Alexey Arkadyevich Nasedkin (Aleksey Nasedkin) |

Alexei Nasedkin

Nasarar ta zo ga Alexei Arkadyevich Nasedkin da wuri kuma, da alama, zai iya juya kansa ... An haife shi a Moscow, ya yi karatu a Makarantar Kiɗa ta Tsakiya, ya yi nazarin piano tare da Anna Danilovna Artobolevskaya, malamin ƙwararren wanda ya tashe A. Lyubimov, L. Timofeeva da sauran mashahuran mawakan. A cikin 1958, yana da shekaru 15, Nasedkin ya sami karramawa don yin magana a nunin duniya a Brussels. "Wani kide-kide ne da aka gudanar a zaman wani bangare na zamanin al'adun Soviet," in ji shi. – Na taka, na tuna, Balanchivadze's Uku Piano Concerto; Ina tare da Nikolai Pavlovich Anosov. A lokacin ne, a Brussels, na fara fitowa a babban mataki. Sun ce yana da kyau. ”…

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

Bayan shekara guda, saurayin ya tafi Vienna, wurin bikin matasa na duniya, kuma ya dawo da lambar zinare. Gabaɗaya ya yi “sa’a” don shiga gasa. "Na yi sa'a, saboda na yi shiri sosai ga kowannensu, na yi aiki na dogon lokaci da kuma jin daɗin kayan aikin, wannan, ba shakka, ya sa na ci gaba. A cikin ma'anar kirkira, ina tsammanin gasar ba ta ba ni da yawa ba ... "Hanya ɗaya ko wata, zama dalibi a Moscow Conservatory (ya fara karatu tare da GG Neuhaus, kuma bayan mutuwarsa tare da LN Naumov), Nasedkin ya gwada nasa. hannu, kuma cikin nasara sosai, a wasu gasa da yawa. A shekarar 1962, ya zama laureate na Tchaikovsky Competition. A 1966 ya shiga cikin manyan uku a gasar kasa da kasa a Leeds (Birtaniya). Shekarar 1967 ta juya ta zama musamman "mai amfani" don kyaututtuka a gare shi. “Tsawon watanni ɗaya da rabi, na shiga gasa uku a lokaci ɗaya. Na farko ita ce Gasar Schubert a Vienna. Bi shi a wuri guda, a babban birnin Ostiriya, gasa ce don mafi kyawun wasan kwaikwayo na kiɗa na karni na XNUMX. A ƙarshe, gasar rukunin ɗaki a Munich, inda na taka leda tare da Natalia Gutman mai ƙwallo.” Kuma ko'ina Nasedkin ya zama na farko. Fame ba ta yi masa lahani ba, kamar yadda wani lokaci yakan faru. Kyaututtuka da lambobin yabo, suna girma da yawa, ba su makantar da shi da annurin su ba, ba su kawar da shi daga tafarkin kirkire-kirkire ba.

Malamin Nasedkin, GG Neuhaus, ya taɓa lura da siffa guda ɗaya na ɗalibinsa - fasaha ce ta haɓaka sosai. Ko kuma, kamar yadda ya ce, “ikon ingantawa na hankali.” Yana iya zama abin ban mamaki, amma wannan shine ainihin abin da ya burge Neuhaus na soyayya: a cikin 1962, a lokacin da ajinsa ke wakiltar tarin baiwa, ya yi la'akari da cewa zai yiwu a kira Nasedkin "mafi kyawun ɗalibansa" (Neigauz GG Tunani, tunani, diaries. S. 76.). Lalle ne, tun daga ƙuruciyarsa a cikin wasan pianist mutum zai iya jin balaga, tsanani, zurfin tunani, wanda ya ba da dandano na musamman ga kiɗan sa. Ba daidaituwa ba ne cewa daga cikin manyan nasarorin Nasedkin mai fassarar yawanci shine sassan jinkiri na sonatas na Schubert - a cikin ƙananan ƙananan (op. Posthumous), a cikin D manyan (Op. 53) da sauransu. Anan sha'awarsa zuwa zurfin tunani mai zurfi, zuwa wasan "concentrando", "pensieroso" an bayyana cikakke. Mai zane ya kai matsayi mai girma a cikin ayyukan Brahms - a cikin kide-kide na piano, a cikin Rhapsody a E flat major (Op. 119), a cikin ƙananan ƙananan ko E flat small intermezzo (Op. 118). Ya sau da yawa yana da sa'a a cikin sonatas Beethoven (na biyar, na shida, na sha bakwai da sauransu), a cikin abubuwan wasu nau'ikan. Kamar yadda aka sani, masu sukar kiɗa suna son suna masu wasan pian-masu wasan bayan shahararrun jaruman Schumann's Davidsbund - wasu Florestan mai ban tsoro, wasu Euzebius mai mafarki. Ba a tuna da sau da yawa cewa a cikin sahu na Davidsbündlers akwai irin wannan hali kamar Jagora Raro - natsuwa, m, masani, mai hankali. A cikin wasu fassarori na Nasedkin, hatimin Jagora Raro wani lokaci ana iya gani a sarari…

Kamar yadda a cikin rayuwa, haka nan a cikin fasaha, gazawar mutane wani lokaci suna girma daga cancantarsu. A cikin zurfafan tunani, cikin hankali a cikin mafi kyawun lokacinsa, Nasedkin a wani lokaci na iya zama kamar mai hankali: Prudence wani lokacin yana tasowa cikin hankali, wasan ya fara rashin sha'awa, yanayi, zamantakewar zamantakewa, sha'awar ciki. Hanya mafi sauƙi, ba shakka, ita ce ta cire duk wannan daga yanayin mai zane, halayensa na mutum-mutumin - wannan shine ainihin abin da wasu masu sukar suke yi. Gaskiya ne cewa Nasedkin, kamar yadda suka ce, ba shi da fa'ida a buɗe. Akwai, duk da haka, wani abu dabam, wanda kuma ba za a iya watsi da shi idan ya zo ga wuce kima bayyanuwar rabo a cikin art. Wannan shi ne - bari a yi kama da abin ban mamaki - tashin hankali na pop. Zai zama wauta a yi tunanin cewa masanan Raro ba su da sha'awar wasan kwaikwayo fiye da Florestans da Eusebios. An dai bayyana shi daban. Ga wasu, masu juyayi da ɗaukaka, ta hanyar gazawar wasa, rashin daidaiton fasaha, saurin saurin da ba na son rai ba, ƙwaƙwalwar ajiya ta ɓace. Wasu kuma, a cikin lokutan damuwa na mataki, suna janyewa har ma da kansu - don haka, tare da dukkan basirarsu da basirarsu, yakan faru da cewa masu kamewa, ba mutane masu zaman kansu ba bisa ga dabi'a suna rufe kansu a cikin jama'a da ba a sani ba.

"Zai zama abin ban dariya idan na fara gunaguni game da jin daɗin jama'a," in ji Nasedkin. Kuma bayan haka, abin da ke da ban sha'awa: kusan kowa da kowa (wanda zai ce ba su damu ba?!), Yana tsoma baki tare da kowa da kowa ko ta yaya ta hanya ta musamman, daban-daban fiye da sauran. Domin yana bayyana kansa da farko a cikin abin da ya fi dacewa ga mai zane, kuma a nan kowa yana da nasa. Alal misali, yana iya zama da wahala a gare ni in 'yantar da kaina a cikin jama'a, in tilasta kaina in faɗi gaskiya ... "KS Stanislavsky ya taɓa samun magana mai dacewa:" masu buffer na ruhaniya ". "A wasu lokuta masu wuyar tunani ga mai wasan kwaikwayo," in ji sanannen darektan, "ana tura su gaba, suna hutawa a kan makasudin kirkire-kirkire kuma ba sa barin shi ya kusanci" (Stanislavsky KS Rayuwata a cikin fasaha. S. 149.). Wannan, idan ka yi tunani game da shi, ya fi mayar bayyana abin da ake kira predominance na rabo a Nasedkin.

A lokaci guda kuma, wani abu kuma yana jan hankali. Sau ɗaya, a tsakiyar shekarun saba'in, ɗan wasan pian ya buga ayyukan Bach da yawa a ɗaya daga cikin maraicensa. An yi wasa sosai: Ya burge masu sauraro, ya jagorance ta; Kiɗa na Bach a cikin wasan kwaikwayonsa ya yi tasiri mai zurfi da ƙarfi. Wataƙila a wannan maraice, wasu masu sauraro sun yi tunani: menene idan ba kawai jin daɗi ba, jijiyoyi, ni'imar matakin sa'a? Watakila kuma a cikin gaskiyar cewa pianist ya fassara ya marubuci? Tun da farko an lura cewa Nasedkin yana da kyau a cikin kiɗan Beethoven, a cikin tunanin sauti na Schubert, a cikin almara na Brahms. Bach, tare da falsafancinsa, zurfin tunani na kida, bai kasance kusa da mai zane ba. A nan yana da sauƙi a gare shi don samun sautin da ya dace a kan mataki: "da zuciya ɗaya ya 'yantar da kansa, ya tsokane kansa ya zama mai gaskiya ..."

Consonant tare da zane-zane na Nasedkin kuma aikin Schumann ne; Kada ku gabatar da matsaloli a cikin aiwatar da ayyukan Tchaikovsky. A halitta da kuma sauƙi ga mai zane a cikin Repertoire Rachmaninov; ya buga wannan marubucin da yawa kuma tare da nasara - kwafinsa na piano (Vocalise, "Lilacs", "Daisies"), preludes, duka littattafan rubutu na etudes-painting. Ya kamata a lura cewa tun daga tsakiyar tamanin, Nasedkin ya ci gaba da sha'awar Scriabin: wani wasan da ba a taɓa yin wasan pianist ba a cikin 'yan shekarun nan ya faru ba tare da kunna kiɗan Scriabin ba. Dangane da wannan, sukar ta yaba da kyawunta da tsafta a watsawar Nasedkin, wayewarta ta ciki da - kamar yadda koyaushe yake faruwa ga mai fasaha - daidaita ma'ana gaba ɗaya.

Idan aka yi la’akari da jerin nasarorin Nasedkin a matsayin mai fassara, mutum ba zai iya kasa faɗi sunaye irin su Liszt's B minor sonata, Debussy's Suite Bergamas, Ravel's Play of Water, Glazunov's First Sonata, da Hotunan Mussorgsky a wani nuni. A ƙarshe, sanin hanyar pianist (wannan ba shi da wahala a yi), ana iya ɗauka cewa zai shiga cikin duniyoyin sauti kusa da shi, yana ɗaukar nauyin wasan suites da fugues na Handel, kiɗan Frank, Reger…

Ya kamata a ba da kulawa ta musamman ga fassarar Nasedkin na ayyukan zamani. Wannan shi ne yanayinsa, ba daidaituwa ba ne cewa ya ci nasara a lokacin a gasar "Kiɗa na karni na XNUMX". Yanayinsa - kuma saboda shi ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren masanin fasaha ne mai nisa - ƙwararren mai son sabbin abubuwa ne, yana fahimtar su; kuma saboda, a ƙarshe, cewa shi da kansa yana son abun da ke ciki.

Gabaɗaya, rubutu yana ba Nasedkin yawa. Da farko - damar da za a kalli kiɗan "daga ciki", ta hanyar idanun wanda ya halicce shi. Yana ba shi damar kutsawa cikin sirrin tsarawa, tsara kayan sauti - shi ya sa, mai yiwuwa, nasa. yin aiki ra'ayoyi koyaushe ana tsara su a sarari, daidaitacce, oda cikin ciki. GG Neuhaus, wanda ta kowace hanya mai yiwuwa ya ƙarfafa sha'awar ɗalibinsa zuwa ƙirƙira, ya rubuta: kawai zartarwa” (Neigauz GG Tunani, tunani, diaries. S. 121.). Duk da haka, ban da fuskantarwa a cikin "tattalin arzikin kida", abun da ke ciki ya ba Nasedkin ƙarin dukiya: ikon yin tunani a cikin fasaha. zamani Kategorien.

Repertoire na pianist ya haɗa da ayyukan Richard Strauss, Stravinsky, Britten, Berg, Prokofiev, Shostakovich. Ya, kara, inganta music na composers tare da wanda ya kasance a cikin wani dogon-tsaye m haɗin gwiwa - Rakov (shi ne na farko mai yi na ta biyu Sonata), Ovchinnikov ( "Metamorphoses"), Tishchenko, da kuma wasu. Kuma ko wanene daga cikin mawakan zamanin Nasedkin mai fassara ya koma, ko wace irin wahalhalun da ya fuskanta – mai ginawa ko na fasaha – ya kan shiga ainihin ma’anar waka: “zuwa ginshiki, ga tushe, ga asali; ” a cikin shahararrun kalmomi B. Pasternak. A cikin hanyoyi da yawa - godiya ga nasa da kuma haɓaka ƙwarewar ƙira.

Ba ya rubuta kamar yadda, ka ce, Arthur Schnabel ya tsara - ya rubuta wa kansa kawai, yana ɓoye wasan kwaikwayonsa daga waje. Nasedkin ya kawo waƙar da ya ƙirƙira zuwa dandalin, ko da yake ba safai ba. Jama'a sun san wasu daga cikin ayyukan piano nasa da kayan aikin ɗaki. Kullum suna saduwa da sha'awa da tausayi. Zai rubuta ƙarin, amma babu isasshen lokaci. Lalle ne, ban da komai, Nasedkin kuma malami ne - yana da nasa aji a Moscow Conservatory.

Aikin koyarwa na Nasedkin yana da ribobi da fursunoni. Ba zai iya faɗi babu shakka ba, kamar yadda wasu ke yi: “Eh, ilimin koyarwa abu ne mai mahimmanci a gare ni…”; ko, akasin haka: “Amma ka sani, bana bukatar ta…” Ta Ana buƙata gare shi, idan yana sha'awar dalibi, idan yana da hazaka kuma za ku iya saka hannun jari sosai a cikinsa ba tare da wata alama ba duk ƙarfin ku na ruhaniya. In ba haka ba ... Nasedkin ya yi imanin cewa sadarwa tare da matsakaicin ɗalibi ba ta da lahani kamar yadda wasu ke tunani. Bugu da ƙari, sadarwa ta yau da kullum da kuma dogon lokaci. Matsakaici, ɗaliban ƙauye na tsakiya suna da dukiya guda ɗaya na ha'inci: ko ta yaya ba zato ba tsammani kuma a hankali sun saba da abin da ake yi da su, suna tilasta musu su yarda da na yau da kullun da na yau da kullun, don ɗaukar shi a zahiri…

Amma don magance basira a cikin aji ba kawai dadi ba, amma har ma da amfani. Za ka iya, wani lokacin, lep wani abu, karbe shi, ko da koyo wani abu ... A matsayin misali mai tabbatar da ra'ayinsa, Nasedkin yawanci yana nufin darussa tare da V. Ovchinnikov - watakila mafi kyawun dalibansa, wanda ya lashe lambar azurfa na gasar VII mai suna Tchaikovsky, wanda ya yi nasara. na kyautar farko a gasar Leeds (Tun daga 1987, V. Ovchinnikov, a matsayin mataimaki, yana taimaka wa Nasedkin a cikin aikinsa a ɗakin ajiyar kaya. - G. Ts.). "Na tuna lokacin da na yi karatu tare da Volodya Ovchinnikov, sau da yawa na gano wani abu mai ban sha'awa da kuma koya wa kaina..."

Mafi mahimmanci, yadda ya kasance, a cikin ilimin koyarwa - ainihin, babban ilimin koyarwa - wannan ba sabon abu ba ne. Amma ga abin da Ovchinnikov, saduwa a cikin dalibi shekaru tare da Nasedkin, ya koyi abubuwa da yawa don kansa, ya dauki a matsayin misali, babu shakka. Wannan yana jin game da wasansa - mai hankali, mai tsanani, mai fasaha mai gaskiya - har ma da yadda yake kallon mataki - cikin ladabi, da kamewa, tare da mutunci da sauƙi mai daraja. Dole ne mutum ya ji wani lokacin cewa Ovchinnikov a kan mataki wani lokacin ba shi da basirar da ba zato ba tsammani, ƙona sha'awar ... Wataƙila. Amma ba wanda ya taɓa zaginsa cewa, a cewarsu, yana ƙoƙarin kama wani abu a cikin aikinsa tare da tasirin waje da waƙa kawai. A cikin fasahar matashin pianist - kamar yadda yake a cikin fasahar malaminsa - babu ƙaramar ƙarya ko riya, ba inuwa. rashin gaskiya na kiɗa.

Baya ga Ovchinnikov, sauran ƙwararrun ƴan wasan pian, waɗanda suka lashe gasar wasan kwaikwayo ta duniya, sun yi karatu tare da Nasedkin, kamar Valery Pyasetsky (Kyautar III a Gasar Bach, 1984) ko Niger Akhmedov ( Kyautar VI a gasar a Santander, Spain, 1984). .

A cikin koyarwar Nasedkin, da kuma a cikin wasan kwaikwayo da wasan kwaikwayo, matsayinsa na ado a cikin fasaha, ra'ayoyinsa game da fassarar kiɗa sun bayyana a fili. Hakika, idan ba tare da irin wannan matsayi ba, koyarwa da kanta ba zai kasance da ma’ana da ma’ana a gare shi ba. "Ba na jin daɗin lokacin da aka fara jin wani abu da aka ƙirƙiro, musamman ƙirƙira a cikin wasan mawaƙa," in ji shi. “Kuma ɗalibai sau da yawa suna yin zunubi da wannan. Suna son duba "mafi ban sha'awa"…

Na tabbata cewa ɗaiɗaicin fasaha ba lallai ba ne game da wasa daban da sauran. A ƙarshe, wanda ya san yadda ake zama a kan mataki na mutum ne. kanka; - wannan shine babban abu. Wanda ke yin kida bisa ga yunƙurinsa na keɓancewa - kamar yadda "I" na ciki ya gaya wa mutum. Ma'ana, yayin da mafi gaskiya da ikhlasi a cikin wasan, mafi kyawun daidaitaccen mutum yana bayyane.

A ka'ida, ba na son shi da yawa lokacin da mawaƙa ya sa masu sauraro su mai da hankali ga kansa: a nan, sun ce, abin da ni ... Zan kara faɗa. Komai ban sha'awa da asali ra'ayin wasan kwaikwayon kanta zai iya zama, amma idan na - a matsayin mai sauraro - lura da shi a farkon wuri, ra'ayin, idan na ji shi da farko. tafsiri kamar haka., shine, a ganina, ba shi da kyau sosai. Ya kamata har yanzu mutum ya fahimci kiɗa a cikin ɗakin wasan kwaikwayo, kuma ba yadda ake "bauta" ta hanyar zane-zane, yadda yake fassara shi. Lokacin da suke sha'awar kusa da ni: "Oh, menene fassarar!", Kullum ina son shi ƙasa da lokacin da na ji: "Oh, wace kiɗa!". Ban san daidai yadda na iya bayyana ra'ayi na ba. Ina fata galibi a bayyane yake.”

Nasedkin yana rayuwa a yau, kamar jiya, rayuwa mai sarƙaƙƙiya mai tsanani. (A cikin 1988, ya bar ɗakin karatu, yana mai da hankali gabaɗaya kan kerawa da yin ayyukan.). Ya kasance yana son littafin; yanzu ita, watakila ma ta fi zama dole a gare shi fiye da shekarun baya. "Ina tsammanin cewa a matsayina na mawaƙi, karatu yana ba ni yawa, idan ba fiye ba, fiye da zuwa wasan kwaikwayo ko sauraron faifai. Ku yarda da ni, ba na yin karin gishiri. Gaskiyar ita ce yawancin maraice na piano, ko rikodin gramophone iri ɗaya, suna barin ni, a zahiri, natsuwa gaba ɗaya. Wani lokaci kawai rashin kulawa. Amma tare da littafi, littafi mai kyau, wannan ba ya faruwa. Karatu ba abin sha'awa ba ne a gare ni; kuma ba kawai abin sha'awa mai ban sha'awa ba. Wannan wani muhimmin bangare ne na aikin ƙwararru na.. Ee, kuma ta yaya kuma? Idan kun kusanci kunna piano ba kawai a matsayin "gudun yatsa ba", to, almara, kamar sauran fasaha, ya zama mafi mahimmancin al'amari a cikin aikin ƙirƙira. Littattafai suna faranta rai, suna sa ku duba ko'ina, ko kuma, akasin haka, duba cikin kanku sosai; Wani lokaci suna ba da shawarar tunani, zan ce, masu mahimmanci ga duk wanda ke tsunduma cikin kerawa…”

Nasedkin yana so ya gaya wa wani lokaci abin da ya fi ƙarfin "'Yancin Tolstoy" na IA Bunin ya yi masa a lokaci guda. Kuma nawa ne wannan littafin ya wadatar da shi, mutum da mai fasaha - sautinsa na akida da na ma'ana, ilimin halin dan adam da dabara na musamman. Af, gabaɗaya yana son wallafe-wallafen memoir, da kuma babban aikin jarida, zargi na fasaha.

B. Shaw ya tabbatar da cewa sha'awar tunani - mafi kwanciyar hankali da dogon lokaci a tsakanin sauran da sauransu - ba wai kawai ba su raunana a tsawon shekaru ba, amma, akasin haka, wani lokaci suna da ƙarfi da zurfi ... Akwai mutanen da, duka a cikin tsarin tunaninsu da ayyukansu, da tsarin rayuwarsu, da yawa, da yawa sun tabbatar da kuma kwatanta abin da B. Shaw ya ce; Babu shakka Nasedkin yana daya daga cikinsu.

… m tabawa. Ko ta yaya, wani lokaci mai tsawo da suka wuce Alexei Arkadievich ya nuna shakku a cikin tattaunawa ko yana da hakkin ya dauki kansa a matsayin dan wasan kide-kide. A cikin bakin wani mutum wanda ya kasance yana yawon shakatawa a kusan dukkanin sassan duniya, wanda ke da iko mai karfi a tsakanin kwararru da jama'a, wannan ya zama abin ban mamaki da farko. Kusan paradoxical. Duk da haka, Nasedkin, a fili, yana da dalilin tambayar kalmar "mai yin wasan kwaikwayo", yana bayyana bayanin martabarsa a cikin fasaha. Zai fi kyau a ce shi Mawaƙi ne. Kuma da gaske an ƙirƙira…

G. Tsipin, 1990