Is white Is white
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Bela Bartok / Bartok (a part II)

In the same 1911 Bartok addresses for the first time to theatre and composes an one-act opera "Грьюъ the duke Dark blue …юЁюфр" under the libretto Balasha Is white. The legend about the artful polygamist to the Dark blue Beard many times got on opera, operetta and ballet scenes. Together with librettist Bartok has originally rethought it.

In the lock of the duke the secret surrounds each of seven doors, as behind everyone - the important part of his life. Behind one - the weapon, for another treasures, behind the third - a room of tortures, behind the others - a garden, lake of tears, a bedchamber of the Dark blue Beard; for the seventh - shades of three his wives from which one was in the Morning, another - in the Midday, the third - Sunset hour of his life. And now the duke has resulted in lock Judif. Having grown fond of it, it has left a life full of light and pleasure, has left the father, the brother and the groom. The duke opens mysterious doors only after arrangements of Judifi. It bravely crosses a threshold of a room of shades of three wives: Mornings, Half-day and the Decline. Henceforth it becomes a shade, memoirs of its Nights.

In the symbolical form here it is told about seven doors of man's heart and about the love which has come in the evening of life, on a threshold of eternal night. Musical language of an opera differs from early and from the next opuses. This language - on a way from impressionism to an expressionism. Presence of two style tendencies can be heard even in the short introductions-characteristics sounding before opening by each of seven rooms.

After the first opera there is also a first ballet - "-хЁхт ээ№щ яЁшэч". As the author of the libretto the same playwright acts Balash Is white. Bartok has approached with it during meetings in creative association of the advanced Hungarian artists, called on number of its participants "-юёіьхЁъющ". In days of opening days of Bartok quite often showed also the products, and Balash Is white acted with an explanatory word. In landscapes and conversations of painters, in oral stories of Balasha, in music of Bartoka equally distinctly sounded excited skaz about Hungary.

In ballet "-хЁхт ээ№щ яЁшэч" motives of a national fairy tale are used.

... The Prince has seen the Princess and has immediately grown fond of it. And she at all has not noticed it and has left in the tiny lock standing on a green hill. The prince has rushed behind it, but the Fairy has bewitched wood, and it has stood in way. To draw attention of the Princess, the Prince removes the magnificent raincoat, throws over a staff, shears the gold curls, attaches them to a crown and then lifts over a head a staff with a crown, ringlets and a raincoat. The princess has quickened, it liked this doll. Without paying attention to the Prince, ugly, cut, it has seized a doll and has begun to dance with it. The prince has become sad. And when the Princess with a doll has dashed away in dance, wood left the Fairy. Having waved a magic wand, it has enjoined to weave to the Nature for the Prince a raincoat from colours, of the most thin shelkovinok to make curls. And the doll has bothered the Princess, she has thrown it, and the doll has collapsed. To the princess it became boring. She has run downwards, has seen the changed Prince and has fallen in love with it. But it, remembering insult and a pain, has not wished even to look at it. Tears of the princess have not helped also. Then it sostrigla the gold, long hair to the earth and became at once very ugly. The prince has looked a pas it, has regretted, has approached to it crying, unfortunate, has embraced her and has kissed. The princess and the Prince immediately became such what were earlier. They have stretched hands each other and have lived a long-long happy life...

In 1917 ballet has been put on the Budapest scene and since then lives in repertoire of many theatres of the world.

The Nearest after "-хЁхт ээю go яЁшэчр" years (1913-1918) are given work mainly over the chamber products connected with folklore: these are the Romanian dances and the Romanian Christmas songs for a piano, Eight Hungarian songs for a voice and a piano, Slovak national songs for the man's chorus, Fifteen Hungarian country dances for a piano. The same years there is a Second quartet, probably, written under the influence of tragical events of military years.

The First World War Termination, October revolution and the world response to it have huge influence on scope and intensity of the Hungarian revolutionary movement therefore on March, 21st, 1919 in Hungary the Soviet power has been proclaimed. From the very first days the Hungarian revolution of Bartok then and later not belonging to any political party, vigorously joins in a new life of the country. In the interview given to representatives of the press, he told necessities to pay attention on musical exceptional children of the poorest levels of population; about a crying need of radical revision of system of national education so that among other actions to enter training to singing at sight and melody records on hearing.

In 1918-19 Bartok writes the second ballet - "ГрёрЁютрээ№щ ¦рэфрЁшэ". The press ekspressionistskogo arts here is very appreciable. Bartok says that in the world in which wars where normal human feelings are destroyed, morals, culture are possible, even the love gets the character approaching it to dancing of death.

Action "ГрёрЁютрээю go ¦рэфрЁшэр" it is developed at the bottom of a city. The beautiful young girl - a bait in hands of three tramps. One after another in a room of the girl there are gentlemen. But any does not suit the tramps who have hidden behind a screen.... In the street there is a strange figure of the person in an unusual attire on which jewelry sparkle. It is the Tangerine. It so pugajushche is unusual that the girl otshatyvaetsja from a window. Late! He has seen it. Stumps on a ladder are audible. The Tangerine enters. His face - kamenno a motionless mask on which the slanting eyes which are watching each movement of the girl sparkle. It runs off in other corner of a room. A tangerine - behind it. The girl dances. The tangerine rushes to it, they struggle. Then from an ambush there are three and overtake the victim...

In the Tangerine the life hardly glimmers. The girl the strange feeling of human tenderness to the dying seizes. It falls on a floor, embraces the Tangerine and, lulling, sees off in a final journey...

Music "ГрёрЁютрээю go ¦рэфрЁшэр" amazes with a combination ekspressionistskoj gloom and human heat. Known German baletoved Eberhard Rebling wrote: "…рЁ=юъ was the fanatical selector of the truth. It acted with limiting resoluteness against injustice, hypocrisy and brutality... Makes related both ballets of Bartoka a celebration of true human love over external shine, over harm, over everything hostile цшчэш".

In the early twenties, soon after defeat of the Hungarian revolution, against the most progressive forces of the Hungarian society skilfully organised persecution in a press, in establishments, public organisations is conducted. Bartok and two most outstanding musical figures: Zoltan Kodaj and Erne Donani are under constant fire of provokers and henchmen of a counterrevolutionary mode. Without wishing to accept a humiliating situation on the native land, Bartok undertakes a series of long concert tours across all Europe and the USA. Everywhere its music and its performing talent cause enthusiastic welcome. With especial success pass its performances in Soviet Union in 1928-1929. Its concerts in Moscow, Leningrad and other cities have been accepted with enthusiasm. It conducted the Dancing suite, "-тѕь  яюЁ=Ёх=рьш" played the First concert for a piano, written in 1926.

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