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Karol Szymanowski / Karol Shimanovsky (a part III)

If to speak about Stravinsky's role in the biography Shimanovsky speech should go not about influence (the leader often to imitation), and about the strongest push directed towards studying and realisation of a folk music. So there is magnificent 50th opus Shimanovsky (1926), including 20 mazourkas for a piano. The composer leaves on new road. Yet not assured of correctness of a way, he searches, looks back. Certainly, could not do without Chopin, so is many-sided opened mazourka poetry. But here tart harmonies of Bartoka which have appeared for the first time in some from "12 І=¦фют" are heard also; written Shimanovsky in 1916.

Perhaps, being afraid of influence charodejskoj Chopin force, Shimanovsky "чютх= on яюьюЁі" Bartoka and Stravinsky. Whether flew, otherwise, but in this creative certificate it anew finds itself(himself). Cunningly ecstatic self-exposure of the neoromanticist, interest to izyskannostjam "¶Ёрэчѕчёъющ ъѕ§эш" has run low;. Shimanovsky for the first time listens attentively to severe wisdom of a folk art, it is accustomed to appreciate its briefness, starts to comprehend, what in it are concealed riches as this world is original.

With a folk art Shimanovsky sdruzhila for many years not only creative evolution, but also a trouble. Since August, 1922 Karol Shimanovsky, on expression of one of biographers, belongs to number of people which "схч Zakopane to live not ьюуѕ=". It is a question of a resort in Tatra mountains where sick of a tuberculosis searched for rescue or at least delays of the inevitable.

Last 15 years of a life Shimanovsky spent generally in sad atmosphere of mountain sanatoria of Poland and Switzerland. But in Zakopane, since 1914, expanded "¦ѕчхщ Кр=Ёрэіёъш" created and sponsored by enthusiasts, enamoured in a folk art of the Polish mountaineers, in their life, speech, music, an applied art. Among enthusiasts it was allocated July Zborovsky, writing down on a song phonograph, a dance music, the shepherd's folk tunes, humourous catchphrases "=р=Ёрэіё№ъют". Into this world also has entered Shimanovsky. The plan "+рЁэрёш" here was born; ballet from a life of the mountaineers, played the big role in the history of the Polish music and the Polish choreographic theatre.

Continuing a line going from "-трфчр=ш ьрчѕЁюъ" the composer gets into those depths where are already "яЁршэ=юэрчшш" slavic music. Not stylisation, and a reconstruction of soundings of violins which national virtuosos play, having turned them dekoj to public and holding not at a chin, and almost on a breast; a reconstruction of singing, sharp, throat, but captivating in the protogenic freshness, from which as from ice cold spring water, a teeth aches.

The Plot "+рЁэрёш" it is absolutely simple. The beautiful girl marry to the unloved. Wedding fun is sad. The bride is sad. Also because to it one of mountain robbers, of those who does not offend poor, but only the rich has attracted. That promised to get out it; time goes, and all are not present it. Suddenly it appears, this handsome man (not without reason in the people them call "§рЁэрё ьш" from a root "§рЁэ№щ" - beautiful) also abducts the darling grown fond to it. Only in 1931 work on the difficult score which scenic life has gone right not at once is ended.

And following opuses Shimanovsky - twelve "-ѕЁяшютёъш§ яхёхэ" for a voice and the piano and six national songs for chorus, - testify that communications of the composer with a folk music become stronger. It confirms also the collection of the Polish national songs processed for a piano, and "Ох=№Ёх =рэчр" (the Polonaise, Krakovjak, Oberek and the Mazourka). Last products were created in the thirties, and most considerable of them - the Fourth symphony named the author by the Concert symphony. Written for a the soloist piano and an orchestra the composition it connects both genres - the symphony and a concert. It is devoted Arthur Rubinshtejnu. The fourth symphony written for some years to it widely known oratorio "Stabat Mater" and near to them the Second violin concert, the way of the composer, a way of indefatigable searches finish.

The Two first parts of the symphony are filled by music of deep and pure feeling, excited, as in autumn sad-pacified. But in the ending forces for excellent stated conclusion masterly treated in piano parties entirely leaning against a national theme as though are last time collected. The spirit of national rhythms, enthusiasm and lyrical sincerity fill also the score of a violin concert.

Shimanovsky has spent in 1935-1936 some the concert trips which have passed with the big success. Execution of last symphony and a concert have brought to it feeling of the present satisfaction. The same years the Prague and Parisian prime ministers of ballet "+рЁэрёш" have followed; accepted, especially in Paris, directed by Sergey Lifarja, with the big enthusiasm.

Forces Shimanovsky thawed. In December, 1936 he has been compelled to leave Warsaw and to go to the Swiss resort Grass. Still it threw over a musical paper a line after line, sketches to the conceived ballet "-ючтЁрЁхэшх +фшёёх " but it was clear that the end is close. It has come on March, 29th, 1937.

Not only Warsaw, all Poland saw off him in a final journey.

And when mourning ceremony has ended, have ceased speeches, has ceased a march from "+шсхыш сюуют" and the grave has become empty, - four national musicians have gone down from Tatra mountains. Jan Obrohta, Stanislav Obrohta, Andrzej Slodychka and Vatsek Mruz have set up the violins, have turned their decks to a sepulchral hill and is sad, in a simple way, "яю уѕЁрыіёъш" the melodies …

have played

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