Alfred Brendel |

Alfred Brendel ne adam wata

Ko ta yaya, a hankali, ba tare da jin daɗi da hayaniyar talla ba, a tsakiyar shekarun 70s Alfred Brendel ya koma kan gaba a cikin manyan mashahuran pianism na zamani. Har zuwa kwanan nan, ana kiran sunansa tare da sunayen abokan aiki da kuma abokan karatunsa - I. Demus, P. Badur-Skoda, I. Hebler; a yau an fi samun sau da yawa a hade tare da sunayen masu haske kamar Kempf, Richter ko Gilels. Ana kiransa ɗaya daga cikin masu cancanta kuma, watakila, mafi cancantar magajin Edwin Fisher.

Ga wadanda suka saba da m juyin halitta na artist, wannan nadi ba zato ba tsammani: shi ne, kamar yadda aka riga aka ƙaddara da wani farin ciki hade da m pianistic data, hankali da kuma hali, wanda ya kai ga jitu ci gaban basira, ko da ko da yake Brendel bai sami tsarin ilimi ba. An kashe shekarun yaransa a Zagreb, inda iyayen masu zane-zane na gaba suka ajiye karamin otel, kuma dansa ya yi amfani da tsohuwar gramophone a cikin cafe, wanda ya zama "malam" na farko na kiɗa. Shekaru da dama ya dauki darasi daga malami L. Kaan, amma a lokaci guda ya kasance mai sha'awar zane-zane kuma yana da shekaru 17 bai yanke shawarar wace sana'a biyu ya fi so ba. Brendle ya ba da 'yancin zaɓar ... ga jama'a: a lokaci guda ya shirya nunin zane-zanensa a Graz, inda dangi suka ƙaura, kuma ya ba da kide-kide na solo. A bayyane yake, nasarar da dan wasan piano ya samu ya zama mai girma, saboda yanzu an zaɓi zaɓi.

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

Babban ci gaba na farko akan hanyar fasaha ta Brendel shine nasara a 1949 a sabuwar gasa ta Busoni Piano a Bolzano. Ta kawo masa suna (mai mutunci sosai), amma mafi mahimmanci, ta ƙarfafa niyyarsa ta inganta. Shekaru da yawa yana halartar kwasa-kwasan da Edwin Fischer ke jagoranta a Lucerne, yana ɗaukar darasi daga P. Baumgartner da E. Steuermann. Yana zaune a Vienna, Brendel ya shiga cikin galaxy na matasa masu hazaka na pianists waɗanda suka fito kan gaba bayan yaƙin Austriya, amma da farko ya mamaye wurin da bai fi sauran wakilansa ba. Duk da yake dukansu sun riga sun shahara sosai a Turai da kuma bayan haka, Brendle har yanzu ana ɗaukarsa "mai alƙawari". Kuma wannan dabi'a ce zuwa wani matsayi. Ba kamar sauran takwarorinsa ba, ya zaɓi, watakila, mafi kai tsaye, amma nesa da hanya mafi sauƙi a cikin fasaha: bai rufe kansa ba a cikin tsarin ɗakin karatu, kamar Badura-Skoda, bai juya zuwa ga taimakon kayan gargajiya ba. kamar Demus, bai ƙware akan marubuci ɗaya ko biyu ba, kamar Hebler, bai yi gaggawar "daga Beethoven zuwa jazz da baya ba", kamar Gulda. Ya kawai burin ya zama kansa, wato, mawaƙin “al’ada”. Kuma a ƙarshe ya biya, amma ba nan da nan ba.

A tsakiyar shekarun 60s, Brendel ya yi tafiya a cikin ƙasashe da yawa, ya ziyarci Amurka, har ma a rubuce a can, bisa shawarar kamfanin Vox, kusan kusan tarin ayyukan piano na Beethoven. Da'irar sha'awar matashin mai zane ya riga ya faɗi sosai a lokacin. Daga cikin rikodin Brendle, za mu sami ayyukan da ba su da nisa daga ma'auni na mai wasan pian na zamaninsa - Hotunan Mussorgsky a wani nunin, Balakirev's Islamey. Stravinsky's Petrushka, Pieces (op. 19) da Concerto (op. 42) na Schoenberg, aikin R. Strauss da Busoni's Contrapuntal Fantasy, kuma a ƙarshe Prokofiev's Concerto na biyar. Tare da wannan, Brendle yana da yawa kuma yana son shiga cikin ɗakunan ɗakin: ya rubuta zagayowar Schubert "The Beautiful Miller's Girl" tare da G. Prey, Bartok's Sonata na Biyu Pianos tare da Percussion, Beethoven's da Mozart's Piano da Wind Quintets, Brahms 'Hungarian Rawa da Stravinsky's Concerto na Pianos Biyu… Amma a cikin zuciyar repertoire, don duk wannan, shine litattafan Viennese - Mozart, Beethoven, Schubert, da - Liszt da Schumann. Komawa cikin 1962, an gane maraicensa na Beethoven a matsayin koli na bikin Vienna na gaba. "Brandl ba tare da wata shakka ba shine mafi mahimmancin wakilcin matasan makarantar Viennese," in ji mai suka F. Vilnauer a lokacin. "Beethoven yana masa sauti kamar wanda ya saba da nasarorin da marubutan zamani suka samu. Yana ba da tabbaci mai ƙarfafawa cewa tsakanin matakin halin yanzu da kuma matakin fahimtar masu fassara akwai haɗin kai mai zurfi, wanda yake da wuya a tsakanin al'amuran yau da kullum da kuma virtuosos waɗanda ke yin a cikin ɗakunan wasan kwaikwayo na mu. Ya kasance yarda da zurfin tunani na fassarar zamani na mai zane. Ba da daɗewa ba, har ma da irin wannan ƙwararren kamar I. Kaiser ya kira shi "mai falsafar piano a fagen Beethoven, Liszt, Schubert", da haɗuwa da yanayi mai hadari da hankali mai hankali ya ba shi laƙabi "mai falsafar piano na daji". Daga cikin abubuwan da babu shakka game da wasansa, masu sukar sun danganta ƙarfin tunani da jin daɗi, kyakkyawar fahimtar dokokin tsari, ƙirar gine-gine, dabaru da ma'auni na gradations mai ƙarfi, da zurfin tunani na shirin aiwatarwa. "Wani mutum ne ya buga wannan wanda ya gane dalilin da ya sa kuma ta wace hanya ce siffar sonata ke tasowa," in ji Kaiser, yana nufin fassararsa na Beethoven.

Tare da wannan, yawancin gazawar wasan Brendle suma sun kasance a bayyane a wancan lokacin - ɗabi'a, zance da gangan, rauni na cantilena, rashin iya isar da kyawun kiɗan mai sauƙi, mara fa'ida; ba tare da dalili ba ɗaya daga cikin masu bitar ya ba shi shawarar ya saurara da kyau ga fassarar E. Gilels na sonata na Beethoven (Op. 3, Na 2) “domin ya fahimci abin da ke ɓoye cikin wannan waƙar.” A bayyane yake, mai son kai da fasaha mai hankali ya bi waɗannan shawarwari, saboda wasansa ya zama mafi sauƙi, amma a lokaci guda ya fi dacewa, mafi kyau.

Ƙwararriyar tsalle-tsalle da ta faru ta haifar da amincewar Brendle a duniya a ƙarshen 60s. Farkon shahararsa shi ne wasan kwaikwayo a zauren Wigmore na Landan, bayan haka shahara da kwangiloli sun fada kan mai zane a zahiri. Tun daga wannan lokacin, ya yi wasa kuma ya yi rikodin da yawa, ba tare da canza ba, duk da haka, ƙwarewarsa ta asali a cikin zaɓi da nazarin ayyukan.

Brendle, tare da duk faɗin abubuwan da yake so, baya ƙoƙarin zama ɗan wasan pianist na duniya, amma, akasin haka, yanzu ya fi karkata ga kame kai a fagen repertory. Shirye-shiryensa sun haɗa da Beethoven (wanda sonatas ya rubuta sau biyu akan rikodin), yawancin ayyukan Schubert, Mozart, Liszt, Brahms, Schumann. Amma ba ya buga Bach kwata-kwata (gaskanta cewa wannan yana buƙatar tsoffin kayan kida) da Chopin ("Ina son kiɗansa, amma yana buƙatar ƙwarewa da yawa, kuma wannan yana barazanar rasa dangantaka da sauran mawaƙa").

Ci gaba da kasancewa mai iya bayyanawa, cikakkar motsin rai, wasansa yanzu ya zama mai jituwa sosai, sautin ya fi kyau, zance ya fi yawa. Alamun a wannan batun shi ne wasan kwaikwayon na Schoenberg na concerto, wanda kawai na zamani mawaki, tare da Prokofiev, wanda ya kasance a cikin repertoire na pianist. A cewar daya daga cikin masu sukar, ya zo kusa da manufa, fassararsa fiye da Gould, "saboda ya yi nasarar ceton ko da kyawun da Schoenberg yake so, amma ya kasa fitar da shi."

Alfred Brendel ya bi ta hanya madaidaiciya kuma ta halitta daga novice virtuoso zuwa babban mawaki. “A gaskiya, shi kaɗai ne ya ba da cikakken bege da aka sa masa a lokacin,” in ji I. Harden, da yake magana game da matasan wannan ƙarni na ’yan piano na Viennese da Brendel yake. Koyaya, kamar yadda madaidaiciyar hanyar da Brendle ta zaɓa ba ta da sauƙi ko kaɗan, don haka har yanzu yuwuwar sa ba ta ƙare ba. Wannan tabbataccen shaida ba wai kawai ta wurin kade-kade na wake-wake da faifan bidiyo ba, har ma da irin ayyukan da Brendel ya yi na rashin natsuwa da bambancin ayyuka a fagage daban-daban. Ya ci gaba da yin wasan kwaikwayo a cikin ɗakunan ɗaki, ko dai yana rikodin duk abubuwan da Schubert ya yi na hannu hudu tare da Evelyn Crochet, wanda ya lashe gasar Tchaikovsky da muka sani, ko kuma yin zagayowar muryar Schubert tare da D. Fischer-Dieskau a cikin manyan dakunan dakunan Turai da Amurka; yana rubuta littattafai da labarai, laccoci kan matsalolin fassara waƙar Schumann da Beethoven. Duk wannan yana bin babban burin guda ɗaya - don ƙarfafa hulɗa tare da kiɗa da masu sauraro, kuma masu sauraronmu a ƙarshe sun sami damar ganin wannan "da idanunsu" yayin balaguron Brendel a cikin USSR a 1988.

Grigoriev L., Platek Ya., 1990