Alexey Borisovich Lyubimov (Alexei Lubimov) |

Alexei Lubimov

Aleksey Lyubimov ba talakawa adadi a cikin Moscow m da kuma wasan kwaikwayo yanayi. Ya fara aikinsa a matsayin mai wasan piano, amma a yau babu wasu dalilan da za su sa a kira shi mawaƙin garaya (ko ma organist). Ya sami suna a matsayin ɗan soloist; yanzu ya kusan ƙwararren ɗan wasa ne. A matsayinka na mai mulki, ba ya wasa da abin da wasu ke wasa - alal misali, har zuwa tsakiyar shekaru tamanin, kusan bai taba yin ayyukan Liszt ba, ya buga Chopin sau biyu ko uku kawai - amma ya sanya cikin shirye-shiryensa wanda ba wanda ya yi sai shi. .

Alexei Borisovich Lyubimov aka haife shi a Moscow. Ya faru da cewa a cikin maƙwabta na Lyubimov iyali a gida akwai wani sananne malami - pianist Anna Danilovna Artobolevskaya. Ta jawo hankali ga yaron, ta tabbatar da iyawarsa. Kuma a sa'an nan ya ƙare a Central Music School, a cikin dalibai na AD Artobolevskaya, karkashin kulawar ya yi karatu fiye da shekaru goma - daga farko sa zuwa na goma sha daya.

"Har yanzu ina tunawa da darussa tare da Alyosha Lyubimov tare da jin dadi," in ji AD Artobolevskaya. – Na tuna lokacin da ya fara zuwa aji na, ya kasance mai ban sha’awa, mai hazaka, kai tsaye. Kamar yawancin yara masu hazaka, an bambanta shi ta hanyar raye-raye da saurin amsawa ga abubuwan kida. Da jin daɗi, ya koyi sassa daban-daban waɗanda aka tambaye shi, yayi ƙoƙarin tsara wani abu da kansa.

Game da shekaru 13-14, an fara ganin karaya a cikin Alyosha. Wani tsananin sha'awar sabon ya farka a cikinsa, wanda bai bar shi daga baya ba. Ya so ya fada cikin soyayya tare da Prokofiev, ya fara duba a hankali a cikin m zamani. Na tabbata cewa Maria Veniaminovna Yudina yana da babban tasiri a kan wannan.

MV Yudina Lyubimov wani abu ne kamar "jikan" malami: malaminsa, AD Artobolevskaya, ya dauki darussa daga fitaccen dan wasan piano na Soviet a lokacin ƙuruciyarta. Amma mafi m Yudina lura Alyosha Lyubimov da kuma ware shi a cikin wasu ba kawai saboda wannan dalili. Ya burge ta da ainihin ma'ajiyar halittarsa; shi kuma ya gani a cikinta, a cikin ayyukanta, wani abu na kusa da kansa. "Ayyukan kide-kide na Maria Veniaminovna, da kuma sadarwar sirri da ita, sun kasance babban sha'awar kiɗa a gare ni a lokacin ƙuruciyata," in ji Lyubimov. A kan misali na Yudina, ya koyi babban haƙƙin fasaha, ba ya gajiyawa a cikin al'amuran kirkire-kirkire. Wataƙila, wani ɓangare daga ita da ɗanɗanonsa na sababbin abubuwan kiɗan, rashin tsoro a cikin magance mafi firgita halittun tunanin mawaki na zamani (zamu yi magana game da wannan daga baya). A ƙarshe, daga Yudina da wani abu a cikin hanyar wasa Lyubimov. Ba wai kawai ya ga mai zane a kan mataki ba, amma kuma ya sadu da ita a gidan AD Artobolevskaya; ya san pianism Maria Veniaminovna sosai.

A Moscow Conservatory Lyubimov karatu na dan lokaci tare da GG Neuhaus, da kuma bayan mutuwarsa tare da LN Naumov. Don faɗi gaskiya, shi, a matsayin mutum mai fasaha - kuma Lyubimov ya zo jami'a a matsayin ɗan adam wanda aka riga aka kafa - ba shi da alaƙa da makarantar soyayya ta Neuhaus. Duk da haka, ya yi imanin cewa ya koyi abubuwa da yawa daga malamansa masu ra'ayin mazan jiya. Wannan yana faruwa a cikin fasaha, kuma sau da yawa: haɓaka ta hanyar sadarwa tare da kishiyar ƙirƙira…

A shekarar 1961, Lyubimov shiga cikin All-Rasha gasar wasan kida da kuma lashe farko wuri. Nasararsa ta gaba - a Rio de Janeiro a gasar kasa da kasa na masu kida (1965), - kyautar farko. Sannan - Montreal, gasar piano (1968), kyauta ta hudu. Abin sha'awa, duka a Rio de Janeiro da Montreal, yana karɓar kyaututtuka na musamman don mafi kyawun wasan kwaikwayo na kiɗa na zamani; Bayanan fasaharsa a wannan lokacin yana bayyana a cikin kowane takamaiman ta.

Bayan kammala karatunsa daga Conservatory (1968), Lyubimov ya dade na ɗan lokaci a cikin ganuwarsa, yana karɓar matsayin malami na ƙungiyar ɗakin. Amma a 1975 ya bar wannan aikin. "Na gane cewa ina bukatar in mai da hankali kan abu daya..."

Duk da haka, a yanzu ne rayuwarsa ta ci gaba ta yadda ya zama "watse", kuma da gangan. An kafa abokan hulɗarsa na yau da kullum tare da babban rukuni na masu fasaha - O. Kagan, N. Gutman, T. Grindenko, P. Davydova, V. Ivanova, L. Mikhailov, M. Tolpygo, M. Pechersky ... An shirya wasan kwaikwayo na haɗin gwiwa. a cikin dakunan dakunan Moscow da sauran biranen kasar, jerin abubuwan ban sha'awa, ko da yaushe a wasu hanyoyi ana sanar da maraice na asali. An ƙirƙira gungu na abubuwa daban-daban; Lyubimov sau da yawa yana aiki a matsayin shugabansu ko kuma, kamar yadda fasitoci sukan ce, "Mai Gudanar da Kiɗa". Ana ci gaba da cin nasarar nasarar da ya yi: a gefe guda, yana ci gaba da shiga cikin jijiyar kiɗa na farko, yana mai da hankali kan dabi'un fasaha da aka halitta tun kafin JS Bach; a gefe guda kuma, ya tabbatar da ikonsa a matsayin mai ba da shawara kuma ƙwararre a fagen zamani na kiɗa, wanda ya ƙware a cikin mafi yawan nau'ikansa - har zuwa kiɗan kiɗa da gwaje-gwajen lantarki, wanda ya haɗa da. Har ila yau, ya kamata a ce game da sha'awar Lyubimov ga kayan aikin d ¯ a, wanda ya girma a cikin shekaru. Shin duk wannan bayyanar iri-iri iri ne da siffofin kwadago suna da dabaru na ciki? Babu shakka. Akwai duka duka da kwayoyin halitta. Don fahimtar wannan, dole ne, aƙalla a cikin sharuddan gabaɗaya, ya saba da ra'ayoyin Lyubimov game da fasahar fassarar. A wasu lokuta suna bambanta daga waɗanda aka yarda da su gaba ɗaya.

Ba shi da sha'awar sosai (ba ya ɓoye ta) yana yin aiki azaman yanki mai ɗaukar kansa na ayyukan ƙirƙira. Anan ya rike, ba shakka, a matsayi na musamman a tsakanin abokan aikinsa. Yana kama da kusan asali a yau, lokacin da, a cikin kalmomin GN Rozhdestvensky, "masu sauraro sun zo wurin wasan kwaikwayo na wasan kwaikwayo don sauraron jagoran, da kuma gidan wasan kwaikwayo - don sauraron mawaƙa ko kallon ballerina" (Rozhdestvensky GN Tunani akan kiɗa. - M., 1975. P. 34.). Lyubimov ya jaddada cewa yana da sha'awar kiɗan kanta - a matsayin wani abu mai fasaha, al'amari, sabon abu - kuma ba a cikin takamaiman batutuwan da suka shafi yiwuwar fassarori daban-daban ba. Ba shi da mahimmanci a gare shi ko ya kamata ya shiga mataki a matsayin soloist ko a'a. Yana da mahimmanci a kasance "cikin kiɗa", kamar yadda ya taɓa sanya shi a cikin tattaunawa. Don haka sha'awar sa ga yin kida na haɗin gwiwa, zuwa nau'in ɗaki.

Amma ba haka kawai ba. Akwai wani. Akwai stencil da yawa akan matakin wasan kwaikwayo na yau, in ji Lyubimov. "A gare ni, babu wani abin da ya fi muni fiye da tambari ..." Wannan yana da mahimmanci musamman lokacin da aka yi amfani da shi ga marubutan da ke wakiltar abubuwan da suka fi dacewa a cikin fasahar kiɗa, wanda ya rubuta, ya ce, a cikin karni na XNUMX ko kuma a ƙarshen karni na XNUMX. Abin da ke da kyau ga mutanen zamanin Lyubimov - Shostakovich ko Boulez, Cage ko Stockhausen, Schnittke ko Denisov? Gaskiyar cewa dangane da aikinsu babu wasu ra'ayoyi na fassara tukuna. "Yanayin wasan kwaikwayo na kiɗa yana tasowa a nan ba zato ba tsammani ga mai sauraro, yana bayyana bisa ga dokokin da ba a iya tsammani a gaba ..." in ji Lyubimov. Haka, a gaba ɗaya, a cikin kiɗa na zamanin pre-Bach. Me yasa kuke yawan samun misalan zane-zane na ƙarni na XNUMX-XNUMXth a cikin shirye-shiryensa? Domin an dade da bata al’adunsu na yin su. Domin suna buƙatar wasu sabbin hanyoyin fassara. New - Ga Lyubimov, wannan yana da mahimmanci.

A ƙarshe, akwai wani abu da ke ƙayyade alkiblar aikinsa. Yana da yakinin cewa ya kamata a yi waka da kayan kidan da aka yi domin su. Wasu ayyukan suna kan piano, wasu a kan garaya ko budurwa. A yau an ɗauka don kunna guntun tsofaffin masters akan piano na ƙirar zamani. Lyubimov yana adawa da wannan; wannan ya ɓata fasahar fasahar kiɗan kanta da waɗanda suka rubuta ta, in ji shi. Sun kasance ba a bayyana su ba, yawancin dabara - mai salo, timbre-coloristic - waɗanda ke cikin abubuwan da suka faru a cikin waƙoƙin waƙoƙin da suka gabata, sun ragu zuwa komai. Yin wasa, a ra'ayinsa, yakamata ya kasance akan tsoffin kayan kida na gaske ko kuma da fasaha da aka yi kwafin su. Yana yin Rameau da Couperin a kan mawaƙa, Bull, Byrd, Gibbons, Farneby akan budurwa, Haydn da Mozart akan piano guduma (hammerklavier), kiɗan gaɓoɓin ta Bach, Kunau, Frescobaldi da abokan zamansu akan sashin jiki. Idan ya cancanta, zai iya amfani da wasu kayan aikin da yawa, kamar yadda ya faru a cikin aikinsa, kuma fiye da sau ɗaya. A bayyane yake cewa a cikin dogon lokaci wannan yana nisantar da shi daga pianism a matsayin sana'ar yin wasan gida.

Daga abin da aka ce, ba shi da wuya a kammala cewa Lyubimov wani mai fasaha ne tare da ra'ayoyinsa, ra'ayoyi, da ka'idoji. Wani ɗan ban mamaki, wani lokacin abin ban mamaki, yana ɗauke shi daga al'ada, hanyoyin da aka tattake a cikin wasan kwaikwayo. (Ba daidai ba ne, mun sake maimaitawa, cewa a cikin ƙuruciyarsa yana kusa da Maria Veniaminovna Yudina, ba daidai ba ne cewa ta sanya shi da hankali.) Duk wannan a cikin kansa yana ba da umarni girmamawa.

Ko da yake bai nuna wata sha'awa ta musamman ga rawar ɗan solo ba, har yanzu dole ne ya yi lambobi na solo. Ko da yaya yake ɗokin ya nutsar da kansa gabaɗaya "a cikin kiɗa", don ɓoye kansa, bayyanarsa na fasaha, lokacin da yake kan mataki, yana haskakawa ta hanyar wasan kwaikwayon tare da tsabta.

An kame shi a bayan kayan aiki, an tattara shi cikin ciki, horo a cikin ji. Wataƙila an ɗan rufe. (Wani lokaci dole ne mutum ya ji game da shi - "rufe yanayi"). Yanayin motsin zuciyarsa an tsara shi sosai kamar yadda ya dace. Bayan duk abin da yake yi, akwai kyakkyawan tunani na kida. A bayyane yake, da yawa a cikin wannan hadaddun fasaha ya fito ne daga dabi'a, halaye na sirri na Lyubimov. Amma ba kawai daga gare su ba. A cikin wasansa - bayyananne, daidaitacce a hankali, mai ma'ana a mafi girman ma'anar kalmar - kuma mutum yana iya ganin ƙayyadaddun ƙa'idar ado.

Kiɗa, kamar yadda kuka sani, wani lokacin ana kwatanta shi da gine-gine, mawaƙa tare da gine-gine. Lyubimov a cikin m hanya ne da gaske kama da na karshen. Yayin wasa, yana da alama yana gina abubuwan kida. Kamar kafa tsarin sauti a sarari da lokaci. Sukar da aka lura a lokacin cewa "ƙaddara mai ginawa" ta mamaye tafsirinsa; haka ya kasance kuma ya rage. A cikin komai mai pianist yana da daidaito, lissafin gine-gine, daidaiton daidaito. Idan muka yarda da B. Walter cewa "tushen duk fasaha shine tsari", wanda ba zai iya yarda da cewa tushen fasahar Lyubimov yana da bege da ƙarfi ...

Yawancin lokaci masu fasaha na ɗakin ajiyarsa sun jaddada haƙiƙa a cikin tsarinsa na fassarar kiɗa. Lyubimov ya dade kuma ya musanta aikata wani mutum da rashin zaman lafiya. (Gaba ɗaya, ya yi imanin cewa hanyar da ake bi, bisa tafsirin ɗaiɗaikun ɗaiɗaiku zalla na ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun mawaƙa za su zama tarihi, kuma muhawarar wannan hukunci ba ta dame shi ko kaɗan.) marubuci a gare shi shi ne mafari da ƙarshen dukkan tsarin tafsiri, na duk matsalolin da suka taso dangane da wannan. . Tabawa mai ban sha'awa. A. Schnittke, da zarar ya rubuta wani bita na wasan pianist (nau'ikan Mozart sun kasance a cikin shirin), "ya yi mamakin ganin ta (bita-bita). Mr. C.) ba game da wasan kwaikwayo na Lyubimov ba amma game da kiɗan Mozart. (Schnittke A. Bayanan kula akan manufa na haƙiƙa // Sov. Music. 1974. No. 2. P. 65.). A. Schnittke ya zo da matsaya mai ma'ana cewa “kada ku kasance

irin wannan wasan kwaikwayon, masu sauraro ba za su sami tunani da yawa game da wannan kiɗan ba. Wataƙila mafi girman kyawun ɗan wasan kwaikwayo shine tabbatar da kiɗan da yake kunna, ba kansa ba. (Ibid). Duk abubuwan da ke sama suna fayyace matsayi da mahimmanci a fili hankali factor a cikin ayyukan Lyubimov. Yana cikin nau'in mawaƙa waɗanda ke da ban mamaki da farko don tunaninsu na fasaha - daidai, ƙarfin hali, rashin daidaituwa. Irin wannan kebantuwar sa ne (ko da kuwa shi da kansa yana adawa da abubuwan da suka wuce gona da iri); haka ma, watakila bangarensa mafi karfi. E. Ansermet, wani fitaccen mawaƙi kuma mai gudanarwa a Switzerland, wataƙila bai yi nisa da gaskiya ba sa’ad da ya ce “akwai kamanceceniya marar iyaka tsakanin kiɗa da lissafi” (Anserme E. Tattaunawa game da kiɗa. - L., 1976. S. 21.). A cikin ayyukan kirkire-kirkire na wasu masu fasaha, ko suna rubuta kida ko yin ta, wannan a fili yake. Musamman, Lyubimov.

Tabbas, ba a ko'ina ba ne yanayinsa ya kasance mai gamsarwa. Ba duk masu sukar sun gamsu ba, alal misali, ta hanyar aikin Schubert - impromptu, waltzes, raye-raye na Jamus. Dole ne mu ji cewa wannan mawaki a Lyubimov wani lokacin yana da ɗan jin daɗi, cewa ba shi da sauƙi-zuciya, ƙauna na gaske, dumi a nan ... Wataƙila wannan shine haka. Amma, kullum magana Lyubimov ne yawanci daidai a cikin repertory burin, a cikin selection da kuma hada da shirye-shirye. Ya san sosai a ina ya mallakar dukiya, da kuma inda ba za a iya kawar da yiwuwar gazawar ba. Wadancan marubutan da yake magana a kansu, ko na zamaninmu ne ko kuma tsofaffin malamai, yawanci ba sa cin karo da salon wasan kwaikwayonsa.

Da kuma wasu ƙarin taɓawa ga hoton ɗan wasan pian - don kyakkyawan zana zanen kwane-kwane da fasalinsa. Lyubimov yana da ƙarfi; a matsayin mai mulkin, ya dace da shi don gudanar da magana na kiɗa a motsi, lokaci mai kuzari. Yana da ƙaƙƙarfan yajin yatsa mai ƙarfi—mafi kyaun “bayani,” don yin amfani da furci da aka saba amfani da shi don nuna irin waɗannan halaye masu mahimmanci ga masu wasan kwaikwayo a matsayin ƙamus bayyananne da furucin matakin fahimta. Ya fi ƙarfin duka, watakila, a cikin jadawalin kiɗa. Kadan kaɗan - a cikin rikodin sauti mai launi. "Abu mafi ban sha'awa game da wasansa shine wutar lantarki toccato" (Ordzhonikidze G. Taron bazara tare da Kiɗa//Sov. Kiɗa. 1966. Lamba 9. P. 109.), daya daga cikin masu sukar kiɗa ya rubuta a tsakiyar shekarun sittin. Gabaɗaya, wannan gaskiya ne a yau.

A cikin rabin na biyu na XNUMXs, Lyubimov ya ba da wani abin mamaki ga masu sauraro waɗanda suka yi kama da sun saba da kowane irin abubuwan mamaki a cikin shirye-shiryensa.

Tun da farko an ce ba ya yarda da abin da mafi yawan mawakan kide-kide ke jan hankali a kai, ya fi son wadanda ba su yi karatu kadan ba, idan ba a yi cikakken bincike ba. An ce na dogon lokaci kusan bai taba ayyukan Chopin da Liszt ba. Don haka, kwatsam, komai ya canza. Lyubimov ya fara sadaukar da kusan dukan clavirabends music na wadannan composers. A 1987, alal misali, ya taka leda a Moscow da kuma wasu sauran biranen kasar uku Sonnets na Petrarch, da Manta Waltz No. 1 da Liszt's F-minor (concert) etude, da Barcarolle, ballads, nocturnes da mazurkas ta Chopin. ; Haka kuma aka ci gaba da tafiya a kakar wasa ta gaba. Wasu mutane sun dauki wannan a matsayin wani eccentricity na pianist - ba za ka taba sanin nawa daga cikinsu ba, sun ce, suna kan asusunsa ... a cikin abin da ya yi: “Na daɗe da nisantar wannan kiɗan, cewa ban ga wani abin mamaki ba kwatsam a cikin sha’awara ta farke zuwa gare ta. Ina so in faɗi da tabbaci: komawa ga Chopin da Liszt ba wani nau'in hasashe ba ne, shawarar "shugaban" a ɓangarena - na dogon lokaci, sun ce, Ban buga waɗannan marubuta ba, ya kamata in buga ... A'a. , a'a, kawai na jawo su. Komai ya fito ne daga wani wuri a ciki, dangane da kawai motsin rai.

Chopin, alal misali, ya zama kusan mawaƙin da aka manta da ni a gare ni. Zan iya cewa na gano shi da kaina - kamar yadda wasu lokuta ana gano manyan abubuwan da ba a manta da su ba na baya. Watakila shi ya sa na tashi irin wannan raɗaɗi, mai ƙarfi a gare shi. Kuma mafi mahimmanci, na ji cewa ba ni da wasu taurarewar fassarori dangane da kiɗan Chopin - saboda haka, zan iya kunna ta.

Haka abin ya faru da Liszt. Musamman ma kusa da ni a yau shine marigayi Liszt, tare da yanayin falsafarsa, hadaddun duniyar ruhi mai girma da daukaka, sufanci. Kuma, ba shakka, tare da asali da kuma ladabi mai canza launin sauti. Abin farin ciki ne cewa yanzu ina wasa Grey Clouds, Bagatelles without Key, da sauran ayyukan Liszt na ƙarshen lokacin aikinsa.

Wataƙila roƙona ga Chopin da Liszt yana da irin wannan tushe. Na dade da lura, yin ayyukan marubuta na karni na XNUMX, cewa da yawa daga cikinsu suna nuna alamar soyayya a fili. A kowane hali, na ga wannan tunani a fili - ko ta yaya a kallon farko - a cikin kiɗan Silvestrov, Schnittke, Ligeti, Berio ... imani. Lokacin da wannan tunani ya cika ni, an zana ni, don yin magana, ga tushen farko - zuwa zamanin da yawa ya tafi, ya sami ci gaba na gaba.

Af, Ina sha'awar a yau ba kawai ta masu haskaka romanticism ba - Chopin, Liszt, Brahms ... Ni kuma ina da sha'awar matasa masu zaman kansu, mawaƙa na uku na farko na karni na XNUMX, waɗanda suka yi aiki a farkon shekaru biyu. eras - classicism da romanticism, haɗa su da juna. Ina tuna yanzu irin waɗannan marubuta kamar Muzio Clementi, Johann Hummel, Jan Dussek. Har ila yau, akwai abubuwa da yawa a cikin abubuwan da suka tsara wanda ke taimakawa wajen fahimtar ƙarin hanyoyin ci gaban al'adun kiɗa na duniya. Mafi mahimmanci, akwai haziƙai masu hazaka da yawa waɗanda har yau ba su yi hasarar darajar fasaharsu ba.”

A shekara ta 1987, Lyubimov ya buga wasan kwaikwayo na Symphony don pianos guda biyu tare da ƙungiyar makaɗar Dussek (bangaren piano na biyu ya yi V. Sakharov, tare da ƙungiyar mawaƙa ta G. Rozhdestvensky) - kuma wannan aikin, kamar yadda yake tsammani, ya tada sha'awa sosai. tsakanin masu sauraro.

Kuma ya kamata a lura da kuma bayyana wani sha'awa na Lyubimov. Ba ƙasa ba, idan ba zato ba, fiye da sha'awarsa da soyayya ta Yammacin Turai. Wannan wani tsohon romance, wanda singer Viktoria Ivanovna "gano" a gare shi kwanan nan. “A gaskiya, ainihin ba haka yake cikin soyayya ba. Gabaɗaya ina sha'awar kaɗe-kaɗe da kaɗe-kaɗe da ake yi a cikin salon manyan mutane na tsakiyar ƙarni na baya. Bayan haka, ya zama kyakkyawan hanyar sadarwa ta ruhaniya tsakanin mutane, ya ba da damar isar da mafi zurfi da gogewa. A hanyoyi da yawa, akasin kidan ne da aka yi a kan babban filin wasan kide-kide - m, kara, kyalkyali tare da kyalkyali mai haske, kayan sauti na marmari. Amma a cikin zane-zane na salon - idan ainihin gaske ne, babban fasaha - za ku iya jin ɓacin rai da hankali waɗanda ke da halayensa. Shi ya sa yana da daraja a gare ni.”

A lokaci guda, Lyubimov bai daina kunna kiɗan da ke kusa da shi a shekarun baya ba. Abin da aka makala zuwa zamanin da na nesa, ba ya canzawa kuma ba zai canza ba. A cikin 1986, alal misali, ya ƙaddamar da jerin kade-kade na Golden Age of the Harpsichord, wanda aka shirya na shekaru da yawa a gaba. A matsayin wani ɓangare na wannan zagayowar, ya yi Suite a cikin D ƙarami ta L. Marchand, babban ɗakin karatu na "Celebrations of the great and Old Menestrand" na F. Couperin, da kuma yawan wasu wasan kwaikwayo na wannan marubucin. Babu shakka sha'awar jama'a shine shirin "biki na Gallant a Versailles", inda Lyubimov ya haɗa da kayan aikin kayan aiki na F. Dandrieu, LK Daken, JB de Boismortier, J. Dufly da sauran mawaƙa na Faransa. Ya kamata mu kuma ambaci ayyukan haɗin gwiwa na Lyubimov da ke gudana tare da T. Grindenko (nau'in violin ta A. Corelli, FM Veracini, JJ Mondonville), O. Khudyakov (suites don sarewa da bass na dijital ta A. Dornell da M. de la Barra); wanda ba zai iya tunawa ba, a ƙarshe, maraice na kiɗa da aka sadaukar don FE Bach…

Duk da haka, ainihin al'amarin ba ya cikin adadin da aka samu a cikin ma'ajin da aka buga a bainar jama'a. Babban abu shi ne cewa Lyubimov a yau yana nuna kansa, kamar yadda yake a baya, a matsayin "mai mayarwa" mai fasaha da ilimi na zamanin da, da basira ya mayar da shi zuwa ga ainihin siffarsa - kyawawan kyawawan siffofinsa, gallantry na kayan ado, da fasaha na musamman. delicacy na kida kalamai.

... A cikin 'yan shekarun nan, Lyubimov yana da tafiye-tafiye masu ban sha'awa da yawa a kasashen waje. Dole ne in faɗi cewa a baya, a gabansu, na dogon lokaci (kimanin shekaru 6) bai yi tafiya a wajen ƙasar ba kwata-kwata. Kuma saboda kawai, daga mahangar wasu jami'an da suka jagoranci al'adun waka a karshen shekarun saba'in da farkon tamanin, ya yi ayyukan "ba wadanda" ya kamata a yi ba. Maganarsa ga mawaƙa na zamani, ga abin da ake kira "avant-garde" - Schnittke, Gubaidulina, Sylvestrov, Cage, da sauransu - ba, don sanya shi a hankali, tausayi "a saman". Tilascin gida da farko ya tayar da Lyubimov. Kuma wanene daga cikin mawakan kide-kide da ba zai ji haushi a wurinsa ba? Duk da haka, jin ya ragu daga baya. "Na gane cewa akwai wasu abubuwa masu kyau a cikin wannan yanayin. Zai yiwu a mai da hankali gaba ɗaya kan aiki, kan koyon sabbin abubuwa, domin babu nesa da nisa daga gida da ya ɗauke ni hankali. Kuma hakika, a cikin shekarun da na kasance mai fasaha na “ƙananan tafiye-tafiye,” na sami damar koyon sabbin shirye-shirye da yawa. Don haka babu wani sharri sai alheri.

Yanzu, kamar yadda suka ce, Lyubimov ya ci gaba da al'ada yawon shakatawa rayuwa. Kwanan nan, tare da ƙungiyar mawaƙa ta L. Isakadze, ya buga wasan kwaikwayo na Mozart a Finland, ya ba da clavirabends da yawa a cikin GDR, Holland, Belgium, Austria, da dai sauransu.

Kamar kowane ainihin, babban malamin, Lyubimov yana da own jama'a. Yawanci, waɗannan su ne matasa - masu sauraro ba su da hutawa, suna da sha'awar canza ra'ayi da sababbin sababbin fasaha. Sami tausayi irin jama'a, jin daɗin kulawarsa na tsawon shekaru ba abu ne mai sauƙi ba. Lyubimov ya iya yin hakan. Shin har yanzu akwai buƙatar tabbatarwa cewa da gaske fasaharsa tana ɗauke da wani abu mai mahimmanci kuma wajibi ga mutane?

G. Tsipin, 1990