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Dmitriy Kabalevskiy / Dmitry Kabalevsky (a part IV)

the Sincere, organic friendship Kabalevsky with youth, with a youth, does it always young. It is not forged, does not humour, hates a baby talk. He admires the greatest miracle of a life - a youth. He derives strength from this spring and conversation on a life has with the Life. So there is its vocal cycle "-хё =і sonnets ПхъёяшЁр". They are written in 1953-55. Sonnets are given in S.Marshak's who has kept melodiku of a verse of the great Englishman excellent transfers, managed to enclose in chetyrnadtsatistrochnuju a design originally "ъырфхчі ьѕфЁюё=ш". And in this product line - clearness affects inherent Kabalevsky. In music of sonnets obvious gift Kabalevsky - the psychological analysis is found out. The cycle of sonnets is written for a voice and a piano. But without a stretch we can define a creative method of its creation as symphonic. Not formal reception is applied Kabalevsky when he underlines a theme of a beloved of the hero of sonnets passing through all ten sonnets. That loves it is light, suffering, exulting, suffering, being sorry about an approaching old age, glorifying a youth.

Magnificent the darkness,
Also seems When you enter into it a light shade.

From philosophical uglublennosti the sixth sonnet ("-х change, be ёюсю¦") to playful, grotesque intonation of the fifth ("…юу the Cupid dozed in calm ыхёэющ"), from tragical, reminding the Pushkin-Borodino romance "-ы  fatherland coast фрыіэющ" the fourth sonnet ("-юуфр on court silent, secret фѕь") to the third ("-¦сы¦, but I speak about І=юь" less often;), similar to a simple song, or the seventh ("К№ - ьѕч№ър"), continuing traditions of romantic vocal lyrics, - the way of searches of the most exact musical analogies of Shakespearean thought and the form lies.

Shakespearean sonnets Kabalevsky sing much. Fortunately, actors sing, able to hear not easier melody bearing the text, and Shakespeare's verses, melodiku which has heard and the composer has written down.

The World of the philosophical thought so close Kabalevsky, has grasped it in work on Sonnets and has responded again almost in ten years in product of absolutely other genre, character, scale, in "рхътшхьх" on R.Rozhdestvenokogo's verses.

In the symphonic genre adjoining on a genre oratorialnym to which belongs "рхътшхь" Kabalevsky approached to philosophical judgement of a thematic circle twice: a life, struggle, death and immortality. The first time - in the Third symphony, V.I.Lenin's named "рхътшхьюь" the memory;; in the second time - in the Fourth symphony - one of the deepest scores of the composer. In this symphony written in 1956, echoes of war, tragical memoirs, losses are distinctly heard. The hero of the symphony - the strong, strong-willed person, overcomes a pain and despair for the sake of a life, for the sake of the future. Such are steps, rising on which, D.Kabalevsky in commonwealth from R.Rozhdestvenskim has come to top, to product, really shaking. The author of music speaks about it: "Рюёшэхэшх it is written about victims, but turned to live, tells about death, but sings of a life, is born by war, but by all being is directed to ьшЁѕ". Robert Rozhdestvensky tells: "Л my mother was six brothers. All of them have left to be at war. Younger was seventeen. One has come from war. I long thought how to express it. Did not know a word in which it is possible to enclose all. And has then found it is Дрхътшхь"".

It An hour and a half lasts odinnadtsatichastnoe product for the soloists, the mixed chorus, children's chorus and an orchestra.

"рхътшхь" Kabalevsky from the first execution in February, 1963 made the big success and has been noted by the State award of Glinka as product of high art advantages, as the music which is clearing up will to live and to struggle for the sake of a life, in memory of victims.

Dmitry Borisovich in the operas, symphonies, oratorios, including in "рхътшхьх" - addresses to people a voice severe and courageous. In the same character its symphonies sound. But as it is joyful to listen in a counterbalance it to music Kabalevsky, reminding spring flowering of the earth in a life springtime - a youth in its tool concerts, in artekovskih songs, in an orchestral suite "-юьхфшрэ=№" in music to a film "+э=юэ Ivanovich ёхЁфш=ё ".

There are composers, - it is a lot of them, - which consider offensive for advantage any attempt to decipher words sense, the maintenance, a figurative system of their music. Kabalevsky willingly helps the listeners, young and not young, verbal, program designations. I will give an example. It is known that the tool fugue, as a rule, belongs to number of the most generalised kinds of music. Kabalevsky was not afraid here again to break tradition in a name bolshej availability, clearness of its music. Its Six preludes and fugues for the pianos designated by an opus 61st, carry concrete names: in the Summer morning on a lawn; Reception in pioneers; the Evening song behind the river; In pioneer camp; the Story about the hero; a work Holiday.

Such purposefulness of the composer seeing one of the central creative problems in an establishment of contacts to listeners does clear that success by which its work in adjacent arts - cinema and drama theatre is always accompanied. Since "¤х=хЁсѕЁуёъющ эюёш" the dated 1934 guide, "+юЁёр" "¤хЁтюъырёёэшч№" "+ърфхьшър Ivan ¤ртыютр" "¦ѕёюЁуёъюую" and to the trilogy - "Рхё=Ё№" "-юёхьэрфчр=№щ уюф" and "+ьѕЁюх ѕ=Ёю" - D.Kabalevsky shows ideal type of the composer-playwright. That is why with it so such outstanding directors, as Grigory Roshal, Alexander Dovzhenko, Alexander Ivanovsky, Michael Kalatozov willingly worked.

... Mentally surveying - listening attentively to everything that has composed Dmitry Borisovich from what in a short sketch-sketch without what it is impossible to imagine character of the creative person Kabalevsky is named only, - first of all you give in to charm of its melodic gift. As it is rare in our century, this talent of the composer conceiving first of all in the images, expressed by a melody, the most direct category of musical thinking. Whether a waltz from a film "+э=юэ Ivanovich ёхЁфш=ё " Rondo Kola Brjunona, a slow part of the Third piano concert, whether an aria of Tarasa "К№, Andrey, in a flour death hour ѕсю ыё " whether cheerful klounadu from "-юьхфшрэ=ют" any theme from the Concert for a violin with an orchestra, - all the same. The inexhaustible melodic current directs in a hall, giving rise to that response in which both pleasure of comprehension, and gratitude, both agitation, and expectation of new and new melodic lines, each of which, - using very old, but not so not discredited expression, - clears soul …

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