Academism of musical thinking and musical speech Kabalevsky is caused not only school Mjaskovsky, not only the traditions which roots leave in a XVIII-th century. Processings for a piano of Eight small organnyh preludes and I.S.Bach fugues, a piano transcription bahovskoj Organnoj of a prelude and a fugue s-moll, Toccatas and fugues d-moll, the Second organnoj sonatas are indicative in this respect: the composition of two cadences to a re-major Concert for J.Haydn's piano. The nature of academism Kabalevsky, seems to me, it is similar to Benjamin Brittena's never addressing to extreme, experimental "эютрчш ь" academism; the musical language, capable to keep away from sense, the maintenance, a figurative system of music … At the heart of this manner of the letter that, for what each of them it is possible to name listeners "ьѕч№ърэ=юь for ы¦фхщ". It is represented to me that composing music, Kabalevsky subconsciously listens attentively to it ears and consciousness of people for which writes. Without clear sensation of the addressee of the music in the process of the composition Kabalevsky could not reach a combination of such depth, gravity, honesty of creativity and such its broadest availability, clearness, democratism. Property is the rare. A caricature on it, the lampoon, a profanation it name "яЁшёяюёюсыхэшхь".
The Beginning of a professional way of Dmitry Borisovicha is dated year of the termination of the Moscow conservatory. At first - composer faculty on N.Mjaskovskogo's class in 1929, then, next year - piano A.Goldenvejzera's faculty on a class. Its final works - the First quartet and the First piano concert are noted already "тчЁюёы№ьш" instead of student's skills in different areas of composer craft. Products of the beginning of 30th years are a success of public, executors, at the press. Kabalevsky "чрьхёхэ". It is interesting that near to slightly rectilinear, - that is typical for these years, - "¤юІьющ сюЁіс№" and the First symphony, programmno connected with V.Gusev's verses "1917 уюф" - Kabalevsky "эрЁѕя№трх=" a theme to which can become one of central in its creative biography. A piano cycle "Ђч pioneer цшчэш" Becomes the first experience vslushivanija in the huge and wonderful world of the childhood with its romanticism of a forge, a camp ruler, a fire and the pioneer oath fastened in knot of a scarlet tie. Having entered into this world almost 45 years ago, Dmitry Borisovich became really the honourable citizen of the great country Pionerii. To the music composed by it for children, to its amazing, unique talent of the musician-educator conducting behind self to tops of musical art literally millions of children, - we still will return. Here I will be limited to one thought: only the person of pure soul trusting in a victory of light over darkness, confidently peering during far, future time, the person of optimistic outlook could win soul of the child, a being, more sensitively, than someone, reacting to the slightest display of a lie. Rare property of the person - to keep children's cleanliness, cheerfulness on all life, to be direct in ups and downs, - has involved Kabalevsky in amazing hero Romena Rollana.
There is nothing surprising that Dmitry Borisovicha's central product in pre-war years was the opera which hero with conviction repeated: "ИЁрэчѕчѕ for laughter and a grief not яюьх§р". Since 1918, all reading world has become engrossed in reading "-юыр …Ё¦эіюэюь" Romena Rollana. Translated on all languages including on Russian, the poem about the violent Burgundian has grasped And. M.Gorkogo: "Ї read it, laughed, almost cried because of happiness and thought: as this bright, cheerful book, in days of the general confusion of spirit, these days dark madness and чыюс№". is timely
With interest and today the correspondence fastened between Kabalevsky and Romenom Rollanom forty years ago is read. The first letter of the well-known French writer - the letter parting: "Ї it is happy that you work over transposition on music of my Kola Brjunona. I do not think that you should be too anxious by historical character; is a national character which, undoubtedly, should have French юъЁрёъѕ". much more important
With inherent Kabalevsky gravity and scientific validity it plunges into the world of the French music. It at all searches of citations. Process this much more difficult, it is similar that Stanislavsky named "тцштрэшхь in юсЁрч". Not Kola Brjunon was image and anybody from characters to move Rollana, and France, its Gallic spirit, cheerfulness, bravado, ardency of feelings and quick-wittedness, Voltaire's smile and Offenbach's laughter. To write the "-юыр" Kabalevsky should become impregnated with France. And it really "ю¶Ёрэчѕчшыё ". In the opera score original turns that songs dance, but not they define national atmosphere of music Somewhere flash, they only underline it. Neither in a charming song of collectors of grapes, nor in ariozo Lasochki, in a ballad about the cowardly knight, a drinking song of Kola, in a terrible picture of arrival of a plague - is not present motives "тч =№§" borrowed from folklore collections. All is composed!
In February, 1938 the Leningrad Small opera theatre has shown a premiere "-юыр …Ё¦эіюэр". B.E.Khaikin conducted, I.J.Shlepjanov has staged an opera. The success was huge. Criticism - unconditionally positive. About fifty notices! To contemporaries were especially remembered and the executor of a title role A.Modestov and charming beauty Lasochka - I.Leliva have become history of the Soviet opera. And, despite of all indicators of success, one person - Dmitry Kabalevsky has been set critically up. He felt an inconsistency of the scenary dramatic art, taken prisoner the standards occurring in 30th years adjusting any product under vulgar-sociological schemes. Drunk revolt is transformed voleju the author of the libretto into popular uprising; to minor and completely not heroic character, humpback Gambi, lines of the national leader are given. The tragical episode of arrival of a plague has unreasonably expanded, having saddened the whole certificate. Lacks were that, And even they could not black out triumph of the talented music which have been given to drink by light and heat of Burgundy.
Still the opera only was rehearsed, and Kabalevsky did not allow to make a fair copy and furthermore to publish the score, knowing that it is waited by large alterations. New edition has appeared only in thirty years. Then it has been awarded the Lenin award.
It is necessary to remember that the genre of an opera has demanded from the Soviet composers of the lion's share of the creative efforts compensated only in the most minimum degree if to correlate quantity of the written operas with quantity put, and quantity put - with remained in repertoire. Unequivocally to answer a question on the reasons of this phenomenon - it is impossible. But among many reasons one has appeared most often meeting - ignoring of cardinal distinctions of specificity of opera theatre and theatre drama. An obedient apprenticeship of an opera at a drama scene in what good has not resulted. Too neshozhi, and are in many respects hostile each other
Principles of realism opera and realism of drama theatre. Ignoring of it, as a rule, conducted an opera to defeat. It was avoided also by the following opera Kabalevsky, born by high feeling of patriotism. It has two names: "- юуэх" and "¤юф ¦юёътющ" also it is written and put with almost unprecedented mobility for an opera genre. The events played in an opera, are dated December, 1941, the premiere has taken place on a Bolshoi theatre scene on September, 19th, 1943.
It is difficult to blame poet T.Solodarja that the libretto of an opera created by it has appeared dry, prosaic, absolutely not not answering to true heroism of army and paroda in days of fights for Moscow. So or nearly so so librettists of hundreds other operas wrote. The hero of an opera - the gunner who has made the way on an initial boundary of the opponent, informs our gunners the co-ordinates and causes fire on itself. To dispute there can not be about heroism, a selflessness, about an act, worthy to be sung. But it is easy to present to itself, skolkimi by conventions the situation occurring in a firing line or tank predpole should be arranged on an opera scene, in an opera orchestra.
And again, as well as in the history of statement and the author's analysis of an opera "-юыр …Ё¦эіюэ" the most exact, sharp critical remarks Kabalevsky has heard from itself.
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