

Ma nā mele a Mussorgsky a me ka opera ʻo Boris Godunov, mahalo ʻo Debussy i ke ʻano noʻonoʻo hohonu o ke mele, kona hiki ke haʻi i ka waiwai āpau o ka honua uhane o ke kanaka. "ʻAʻohe mea i huli i ka maikaʻi i loko o mākou, i nā manaʻo palupalu a hohonu," ʻike mākou i nā ʻōlelo a ka mea haku mele. Ma hope mai, i loko o kekahi mau mele mele a Debussy a me ka opera Pelléas et Mélisande, hiki i kekahi ke ʻike i ka mana o ka ʻōlelo mele a me ka maʻalahi o Mussorgsky, e hōʻike ana i nā aka o ka ʻōlelo kanaka ola me ke kōkua o ka melodic recitative.

Akā ua ʻike ʻo Debussy i kekahi mau hiʻohiʻona o ke ʻano a me ke ʻano o nā mea pena kiʻi Lūkini nui loa. He malihini ʻo ia i nā manaʻo hoʻopiʻi democratic a me ka lehulehu i ka hana a Mussorgsky. Ua mamao loa ʻo Debussy mai nā manaʻo koʻikoʻi o ke kanaka a me ka noʻonoʻo o nā keaka mele a Rimsky-Korsakov, mai ka pilina mau a hiki ʻole ke hoʻokaʻawale ʻia ma waena o ka hana a kēia poʻe haku mele a me nā kumu o ka poʻe.

Ua hōʻike ʻia nā hiʻohiʻona o ka like ʻole o loko a me kekahi ʻaoʻao i ka hana koʻikoʻi a Debussy i kona ʻike ʻole ʻana i ka hana mōʻaukala a me ke ʻano o ka hana a nā mea haku mele e like me Handel, Gluck, Schubert, Schumann.

I loko o kāna mau ʻōlelo koʻikoʻi, ua lawe ʻo Debussy i kekahi mau kūlana kūpono, me ka hoʻopaʻapaʻa ʻana "he mele he makemakika pohihihi, ʻo nā mea e pili ana i ka infinity."

Ma ke kamaʻilio ʻana i kekahi mau ʻatikala e kākoʻo ana i ka manaʻo o ka hana ʻana i kahi hale kiʻiʻoniʻoni, ʻo Debussy kokoke i ka manawa like e hōʻike i ka manaʻo paradoxical "ʻo ke kiʻi kiʻekiʻe ka hopena o ka aristocracy uhane wale nō." ʻO kēia hui pū ʻana o nā manaʻo democratic a me ka aristocracy kaulana loa he ʻano maʻamau ia o ka naʻauao artistic Farani i ka manawa o ka XNUMXth a me XNUMXth mau kenekulia.

ʻO nā makahiki 1900 ka pae kiʻekiʻe loa o ka hana hana a ka mea haku mele. ʻO nā hana i hana ʻia e Debussy i kēia wā e kamaʻilio nei i nā ʻano hou o ka hoʻomohala a, ʻo ka mea mua, ʻo ka haʻalele ʻana o Debussy mai nā aesthetics o ka hōʻailona. ʻOi aku ka nui o ka haku mele i nā hiʻohiʻona ʻano, nā kiʻi mele a me nā kiʻi o ke ʻano. Me nā kumuhana hou a me nā ʻāpana, ʻike ʻia nā hiʻohiʻona o kahi ʻano hou i kāna hana. ʻO ka hōʻike o kēia nā hana piano e like me "An Evening in Grenada" (1902), "Gardens in the Rain" (1902), "Island of Joy" (1904). I loko o kēia mau haku mele, ʻike ʻo Debussy i kahi pilina paʻa me ke kumu ʻāina o ke mele (ma "An Evening in Grenada" - me ka moʻolelo Spanish), mālama i ke ʻano kumu o ke mele ma ke ʻano refraction o ka hula. I loko o ia mau mea, hoʻonui ka mea haku mele i ke ʻano o ka timbre-colorful a me ka ʻenehana o ka piano. Hoʻohana ʻo ia i ka hoʻokaʻawale maikaʻi loa o nā hue dynamic i loko o kahi papa kani hoʻokahi a i ʻole juxtaposes i nā ʻokoʻa ikaika. Hoʻomaka ke mele i loko o kēia mau haku mele i ka hana hoʻomāhuahua i ka hana ʻana i kahi kiʻi noʻeau. I kekahi manawa, lilo ia i mea maʻalahi, manuahi, aneane improvisational. I ka manawa like, i nā hana o kēia mau makahiki, hōʻike ʻo Debussy i kahi makemake hou no ka hui ʻana a me ka paʻa paʻa o ka haku mele holoʻokoʻa ma o ka hana pinepine ʻana i hoʻokahi mele "core" i loko o ka hana holoʻokoʻa a i kāna ʻāpana nui (prelude in A minor, "Nā Māla i ka Ua", "Pono ma Grenada", kahi o ka leo o ka habanera ka "core" o ka haku mele holoʻokoʻa).

Hoʻokaʻawale ʻia nā hana o kēia wā e ka ʻike piha piha o ke ola, i wehewehe wiwo ʻole ʻia, kokoke i ʻike ʻia, nā kiʻi i hoʻopaʻa ʻia i kahi ʻano kūlike. ʻO ka "impressionism" o kēia mau hana aia wale nō i ke ʻano kiʻekiʻe o ke kala, i ka hoʻohana ʻana i nā kala harmonic "glare a me nā kiko", i ka pāʻani maʻalahi o nā timbres. Akā,ʻaʻole kēiaʻano hana e hōʻeha i ka pono o kaʻike mele o ke kiʻi. Hāʻawi wale ia i ka ʻoi aʻe o ka bulge.

Ma waena o nā hana symphonic i hanaʻia e Debussy i nā makahiki 900,ʻo "Sea" (1903-1905) a me "Kiʻi" (1909) e kū nei i waho, e komo pū me ka "Iberia" kaulana.

ʻO ka suite "Sea" he ʻekolu ʻāpana: "Ma ke kai mai ka wanaʻao a awakea", "Ka pāʻani o nā nalu" a me "Ke kamaʻilio ʻana o ka makani me ke kai". ʻO nā kiʻi o ke kai ua hoʻohuli mau i ka manaʻo o nā haku mele o nā ʻano like ʻole a me nā kula aupuni. Hiki ke helu ʻia nā hiʻohiʻona he nui o nā hana symphonic programmatic ma nā kumumanaʻo "marine" e nā haku haku ʻEulopa Komohana (ʻo ka overture "Fingal's Cave" na Mendelssohn, symphonic episodes mai "The Flying Dutchman" na Wagner, etc.). Akā ʻo nā kiʻi o ke kai i ʻike maopopo loa a ʻike piha ʻia i nā mele Lūkini, ʻoi loa ma Rimsky-Korsakov (ke kiʻi symphonic Sadko, ka opera o ka inoa like, ka Scheherazade suite, ka hoʻokuʻu ʻana i ka hana ʻelua o ka opera The Tale of Tsar Saltan),

ʻAʻole like me nā hana orchestral a Rimsky-Korsakov, hoʻonohonoho ʻo Debussy i kāna hana ʻaʻole i hoʻolālā, akā nā hana kiʻi kiʻi a me nā kala. ʻImi ʻo ia e hōʻike ma ke mele i ka hoʻololi ʻana o nā hopena māmā a me nā kala ma ke kai i nā manawa like ʻole o ka lā, nā mokuʻāina like ʻole o ke kai - mālie, ʻino a me ka ʻino. I ka manaʻo o ka mea haku mele i nā kiʻi pena o ke kai, ʻaʻohe kumu like ʻole e hiki ke hāʻawi i kahi pohihihi pohihihi i ko lākou kala ʻana. Loaʻa ka Debussy i ka mālamalama o ka lā, nā kala koko piha. Hoʻohana wiwo ʻole ka mea haku mele i nā mele hula a me nā kiʻi epic ākea e lawe i nā kiʻi mele hoʻomaha.

Ma ka ʻāpana mua, ʻike ʻia ke kiʻi o ke ala mālie mālie o ke kai i ka wanaʻao, nā ʻale e kaʻa palaualelo, ka ʻālohilohi o nā kukuna lā mua ma luna o lākou. ʻO ka hoʻomaka o ka orchestral o kēia neʻe ʻana he nani loa, kahi, e kū'ē i ke kua o ka "rustle" o ka timpani, ka "drip" octaves o nā lira ʻelua a me nā violins tremolo "frozen" i ka papa inoa kiʻekiʻe, nā huaʻōlelo melodic pōkole mai ka oboe. e like me ka olinolino o ka la ma na ale. ʻO ke ʻano o kahi mele hula ʻaʻole e uhaʻi i ka nani o ka maluhia piha a me ka noʻonoʻo moeʻuhane.

ʻO ka hapa nui o ka hana ʻo ke kolu - "Ke Kūkākūkā o ka makani me ke kai". Mai ke kiʻi ʻoniʻoni ʻole o ke kai mālie i ka hoʻomaka ʻana o ka ʻāpana, e hoʻomanaʻo ana i ke kiʻi o ka ʻino. Hoʻohana ʻo Debussy i nā ʻano mele āpau no ka hoʻomohala ikaika a me ka ikaika - melodic-rhythmic, dynamic a me ka orchestral.

I ka hoʻomaka ʻana o ka neʻe ʻana, lohe ʻia nā kumu pōkole e hana ʻia ma ke ʻano o ke kamaʻilio ʻana ma waena o nā cellos me nā kī pālua a me ʻelua oboes e kūʻē i ke kua o ka sonority muffled o ka pahu bass, timpani a me tom-tom. Ma waho aʻe o ka pilina lohi o nā hui hou o ka orchestra a me ka hoʻonui like ʻana o ka sonority, hoʻohana ʻo Debussy i ke kumumanaʻo o ka hoʻomohala ʻana i ka rhythmic ma aneʻi: hoʻolauna i nā mele hula hou aʻe, hoʻopiha ʻo ia i ka lole o ka hana me kahi hui maʻalahi o kekahi mau mele. nā hiʻohiʻona.

ʻAʻole ʻike ʻia ka hopena o ke mele holoʻokoʻa ma ke ʻano he leʻaleʻa o ke kai, akā he himeni hoihoi i ke kai, ka lā.

ʻO ka nui o ka hoʻolālā kiʻi o ka "Sea", nā loina o ka orchestration, i hoʻomākaukau i ke ʻano o ka ʻāpana symphonic "Iberia" - kekahi o nā hana koʻikoʻi a kumu mua a Debussy. Hoʻopili ia me kona pili pili loa i ke ola o ka poʻe Sepania, kā lākou mele a me ka moʻomeheu hula. I nā makahiki 900, huli pinepine ʻo Debussy i nā kumuhana e pili ana iā Sepania: "He ahiahi ma Grenada", nā preludes "Gate of the Alhambra" a me "The Interrupted Serenade". Akā ʻo "Iberia" kekahi o nā hana maikaʻi loa a ka poʻe haku mele i huki mai i ka pūnāwai pau ʻole o nā mele mele Spanish (Glinka ma "Aragonese Jota" a me "Nights in Madrid", Rimsky-Korsakov ma "Spanish Capriccio", Bizet ma "Carmen", ʻO Ravel ma "Bolero" a me kahi trio, ʻaʻole e haʻi i nā mea haku mele Sepania de Falla a me Albeniz).

ʻO "Iberia" he ʻekolu mau ʻāpana: "Ma nā alanui a me nā alanui o Sepania", "Nā ʻala o ka pō" a me "Morning of the holiday". Hōʻike ka ʻaoʻao ʻelua i nā kiʻi kiʻi punahele a Debussy o ke ʻano, i hoʻopiha ʻia me kahi ʻala ʻala kūikawā o ka pō Sepania, "kākau ʻia" me ke kiʻi maʻalahi o ka mea haku mele, kahi hoʻololi wikiwiki o nā kiʻi ʻoniʻoni a nalowale. ʻO ka hapa mua a me ke kolu e paʻi i nā kiʻi o ke ola o ka poʻe ma Sepania. ʻOi aku ka waihoʻoluʻu ʻo ke kolu o ka ʻāpana, aia kahi helu nui o nā mele a me nā mele Spanish hula, e hana ana i kahi kiʻi ola o kahi hoʻomaha hoʻomaha lāhui ma o ka hoʻololi koke ʻana i kekahi i kekahi. ʻO ka mea haku mele Spanish nui loa ʻo de Falla i ʻōlelo i kēia e pili ana iā Iberia: "ʻO ka leo o ke kauhale ma ke ʻano o ke kumu nui o ka hana holoʻokoʻa ("Sevillana") me he mea lā e lele ana i ka lewa a i ʻole i ke kukui haʻalulu. ʻO ke kilokilo ʻona o nā pō Andalusia, ka ʻoliʻoli o ka lehulehu ʻoliʻoli, e hula ana i nā leo o nā leo o ka "gang" o nā mea hoʻokani pila a me nā bandurist ... , a ua makapō ʻia ko mākou noʻonoʻo e ala mau ana e nā mana ikaika o nā mele hōʻike ikaika me kāna mau nuances waiwai.

ʻO nā makahiki he ʻumi hope loa o ke ola ʻana o Debussy e ʻike ʻia e ka hana hoʻomohala mau a me ka hana ʻana a hiki i ka hoʻomaka ʻana o ke Kaua Honua Mua. ʻO nā huakaʻi ʻahamele ma ke ʻano he alakaʻi i Austria-Hungary i kaulana ai ka mea haku mele ma waho. Ua hoʻokipa maikaʻi ʻia ʻo ia ma Rusia i ka makahiki 1913. Ua lanakila nui nā ʻaha mele ma St. Petersburg a me Moscow. ʻO ka pilina pilikino o Debussy me nā mea mele Lūkini he nui i hoʻoikaika i kona pili i ka moʻomeheu mele Lūkini.

ʻO ka hoʻomaka ʻana o ke kaua i hoʻāla ai ʻo Debussy i nā manaʻo aloha ʻāina. Ma nā ʻōlelo i paʻi ʻia, kāhea ʻo ia iā ia iho: "He mea hoʻokani pila ʻo Claude Debussy." Hoʻoulu ʻia kekahi mau hana o kēia mau makahiki e ka manaʻo aloha ʻāina: "Heroic Lullaby", ke mele "Christmas of Homeless Children"; i loko o ka suite no nā piano ʻelua "White and Black" makemake ʻo Debussy e hōʻike i kāna mau manaʻo i nā mea weliweli o ke kaua imperialist. ʻO Ode i Farani a me ka cantata Joan of Arc i hoʻomau ʻole ʻia.

Ma ka hana a Debussy i nā makahiki i hala iho nei, hiki i kekahi ke ʻike i nā ʻano ʻano like ʻole āna i ʻike ʻole ai ma mua. I loko o ke keʻena mele leo, ʻike ʻo Debussy i kahi pilina no nā mele Farani kahiko o Francois Villon, Charles o Orleans a me nā mea ʻē aʻe. Me kēia poʻe haku mele, makemake ʻo ia e ʻimi i kahi kumu hoʻohou o ke kumuhana a ma ka manawa like e hoʻomaikaʻi i ka hana kahiko Farani āna i aloha mau ai. Ma ke kahua o ke keʻena mele mea kani, ua hāpai ʻo Debussy i ʻeono sonata no nā mea kani like ʻole. ʻO ka mea pōʻino, ua hiki iā ia ke kākau i ʻekolu wale nō - he sonata no cello a me piano (1915), he sonata no ka ohe, harp a me viola (1915) a me kahi sonata no ka violin a me ka piano (1916-1917). I loko o kēia mau haku mele, pili ʻo Debussy i nā loina o ka haku mele ma mua o ka haku mele sonata, a laila e hoʻōla hou i nā kuʻuna o nā haku mele Farani o ke kenekulia XNUMX. I ka manawa like, hōʻike kēia mau haku mele i ka ʻimi mau ʻana i nā ʻenehana hou, nā hui kala waihoʻoluʻu o nā mea kani (ma ka sonata no ka ʻohe, harp a me viola).

ʻOi aku ka maikaʻi o nā hana kiʻi a Debussy i nā makahiki he ʻumi hope loa o kona ola ʻana i ka hana piano: "Children's Corner" (1906-1908), "Toy Box" (1910), iwakāluakūmāhā preludes (1910 a me 1913), "Six Antique". Epigraphs" ma nā lima ʻehā (1914), ʻumikūmālua mau haʻawina (1915).

Hoʻolaʻa ʻia ka suite piano "Children's Corner" i ke kaikamahine a Debussy. ʻO ka makemake e hōʻike i ka honua i ke mele ma o nā maka o kahi keiki i kāna mau kiʻi maʻamau - he kumu koʻikoʻi, he pepeʻi, he kahu hipa liʻiliʻi, he elepani mea pāʻani - hoʻohana nui ʻo Debussy i nā ʻano hula a me nā mele i kēlā me kēia lā, a me nā ʻano mele ʻoihana. i loko o ka grotesque, caricatured form – a lullaby in “The Elephant's Lullaby ”, he leo a ke kahu hipa ma “The Little Shepherd”, he hula keke-hele i kaulana ia manawa, ma ka paani o ka inoa hookahi. Ma hope o lākou, kahi haʻawina maʻamau i "Doctor Gradus ad Parnassum" hiki iā Debussy ke hana i ke kiʻi o kahi kumu kula pedant a me kahi haumāna luhi ma o ka caricature palupalu.

Hoʻopili ʻia nā ʻumikūmālua ʻumikūmālua o Debussy me kāna mau hoʻokolohua lōʻihi ma ke kahua o ke ʻano piano, ka ʻimi ʻana i nā ʻano ʻano piano hou a me nā ʻano o ka hōʻike. Akā i loko o kēia mau hana, ho'āʻo ʻo ia e hoʻoponopono ʻaʻole wale i ka virtuoso wale nō, akā i nā pilikia maikaʻi hoʻi (ua kapa ʻia ka ʻumi o ka etude: "No ka hoʻohālikelike ʻana i nā sonorities"). ʻO ka mea pōʻino, ʻaʻole hiki i nā kiʻi kiʻi a pau a Debussy ke hoʻokomo i ka manaʻo noʻeau. ʻO kekahi o lākou e hoʻomaluʻia e kahi kumu hana.

Pono e noʻonoʻo ʻia ʻelua puke o kāna preludes no ka piano he hopena kūpono i ke ala hana holoʻokoʻa o Debussy. Eia, me he mea la, ua hookuonoono ia na hiohiona hiohiona a me ke ano o ka ike honua, ke ano hana a me ke ano o ka haku mele. Aia i loko o ka pōʻaiapuni ka laulā piha o ka figurative a poetic sphere o ka hana a Debussy.

A hiki i nā lā hope loa o kona ola ʻana (ua make ʻo ia i ka lā 26 o Malaki, 1918 i ka wā o ka pana ʻana iā Paris e nā Kelemania), ʻoiai he maʻi koʻikoʻi, ʻaʻole i hoʻōki ʻo Debussy i kāna ʻimi noʻonoʻo. Loaʻa iā ia nā kumumanaʻo a me nā hoʻolālā hou, huli i nā ʻano kuʻuna, a hoʻihoʻi iā lākou ma kahi ʻano ʻokoʻa. ʻAʻole ulu kēia mau hulina a pau ma Debussy i ka hopena iā ia iho - "ka mea hou no ka mea hou." Ma nā hana a me nā ʻōlelo koʻikoʻi o nā makahiki i hala iho nei e pili ana i ka hana a nā mea haku mele o kēia manawa, kūʻē ʻo ia me ka luhi ʻole i ka nele o ka ʻike, ka paʻakikī o ke ʻano, ka paʻakikī paʻakikī o ka ʻōlelo mele, nā hiʻohiʻona o nā ʻelele he nui o ka Modernist Art of Western Europe i ka hopena o XNUMXth. a me ka hoʻomaka ʻana o nā kenekulia XNUMX. Ua ʻōlelo pololei ʻo ia: "Ma ke ʻano maʻamau, ʻo ka manaʻo e hoʻopili i ke ʻano a me ka manaʻo e hōʻike ana ʻaʻohe mea a ka mea kākau e ʻōlelo ai." "E paʻakikī ke mele i kēlā me kēia manawa ʻaʻole ma laila." ʻO ka noʻonoʻo ola a me ka noʻonoʻo o ka mea haku mele e ʻimi pau ʻole i nā pilina me ke ola ma o nā ʻano mele i hoʻopaʻa ʻole ʻia e ka hoʻonaʻauao maloʻo a me ka decadent sophistication. ʻAʻole i loaʻa i kēia mau manaʻo ka hoʻomau maoli ʻana mai Debussy ma muli o kekahi palena manaʻo o ka nohona bourgeois i kēia au pilikia, ma muli o ka haiki o nā makemake hana, ke ʻano o nā mea pena kiʻi nui e like me ia.

B. Ionin

• Nā hana piano a Debussy →
• Nā hana Symphonic a Debussy →
• ʻO ka manaʻo hoʻokani mele Farani →

Nā haku mele:

kahawai - ʻO Rodrigue lāua ʻo Jimena (1891-92, ʻaʻole i pau), Pelléas lāua ʻo Mélisande (keaka mele ma hope o M. Maeterlinck, 1893-1902, hoʻokani ʻia ma 1902, Opera Comic, Paris); baleta – Nā pāʻani (Jeux, lib. V. Nijinsky, 1912, post. 1913, tr Champs Elysees, Paris), Kamma (Khamma, 1912, helu piano; hoʻokani ʻia e Ch. Kouklen, hoʻokani hope 1924, Paris), Toy Box (La boîte à joujoux, ballet a nā keiki, 1913, hoʻonohonoho ʻia no 2 fp., hoʻokani ʻia e A. Caplet, c. 1923); no ka poe hookani solo, himeni a me ka orkestra – Daniel (cantata, 1880-84), Spring (Printemps, 1882), Call (Invocation, 1883; mālama ʻia ka piano a me nā ʻāpana leo), Prodigal Son (Lʻenfant prodigue, lyrical scene, 1884), Diana i ka nahele (cantata , ma muli o ka hoʻohenehene koa a T. de Banville, 1884-1886, ʻaʻole i pau), The Chosen One (La damoiselle élue, lyric poem, based on the plot of the poem by the English poet DG Rossetti, French translation by G. Sarrazin, 1887-88), Ode to France (Ode à la France, cantata, 1916-17, ʻaʻole i pau, ma hope o ka make ʻana o Debussy ua hoʻopau ʻia nā kiʻi kiʻi a paʻi ʻia e MF Gaillard); no ka hookani pila – The Triumph of Bacchus (divertimento, 1882), Intermezzo (1882), Spring (Printemps, symphonic suite ma 2 o'clock, 1887; hoʻokani hou ʻia e like me nā kuhikuhi a Debussy, ka haku mele a me ka mea alakaʻi Farani ʻo A. Busset, 1907) , Prelude to the Afternoon of a Faun (Prélude à l'après-midi d'un faune, e pili ana i ka eclogue o ka inoa hoʻokahi e S. Mallarme, 1892-94), Nocturnes: Clouds, Festivities, Sirens (Nocturnes: Nuages , Fêtes; Sirènes, me ka hui himeni wahine; 1897-99 ), Ke Kai (La mer, 3 symphonic sketches, 1903-05), Nā Kiʻi: Gigues (orchestration i hoʻopau ʻia e Caplet), Iberia, Spring Dances (Kiʻi: Gigues, Ibéria, Rondes de printemps, 1906-12); no ka mea kani a me ka orkestra — Suite no cello (Intermezzo, c. 1880-84), Fantasia no ka piano (1889-90), Rhapsody no saxophone (1903-05, pau ole, hoopau ia e JJ Roger-Ducas, publ. 1919), Hula (no harp me string orchestra, 1904), First Rhapsody for clarinet (1909-10, originally for clarinet and piano); lumi hoʻokani pila – piano trio (G-dur, 1880), string quartet (g-moll, op. 10, 1893), sonata no ka ohe, viola a me harp (1915), sonata no cello a me piano (d-moll, 1915), sonata no ka violin a me ka piano (g-moll, 1916); no ka piano 2 lima - Hula Gypsy (Danse bohémienne, 1880), ʻElua arabesques (1888), Bergamas suite (1890-1905), Dreams (Rêverie), Ballad (Ballade slave), Hula (Styrian tarantella), Romantic waltz, Nocturne, Mazurka (all 6 pāʻani - 1890), Suite (1901), Paʻi (1903), Mokupuni o Joy (L'isle joyeuse, 1904), Masks (Masques, 1904), Kiʻi (Kiʻi, 1st series, 1905; 2nd series, 1907), Nā keiki Kihi (Ke kihi o nā keiki, piano suite, 1906-08), Twenty-Four Preludes (1st notebook, 1910; 2nd notebook, 1910-13), Heroic lullaby (Berceuse héroïque, 1914; orchestral edition, 1914), ʻumikūmālua) Studies (1915) a me nā mea ʻē aʻe; no ka piano 4 lima – ʻO Divertimento lāua ʻo Andante cantabile (c. 1880), symphony (h-moll, 1 hola, 1880, loaʻa a paʻi ʻia ma Moscow, 1933), Little Suite (1889), Scottish March on a Folk Theme (Marche écossaise sur un thème populaire , 1891, i unuhi pū ʻia no ka symphonic orchestra e Debussy), ʻEono Antique Epigraphs (Six épigraphes antiques, 1914), etc.; no 2 piano 4 lima - Lindaraja (Lindaraja, 1901), Ma ke keʻokeʻo a me ka ʻeleʻele (En blanc et noir, suite o 3 mau ʻāpana, 1915); no ka ohe – Ka ohe a Pan (Syrinx, 1912); no ka papa himeni cappella – ʻEkolu mele a Charles d'Orleans (1898-1908); no ka leo a me ka piano – Nā mele a me nā mele (nā mele na T. de Banville, P. Bourget, A. Musset, M. Bouchor, c. 1876), ʻEkolu mau mele (nā mele na L. de Lisle, 1880-84), ʻElima mau mele na Baudelaire (1887). - 89), Poina ariettes (Ariettes oubliées, lyrics by P. Verlaine, 1886-88), Two romances (hua'ōlelo na Bourget, 1891), 'Ekolu melodies (hua'ōlelo na Verlaine, 1891), Lyric prose (Proses lyriques, lyrics by D . , 1892-93), Nā Mele o Bilitis (Chansons de Bilitis, lyrics by P. Louis, 1897), Three Songs of France (Trois chansons de France, lyrics by C. Orleans and T. Hermite, 1904), ʻEkolu mele ma nā mele. F. Villon (1910), ʻEkolu mau mele na S. Mallarmé (1913), Kalikimaka o nā keiki ʻaʻohe wahi malu (Noël des enfants qui n'ont plus de maison, lyrics by Debussy, 1915), etc.; mele no na hana keaka keaka – King Lear (sketches and sketches, 1897-99), The Martyrdom of St. Sebastian (mele no ka oratorio-pohihihi o ka inoa like na G. D'Annunzio, 1911); unuhi palapala - nā hana a KV Gluck, R. Schumann, C. Saint-Saens, R. Wagner, E. Satie, PI Tchaikovsky (3 hula mai ka ballet "Swan Lake"), etc.