Lugemik Ferenc Liszti Elust Ja Isiksusest

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Lugemik Ferenc Liszti Elust Ja Isiksusest Lugemik Ferenc Liszti elust ja isiksusest 1 Koostaja: Urmas Bereczki Väljaandja: Ungari Instituut Vastutav väljaandja: Urmas Bereczki Tõlkija: Ivar Sinimets Lugemik Ferenc Liszti Toimetaja: Reet Klettenberg Kujundaja ja küljendaja: Inga Heamägi Raamat ilmub sarjas Miscellanea Hungarica elust ja isiksusest ISBN 978-9949-38-716-8 (epub) ISBN 978-9949-38-715-1 (pdf ) Originaaltekstid pärinevad alljärgnevatest teostest: Liszt Ferenc életének krónikája Dr. Nádor Tamás Zeneműkiadó, Budapest, 1975, ISBN 963 330 084 3 Ő volt Weimar napja. Liszt-olvasókönyv kezdőknek és haladóknak Szerkesztette: Gracza Lajos Balassi Kiadó, Budapest, 2008, ISBN 978-963-506-762-6 Liszt Ferenc személyisége Dr. Szilágyi András Garbo Kiadó, Budapest, 2011, ISBN 978-615-5007-09-5 Ungari Instituut Tallinn 2015 2 3 SISUKORD Eessõna I Ferenc Liszti elulugu Péter Esterházy hertsog Esterházy ja Haydni suhetest 1811–1830 1830–1838 1838–1843 1844–1847 1848–1861 II Kaasteelised Lisztist Aus meinem Künstlerleben als Primadonna in Deutschland, Österreich und Italien Ta nägi selgesti seal, kus teised ainult aimasid Ta kutsus oma kümne sõrmega välja helide vaimu Ta silmades pärlendas noorusesära Ta oli vürst ja tema valdustes ei läinud päike kunagi looja Tema teosed kõnelevad hämmastaval viisil III Ferenc Liszti isiksus Ferenc Liszti kui ungarlane ja eurooplane Armutunne. Kas Liszt oli donžuan? Vanaduspõlv, involutio. Liszti surm 4 5 Ferenc Liszt 22.X.1811–31.VII.1886 1885. aasta kevadel loeb noor pianist August Stradal vanale Lisztile ta Budapesti korteris ette Schopenhaueri „Parergat“. Peatükis „Kriitikud, edu ja kuulsus“ jõutakse tuntud ridadeni pürotehnikust, kes süütas oma kau- neimad raketid ja sai seejärel teada, et kõik ta pealtvaatajad olid pimedad. Siinkohal ohkab Liszt sügavalt ja ütleb, et peab end ammu selliseks püro- tehnikuks, kuid – tuleb aeg, mil ta pime publik saab nägijaks. 73-aastane Liszt, kelle ees Euroopa Šotimaast Konstantinoopolini, Moskvast Gibraltarini põlvitas ta noorest east alates; kellel 1839. aastal tuli Roomas pähe hulljulge mõte sisustada kontsertõhtu ainuisikuliselt, esinedes üksinda (sealt saab alguse mõiste klavierabend e klaveriõhtu); kes oma erakordset populaarsust kasutades pakkus kuulajatale harjumatut, ka minevikumeistrite loomingust – klaveritranskriptsioone Schuberti lauludest, Bachi oreliteostest, Beethoveni ja Berliozi sümfooniatest, kõne- lemata fantaasiatest ja parafraasidest kaasaegsete heliloojate teemadel; kes oli rajanud Budapesti Muusikaakadeemia; kes oli Weimaris dirigendina toonud lavale 43 ooperit, neist kaheksa – maailma esiettekandes; diri- Liszt Ferenc mõni kuu enne surma geerinud sümfooniakontserte, kirjutanud muusikutest ja nendega seotud Teose „Isoldens Liebestod“ käsikiri probleemidest; õpetanud ja julgustanud noori muusikuid pooles Euroo- pas – miks arvab Liszt oma publiku olevat pimeda? Sest ta oli oma kaas- aegsete jaoks vaid klaverivirtuoos. Heliloojat Liszti eriti ei tunta, ta teoseid ei arvata hindamisväärseiks. Ometi – Liszt tõi oma loominguga muusikasse väga palju uut: uued žanrid (sümfooniline poeem, rapsoodia), vormiuuendused (üheosaline sonaat ja kontsert), uus klaverikäsitlus. Mis iseloomustab Liszti heliloomingut? Tunde ja vormi vaheline tasakaal, püüd ühendada poeetilist ja muusi- kalist. Elusündmuste filosoofiline kajastamine nõuab varasemate vormi- konstruktsioonide eitamist Liszti poolt. Kunstnik ei saa oma fantaasiat suruda varem valmis vormiskeemi. Muusika sisemine side poeesiaga an- nab muusikalisele loogikale uued arengusuunad. Liszti programmilisus 6 7 on pigem filosoofilist laadi. Ta kannatab koos Tassoga, kelle elukäigu ja ripedagoogile Czernyle „Transtsendentsed etüüdid“ ja on nii üks, kes viib loomingu hilinenud tunnetuse kibe vastuolu paneb teda, Liszti, tundma etüüdi harjutusruumist kontserdilavale. end Tassona… Kas tundis ta end ka XIX sajandi Orfeusena või Pro- Aga pühendus eakaaslasele kolleegile võib olla ka mõnevõrra intrigee- metheusena? riv. F. Chopin kirjutab oma etüüdide esimese oopuse peale „Oma sõbrale Liszti huvitab kangelase siseilm, hingelised üleelamised, ta valib si- F. Lisztile“. tuatsiooni, probleemi, kus on võimalik ideeline mõtestatus (vastupidiselt Robert Schumann, kes 1831. aastal kuulutab endavanusele Chopini- Berliozile, kes valib kergesti illustreeritava olukorra). Liszti uuendused or- le suurt tulevikku ja pühendab talle 1838 oma suurteose „Kreisleriana“, kestratsiooni valdkonnas olid tähelepanuväärivad, paraku tuntakse neid on paar aastat varem pühendanud Lisztile oma Fantaasia C-duur. Lisz- rohkem Wagneri partituuride kaudu. Liszt oli helde ja suuremeelne, mida ti vastukummardus Schumannile – Sonaat h-moll – valmib 1853. aas- ta hilisema väimehe kohta öelda ei saa. ta veebruaris. Teose esimene avalik ettekanne toimub 22. jaanuaril 1857 Liszti hilise perioodi uuendused olid Wagneri meelest selge märk Berliinis, kus sellega esitletakse ühtlasi esimest Bechsteini kontsertklave- Liszti ande kustumisest. XIX sajandil on Liszti teosed veelahkmeks mitte rit. Mängib Liszti õpilane Hans von Bülow. Esiettekande viibimise põhjus ainult klaveritehnika ja -fraktuuri arengus. Uuendused harmoonia vallas, ei pruugi peituda kaasaegsete üldises vastuseisus Liszti teostele, võimalik meloodika sfääri uuenemine, erakordselt suur tähelepanu rahvamuusikale on helilooja delikaatsus Schumanni traagilise haiguse ja varase lahkumi- (ainuüksi ungari temaatikaga on seotud ligemale 130 teost), muudatu- se suhtes. (Schumann suri 1856. aasta 26. juulil 46-aastasena Endenichi sed helisüsteemi struktuuris, kompositsioonivõtted ja esteetilised vaated närvikliinikus.) – „Liszt avab oma teostes nii palju uusi võimalusi, ammendamata neid Üheosaline Sonaat h-moll (760 takti, kestvus ~ 30 minutit) demonst- lõpuni, et ta looming annab meile võrreldamatult suurema stiimuli kui reerib monotematismi, teemade transformatsiooni, ühtset vormi, mis Wagneri oma,“ toonitab oma ettekandes Liszti loomingu probleemidest ühendab sonaadivormi ja sonaattsükli printsiibid ja on väga selgete into- Béla Bartók akadeemikuks valimise puhul Budapesti Teaduste Akadee- natsiooniliste vihjetega nii autori päritolule kui tõeotsijale Faustile. Mitte mias 3. veebruaril 1936. Bartók oli esimene, kes kongeniaalsena mõistis juhuslikult ei järgne h-moll sonaadile „Faust-sümfoonia“, mille algusteema Liszti muusika seotust ungari folklooriga ja ta prohvetlikku tulevikumuu- oma suurendatud kolmkõladega on puhas dodekafooniline helirida. Oda sikaaimdust. 1874. aastal kirjutas Liszt, et tema ainus auahnus seisab tulevikku oli juba heidetud… Pole imestada, et just Liszt on see, kes jälgib nüüd vaid selles, et „heita oda võimalikult kaugele lõputu tuleviku riiki“. noori ametivendi terves Euroopas ja julgustab ärkavaid rahvuskoolkondi Richard Strauss pidas Liszti kõige olulisemaks teoseks Sonaati h-moll. oma tee otsinguil, nimetagem siin vaid Griegi, Borodini, Mussorgskit. Noore Bartóki kontsertpianisti karjäär algab 21.X.1901 Liszti h-moll so- Omal ajal kirjutas Heinrich Heine Pariisist: „Ta tunneb vajadust mu- naadi menuka ettekandega. Süvenemine Liszti loomingusse, selles peituva retseda inimsoo kõikide hädade pärast ja seetõttu topib ta rõõmsalt oma epohhaalselt olulise avastamine võtab aega. XX sajandi alguses on Bartók nina kõikidesse kohtadesse, kus Issand Jumal keedab tulevikku. Et Franz sellel teel üsna üksi. Liszti Sonaat h-moll on pühendatud Robert Schu- Liszt ei või olla rahulik pianist rahulike kodanike tarbeks ja mugavate öö- mannile. tanude jaoks, on enesestki selge.“ Kellele pühendab helilooja oma teose? Tavaline on pühendus tellijale C. Saint-Sains tahtis pühendada Lisztile oma kolmanda sümfoonia, või metseenile: Beethoveni sonaadid op. 30 – keiser Aleksander I-le, op. paraku ta hilines: „Orelisümfoonia“ on pühendatud Liszti mälestusele. 106, 111 – ertshertsog Rudolphile. Austusavaldusena vanemale kolleegile Haydnile kirjutab W. A. Mozart kuus keelpillikvartetti ja Beethoven oma Tiia Järg õpetajale A. Salierile – viiulisonaadid op. 12. Liszt pühendab oma klave- 19. oktoober 2015 8 9 I Ferenc Liszti elulugu Kunstnik Josef Danhauseri maal „Liszt am Flügel“, 1840 10 11 Aastal 1700 ilmunud suur foliant „Trophæum Nobilissimæ ac Antiquis- simæ Domus Estorasianæ“, see maitsetult kokkupandud väljamõeldis, kal- laletung kainele mõistusele, sisaldab mu esiisa genealoogiat ning esitleb 171 täissuuruses vaselõikel arvatavaid ning tõelisi esivanemaid. Suure osa piltidest on teinud hertsogi üks õuekunstnikest nimega Petrus. Minu esi- isa Neitsi Maarja ja perekonnakultus on pärit samast allikast, mida kenas- ti sümboliseerib ka kaanel kasutatud vaselõige, sellel valvavad allegoorilise Herkulesena kujutatud sümboolne Kangelaslikkus (Fortido) ja Marsina kujutatud Õilsus (Generositas) seda sammassaali, kus ingel ulatab pad- jale asetatud krooni – siinkohal järgneb mu isa nimi – Aule (Honor) ja kus Honor ilmub peaaegu ühemõtteliselt Neitsi Maarjana, peas Ungari kroon. „Trophæumi“ kohaselt arvab mu esiisa meid pärinevat mitte ainult Aadamast, Noast jne, vaid lähemale tulles Attilast, veelgi lähemal Csa- bast, kuningapoeg Csabast, kellest ka Árpádide kuningadünastia põlvne- vat. Fiktsiooni kohaselt Ungari praegustele aladele tulnud juhtidest kõige kauem elanud vürst Eurs oli omal ajal tegelikult suveräänne valitseja, sel- lele lisaks Ungari püha kuninga Istváni nõbu. Temast pärineb meie esiisa Estoras, kelle ema olnud noch dazu Decebali lapselaps, daaklaste kunin- gatütar Ida – nagu teada, mu esiisa teostamatute ideede sekka kuulus ka Transilvaania taasliitmine Ungariga. Estoras on võrreldav Püha Istvániga, sest tedagi ristis
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