Alexander Alexandrovich Slobodyanik |

Alexander Slobodyanik

Aleksandr Aleksandrovich Slobodyanik tun yana matashi ya kasance a tsakiyar hankali na kwararru da kuma jama'a. A yau, lokacin da yake da shekaru masu yawa na wasan kwaikwayo a ƙarƙashin belinsa, mutum zai iya cewa ba tare da tsoron yin kuskure ba cewa ya kasance kuma ya kasance daya daga cikin mashahuran pianists na zamaninsa. Yana da ban mamaki a kan mataki, yana da kyan gani, a cikin wasan mutum zai iya jin babban gwaninta - wanda zai iya jin shi nan da nan, daga farkon bayanin da ya dauka. Kuma duk da haka, tausayin jama'a a gare shi ya samo asali, watakila, saboda dalilai na yanayi na musamman. Mai hazaka kuma, haka ma, ban mamaki a zahiri a fagen wasan kwaikwayo ya fi isa; Slobodianik yana jan hankalin wasu, amma ƙari akan hakan daga baya.

• Kiɗa na Piano a cikin shagon kan layi na Ozon →

Slobodyanyk ya fara horo na yau da kullun a Lviv. Mahaifinsa, sanannen likita, ya kasance mai sha'awar kiɗa tun yana ƙarami, a wani lokaci shi ne ma violin na farko na ƙungiyar mawaƙa. Mahaifiyar ba ta da kyau a wasan piano, kuma ta koya wa ɗanta darussa na farko na kunna wannan kayan aikin. Sa'an nan yaron da aka aika zuwa music makaranta, Lydia Veniaminovna Galembo. A can ya yi sauri ya ja hankalin kansa: yana da shekaru goma sha huɗu ya taka leda a zauren Lviv Philharmonic Beethoven's Concerto na Uku don Piano da Orchestra, kuma daga baya ya yi tare da ƙungiyar solo clavier. Ya aka canjawa wuri zuwa Moscow, zuwa tsakiyar shekaru goma Music School. Wani lokaci ya kasance a cikin aji na Sergei Leonidovich Dizhur, sanannen mawaƙin Moscow, ɗaya daga cikin ɗaliban makarantar Neuhaus. Sa'an nan Heinrich Gustavovich Neuhaus kansa ya ɗauke shi a matsayin dalibi.

Tare da Neuhaus, azuzuwan Slobodyanik, wanda za a iya cewa, bai yi aiki ba, kodayake ya zauna kusa da sanannen malamin kusan shekaru shida. “Hakika, laifina bai yi nasara ba,” in ji mai wasan pian, “wanda har yau ban daina yin nadama ba.” Slobodyannik (a gaskiya) ba ya kasance na waɗanda ke da suna don tsarawa, tattarawa, iya kiyaye kansu a cikin tsarin ƙarfe na horo na kai. Ya yi karatu ba daidai ba a cikin kuruciyarsa, gwargwadon yanayinsa; Nasarorinsa na farko sun zo da yawa daga ƙwararrun ƙwararrun halitta fiye da aiki mai ma'ana da manufa. Neuhaus bai yi mamakin gwanintarsa ​​ba. Matasa ƙwararrun matasa a kusa da shi koyaushe suna cikin wadata. "Mafi girman hazaka," in ji shi fiye da sau ɗaya a cikin da'irarsa, "mafi cancantar buƙatar alhakin farko da 'yancin kai" (Neigauz GG Akan fasahar wasan piano. - M., 1958. P. 195.). Da dukkan ƙarfinsa da ƙarfinsa, ya yi tawaye ga abin da daga baya, ya dawo cikin tunani ga Slobodyanik, a diflomasiyya ya kira "rashin cika ayyuka daban-daban" (Neigauz GG Tunani, tunani, diaries. S. 114.).

Slobodyanik da kansa ya yarda da gaskiyar cewa, ya kamata a lura da shi, gabaɗaya ya kasance mai sauƙin kai kuma mai gaskiya cikin kima. "Ni, yadda za a saka shi da kyau, ba koyaushe aka shirya yadda ya kamata don darasi tare da Genrikh Gustavovich ba. Me zan iya cewa yanzu a cikin tsaro na? Moscow bayan Lvov ya burge ni da sabbin abubuwa da yawa masu ƙarfi… Ya juya kaina da haske, da alama na ban mamaki halaye na rayuwar birni. Abubuwa da yawa sun burge ni - sau da yawa don cutar da aiki.

A ƙarshe, dole ne ya rabu da Neuhaus. Duk da haka, tunawa da wani mawaƙi mai ban sha’awa har yanzu yana ƙaunarsa a yau: “Akwai mutanen da ba za a iya mantawa da su ba. Suna tare da ku koyaushe, har tsawon rayuwar ku. An ce da gaske: mai zane yana raye idan dai an tuna da shi… Af, na dade ina jin tasirin Henry Gustavovich, ko da ba na cikin ajinsa.

Slobodyanik sauke karatu daga Conservatory, sa'an nan ya sauke karatu makaranta, a karkashin jagorancin wani dalibi Neuhaus - Vera Vasilievna Gornostaeva. “Khararren mawaƙi ne,” in ji malaminsa na ƙarshe, “mai dabara, mai hankali… Mutumin da ya dace da al’adar ruhaniya. Kuma abin da ke da mahimmanci a gare ni shi ne ƙwararren mai tsarawa: Ina bin ta nufinta da kuzari ba ƙasa da tunaninta ba. Vera Vasilievna ta taimaka mini samun kaina a cikin wasan kwaikwayo na kiɗa. "

Tare da taimakon Gornostaeva Slobodyanik ya samu nasarar kammala gasar gasa. Ko da a baya ma, a lokacin karatunsa, an ba shi kyaututtuka da difloma a gasa a Warsaw, Brussels, da Prague. A shekara ta 1966, ya yi bayyanarsa ta ƙarshe a gasar Tchaikovsky ta uku. Kuma an ba shi lambar girmamawa ta hudu. Lokacin karatunsa ya ƙare, rayuwar yau da kullun na ƙwararren mai wasan kwaikwayo ya fara.

… To, menene halayen Slobodianik da ke jan hankalin jama'a? Idan ka kalli latsa "sa" tun daga farkon shekarun sittin zuwa yau, yawan irin waɗannan halaye a cikinsa kamar "wadatar motsin rai", "cikakken ji", "ƙwaƙwalwar fasaha na fasaha", da sauransu. , ba haka ba ne, ana samun su a cikin sake dubawa da yawa da sake dubawa mai mahimmanci na kiɗa. A lokaci guda, yana da wuya a la'anta mawallafin kayan game da Slobodyanyk. Zai yi wuya a zaɓi wani, magana game da shi.

Lallai, Slobodyanik a piano shine cikawa da karimci na gwanintar fasaha, rashin son rai, kaifi da karfi na sha'awa. Kuma ba mamaki. Kyakkyawar motsin rai a cikin watsa kiɗan tabbataccen alamar iyawa ce; Slobodian, kamar yadda aka ce, gwani ne mai ban sha'awa, yanayi ya ba shi cikakke, ba tare da jinkiri ba.

Duk da haka, ina tsammanin, wannan ba kawai game da kida na asali ba ne. Bayan babban ƙarfin tunanin Slobodyanik na wasan kwaikwayon, cikakken jini da wadatar abubuwan abubuwan da ya faru shine ikon fahimtar duniya a cikin duk wadatarta da launuka masu yawa marasa iyaka. Ikon amsawa mai rai da sha'awa ga yanayin, yin daban-daban: don ganin ko'ina, don ɗaukar kowane abu na kowane sha'awa, numfashi, kamar yadda suke faɗa, tare da cikakken ƙirji ... Slobodianik gabaɗaya mawaƙi ne na kwatsam. Babu wani iota da ya yi hatimi, bai dusashe ba tsawon shekaru na aikin sa na dogon lokaci. Shi ya sa masu sauraro ke sha'awar fasaharsa.

Yana da sauƙi kuma mai dadi a cikin kamfanin Slobodyanik - ko kun sadu da shi a cikin ɗakin tufafi bayan wasan kwaikwayo, ko kuna kallon shi a kan mataki, a maballin kayan aiki. A cikinsa ake jin wasu manyan mutane na ciki; "Kyakkyawan yanayin halitta," sun rubuta game da Slobodyanik a cikin ɗayan bita - kuma tare da kyakkyawan dalili. Zai iya zama kamar: yana yiwuwa a kama, gane, jin waɗannan halaye (kyau na ruhaniya, daraja) a cikin mutumin da, zaune a piano na kiɗa, yana buga rubutun kiɗan da aka koya a baya? Ya juya - yana yiwuwa. Komai abin da Slobodyanik ya sanya a cikin shirye-shiryensa, har zuwa mafi ban mamaki, nasara, mai ban sha'awa, a cikinsa a matsayin mai yin wasan kwaikwayo ba zai iya lura da ko da inuwar narcissism ba. Ko da a cikin waɗannan lokutan da za ku iya sha'awar shi sosai: lokacin da yake mafi kyawunsa da duk abin da yake yi, kamar yadda suke faɗa, ya fito kuma ya fito. Babu wani abu karama, girman kai, banza da za a iya samu a cikin fasaharsa. "Tare da bayanan matakinsa na farin ciki, babu alamar narcissism na fasaha," waɗanda suka saba da Slobodyanik suna sha'awar. Haka ne, ba ko kadan ba. Inda, a gaskiya, wannan ya fito daga: an riga an faɗi fiye da sau ɗaya cewa mai zane koyaushe yana "ci gaba" mutum, ko yana so ko a'a, ya san game da shi ko bai sani ba.

Yana da wani nau'i na wasan kwaikwayo, yana da alama ya kafa wa kansa doka: komai abin da kuke yi a maballin, duk abin da aka yi a hankali. Slobodyanik's repertoire ya haɗa da adadin ƙwararrun ƙwararrun ƙwararrun ƙwararru (Liszt, Rachmaninoff, Prokofiev…); yana da wuya a tuna cewa ya yi sauri, "kore" akalla ɗaya daga cikinsu - kamar yadda ya faru, kuma sau da yawa, tare da piano bravura. Ba daidai ba ne cewa masu suka suna zaginsa wani lokaci don ɗan jinkirin tafiya, ba tare da wuce gona da iri ba. Wannan shi ne mai yiwuwa yadda mai zane ya kamata ya dubi mataki, ina tsammanin a wasu lokuta, kallon shi: kada ya rasa fushinsa, kada ya rasa fushinsa, a kalla a cikin abin da ya shafi halin hali na waje kawai. A kowane hali, ku kasance masu natsuwa, tare da mutunci na ciki. Ko da a cikin mafi kyawun lokacin wasan kwaikwayo - ba za ku taɓa sanin yawancin su a cikin kiɗan soyayya waɗanda Slobodyanik ya daɗe da fifita ba - kar ku faɗa cikin ɗaukaka, jin daɗi, hargitsi… Kamar duk ƴan wasan kwaikwayo na ban mamaki, Slobodyanik yana da sifa, kawai sifa. style wasanni; hanyar da ta fi dacewa, watakila, ita ce zayyana wannan salon tare da kalmar Kabari (a hankali, a hankali, mahimmanci). A cikin wannan hanya ne, ɗan ƙaramin nauyi a cikin sauti, yana bayyana abubuwan da aka rubuta a cikin babbar hanya mai mahimmanci, Slobodyanik yana wasa Brahms'F small sonata, Beethoven's Fifth Concerto, Tchaikovsky's Farko, Hotunan Mussorgsky a Nunin, Myaskovsky's sonatas. Duk abin da aka kira yanzu shine mafi kyawun lambobi na repertoire.

Sau ɗaya, a cikin 1966, yayin Gasar Jarida ta Uku ta Tchaikovsky, tana magana da ƙwazo game da fassararsa na wasan kwaikwayo na Rachmaninov a cikin ƙaramar D, ta rubuta: “Slobodianik yana wasa da gaske cikin Rashanci.” "Slavic innation" yana bayyane a fili a cikinsa - a cikin yanayinsa, bayyanarsa, hangen nesa na duniya, wasa. Yawancin lokaci ba shi da wahala a gare shi ya buɗe baki, don bayyana kansa sosai a cikin ayyukan 'yan uwansa - musamman a cikin waɗanda aka yi wahayi zuwa ga hotunan faɗuwa da sarari mara iyaka… Da zarar ɗaya daga cikin abokan aikin Slobodyanik ya ce: “Akwai haske, hadari abubuwan fashewa. Anan yanayin, maimakon haka, daga girma da faɗi. Abin lura daidai ne. Abin da ya sa ayyukan Tchaikovsky da Rachmaninov suna da kyau a cikin pianist, kuma da yawa a cikin marigayi Prokofiev. Shi ya sa (wani yanayi mai ban mamaki!) ya sami irin wannan kulawa a waje. Ga 'yan kasashen waje, yana da ban sha'awa a matsayin al'adar Rashanci a cikin wasan kwaikwayo, a matsayin yanayi mai dadi da launi na kasa a cikin fasaha. An yi masa tafi da kyau fiye da sau ɗaya a cikin ƙasashen tsohuwar duniya, kuma yawancin tafiye-tafiyen da ya yi a ketare ya yi nasara.

Sau ɗaya a cikin tattaunawa, Slobodyanik ya taɓa gaskiyar cewa a gare shi, a matsayin mai wasan kwaikwayo, ayyukan manyan nau'ikan sun fi dacewa. "A cikin nau'i mai mahimmanci, ko ta yaya ina jin dadi. Watakila ya fi natsuwa fiye da dada. Wataƙila a nan ilimin fasaha na kiyaye kai yana sa kansa ya ji - akwai irin wannan ... Idan na yi ba zato ba tsammani "na yi tuntuɓe" a wani wuri, "rasa" wani abu a cikin aiwatar da wasa, to, aikin - Ina nufin babban aikin da ke da nisa a cikin sararin sauti - duk da haka ba zai lalace gaba daya ba. Har yanzu akwai lokacin da za a cece shi, don gyara kansa don kuskuren kuskure, don yin wani abu da kyau. Idan ka lalatar da ƙaramin abu a wuri ɗaya, ka lalata shi gaba ɗaya.

Ya san cewa a kowane lokaci zai iya "rasa" wani abu a kan mataki - wannan ya faru da shi fiye da sau ɗaya, riga tun daga matashi. “A da, na sami ma fi muni. Yanzu aikin da ake tarawa a cikin shekaru da yawa, sanin kasuwancin mutum yana taimakawa… ”Kuma da gaske, wanne daga cikin mahalarta wasan kwaikwayon bai taɓa ɓace ba yayin wasan, manta, shiga cikin mawuyacin hali? Slobodyaniku, mai yiwuwa ya fi yawancin mawakan zamaninsa. Haka kuma ya faru da shi: kamar dai wani irin girgije ba zato ba tsammani samu a kan aikinsa, ba zato ba tsammani ya zama inert, a tsaye, na ciki demagnetized ... Kuma a yau, ko da a lokacin da pianist ne a cikin Firayim na rayuwa, cikakken makamai da iri-iri kwarewa, shi ya faru. waɗancan guntuwar kiɗan masu ban sha'awa da haske suna canzawa a maraicensa tare da maras kyau, marasa fa'ida. Kamar dai ya rasa sha'awar abin da ke faruwa na ɗan lokaci, yana shiga cikin wani hatsabibin da ba zato ba tsammani kuma maras misaltuwa. Kuma ba zato ba tsammani sai ya sake tashi, ya tafi, yana jagorantar masu sauraro da tabbaci.

Akwai irin wannan labarin a cikin tarihin Slobodyanik. Ya taka leda a Moscow wani hadadden tsari kuma da wuya ya yi abun da Reger - Bambance-bambance da Fugue akan Jigo ta Bach. Da farko ya fito daga pianist ba shi da ban sha'awa sosai. Ya tabbata bai yi nasara ba. Cike da takaicin gazawar, ya ƙare maraice ta maimaita bambance-bambancen da Reger ya yi. Kuma maimaita (ba tare da ƙari ba) da girman kai - mai haske, mai ban sha'awa, zafi. Clavirabend ya zama kamar ya rabu zuwa sassa biyu waɗanda ba su da yawa - wannan shine duka Slobodyanik.

Yanzu akwai rashin amfani? Wataƙila. Wanene zai yi jayayya: mai fasaha na zamani, mai sana'a a cikin ma'anar kalmar, dole ne ya gudanar da wahayinsa. Dole ne ya iya kiran shi a yadda yake so, ya kasance aƙalla barga a cikin kerawa. Sai kawai, yin magana da gaskiya, ya kasance koyaushe zai yiwu kowane ɗayan masu halartar kide-kide, har ma da waɗanda aka fi sani da su, su iya yin wannan? Kuma ba, duk da komai, wasu masu fasaha na "marasa kwanciyar hankali" waɗanda ko kaɗan ba a bambanta su ta hanyar daɗaɗɗen ƙirƙira, irin su V. Sofronitsky ko M. Polyakin, sune kayan ado da girman kai na fage na ƙwararru?

Akwai masters (a cikin gidan wasan kwaikwayo, a cikin zauren wasan kwaikwayo) waɗanda za su iya yin aiki tare da daidaitattun na'urorin atomatik da aka gyara - girmamawa da yabo a gare su, ingancin da ya dace da mafi girman hali. Akwai wasu. Canje-canje a cikin jin daɗin kirkira dabi'a ce a gare su, kamar wasan chiaroscuro a lokacin rani da yamma, kamar buguwar ruwa da kwararar teku, kamar numfashi ga rayayyun kwayoyin halitta. Madalla da kuma masanin ilimin halin dan Adam na wasan kwaikwayo, GG Neuhaus (ya riga ya sami wani abu da zai ce game da ɓarna na sa'a - duka nasara mai haske da gazawa) bai ga wani abin zargi ba a cikin gaskiyar cewa wani ɗan wasan kide-kide ba zai iya ba. to "don samar da daidaitattun samfurori tare da daidaiton masana'anta - bayyanar jama'a" (Neigauz GG Tunani, tunani, diaries. S. 177.).

Abubuwan da ke sama sun lissafa marubuta waɗanda galibin nasarorin fassarar Slobodyanik ke da alaƙa - Tchaikovsky, Rachmaninov, Prokofiev, Beethoven, Brahms… Na shida Rhapsody, Campanella, Mephisto Waltz da sauran Liszt guda), Schubert (B flat manyan sonata), Schumann (Carnival, Symphonic Etudes), Ravel (Concerto na hannun hagu), Bartok (Piano Sonata, 1926), Stravinsky ("Parsley). ”).

Slobodianik ba shi da tabbas a cikin Chopin, ko da yake yana son wannan marubucin sosai, sau da yawa yana nufin aikinsa - fastocin pianist sun ƙunshi preludes Chopin, etudes, scherzos, ballads. A matsayinka na mai mulki, karni na 1988 ya ketare su. Scarlatti, Haydn, Mozart - waɗannan sunaye ba su da yawa a cikin shirye-shiryen kide-kide nasa. (Gaskiya, a cikin kakar XNUMX Slobodyanik a fili ya buga wasan kwaikwayo na Mozart a cikin B-flat major, wanda ya koya jim kadan kafin haka. Amma wannan, a gaba ɗaya, bai yi la'akari da canje-canje na asali ba a cikin dabarun repertoire, bai sanya shi dan wasan pian "classic" ba. ). Watakila, abin lura anan yana cikin wasu siffofi na hankali da kaddarorin da suke da asali a cikin yanayin fasaharsa. Amma a wasu halayen halayensa na "na'urar pianistic" - ma.

Yana da hannaye masu ƙarfi waɗanda za su iya murkushe duk wata wahala ta aiki: ƙarfin gwiwa da fasaha mai ƙarfi mai ƙarfi, octaves masu ban mamaki, da sauransu. Wato halin kirki kusa-kusa. Slobodyanik's abin da ake kira "kananan kayan aiki" ya fi dacewa. Ana jin cewa wani lokacin ta rasa basirar aikin buɗe ido a cikin zane, haske da alheri, kirarigraphic bi dalla-dalla. Mai yiyuwa ne cewa dabi'a wani bangare ne na laifin wannan - ainihin tsarin hannayen Slobodyanik, tsarin mulkinsu na pianistic. Mai yiyuwa ne, duk da haka, cewa shi da kansa ne ke da laifi. Ko kuma a maimakon haka, abin da GG Neuhaus ya kira a lokacinsa rashin cika nau'o'in "ayyuka" iri-iri: wasu gazawa da raguwa daga lokacin samari. Bai taɓa tafiya ba tare da sakamako ga kowa ba.

Slobodyanik ya ga abubuwa da yawa a cikin shekarun da yake kan mataki. Fuskantar matsaloli da yawa, kuyi tunani game da su. Ya damu da cewa a tsakanin sauran jama'a, kamar yadda ya yi imani, an sami raguwar sha'awar rayuwar wasan kwaikwayo. “A gani na cewa masu sauraronmu sun fuskanci wani abin takaici daga maraice na philharmonic. Kada duk masu sauraro su bari, amma, a kowane hali, wani yanki mai girma. Ko watakila kawai nau'in wasan kwaikwayo da kansa ya "gaji"? Ni ma ban yanke hukunci ba.”

Bai daina tunanin abin da zai iya jawo hankalin jama'a zuwa zauren Philharmonic a yau ba. Babban jarumi? Babu shakka. Amma akwai wasu yanayi, Slobodyanik ya yi imanin, wanda ba ya tsoma baki tare da la'akari. Misali. A cikin lokacinmu mai ƙarfi, dogon lokaci, shirye-shirye na dogon lokaci ana fahimtar su da wahala. A wani lokaci, shekaru 50-60 da suka wuce, masu zane-zane sun ba da maraice a sassa uku; yanzu zai yi kama da anachronism - mai yiwuwa, masu sauraro za su bar su kawai daga kashi na uku ... Slobodyanik ya gamsu cewa shirye-shiryen kide-kide na kwanakin nan ya kamata su kasance masu rikitarwa. Babu tsayi! A cikin rabi na biyu na tamanin, yana da clavirabends ba tare da tsangwama ba, a wani ɓangare. “Ga masu sauraro a yau, sauraron kiɗa na awa goma zuwa awa ɗaya da mintuna goma sha biyar ya fi isa. Tsangwama, a ganina, ba koyaushe ake buƙata ba. Wani lokaci kawai yana daɗaɗawa, damuwa. ”…

Yana kuma yin tunani game da wasu al'amuran wannan matsala. Gaskiyar cewa lokaci ya zo, a fili, don yin wasu canje-canje a cikin tsari, tsari, tsari na wasan kwaikwayo. Yana da matukar amfani, a cewar Alexander Alexandrovich, don gabatar da lambobi masu tarin yawa a cikin shirye-shiryen solo na gargajiya - a matsayin abubuwan da aka gyara. Misali, ya kamata ƴan pian su haɗa kai da violinists, cellists, vocalists, da dai sauransu. A bisa ƙa'ida, wannan yana rayar da maraice na philharmonic, yana sa su zama masu bambanta a cikin tsari, da bambancin abun ciki, don haka sha'awar masu sauraro. Wataƙila shi ya sa ƙwaƙƙwaran kaɗe-kaɗe ke jan hankalinsa a ’yan shekarun nan. (Wani al'amari, ta hanya, gabaɗaya halayyar masu wasan kwaikwayo da yawa a lokacin balagagge.) A cikin 1984 da 1988, sau da yawa ya yi tare da Liana Isakadze; sun yi ayyuka na violin da piano ta Beethoven, Ravel, Stravinsky, Schnittke…

Kowane mai zane yana da wasan kwaikwayon da suka fi ko žasa na yau da kullun, kamar yadda suke faɗa, wucewa, kuma akwai shagulgulan kide-kide, waɗanda aka adana ƙwaƙwalwar ajiya na dogon lokaci. Idan magana akai irin Ayyukan Slobodyanik a cikin rabin na biyu na shekaru tamanin, wanda ba zai iya kasa ambaton haɗin gwiwarsa na wasan kwaikwayo na Mendelssohn's Concerto for Violin, Piano and String Orchestra (1986, tare da Ƙungiyar Ƙungiyar Ƙungiyar Tarayyar Soviet), Chausson's Concerto for Violin, Piano da String Quartet (1985) tare da V. Tretyakov shekara, tare da V. Tretyakov da Borodin Quartet), Schnittke ta piano concerto (1986 da 1988, tare da Jihar Chamber Orchestra).

Kuma ina so in sake ambata wani bangare na aikinsa. A tsawon shekaru, ya ƙara da son rai yana taka leda a cibiyoyin ilimin kiɗa - makarantun kiɗa, makarantun kiɗa, ɗakunan ajiya. “A can, aƙalla kun san cewa za su saurare ku da kyau, tare da sha’awa, tare da sanin lamarin. Kuma za su fahimci abin da kai, a matsayinka na mai yin wasan kwaikwayo, kake so ka ce. Ina tsammanin wannan shine abu mafi mahimmanci ga mai zane: a fahimta. Bari wasu maganganu masu mahimmanci su zo daga baya. Ko da ba ka son wani abu. Amma duk abin da ya fito cikin nasara, wanda kuka yi nasara, shi ma ba zai wuce gona da iri ba.

Mafi munin abu ga mawaƙin kide-kide shine rashin damuwa. Kuma a cikin cibiyoyin ilimi na musamman, a matsayin mai mulkin, babu wasu mutane masu ban sha'awa da kuma masu ra'ayi.

A ra'ayina, yin wasa a makarantun kiɗa da makarantun kiɗa abu ne mai wahala da alhaki fiye da wasa a dakunan philharmonic da yawa. Kuma ni da kaina ina son shi. Bugu da ƙari, mai zane yana da daraja a nan, suna girmama shi, ba sa tilasta shi ya fuskanci waɗannan lokuta na wulakanci wanda wani lokaci ya fada cikin dangantaka da gudanar da al'ummar philharmonic.

Kamar kowane mai fasaha, Slobodyanik ya sami wani abu a cikin shekaru, amma a lokaci guda ya rasa wani abu. Duk da haka, ikonsa na farin ciki na "hana kai tsaye" yayin wasan kwaikwayon har yanzu yana kiyaye shi. Na tuna sau ɗaya mun tattauna da shi kan batutuwa daban-daban; mun yi magana game da lokuta masu duhu da kuma jujjuyawar rayuwar mai yin baƙo; Na tambaye shi: shi ne zai yiwu, bisa manufa, a yi wasa da kyau, idan duk abin da ke kewaye da artist tura shi a yi wasa, mugun: biyu zauren (idan za ka iya kiran dakunan da dakunan da cewa su ne cikakken m ga kide kide, a cikin abin da wani lokacin kana da. don yin), da kuma masu sauraro (idan bazuwar kuma musamman 'yan tarurruka na mutane za a iya dauka don ainihin masu sauraro na philharmonic), da kuma karya kayan aiki, da dai sauransu, da dai sauransu "Ka sani," amsa Alexander Alexandrovich, "ko da a cikin wadannan , don yin magana, "yanayin rashin tsafta" suna wasa da kyau. Ee, eh, zaku iya, amince da ni. Amma - idan kawai iya jin daɗin kiɗan. Bari wannan sha'awar ba ta zo nan da nan ba, bari a kashe minti 20-30 don daidaita yanayin. Amma sai, lokacin da waƙar ta kama ku da gaske, yaushe kunna, - duk abin da ke kewaye ya zama rashin sha'awa, mara mahimmanci. Sannan zaku iya wasa da kyau sosai… ”…

To, wannan shine dukiyar mai fasaha na gaske - don nutsar da kansa a cikin kiɗa har ya daina lura da duk abin da ke kewaye da shi. Kuma Slobodianik, kamar yadda suka ce, bai rasa wannan damar ba.

Tabbas, a nan gaba, sabon farin ciki da jin daɗin saduwa da jama'a suna jiransa - za a yi tafi, da sauran halayen nasara da aka sani a gare shi. Sai dai da wuya a ce wannan shi ne babban abin a gare shi a yau. Marina Tsvetaeva sau ɗaya ya bayyana ainihin ra'ayin cewa lokacin da mai zane ya shiga rabi na biyu na rayuwarsa na halitta, ya zama mahimmanci a gare shi. ba nasara ba, amma lokaci...

G. Tsipin, 1990