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Aram Hachaturian / Aram Hachaturjan (a part III)

to Other genre of musical theatre, a genre ballet, has more had the luck - despite of that to one of the most popular products of Hachaturjana, ballet "+р эІ" at all conclusive advantages of its music, it was necessary to test much "§юцфхэшщ on ьѕърь".

The Biography "+р эІ" it is unique. Music of this ballet possesses such huge charge of charm that on a symphonic platform, in transpositions for different ensembles, for solo tools accompanied by a piano, it invariably is a success of any audience. On the other hand, each statement "+р эІ" causes interest in theatrical circles. The hall is always full. Than to explain indefatigable searches all the new and new dramaturgic decisions concerning not musical, but scenic, subject dramatic art? Here the short review. At first, in 1939 by a Decade of the Armenian art in Moscow Hachaturjan has composed ballet "Рёрё=іх" was, in essence the first variant "+р эІ". Ballet has been put, shown not without success during a decade, music - is highly appreciated. To dramatic art the most liberal estimation has been applied, it has been named "эрштэющ". The action beginning occurred in blossoming gardens of the Armenian collective farm "Рёрё=іх" The middle was transferred on a frontier post where at capture of saboteurs the hero of ballet by name of Armen has been wounded, and the performance end sparkled all colours of a rainbow of a wedding feast, a kaleidoscope of the dancing suite which centre occupied dance of the heroine and the hero.

Three years later Hachaturjan in commonwealth with other playwright and the ballet master who has composed more intelligent scenario, has rearranged musical dramatic art, dosochinil a lot of new music and in this kind ballet under the name "+р эІ" has been shown in Perm by the Leningrad Opera and ballet theatre of a name of Kirov evacuated there.

About "+р эІ" the glory has gone. In concerts, broadcasts ballet music has begun to sound, numbers favourite by public were defined: a duet of Nunne and Karena, the Lullaby, Armen's duet and Ajshi, "Прыр§ю" and, certainly, "Крэхч with ёрсы ьш" as a rule, executed in concerts twice. On a scene "+р эІ" still pleasing with music, did not satisfy spectators with dramatic art, nesmotrja even that in the ending celebrated any more one, and the whole three weddings: Gajane and the chief of a frontier post Kozakov, Ajshi and Armen and Nunne with Karenom. In a new wording 1952 drama a situation were pointed by blinding and Armen's discernment, George's crime (a name of the hero which loves Gajane), leaving of Gajane with George in exile. In some years there is a new scenario in which not without effektnosti directly on a proscenium the enemy parachutist goes down; The prospecting party finds any especially valuable mineral which there and then to the parachutist to the spy manages to be stolen and in passing to set fire to collective farm. But also this variant does not put end still. In thirty years after a premiere "+р эІ" on a scene of the Leningrad Small opera and ballet theatre the new dramaturgic variant in which the detective element gives way to the social drama which time of action is transferred to the first years of the Soviet power in Armenia is born.

So, thirty years of searches of the scenary dramatic art capable adequately to embody music, which popularity grew and year from a year grows.

Ballet "+р эІ" was born under an unhappy star in years when the Soviet choreographic theatre, with the best intentions struggling against a decayed aesthetics of ballet fairy tales, krasivostej, susalnosti, against invariable participation in operation princes, princesses, the wizards who are reviving of heroes and heroines, - aspired to considerable plots, to a realistic manner of actor's game, to the truth vital, the truth chuvstvovany. Having become friends with wiser colleague - drama theatre, ballet began to transfer that contradicted its specificity that did not give neither high-grade realism, nor a high-grade choreographic art on the scene. Dramatic art "+р эІ" has got to the vicious it is abrupt "Іыхьхэ=рЁЁшэ№".

Hachaturjan again addresses to a ballet genre in the early fifties. This time at it in hands perfectly grouped scenario - "РярЁ=ръ" a fruit of persistent work of N.D.Volkova, one of leading playwrights of ballet theatre. Here all thoroughly and precisely - an epoch, dates, historic facts, historic figures: Spartak, Phrygia, the Roman military leader to Beauty, the owner of school of gladiators of Lentul Batiat. In premilitary years the author of these lines has heard from N.Volkova one of its creative "ьхё=рэшщ" detailed enough statement of an exposition of the big scene which he named "Via Appia" - " Appievoj дорогой". In the scenario finished only in the early fifties, " Appieva дорога" takes a place of 2nd picture of II certificate. Irrespective of Volkova, thoughts on Spartake as the hero of ballet disturbed for a long time also Hachaturjana. Ballet, to genre signs belonging to not numerous samples of the historical novel on a ballet scene As a result was born. The monumental composition in four certificates includes about 50 numbers among which are allocated with originally fresco scales "КЁшѕь¶ ршьр" "-юёё=рэшх гладиаторов" a huge picture developing of 13 episodes "¤шЁ at -Ёрёёр" the tragical epilogue beginning fight and coming to an end Requiem.

An Amazing variety reaches Hachaturjan in realisation of plastic drawings solo and ansamblevyh dances: the Egyptian dancer, dance of the Shepherd and the Shepherdess, - "-юыъ and ютхёър" in Dance with krotalijami, in Dancing of pirates, dance gaditanskih maidens. Music has prompted to ballet masters and executors creation of two strikingly not similar adagios: Spartaka and Phrygia, Eginy and Garmodija. In the first deep human tenderness, fidelity, in the second - not knowing interdictions and covers sensuality, unruliness reigns. In "РярЁ=ръх" Hachaturjan generously allocates characters with the well-aimed, poeticized characteristics. Moreover, it managed to give the generalised characteristic of Rome in music rapped out, the subordinate to the strict rhythm as though reproducing thanks to muster of copper tools an image of a military vehicle chained in the reservation of republican Rome. At the first director "РярЁ=рър" L. Yakobson, among many baletmejsterskih both director's udach and finds, the special attention attracts one of decisions of a scene of revolt of broad masses: plebsa, handicraftsmen, slaves and gladiators. Group densely closed shoulder to shoulder, moving in parallel a stage, stiffens, forming gorelefnuju a composition. It which have risen in fight against patrician Rome, will erect a monument. They are immortalised in the stone zastylosti. Such is culmination expression of the basic idea which have immortalised those who in 71st year B.C. has given the life for the sake of clearing of slavery.

Keeping almost inviolable a basis of musical and scenic dramatic art "РярЁ=рър" different ballet masters offered the plastic decision of performance. On one only to a Bolshoi theatre scene "РярЁ=ръ" celebrated the premiere three times: in I.Moiseyev, L.Yakobson and J.Grigorovich's statements.

So there was differently a destiny of two ballet opuses of Aram Hachaturjana taking the central place in its rich creative events in victories of the biography. And in a chamber genre, and in a genre of film music of Hachaturjan has created products, worthy to take a place near to monumental scores of symphonies and ballets. Ilyich -хэшэ" is enough to recollect music to Michael Romm's film "-ырфшьшЁ; music to "+=хыыю" Sergey Jutkevicha, or devoted Emilju Gilelsu a three-private piano sonata to be convinced of generosity of talent of the composer indefatigably revealing in different genre aspects.

And again I will remind about "юфхЁцшьюё=ш" Hachaturjana. There are composers, our contemporaries, directing efforts of the talent to glorification of the past, heroic pages of history of the country and the people, ljubovno shifting on musical language poetry of classics, their dramaturgic products. Aram Ilyich moves "схч оглядки". The person of high and versatile culture, it appreciates the literature, painting, architecture of the last centuries. In the never-ending wanderings on globe it never will miss possibilities to visit not only in the glorified museums, but also in malopopuljarnyh meetings of pictures, sculptures, at performance completely not well-known, but something of the remarkable theatre showing the play of centuries-old prescription. He loves history of human aspirations to the fine. But really him excites, creatively grasps not past, and the present. From monumental "+ф№ memories -хэшэр" grown from music to a film "-ырфшьшЁ Ilyich -хэшэ" or "+ф№ Ёрфюё=ш" For structure in a festively way smart (the big symphonic orchestra, chorus, the soloist, ten harps and unison ensemble of violinists), - and to absolutely modest song "-р°х сѕфѕЁхх" or an early Trio for a clarnet, violins and a piano, - Hachaturjan speaks about the time about time in which lives.

With good reason it is possible to repeat: the destiny of Aram Ilicha Hachaturjana is magnificent! As it is colourful, as it and as it is similar to its music is picturesque. As the international recognition of the musician which academician Asafev named "рѕсхэёюь ours ьѕч№ъш" is delightful;. Really rubensovskoe celebratory abundance, roskoshestvo the sounding world, a sound matter, parchovymi modulations responding on boundless in the variety chords of light radiated by a life. The game of treatments of light and shade seeming whimsical and easy, actually is won by the huge, persistent work which is revealing a secret of most difficult that is in art - secret of simplicity.

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