Alexis Weissenberg |

Alexis Weissenberg ne adam wata

Wata rana ta rani a shekara ta 1972, gidan wasan kwaikwayo na Bulgaria ya cika da cunkoso. Masoyan kiɗan Sofia sun zo wurin kide-kiden dan wasan pian Alexis Weissenberg. Duk masu zane-zane da masu sauraron babban birnin Bulgaria sun kasance suna jiran wannan rana tare da jin dadi na musamman da rashin haƙuri, kamar yadda wata uwa ke jiran taro tare da ɗanta da aka rasa da kuma sabon da aka samo. Sai da suka saurari wasansa da jajircewa, sannan ba su bar shi sama da rabin sa’a ba ya sauka daga kan dandalin, har sai da wannan mutumi mai kamun kai, mai kamannin wasa ya bar dandalin sai ya zubar da hawaye, yana mai cewa: “Ni dan wasa ne. Bulgarian. Ina ƙauna da ƙauna kawai masoyi na Bulgaria. Ba zan taba mantawa da wannan lokacin ba."

Don haka ya ƙare kusan shekaru 30 na odyssey na ƙwararren mawaƙin Bulgaria, wani odyssey mai cike da kasada da gwagwarmaya.

Yarinta na gaba artist ya wuce a Sofia. Mahaifiyarsa, ƙwararren ɗan wasan pian Lilian Piha, ta fara koya masa kiɗa yana ɗan shekara 6. Fitaccen mawaki kuma ɗan wasan pian Pancho Vladigerov nan da nan ya zama mai ba da shawara, wanda ya ba shi makaranta mai kyau, kuma mafi mahimmanci, faɗin ra'ayin kiɗan sa.

Wasan kwaikwayo na farko na matashi Siggi - irin wannan shine sunan fasaha na Weisenberg a lokacin ƙuruciyarsa - an gudanar da shi a Sofia da Istanbul tare da nasara. Ba da daɗewa ba ya jawo hankalin A. Cortot, D. Lipatti, L. Levy.

A lokacin yakin, mahaifiyar, ta tsere daga Nazis, ta yi nasarar tafiya tare da shi zuwa Gabas ta Tsakiya. Siggi ya ba da kide-kide a Falasdinu (inda kuma ya yi karatu tare da Farfesa L. Kestenberg), sannan a Masar, Siriya, Afirka ta Kudu, sannan ya zo Amurka. Matashin ya kammala karatunsa a Makarantar Juilliard, a cikin aji na O. Samarova-Stokowskaya, yana nazarin kiɗan Bach a ƙarƙashin jagorancin Wanda Landowskaya kanta, da sauri ya sami babban nasara. Kwanaki da yawa a cikin 1947, ya zama wanda ya lashe gasa guda biyu a lokaci ɗaya - gasar matasa ta Orchestra na Philadelphia da Gasar Leventritt ta takwas, a wancan lokacin mafi mahimmanci a Amurka. Sakamakon haka - wani babban nasara na halarta na farko tare da kungiyar Orchestra na Philadelphia, yawon shakatawa na kasashe goma sha ɗaya a Latin Amurka, wani wasan kwaikwayo na solo a Carnegie Hall. Daga cikin sake dubawa da yawa daga 'yan jaridu, mun kawo ɗayan da aka sanya a cikin Telegram na New York: "Weisenberg yana da duk dabarun da suka wajaba don novice artist, ikon sihiri na jimla, baiwar ba da waƙar waƙa da kuma numfashi mai rai. song…”

Ta haka ne aka fara rayuwa mai cike da ruɗani na ƙwaƙƙwaran ƙaƙƙarfan ƙaƙƙarfan ƙaƙƙarfan dabara, da madaidaicin repertoire, amma wanda, duk da haka, ya sami nasara mai ɗorewa. Amma a cikin 1957, Weisenberg ya buge murfin piano ba zato ba tsammani kuma ya yi shiru. Bayan ya zauna a Paris, ya daina yin wasan kwaikwayo. “Na ji,” in ji daga baya, “cewa sannu a hankali na zama ɗan fursuna na yau da kullun, wanda aka riga aka sani da clichés waɗanda ake bukatar kuɓuta daga ciki. Dole ne in mai da hankali da yin zuzzurfan tunani, yin aiki tuƙuru - karantawa, karatu, "kai hari" kiɗan Bach, Bartok, Stravinsky, nazarin falsafar, adabi, auna zaɓi na.

Fitar da son rai daga mataki ya ci gaba - kusan shari'ar da ba a taba gani ba - shekaru 10! A cikin 1966, Weisenberg ya sake yin karon farko tare da ƙungiyar mawaƙa ta G. Karayan. Yawancin masu sukar sun tambayi kansu wannan tambaya - shin sabon Weissenberg ya bayyana a gaban jama'a ko a'a? Kuma sun amsa: ba sabon abu ba, amma, babu shakka, sabuntawa, sake duba hanyoyinsa da ka'idodinsa, haɓaka repertoire, ya zama mafi mahimmanci da alhakin tsarinsa na fasaha. Kuma wannan ya kawo shi ba kawai shahararsa ba, har ma da girmamawa, ko da yake ba a yarda da shi ba. Kadan daga cikin ƴan pian na zamaninmu sau da yawa sukan shiga cikin hankalin jama'a, amma kaɗan ne ke haifar da irin wannan cece-ku-ce, wani lokaci ƙanƙara na kibau. Wasu suna rarraba shi a matsayin mai zane-zane na mafi girma kuma sun sanya shi a kan matakin Horowitz, wasu, suna gane halayensa mara kyau, suna kiran shi gefe ɗaya, rinjaye a kan bangaren kiɗa na wasan kwaikwayo. Mai suka E. Croher ya tuna game da irin waɗannan gardama kalmomin Goethe: “Wannan ita ce alama mafi kyau cewa babu wanda ya yi magana game da shi ba tare da son rai ba.”

Lallai, babu ko-in-kula a shagulgulan kide-kiden Weisenberg. Ga yadda dan jaridan nan dan kasar Faransa Serge Lantz ya bayyana irin ra'ayin da dan wasan piano yake yi ga masu sauraro. Weissenberg ya ɗauki mataki. Nan da nan ya fara ganin yana da tsayi sosai. Canjin kamannin mutumin da muka gani a bayan fage yana da ban mamaki: fuskar kamar an zana ta daga dutsen dutse, an kame baka, guguwar maballin yana walƙiya da sauri, an tabbatar da motsi. A fara'a ne m! Nuni na musamman na cikakken ƙware na halayensa da masu sauraronsa. Shin yana tunanin su lokacin da yake wasa? "A'a, na mayar da hankali ga kiɗa," mai zane ya ba da amsa. Zaune a kayan aiki, Weisenberg ba zato ba tsammani ya zama marar gaskiya, yana da alama an tsare shi daga duniyar waje, ya fara tafiya ta kadaici ta cikin ether na kiɗan duniya. Amma kuma gaskiya ne cewa mutumin da ke cikinsa yana da fifiko a kan mai yin kayan aiki: halayen na farko yana ɗaukar mahimmanci fiye da fasaha na fassarar na biyu, yana wadatar da numfashi a cikin cikakkiyar dabarar yin aiki. Wannan shine babban fa'idar mai wasan pianist Weisenberg. ”…

Ga kuma yadda mai wasan kwaikwayo da kansa ya fahimci sana’arsa: “Lokacin da ƙwararren mawaƙi ya shiga cikin fage, dole ne ya ji kamar abin bautawa. Wannan ya zama wajibi domin a karkatar da masu saurare da kuma jagorance su zuwa ga hanyar da ake so, don 'yantar da su daga ra'ayoyin da aka fi so, da kuma tabbatar da cikakken mulki a kansu. Daga nan ne za a iya kiransa da mahalicci na gaskiya. Dole ne mai yin wasan ya kasance da cikakkiyar masaniya game da ikonsa a kan jama'a, amma don ya zana daga gare ta ba girman kai ko iƙirari ba, amma ƙarfin da zai mayar da shi ɗan mulkin mallaka na gaskiya a kan mataki.

Wannan hoton kansa yana ba da cikakkiyar ra'ayi game da hanyar kirkirar Weisenberg, na matsayinsa na fasaha na farko. A cikin adalci, mun lura cewa sakamakon da ya samu ya yi nisa da gamsar da kowa. Masu suka da yawa sun ƙi shi jin daɗi, jin daɗi, ruhi, kuma, saboda haka, haƙiƙanin hazakar mai fassara. Menene, alal misali, irin waɗannan layin da aka sanya a cikin mujallar "Musical America" ​​a cikin 1975: "Alexis Weissenberg, tare da duk yanayin yanayinsa da ƙwarewar fasaha, ya rasa abubuwa biyu masu mahimmanci - fasaha da jin" ...

Duk da haka, yawan masu sha'awar Weisenberg, musamman a Faransa, Italiya da Bulgaria, yana karuwa akai-akai. Kuma ba da gangan ba. Hakika, ba duk abin da ke cikin babban repertoire na artist ne daidai nasara (a Chopin, alal misali, wani lokacin akwai rashin soyayya sha'awa, lyrical kusanci), amma a cikin mafi kyau fassarori ya cimma babban kamala; ba koyaushe suna gabatar da bugun tunani, haɓakar hankali da ɗabi'a, ƙin kowane clichés, kowane na yau da kullun - ko muna magana ne game da ɓangarori na Bach ko Bambance-bambance akan jigo na Goldberg, wasan kwaikwayo na Mozart, Beethoven, Tchaikovsky, Rachmaninov, Prokofiev , Brahms, Bartok. Liszt's Sonata a cikin ƙananan B ko Fog's Carnival, Stravinsky's Petrushka ko Ravel's Noble da Sentimental Waltzes da yawa, da sauran abubuwan haɗin gwiwa.

Wataƙila mawallafin Bulgarian S. Stoyanova ya bayyana matsayin Weisenberg a cikin duniyar kiɗa ta zamani da kyau: “Al'amarin Weisenberg yana buƙatar wani abu fiye da kima kawai. Yana buƙatar gano yanayin, ƙayyadaddun, wanda ya sa shi Weissenberg. Da farko, wurin farawa shine hanyar ado. Weisenberg yana nufin mafi kyawun salo a cikin salon kowane mawaki, yana bayyana farkon abubuwan da ya fi dacewa da shi, wani abu mai kama da ma'anar lissafi. Saboda haka, ya tafi zuwa ga m image a cikin mafi guntu hanya, barrantar da cikakken bayani ... Idan muka nemi wani abu hali na Weisenberg a m nufin, sa'an nan ya bayyana kanta a fagen motsi, a cikin aiki, wanda kayyade su zabi da mataki na amfani. . Saboda haka, a Weisenberg ba za mu sami wani karkace - ba a cikin shugabanci na launi, ko a kowane irin psychologization, ko a ko'ina. Ya kan yi wasa a hankali, da manufa, da yanke hukunci da inganci. Yana da kyau ko a'a? Komai ya dogara da burin. Yaɗa darajar kiɗan kiɗa yana buƙatar irin wannan nau'in pianist - wannan ba shi da tabbas.

Lalle ne, cancantar Weisenberg a cikin haɓaka kiɗa, a cikin jawo dubban masu sauraro zuwa gare ta, ba za a iya musantawa ba. A kowace shekara ya kan ba da kide-kide da dama ba kawai a birnin Paris ba, a manyan cibiyoyi, har ma a garuruwan larduna, musamman ma da son rai yakan yi wasa musamman ga matasa, da yin magana a talabijin, da nazari da matasa masu sana'ar pian. Kuma kwanan nan ya bayyana cewa mai zane yana gudanar da "nemo" lokaci don abun da ke ciki: Fugue na kiɗansa, wanda aka yi a birnin Paris, ya kasance nasara marar tabbas. Kuma, ba shakka, Weisenberg yanzu yana komawa ƙasarsa kowace shekara, inda dubban masu sha'awar sha'awa ke gaishe shi.

Grigoriev L., Platek Ya., 1990