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Aram Hachaturian / Aram Hachaturjan (a part II)

All that speaks Hachaturjan about the teacher - very important and, certainly, testifies to authority pedagogical. But that pedagogical authority, erudition, human qualities where united adherence to principles with softness of the humanist, - all it found special sense because that at the heart of bases of the person Mjaskovsky there was an authority creative is much more important. The Composer-thinker, Mjaskovsky composed mainly tool music and before всегo - symphonies. By then, when Hachaturjan has arrived in its class, Nikolay Jakovlevich was the author of ten symphonies, several quartets, sonatas, piano cycles, romances. At a strongly pronounced individual manner of the letter, Mjaskovsky continued precepts of the teachers: Roman-korsakova, Ljadova, Cherepnina - developed them, leaning against Achievements of music of the XX-th century.

One business to study at the excellent teacher, another - at the composer, in blossoming of its talent, when each new product of the teacher - the strongest stimulus for creativity of the pupil.

The First symphony of Hachaturjana - its final work - is dated 1934. It is devoted the 15 anniversary of the Armenian Soviet Socialist Republic. The symphony plan is far from anniversary solemnity. The centre of gravity of a three-private symphonic design is in I part, together with the introduction and the conclusion of a symphonic poem reminding complete structure. The introduction associates with improvisation ashuga, set up on a theme about which speech will go. This theme, in heavy movement, with a prevailing interval of second, - reminds epic skaz of national heroes, severe and unshakable. Having reached the culminations, enriched more and more blossoming kontrapunkticheskimi runaways, the main theme gradually loses pressure and, as though, recedes, opening a way to music of other warehouse ("яюсюёэющ") . On a refined background figuratsii flutes, a harp and a grand piano there is a passionate singing of the violoncellos, forcing to recollect the poetic lyrics of Ovanesa Tumanjana. From depths of national creativity, national melosa, enamoured this tune has got into a life, in world flowering on partiturnye sheets. Opposition to a gloomy main theme of the melodic stream confidently declaring which have been lighted up by charm unexpectedly leads to the statement of the light, lyrical beginning. The importance of this theme modification of its drawing in II part of the symphony, where amplitude of a variation "ыхщ==хь№" even more becomes stronger; it is stretched from pensive zapeva to cheerful, crafty dance. In many respects it anticipates the ending in which sounding it is possible to find out grains of happy finds of the composer in "+р эІ" and "РярЁ=ръх". We find the Appreciation of the First symphony of Hachaturjana in D.D.Shostakovich's statement: "¦хэ  has amazed unusual riches of this product, the splendiferous, bright orkestrovka, deep pithiness of a musical material both its general celebratory and joyful colour. It is possible to tell about the First symphony that this ecstasy beauty and pleasure цшчэш".

To a genre of the symphony of Hachaturjan comes again only in nine years when the life has demanded from the composer of the response to severe events of war. Then, in 1943, also there is a plan of the Second symphony known under the name, offered by the musicologist G.Hubovym: "Ршь¶юэш  with ъюыюъюыюь". For the symphony of Hachaturjana it is characteristic "тэѕ=Ёхээ   программность" not demanding a literary statement. The great master of concrete figurativeness of a sound material, and in it it has inherited traditions of Russian classics. The images connected with a peal, repeatedly meet in Russian music: the ending "Рѕёрэшэр" bells in "…юЁшёх +юфѕэютх" bell rocking in the beginning of the Second concert of Rakhmaninov, its cantata "-юыюъюыр" an alarm in "-э чх Igоре". The four-private symphony begins the introduction in which are distributed nabatnye blows. Ominous dancing of II part causes memoirs in many listeners about "¤ы ёъх ёьхЁ=ш" Probably because the composer for bolshej concretenesses has entered the motive reminding "Dies irae". Logically there is a figurative system of the following part - Mourning procession, in which centre deeply tragical, immemorial image - Mater dolorosa - Grieving Mother. A combination of tragic element, a nationality and simplicity this part associates with the image created by Sergey Zakariadze in an unforgettable film "+=хч ёюыфр=р". The traditional ending-deification is appreciably nonconventional. The severe note of caution ("-¦фш, be сфш=хыіэ№!") Brings a bell which is not formally framing a symphonic cycle, and bearing one of its basic ideas. "Ршь¶юэш  with ъюыюъюыюь" adequately enters into a system of the products generated by magic events of the Second World War, near to "-хэшэ градской" Shostakovich, "-юхээ№ь Ёхътшхьюь" Brittena, Liturgical ёшь¶юэшхщ" Oneggera, "Ршь¶юэшхщ in three ёрё= §" Stravinsky. In it, as well as in Seventh Shostakovich, the idea of the Soviet patriotism has found expression. This idea has again inspired Hachaturjana in two years after the end of war to creation "Ршь¶юэшш-яюІь№" devoted to the 30 anniversary of October. This time he addresses to one-private structure of a symphonic poem (though quite often we meet also its other name - the Third symphony). For the first time executed in December, 1947 in Leningrad, "Ршь¶юшш -яюІьр" has been frostily met by public. Quite probably that the huge executive device called on a platform (to the big symphonic orchestra 15 pipes have been added and body) - has distracted an audience from purely musical maintenance conceived as an ode of revolution. First "Ршь¶юэш -яюІьр" has been carried by a part of critics to formalistic products to which it actually had no relation. So, throughout thirteen years (1934-1947) composer it has been created three symphonies generated by love to the native Earth, thoughts and alarms on destinies of the Native land.

Well-known that musical talent of Aram of Ilyich many-sided. It not only the composer, the teacher, it is musical-public figure (to these parties of its gift we still we will return). In it there lives unquenchable thirst ispolnitelstva. And, though, objectively speaking, it is impossible to name it the professional pianist or the violoncellist, its performing enthusiasm is that that can compensate formal lacks of technics sometimes. Biographer A.Hachaturjana D.Person tells: in N.Mjaskovskogo's class the well-known pianist, professor K. Igumnov, listened "Кюъър=ѕ" Hachaturjana performed by the author and, having accepted it for the student of piano faculty, has asked, on what course and at whom he studies. Recollecting this episode, Hachaturjan writes: "Ї has been very flattered, but it is extremely confused and till now I do not understand, how Igumnov could accept me for яшрэшё=р". Possibly in game "эх яшрэшё=р" there were any qualities which could mislead even Igumnov. The same qualities in the brightest degree affect in conductor's activity of Hachaturjana. Their basis - congenital artistry, requirement to act, interpret the (only the!) music. The review of estimations of reviews of performances of Hachaturjana behind a conductor's stand would demand a special sketch. We will be limited only to the list of cities where it conducted the author's concerts: Moscow, Leningrad, Kiev, Minsk, Riga, Tallinn, Baku, Tbilisi, Yerevan, Bitter, Sverdlovsk, Novosibirsk, Voronezh, Rostov-on-Don, Yaroslavl, Kazan, cities of Kuzbas, virgin lands, collective farms of Armenia etc. From foreign cities we name only a part: London, Paris, Rome, Bruxelles, Berlin, Prague, Warsaw, Helsinki, Buenos Aires, Havana, Tokyo, Cairo, Beirut, Cordoba, Guadalajara, Nagasaki etc.

Undoubtedly in virtuosity of Hachaturjana - organic property of the creative person - it is necessary to search for the impulses which have led to its creation of the whole series of large products in a masterly genre. The piano concert of which it was a question in the beginning, has opened this list in 1936. It in 1940 was followed by Violin concert so popular nowadays all over the world, in 1946 - Violonchelnyj. It would Seem, traditional tools of a genre of a concert are used. But between 1944 and 1946 years Aram Ilyich writes Three concert arias for a high pitched voice on verses of the Armenian poets of A.Tumanjana, Ov. Tumanjana and M.Peshiktashljana; on the character of an aria different: the first - a Poem, the second - the Legend, the third - the Dithyramb. To a certain extent this product lasting about twenty minutes, it is possible to treat as an original three-private concert for a voice with an orchestra. As through all arias there passes a thread expressed in verses of three poets, a love theme. The new plan, creation of four Rhapsodies-concerts, has arisen in 1953. A plan huge: the Rhapsody-concert for a piano with an orchestra, violoncellos with an orchestra, violins with an orchestra and last - for a violin, violoncellos and a piano with an orchestra. Such plan could arise only in consciousness of the person, whose talent blossoms the more brightly, than more generously it gives fruits of the talent to people.

The Creative friendship with L.Oborinym, D.Ojstrahom, S.Knushevitskim, - outstanding instrumentalists of our country, - should be reflected in scales, scope of the masterly letter, on resolute ignoring of any difficulties.

If to generalise all this unique list of masterly products and to lead its stylistic lines to a uniform denominator, it is possible to come to the formula - before us the amazing arch of the music sated with emotions and thoughts, stated top-level tool, pathetic eloquence. The unity of the poetic maintenance of concerts, rhapsodies, concert arias and the brilliant form very distinctly opens the ways going from concerts of Tchaikovsky, Rakhmaninov, Skryabin, Prokofiev to Hachaturjanu. It is excessive to underline that it is a question of continuity of traditions, about love for traditions at preservation of the manner of the letter, the language which national sources have an effect on any genre - from a song to the symphony. In spite of the fact that in different years Aram Ilyich composed songs, romances, choruses, it constantly and more all is involved with tool music. The composer perfectly knowing theatre, written music almost to ten drama performances, including - to "¦ръсх=ѕ" "-юЁюы¦ -шЁѕ" "-Ёхьыхтёъшь ъѕЁрэ=рь" especially popular music to "¦рёърЁрфѕ"; the composer knowing and loving a voice, - has never shown till now interest to an opera genre. When Three concert arias mentioned already have been written, the hope has flashed that Aram Ilyich has undertaken creative investigation in this direction. But has passed since then almost thirty years, and opera theatre and does not involve its attention.

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