Andrey Gavrilov |

Andrei Gavrilov

Andrei Vladimirovich Gavrilov aka haife kan Satumba 21, 1955 a Moscow. Mahaifinsa shahararren mawaki ne; uwa - dan wasan pian, wanda yayi karatu a lokaci guda tare da GG Neuhaus. Gavrilov ya ce: “An koya mini waƙa tun ina ɗan shekara 4. “Amma a gaba ɗaya, kamar yadda na tuna, a lokacin ƙuruciyata ya fi ban sha’awa a gare ni in yi rikici da fensir da fenti. Ashe ba abin mamaki ba ne: Na yi mafarkin zama mai zane, ɗan'uwana - mawaƙa. Kuma ya zama akasin haka…”

Tun 1960 Gavrilov karatu a Central Music School. Daga yanzu da kuma shekaru masu yawa, TE Kestner (wanda ya koyar da N. Petrov da kuma wasu sanannun pianists) ya zama malaminsa a cikin kwarewa. Gavrilov ya ci gaba da tunawa cewa: “A lokacin ne, a makaranta, ina son piano na gaske. "Tatyana Evgenievna, mawaƙin da ba kasafai ba ne mai hazaka da gogewa, ya koya mani ingantaccen kwas na koyarwa. A cikin ajin ta, koyaushe tana mai da hankali sosai ga samuwar ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun pian a nan gaba. A gare ni, amma ga sauran, yana da fa'ida sosai a cikin dogon lokaci. Idan ban sami matsala mai tsanani ba tare da "fasahar" daga baya, godiya, da farko, ga malamin makaranta na. Na tuna cewa Tatyana Evgenievna ya yi abubuwa da yawa don sanya ni ƙauna ga kiɗa na Bach da sauran tsofaffin masters; wannan kuma bai tafi ba. Kuma yadda fasaha da kuma daidai Tatyana Evgenievna harhada da ilimi da kuma pedagogical repertoire! Kowane aiki a cikin shirye-shiryen da ta zaɓa ya zama iri ɗaya, kusan shine kawai wanda ake buƙata a wannan matakin don haɓaka ɗalibin ta…”.

Da yake a cikin aji na 9 na Makarantar Kiɗa ta Tsakiya, Gavrilov ya fara yawon shakatawa na farko a ƙasashen waje, ya yi a Yugoslavia a bikin tunawa da makarantar kiɗa na Belgrade "Stankovic". A cikin wannan shekarar, an gayyace shi don halartar ɗaya daga cikin maraice na ban mamaki na Gorky Philharmonic; Ya buga wasan kwaikwayo na Piano na farko na Tchaikovsky a Gorky kuma, yana yin hukunci da shaidun da suka tsira, cikin nasara.

Tun 1973 Gavrilov dalibi ne a Moscow State Conservatory. Sabon jagoransa shine Farfesa LN Naumov. Gavrilov ya ce: “Sallolin koyarwa na Lev Nikolayevich ya zama akasin abin da na saba yi a ajin Tatyana Evgenievna. "Bayan tsayayyen tsari, daidaitacce, a wasu lokuta, ƙila ya ɗan taƙaita zane-zane. Tabbas, wannan ya ba ni sha'awa sosai… ”A wannan lokacin, an ƙirƙiri hoton ƙirƙirar matashin mai zane. Kuma, kamar yadda yakan faru sau da yawa a cikin ƙuruciyarsa, tare da fa'idodin da ba a iya musantawa, a fili a bayyane, wasu lokutan muhawara, rashin daidaituwa, ana kuma ji a cikin wasansa - abin da ake kira "farashin girma". Wani lokaci a cikin Gavrilov mai yin wasan kwaikwayo, "tashin hankali" yana bayyana - kamar yadda shi kansa daga baya ya bayyana wannan dukiya nasa; wani lokaci, ana yi masa kalamai masu ratsa jiki game da wuce gona da iri na yin waƙarsa, tsiraici mai wuce gona da iri, da maɗaukakin ɗabi'ar mataki. Duk da haka, duk da haka, babu wani daga cikin “abokan adawa” nasa da ya musanta cewa yana da iko sosai m, kumburi masu sauraro - amma wannan ba shine farkon kuma babban alamar basirar fasaha ba?

A shekara ta 1974, wani matashi mai shekaru 18 ya halarci gasar Tchaikovsky ta duniya ta biyar. Kuma ya sami babban nasara, babban nasara na gaske - kyauta ta farko. Daga cikin yawancin martani ga wannan taron, yana da ban sha'awa a faɗi kalmomin EV Malinin. Kasancewa a wancan lokacin shugaban makarantar piano na Conservatory, Malinin ya san Gavrilov daidai - abubuwan da ya yi amfani da su da abubuwan da ba a yi amfani da su ba. “Ina jin tausayi sosai,” in ji shi, “Na bi da wannan saurayi, da farko domin yana da hazaka sosai. Abin ban sha'awa mai ban sha'awa, hasken wasan nasa yana goyan bayan na'urorin fasaha na aji na farko. Don zama daidai, babu matsalolin fasaha a gare shi. Yanzu yana fuskantar wani aiki - don koyon sarrafa kansa. Idan ya yi nasara a cikin wannan aikin (kuma ina fata cewa a cikin lokaci zai yi), to, tsammaninsa ya yi kama da ni sosai. Dangane da ma'auni na gwanintarsa ​​- duka na kiɗa da pianistic, dangane da wani nau'i na dumi mai kyau, dangane da halinsa ga kayan aiki (ya zuwa yanzu yafi sautin piano), yana da dalilin da zai kara tsayawa. daidai da manyan ’yan wasanmu. Duk da haka, ba shakka, dole ne ya fahimci cewa kyautar da aka ba shi kyauta ta farko wani mataki ne na gaba, duban gaba. (Masu piano na zamani. S. 123.).

Da zarar bayan gasa nasara a kan babban mataki, Gavrilov nan da nan ya sami kansa kama da m kari na philharmonic rayuwa. Wannan yana ba da yawa ga matashi mai yin wasan kwaikwayo. Sanin ka'idodin fage masu sana'a, ƙwarewar aikin yawon shakatawa na rayuwa, da farko. Nau'in repertoire, wanda yanzu tsari ya cika shi (karin wannan za a tattauna daga baya), na biyu. Akwai, a karshe, na uku: faffadan shaharar da ke zuwa gare shi a gida da waje; ya yi nasarar yin wasan kwaikwayo a cikin ƙasashe da yawa, fitattun masu sharhi na Yammacin Turai suna ba da amsa mai tausayi ga clavirabends na jarida.

A lokaci guda kuma, matakin ba kawai yana bayarwa ba, har ma yana ɗauka; Gavrilov, kamar sauran abokan aikinsa, nan da nan ya gamsu da wannan gaskiyar. “Daga baya-bayan nan, na fara jin cewa doguwar yawon shakatawa na gajiyar da ni. Yana faruwa cewa dole ne ku yi har zuwa ashirin, ko ma sau ashirin da biyar a cikin wata ɗaya (ba ƙidaya bayanan ba) - wannan yana da wahala sosai. Bugu da ƙari, ba zan iya yin cikakken lokaci ba; a kowane lokaci, kamar yadda suke faɗa, Ina ba da duk abin da nake da kyau ba tare da wata alama ba… Sannan, ba shakka, wani abu mai kama da fanko yana tashi. Yanzu ina ƙoƙarin iyakance yawon shakatawa na. Gaskiya, ba shi da sauƙi. Saboda dalilai iri-iri. A hanyoyi da yawa, mai yiwuwa saboda ni, duk da komai, da gaske ina son kide-kide. A gare ni, wannan farin ciki ne wanda ba za a iya kwatanta shi da wani abu ba…”

Neman baya a cikin m biography Gavrilov a cikin 'yan shekarun nan, ya kamata a lura da cewa ya kasance da gaske m a daya girmamawa. Ba tare da lambar yabo ba - ba magana game da shi ba; a gasar mawaka, kaddara kullum tana fifita wani, ba wani ba; wannan sananne ne kuma na al'ada. Gavrilov ya yi sa'a a wata hanya: rabo ya ba shi ganawa da Svyatoslav Teofilovich Richter. Kuma ba a cikin nau'i ɗaya ko biyu ba, kwanakin da ba su wuce ba, kamar yadda a wasu. Haka ya faru cewa Richter ya lura da matashin mawaki, ya kawo shi kusa da shi, da basirar Gavrilov ya ɗauke shi da sha'awa, kuma ya shiga cikinsa.

Gavrilov da kansa ya kira haɗin kai tare da Richter "mataki mai mahimmanci" a rayuwarsa. "Na ɗauki Svyatoslav Teofilovich Malamina na uku. Kodayake, a zahiri, bai koya mani komai ba - a cikin fassarar al'ada na wannan kalma. Mafi sau da yawa ya faru cewa kawai ya zauna a piano kuma ya fara wasa: Ni, kusa da nan, na duba da dukan idanu, saurare, tunani, haddace - yana da wuya a yi tunanin makarantar mafi kyau ga mai wasan kwaikwayo. Kuma nawa tattaunawa da Richter ya ba ni game da zane-zane, cinema ko kiɗa, game da mutane da rayuwa ... Sau da yawa ina jin cewa kusa da Svyatoslav Teofilovich kuna samun kanku a cikin wani nau'i mai ban mamaki "filin maganadisu". Kuna caji da igiyoyi masu ƙirƙira, ko wani abu. Kuma idan bayan haka kuka zauna a kayan aikin, za ku fara wasa tare da ilhama ta musamman.”

Baya ga abin da ke sama, za mu iya tuna cewa a lokacin gasar Olympics-80, Muscovites da baƙi na babban birnin kasar sun sami damar shaida wani abin da ba a saba gani ba a cikin aikin wasan kwaikwayo. A cikin kyakkyawan gidan kayan gargajiya "Arkhangelskoye", ba da nisa daga Moscow, Richter da Gavrilov sun ba da zagaye na kide-kide hudu, inda aka yi 16 Handel's harpsichord suites (wanda aka shirya don piano). Lokacin da Richter ya zauna a piano, Gavrilov ya juya masa bayanin kula: lokacin da matashin ɗan wasan kwaikwayo ya yi wasa - mashawarcin mashahurin "ya taimaka masa". Ga tambaya - ta yaya ra'ayin sake zagayowar ya kasance? Richter ya amsa: “Ban yi wasa da Handel ba, saboda haka na yanke shawarar cewa zai yi farin ciki in koya. Kuma Andrew yana da taimako. Don haka mun yi duk suites ” (Zemel I. Misalin jagoranci na gaske // Sov. kiɗa. 1981. No 1. P. 82.). Ayyukan 'yan wasan pian ba kawai suna da babban ra'ayi na jama'a ba, wanda aka bayyana a sauƙaƙe a cikin wannan yanayin; tare da su da gagarumar nasara. "... Gavrilov," mawallafin kiɗan ya lura, "ya taka rawar gani sosai kuma mai gamsarwa cewa bai ba da ƙaramin dalili ba don shakkar haƙƙin haƙƙin duka ra'ayin uXNUMXbuXNUMXbth sake zagayowar, da kuma yiwuwar sabuwar gama gari" (Ibid).

Idan ka dubi wasu shirye-shirye na Gavrilov, a yau za ka iya ganin daban-daban mawallafa a cikinsu. Sau da yawa yakan juya zuwa tsohuwar kida, ƙaunar da TE Kestner ya cusa masa. Don haka, jigo na maraice na Gavrilov da aka keɓe ga wasan kwaikwayo na clavier Bach ba a lura da su ba (dan wasan pian yana tare da ƙungiyar ɗaki ta Yuri Nikolaevsky). Da son rai ya buga Mozart (Sonata in A manyan), Beethoven (Sonata a cikin ƙananan ƙananan C-kaifi, "Hasken Wata"). Repertoire na romantic na mai zane yana da ban sha'awa: Schumann (Carnival, Butterflies, Carnival of Vienna), Chopin (nazarin 24), Liszt (Campanella) da ƙari. Dole ne in ce cewa a cikin wannan yanki, watakila, ya fi sauƙi a gare shi ya bayyana kansa, don tabbatar da fasaharsa na "I": kyawawan halaye masu kyau na ɗakin ajiyar soyayya ya kasance kusa da shi a matsayin mai wasan kwaikwayo. Gavrilov kuma ya sami nasarori da yawa a cikin kiɗan Rasha, Soviet da Yammacin Turai na ƙarni na XNUMX. Za mu iya suna a cikin wannan dangane da fassararsa na Balakirev Islamey, Bambance-bambance a cikin F manyan da Tchaikovsky's Concerto a B flat qananan, Scriabin ta takwas Sonata, Rachmaninoff ta Uku Concerto, Delusion, guda daga Romeo da Juliet sake zagayowar da Prokofiev ta takwas Sonata, Concerto ga hagu. hannu da "Night Gaspard" na Ravel, guda hudu ta Berg don clarinet da piano (tare da clarinetist A. Kamyshev), ayyukan murya na Britten (tare da mawaƙa A. Ablaberdiyeva). Gavrilov ya ce ya kafa doka don sake sake fasalinsa a kowace shekara tare da sabbin shirye-shirye guda hudu - solo, symphonic, chamber-instrumental.

Idan bai kauce daga wannan ka'ida ba, a cikin lokaci kadararsa ta kirkira za ta zama adadi mai yawa na ayyuka daban-daban.

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A cikin tsakiyar tamanin, Gavrilov ya yi yawa a kasashen waje na dogon lokaci. Sa'an nan ya sake bayyana a kan concert matakai na Moscow, Leningrad da sauran biranen kasar. Masoyan kiɗa suna samun damar saduwa da shi kuma suna godiya da abin da ake kira "sabon look" - bayan tazara - wasansa. Wasannin wasan piano suna jan hankalin masu suka kuma ana yin su dalla-dalla ko žasa a cikin jaridu. Binciken da ya bayyana a wannan lokacin a cikin shafukan mujallar Musical Life yana nuna alamar - ya biyo bayan clavirabend Gavrilov, inda aka yi ayyukan Schumann, Schubert da wasu mawaƙa. "Bambance-bambancen wasan kide-kide daya" - wannan shine yadda marubucinta ya sanya wa bita. Yana da sauƙi a ji a cikinsa cewa amsa ga wasan Gavrilov, wannan hali game da shi da fasaharsa, wanda shine yawanci yau ga ƙwararru da ƙwararrun masu sauraro. Mai bita gabaɗaya yana kimanta aikin mai wasan piano da kyau. Duk da haka, ya ce, "hangen clavirabend ya kasance da shakku." Domin, "tare da ainihin ayoyin kiɗan da ke ɗauke da mu zuwa cikin tsarkakakkun wuraren kiɗa, akwai lokutan da suka fi yawa" na waje ", waɗanda ba su da zurfin fasaha." A gefe guda, bita ya nuna, "ikon yin tunani cikakke," a daya bangaren, rashin isasshen bayani na kayan, sakamakon abin da, "da nisa daga duk dabara… an ji kuma" saurare " kamar yadda kiɗan ke buƙata… wasu mahimman bayanai sun ɓace, ba a lura da su ba” (Kolesnikov N. Bambance-bambancen wasan kwaikwayo ɗaya // Rayuwar kiɗa. 1987. No 19. P. 8.).

Irin wannan jin daɗi iri-iri da saba wa juna sun taso daga fassarar Gavrilov game da shahararren mashahuran wasan kwaikwayo na Tchaikovsky B (rabi na biyu na XNUMXs). Da yawa a nan babu shakka sun yi nasara a wasan pianist. Matsakaicin yanayin wasan kwaikwayon, kyakkyawan sautin "Empire", da aka tsara "kusa-kusa" - duk wannan ya ba da haske, mai nasara. (Kuma menene tasirin octave mai ban tsoro a cikin sassa na farko da na uku na ƙimar kide kide, wanda ya jefa mafi girman ɓangaren masu sauraro cikin fyaucewa!) A lokaci guda kuma, wasan Gavrilov, a faɗin gaskiya, ya rasa virtuoso bravado, da “ nuna kai”, da zunubai da ake gani a sashi ɗanɗano da gwargwado.

Na tuna da wasan kwaikwayo na Gavrilov, wanda ya faru a cikin Babban Hall na Conservatory a 1968 (Chopin, Rachmaninov, Bach, Scarlatti). Ina tunawa, karawa, haɗin gwiwa na pianist tare da ƙungiyar Orchestra na London wanda V. Ashkenazy ya gudanar (1989, Rachmaninov's Second Concerto). Kuma duk abu daya ne. Lokutan yin kida mai ma'ana mai zurfi suna haɗuwa tare da faɗakarwa na gaskiya, waƙoƙi, kaushi da hayaniya bravado. Babban abu shine tunanin fasaha wanda baya ci gaba da yatsu masu saurin gudu…

… Gavrilov mawaƙin wasan kide-kide yana da masu sha'awa da yawa. Suna da sauƙin fahimta. Wanene zai yi jayayya, kiɗa a nan yana da wuyar gaske: kyakkyawar fahimta; da ikon m, samartaka passionately da kuma kai tsaye amsa ga kyau a music, unspent a lokacin m concert yi. Kuma, ba shakka, zane-zane mai ban sha'awa. Gavrilov, kamar yadda jama'a ke ganinsa, yana da cikakken tabbaci a kansa - wannan babban ƙari ne. Yana da buɗaɗɗen hali, halin zamantakewa, baiwar “buɗe” wani ƙari ne. A ƙarshe, yana da mahimmanci cewa ya kasance cikin annashuwa a cikin mataki, yana riƙe da kansa da yardar kaina kuma ba tare da damuwa ba (a wasu lokuta, watakila ma da 'yanci kuma ba tare da damuwa ba ...). Don ƙauna ga masu sauraro - masu sauraron taro - wannan ya fi isa.

Hakazalika, Ina so in yi fatan gwanintar mai zane za ta haskaka da sabbin fuskoki a kan lokaci. Cewa babban zurfin ciki, mahimmanci, nauyin fassarori na tunani zai zo masa. Wannan fasaha zai zama mafi kyau kuma mai ladabi, al'adun ƙwararru za su zama sananne, matakan mataki za su kasance masu daraja da kuma tsaurara. Kuma cewa, yayin da ya kasance kansa, Gavrilov, a matsayin mai zane, ba zai canza ba - gobe zai kasance a cikin wani abu daban-daban fiye da yau.

Domin wannan ita ce dukiyar kowane babban hazaka mai mahimmanci - don ƙaura daga "yau", daga abin da aka riga aka samo, samu, gwadawa - don matsawa zuwa ga wanda ba a sani ba kuma ba a gano ba ...

G. Tsipin, 1990