Alfred Cortot |

Alfred Cortot

Alfred Cortot ya yi rayuwa mai tsawo kuma ba a saba gani ba. Ya shiga tarihi a matsayin daya daga cikin titan na pianism na duniya, a matsayin babban dan wasan piano na Faransa a karni na mu. Amma ko da mun manta na ɗan lokaci game da shaharar da kuma cancantar wannan mashawarcin piano, to, ko da abin da ya yi ya fi isa ya rubuta sunansa a cikin tarihin kiɗan Faransa.

A zahiri, Cortot ya fara aikinsa a matsayin ɗan wasan pian abin mamaki a makara - kawai a ƙarshen ranar haihuwarsa 30th. Tabbas, tun kafin wannan ya ba da lokaci mai yawa ga piano. Duk da yake har yanzu dalibi a Paris Conservatory - na farko a cikin aji na Decombe, kuma bayan mutuwar na karshen a cikin aji na L. Diemer, ya fara halarta a karon a 1896, yana yin Beethoven's Concerto a G ƙananan. Ɗaya daga cikin abubuwan da ya fi ƙarfin ƙuruciyarsa shine taro - tun kafin ya shiga ɗakin ajiyar - tare da Anton Rubinstein. Babban mawaƙin Rasha, bayan ya saurari wasansa, ya gargaɗi yaron da waɗannan kalmomi: “Baby, kar ka manta da abin da zan gaya maka! Ba a kunna Beethoven ba, amma an sake shirya shi. Waɗannan kalmomi sun zama taken rayuwar Corto.

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

Kuma duk da haka, a cikin shekarun ɗalibinsa, Cortot ya fi sha'awar sauran fannonin ayyukan kiɗa. Ya kasance mai sha'awar Wagner, ya yi karatun simphonic. Bayan kammala karatunsa na jami'ar Conservatory a shekarar 1896, ya samu nasarar ayyana kansa a matsayin dan wasan pian a wasu kasashen Turai, amma nan da nan ya tafi birnin Wagner na Bayreuth, inda ya yi aiki na tsawon shekaru biyu a matsayin dan rakiya, mataimakin darakta, daga karshe kuma ya zama madugu. karkashin jagorancin Mohicans na gudanar da fasaha - X. Richter da F Motlya. Komawa daga nan zuwa Paris, Cortot yana aiki azaman mai yada farfagandar aikin Wagner; A karkashin jagorancinsa, an gudanar da wasan farko na Mutuwar Allolin (1902) a babban birnin kasar Faransa, ana yin wasu operas. "Lokacin da Cortot ke gudanarwa, ba ni da wata magana," wannan shine yadda Cosima Wagner da kanta ta tantance fahimtarsa ​​game da wannan kiɗan. A cikin 1902, mai zane ya kafa Cortot Association of Concerts a babban birnin kasar, wanda ya jagoranci yanayi biyu, sannan ya zama jagoran kungiyar Paris National Society da Popular Concerts a Lille. A cikin shekaru goma na farko na karni na XNUMX, Cortot ya gabatar wa jama'ar Faransanci da yawa sababbin ayyuka - daga Ring of the Nibelungen zuwa ayyukan zamani, ciki har da Rashanci, marubuta. Kuma daga baya ya yi aiki akai-akai a matsayin jagora tare da mafi kyawun ƙungiyar makaɗa kuma ya kafa ƙarin ƙungiyoyi biyu - Philharmonic da Symphony.

Tabbas, duk waɗannan shekarun Cortot bai daina yin wasan piano ba. Amma ba kwatsam muka yi dalla-dalla a kan wasu fannonin ayyukansa ba. Ko da yake bayan 1908 ne a hankali wasan piano ya fito kan gaba a cikin ayyukansa, daidai gwargwado na mawaƙin ne ya ƙayyadad da abubuwan da suka bambanta da siffar piano.

Shi da kansa ya tsara tafsirinsa kamar haka: “Halayyar aiki na iya zama kashi biyu: ko dai rashin motsi ko bincike. Neman manufar marubucin, adawa da hadisai masu yawa. Abu mafi mahimmanci shine ba da kyauta ga tunanin, sake haifar da abun da ke ciki. Wannan ita ce tafsirin. Kuma a wani yanayin, ya bayyana wannan tunani: “Mafi girman kaddarar mai zane ita ce ta farfado da tunanin ɗan adam da ke ɓoye a cikin kiɗa.”

Ee, da farko, Cortot ya kasance kuma ya kasance mawaƙi a piano. Halin nagarta bai taɓa jan hankalinsa ba kuma bai kasance mai ƙarfi ba, fili a fannin fasaharsa. Amma ko da irin wannan ƙwararren masanin piano kamar G. Schonberg ya yarda cewa akwai buƙatu ta musamman daga wannan ɗan wasan piano: “A ina ya sami lokacin da zai kiyaye fasaharsa? Amsar ita ce mai sauƙi: bai yi ba kwata-kwata. Cortot koyaushe yana yin kuskure, yana da raunin ƙwaƙwalwar ajiya. Ga kowane mai fasaha, wanda ba shi da mahimmanci, wannan ba zai yuwu a gafartawa ba. Ba kome ga Cortot. An fahimci wannan kamar yadda ake ganin inuwa a cikin zane-zane na tsofaffin masters. Domin, duk da kurakuran da aka yi, babbar dabararsa ba ta da aibi kuma tana iya yin kowane “wasan wuta” idan kiɗan ya buƙaci ta. Sanarwar sanannen mai sukar Faransa Bernard Gavoti kuma abin lura ne: "Abu mafi kyau game da Cortot shine cewa a ƙarƙashin yatsunsa piano ya daina zama piano."

Lallai fassarori na Cortot sun mamaye fassarori da kiɗa, wanda ruhun aikin ya mamaye shi, mafi zurfin hankali, waƙa mai ƙarfin hali, dabaru na tunanin fasaha - duk abin da ya bambanta shi da yawancin ƴan wasan pian. Kuma ba shakka, ban mamaki arziki na sauti launuka, wanda ya zama kamar ya zarce da damar da talakawa piano. Ba abin mamaki ba Cortot da kansa ya ƙirƙira kalmar "piano orchestration", kuma a cikin bakinsa ba wata hanya ce kawai kyakkyawar magana ba. A ƙarshe, ban mamaki 'yancin yin wasan kwaikwayo, wanda ya ba da fassararsa da kuma tsarin wasan kwaikwayo na tunani na falsafa ko ruwayoyi masu ban sha'awa waɗanda suka mamaye masu sauraro.

Duk waɗannan halaye sun sa Cortot ya zama mafi kyawun fassarar kiɗan soyayya na ƙarni na ƙarshe, musamman Chopin da Schumann, da mawallafin Faransanci. Gabaɗaya, wasan kwaikwayon mai zane ya yi yawa sosai. Tare da ayyukan waɗannan mawaƙa, ya yi fice sosai don sonatas, rhapsodies da rubuce-rubuce na Liszt, manyan ayyuka da ƙarami na Mendelssohn, Beethoven, da Brahms. Duk wani aiki da aka samu daga wurinsa na musamman, fasali na musamman, yana buɗewa ta sabuwar hanya, wani lokaci yana haifar da cece-kuce a tsakanin masu sani, amma koyaushe yana faranta wa masu sauraro rai.

Cortot, mawaƙin mawaƙin ga ƙasusuwan kasusuwa, bai gamsu ba kawai da waƙoƙin solo da kide-kide tare da ƙungiyar makaɗa, koyaushe ya juya zuwa kiɗan ɗaki kuma. A cikin 1905, tare da Jacques Thibault da Pablo Casals, ya kafa ƙungiyoyi uku, waɗanda kide-kide na shekaru da yawa - har zuwa mutuwar Thibaut - hutu ne ga masoya kiɗan.

Daukakar Alfred Cortot - dan wasan pianist, madugu, ɗan wasa - riga a cikin 30s ya bazu a duniya; a kasashe da yawa an san shi da rubuce-rubuce. A wancan zamani ne - a lokacin da ya fi girma girma - cewa mai zane ya ziyarci kasarmu. Ga yadda farfesa K. Adzhemov ya kwatanta yanayin wasannin kade-kaden nasa: “Muna sa ran zuwan Cortot. A cikin bazara na 1936 ya yi a Moscow da kuma Leningrad. Na tuna bayyanarsa na farko a kan mataki na Babban Hall na Conservatory na Moscow. Da kyar ya ɗauki wuri a kayan aikin, ba tare da jiran shiru ba, mai zane nan da nan ya “kai hari” taken Schumann's Symphonic Etudes. K'aramar sautin C-kaifi, tare da cikar sautinsa mai haske, da alama ta yanke hayaniyar falon. Nan take shiru.

Da mutuƙar farin ciki, farin ciki, baƙaƙe cikin sha'awa, Cortot ya sake ƙirƙirar hotunan soyayya. Tsawon mako guda, daya bayan daya, ƙwararrun ƙwararrun ƙwararrunsa sun yi ta busa a gabanmu: sonatas, ballads, preludes na Chopin, wasan kide-kide na piano, Schumann's Kreisleriana, Scenes na Yara, Babban Bambancin Mendelssohn, Gayyatar Weber zuwa Rawa, Sonata a cikin B ƙarami da Rhapsody na Liszt na Biyu… Kowane yanki an buga shi a cikin zuciya kamar hoton taimako, mai mahimmanci da sabon abu. Girman girman sassaka na hotunan sauti ya samo asali ne saboda haɗin kai na ƙwaƙƙarfan tunanin mai zane da fasaha mai ban sha'awa na pian ɗin da aka haɓaka tsawon shekaru (musamman maƙarƙashiyar rawar timbres). Ban da ƴan masu sukar ilimi, ainihin fassarar Cortot ta sami sha'awar masu sauraron Soviet gaba ɗaya. B. Yavorsky, K. Igumnov, V. Sofronitsky, G. Neuhaus sun yaba da fasaha na Korto.

Har ila yau, yana da daraja a faɗi a nan ra'ayin KN Igumnov, mai fasaha wanda yake kusa da wasu hanyoyi, amma a wasu hanyoyi da akasin shugaban pianists na Faransa: "Shi mai zane-zane ne, baƙon abu ga duka motsin rai da haske na waje. Yana da ɗan hankali, farkon tunaninsa yana ƙarƙashin hankali. Fasaharsa tana da kyau, wani lokacin yana da wahala. palette na sautinsa ba shi da yawa, amma mai ban sha'awa, ba a jawo shi ga tasirin kayan aikin piano ba, yana da sha'awar cantilena da launuka masu haske, ba ya ƙoƙarin samun sauti mai kyau kuma yana nuna mafi kyawun gefen basirarsa a fagen fasaha. lyrics. Ƙwaƙwalwarta tana da 'yanci, musamman rubato wani lokaci yana karya layin gabaɗaya na sigar kuma yana da wahala a gane alaƙar ma'ana tsakanin jimlolin ɗaya. Alfred Cortot ya sami harshensa kuma a cikin wannan harshe ya sake ba da labarin sanannun ayyukan manyan mashahuran da suka gabata. Tunanin kiɗan na ƙarshen a cikin fassararsa sau da yawa yana samun sabon sha'awa da mahimmanci, amma wani lokacin sukan zama ba za a iya fassara su ba, sa'an nan kuma mai sauraro yana da shakka ba game da gaskiyar mai yin ba, amma game da gaskiyar fasaha na ciki na fassarar. Wannan asali, wannan bincike, halayyar Cortot, yana farkar da ra'ayin aiwatarwa kuma baya barin ta ta daidaita kan al'adun gargajiya da aka sani gaba ɗaya. Koyaya, ba za a iya yin koyi da Cortot ba. Karɓar shi ba tare da sharadi ba, yana da sauƙi a faɗa cikin ƙirƙira.

Daga baya, masu sauraronmu sun sami damar sanin wasan pianist na Faransa daga rikodin rikodi da yawa, wanda darajarsa ba ta raguwa tsawon shekaru. Ga waɗanda suke saurarensu a yau, yana da mahimmanci su tuna da halayen fasaha na fasaha, waɗanda aka adana a cikin rikodin nasa. "Duk wanda ya taɓa fassararsa," in ji ɗaya daga cikin mawallafin tarihin Cortot, "to ya yi watsi da ruɗi mai zurfi cewa fassarar, wanda ake tsammani, shi ne canja wurin kiɗa tare da kiyaye, a sama da duka, aminci ga rubutun kiɗa, "wasika". Kamar yadda aka yi amfani da Cortot, irin wannan matsayi yana da haɗari ga rayuwa - rayuwar kiɗa. Idan ka "sarrafa" shi tare da bayanin kula a hannunsa, sakamakon zai iya zama damuwa kawai, tun da shi ba masanin ilimin kimiyya ba ne. Ashe, bai yi zunubi ba tare da kunya ba a kowane hali - a cikin sauri, cikin motsin rai, a tsage rubato? Ashe ba ra'ayinsa ba ne suka fi son mawaƙa muhimmanci a gare shi? Shi da kansa ya tsara matsayinsa kamar haka: "Ba a buga Chopin da yatsu ba, amma da zuciya da tunani." Wannan ita ce akidarsa a matsayin mai fassara gabaɗaya. Bayanan kula ba su sha'awar shi a matsayin ka'idodin dokoki ba, amma, zuwa matsayi mafi girma, a matsayin roko ga ji na mai yin da mai sauraro, roko da ya kamata ya warware. Corto ya kasance mahalicci a cikin ma'anar kalmar. Shin mai wasan pianist na ƙirar zamani zai iya cimma wannan? Wataƙila a'a. Amma Cortot baya bautar da sha'awar kammala fasaha ta yau - ya kasance kusan tatsuniya a lokacin rayuwarsa, kusan ba a iya samun zargi. Sun ga fuskarsa ba kawai dan pianist ba, amma hali, sabili da haka akwai abubuwan da suka juya sun zama mafi girma fiye da bayanin "daidai" ko "karya": ƙwarewar edita, ilimin da ba a ji ba, matsayinsa kamar yadda ya dace. malami. Duk wannan kuma ya haifar da wata hukuma wadda ba za ta iya musantawa ba, wadda har yau ba ta bace ba. Cortot a zahiri zai iya biyan kurakuransa. A wannan lokacin, mutum na iya yin murmushin ban mamaki, amma, duk da haka, dole ne a saurari fassararsa.

Daukakar Cortot - dan wasan pian, jagora, farfaganda - ya ninka ta ayyukansa na malami da marubuci. A cikin 1907, ya gaji ajin R. Punyo a Conservatory na Paris, kuma a cikin 1919, tare da A. Mange, ya kafa Ecole Normale, wanda nan da nan ya zama sananne, inda ya kasance darekta da malami - ya koyar da darussan fassarar rani a can. . Ikonsa na malami ba ya misaltuwa, kuma a zahiri dalibai daga ko'ina cikin duniya sun yi ta tururuwa zuwa ajinsa. Daga cikin waɗanda suka yi karatu tare da Cortot a lokuta daban-daban sun haɗa da A. Casella, D. Lipatti, K. Haskil, M. Tagliaferro, S. Francois, V. Perlemuter, K. Engel, E. Heidsieck da sauran ƴan wasan pian da dama. Littattafan Cortot - "Kiɗa na Piano na Faransa" (a cikin juzu'i uku), "Ka'idojin Fasaha na Piano", "Tsarin Fassarar", "Halayen Chopin", bugu nasa da ayyukan fasaha sun tafi ko'ina cikin duniya.

"... Shi matashi ne kuma yana da cikakkiyar soyayyar kida mara son kai," in ji Claude Debussy game da Cortot a farkon karni na mu. Corto ya kasance matashi ɗaya kuma yana ƙaunar kiɗa a tsawon rayuwarsa, don haka ya kasance cikin ƙwaƙwalwar duk wanda ya ji yana wasa ko sadarwa tare da shi.

Grigoriev L., Platek Ya.