Artur Schnabel |

Arthur Schnabel ne adam wata

Our karni alama mafi girma ci gaba a cikin tarihi na wasan kwaikwayo arts: sabuwar dabara na rikodin sauti canza ra'ayin masu yin wasan kwaikwayo, sa ya yiwu a "sake" da kuma har abada buga wani fassarar, sa shi mallakar ba kawai na zamani. amma kuma na gaba tsara. Amma a lokaci guda, rikodin sauti ya sa ya yiwu a ji tare da sabuntawar ƙarfi da tsabta yadda daidaitaccen aiki, fassarar, a matsayin nau'i na kerawa na fasaha, ya dogara da lokaci: abin da ya zama kamar wahayi, yayin da shekaru ke tafiya da girma. tsoho; abin da ya haifar da ni'ima, wani lokacin yana barin kawai rudani. Wannan yana faruwa sau da yawa, amma akwai keɓancewa - masu fasaha waɗanda fasaharsu ke da ƙarfi kuma cikakke cewa ba batun "lalata". Artur Schnabel ya kasance irin wannan mai zane. Wasansa, wanda aka adana a cikin rikodin rikodin, ya bar yau kusan yana da ƙarfi da zurfi kamar a cikin waɗannan shekarun lokacin da ya yi wasan kwaikwayo.

• Kiɗa na Piano a cikin kantin sayar da kan layi OZON.ru

Shekaru da yawa, Arthur Schnabel ya kasance wani nau'i na ma'auni - ma'auni na ladabi da tsabta na gargajiya, abun ciki da kuma babban ruhaniya na wasan kwaikwayon, musamman ma lokacin da ya zo ga fassarar kiɗa na Beethoven da Schubert; duk da haka, a cikin fassarar Mozart ko Brahms, kaɗan ne za su iya kwatanta shi da shi.

Ga wadanda suka san shi kawai daga bayanin kula - kuma waɗannan su ne, ba shakka, mafi rinjaye a yau - Schnabel ya zama alama mai mahimmanci, siffar titanic. A halin yanzu, a rayuwa shi ɗan gajeren mutum ne mai sigari iri ɗaya a bakinsa, kuma kansa da hannayensa kawai ba su da girma. Gaba ɗaya, bai dace da ra'ayin da ya dace ba na uXNUMXbuXNUMXbthe "pop star": babu wani abu na waje a cikin hanyar wasa, babu motsi maras muhimmanci, motsin rai, nunawa. Duk da haka, lokacin da ya zauna a wurin kayan aiki kuma ya ɗauki maƙallan farko, an yi shiru a ɓoye a cikin zauren. Siffarsa da wasansa sun haskaka wannan keɓantacce, fara'a ta musamman wadda ta sanya shi zama almara a lokacin rayuwarsa. Wannan almara har yanzu yana goyan bayan "shaidar kayan aiki" a cikin nau'i na rubuce-rubuce da yawa, an kama shi da gaskiya a cikin abubuwan tunawa na "rayuwata da kiɗa"; Halo dinsa na ci gaba da samun tallafi daga dimbin dalibai wadanda har yanzu suke rike da manyan mukamai a fagen wasan pianism na duniya. Haka ne, ta fuskoki da yawa ana iya la'akari da Schnabel mahaliccin sabon pianism na zamani - ba wai kawai saboda ya ƙirƙiri makarantar pianistic mai ban mamaki ba, har ma saboda fasaharsa, kamar fasahar Rachmaninoff, ta kasance gaba da lokacinsa…

Schnabel, kamar yadda yake, ya nutse, ya haɗa shi kuma ya haɓaka a cikin fasaharsa mafi kyawun fasalin pianism na ƙarni na XNUMX - babban abin tarihi na jaruntaka, girman girman girman - fasali waɗanda ke kawo shi kusa da mafi kyawun wakilan al'adun pianistic na Rasha. Kada a manta cewa kafin ya shiga ajin T. Leshetitsky a Vienna, ya yi karatu na dogon lokaci a karkashin jagorancin matarsa, fitaccen dan wasan piano na Rasha A. Esipova. A cikin gidansu, ya ga manyan mawaƙa, ciki har da Anton Rubinstein, Brahms. A cikin shekaru goma sha biyu, yaron ya riga ya zama cikakken zane-zane, wanda game da hankali ya kusantar da hankali ga zurfin hankali, don haka sabon abu ga ƙaramin yaro. Ya isa a faɗi cewa littafinsa ya haɗa da sonatas na Schubert da kuma abubuwan da Brahms ya yi, wanda har ƙwararrun masu fasaha ba sa yin ƙarfin hali don yin wasa. Kalmar Leshetitsky ta ce wa matashi Schnabel kuma ya shiga cikin almara: "Ba za ku taba zama dan wasan piano ba. Kai mawaki ne!”. Lalle ne, Schnabel bai zama "virtuoso" ba, amma basirarsa a matsayin mawaƙa an bayyana shi zuwa cikakken sunayen, amma a fagen pianoforte.

Schnabel ya fara halarta a 1893, ya sauke karatu daga Conservatory a 1897, lokacin da aka riga aka san sunansa. Samuwarsa ta sami sauƙaƙa sosai saboda sha'awar kiɗan ɗakin. A farkon karni na 1919, ya kafa Schnabel Trio, wanda kuma ya hada da violinist A. Wittenberg da cellist A. Hecking; daga baya ya yi wasa da yawa tare da dan wasan violin K. Flesch; Daga cikin abokan aikinsa akwai mawakiya Teresa Behr, wacce ta zama matar mawakin. A lokaci guda, Schnabel ya sami iko a matsayin malami; a 1925 an ba shi mukamin farfesa na girmamawa a Cibiyar Conservatory na Berlin, kuma daga shekaru 20 ya koyar da ajin piano a babbar Makarantar Kiɗa ta Berlin. Amma a lokaci guda, shekaru da dama, Schnabel bai samu nasara sosai a matsayin soloist ba. A baya a farkon shekarun 1927, wani lokaci yakan yi wasan kwaikwayo a cikin dakunan da ba kowa da kowa a Turai, har ma fiye da haka a Amurka; a fili, lokacin da ya dace da kima na artist bai zo a lokacin. Amma a hankali sunansa ya fara girma. A cikin 100, ya yi bikin cika shekaru 32 na mutuwar gunkinsa, Beethoven, a karon farko yana yin dukkan sonata na 1928 a zagaye ɗaya, kuma bayan 'yan shekaru shi ne na farko a cikin tarihi da ya rubuta su duka a rubuce - a wancan lokacin, aikin da ba a taɓa yin irinsa ba wanda ya buƙaci shekaru huɗu! A cikin 100, a ranar tunawa ta 1924th na mutuwar Schubert, ya buga wani zagayowar da ya haɗa da kusan dukkanin abubuwan kiɗan piano. Bayan haka, a ƙarshe, fahimtar duniya ta zo masa. Wannan mawallafin ya kasance mai daraja sosai a cikin ƙasarmu (inda daga 1935 zuwa XNUMX ya sake ba da kide-kide tare da babban nasara), saboda masu son kiɗa na Soviet ko da yaushe suna sanyawa a farkon wuri kuma suna daraja fiye da duk wadata na fasaha. Har ila yau, ya ƙaunaci yin wasan kwaikwayo a cikin Tarayyar Soviet, yana lura da "al'adun kiɗa mai girma da ƙaunar jama'a don kiɗa" a cikin ƙasarmu.

Bayan da ‘yan Nazi suka hau kan karagar mulki, a karshe Schnabel ya bar Jamus, ya zauna na wani lokaci a Italiya, sannan a Landan, ba da jimawa ba ya koma Amurka bisa gayyatar S. Koussevitzky, inda nan take ya samu soyayyar duniya. A nan ya zauna har ƙarshen kwanakinsa. Mawakin ya mutu ba zato ba tsammani, a jajibirin fara wani babban yawon shakatawa na shagali.

Repertoire na Schnabel ya yi kyau, amma ba mara iyaka ba. Daliban sun tuna cewa a cikin darussan da jagoransu ya buga da zuciya kusan duk littattafan piano, kuma a farkon shekarunsa a cikin shirye-shiryensa na iya saduwa da sunayen masu son soyayya - Liszt, Chopin, Schumann. Amma da ya isa balaga, Schnabel ya iyakance kansa da gangan kuma ya kawo wa masu sauraro kawai abin da ke kusa da shi - Beethoven, Mozart, Schubert, Brahms. Shi da kansa ne ya motsa hakan ba tare da ɓata lokaci ba: “Na ɗauke shi abin alfahari ne in keɓe kaina a wani yanki mai tsayi mai tsayi, inda sababbin sababbin kuma suke buɗewa a bayan kowane kololuwar da aka ɗauka.”

Shaharar Schnabel tayi kyau. Amma duk da haka, masu kishin kishin piano ba koyaushe suke iya yarda da nasarar da mawakin ya samu ba kuma su yarda da shi. Sun lura, ba tare da ƙeta ba, kowane “bugun jini”, kowane ƙoƙarin da ake iya gani, wanda aka yi amfani da su don shawo kan matsalolin da Appassionata, concertos ko marigayi sonatas na Beethoven suka taso. An kuma zarge shi da wuce gona da iri, bushewa. Ee, bai taɓa mallakar bayanan ban mamaki na Backhouse ko Levin ba, amma babu wani ƙalubalen fasaha da ba zai yuwu a gare shi ba. "Tabbas ya tabbata cewa Schnabel bai taba ƙware da fasaha na virtuoso ba. Bai taba son samun ta ba; bai bukaci hakan ba, domin a cikin mafi kyawun shekarunsa akwai kadan da zai so, amma ya kasa yi, ”in ji A. Chesins. Halinsa ya isa ga ƙarshen bayanan, wanda aka yi ba da daɗewa ba kafin mutuwarsa, a 1950, kuma yana nuna fassararsa na Schubert ta impromptu. Ya bambanta - Schnabel ya kasance da farko mawaƙa. Babban abu a cikin wasansa shine salon salon da ba a fahimta ba, maida hankali na falsafa, bayyana ma'anar jumla, ƙarfin hali. Waɗannan halayen ne suka ƙayyadad da tafiyarsa, ƙarfinsa - koyaushe daidai, amma ba “metro-rhythmic” ba, ra’ayinsa gaba ɗaya. Chasins ya ci gaba da cewa: “Wasannin da Schnabel ya yi yana da halaye guda biyu. Koyaushe ta kasance tana da hazaka da kuma bayyananniyar magana. Wasannin kide-kide na Schnabel sun bambanta da sauran. Ya manta da mu game da masu wasan kwaikwayo, game da mataki, game da piano. Ya tilasta mana mu ba da kanmu gaba ɗaya ga kiɗa, don raba nutsar da kansa.

Amma ga duk wannan, a cikin sassauƙan sassa, a cikin kiɗan "sauki", Schnabel ya kasance da gaske wanda ba shi da kyau: shi, kamar 'yan kaɗan, ya san yadda za a numfasa ma'ana a cikin waƙa mai sauƙi, don furta wata magana mai mahimmanci. Kalamansa suna da kyau: “An ƙyale yara su yi wasa da Mozart, domin Mozart yana da ɗan rubutu kaɗan; manya suna guje wa wasa Mozart saboda kowane bayanin kula yana da tsada sosai. ”

Tasirin wasan Schnabel ya inganta sosai da sautinsa. Lokacin da ake buƙata, yana da laushi, mai laushi, amma idan yanayi ya buƙaci, inuwar karfe ta bayyana a ciki; a lokaci guda, kaushi ko rashin kunya ya kasance baƙo a gare shi, kuma duk wani digiri mai ƙarfi yana ƙarƙashin buƙatun kiɗa, ma'anarsa, haɓakarsa.

Wani mai sukar Jamusanci H. Weier-Wage ya rubuta: “Saɓanin halin ɗabi’a na wasu manyan ’yan wasan pian na zamaninsa (misali, d’Albert ko Pembaur, Ney ko Edwin Fischer), wasan da ya yi yana ba da ra’ayi na kamewa da natsuwa. . Bai taɓa barin tunaninsa ya tsere ba, bayaninsa ya kasance a ɓoye, wani lokacin kusan sanyi, amma duk da haka ya kasance marar iyaka daga “haƙiƙa”. Ƙwararriyar fasaharsa ta yi kama da hasashen manufofin tsararraki masu zuwa, amma koyaushe ya kasance hanya ce ta warware babban aikin fasaha.

Gadon Artur Schnabel ya bambanta. Ya yi aiki da yawa kuma mai amfani a matsayin edita. A cikin 1935, wani muhimmin aiki ya fito daga bugawa - bugu na duk sonatas na Beethoven, wanda a cikinsa ya taƙaita ƙwarewar ƙarni da yawa na masu fassarar kuma ya bayyana ainihin ra'ayinsa game da fassarar kiɗan Beethoven.

Ayyukan mawaki sun mamaye wuri na musamman a tarihin rayuwar Schnabel. Wannan matsananciyar "classic" a piano da kuma mai kishin gargajiya ya kasance mai gwadawa mai sha'awar a cikin kiɗansa. Abubuwan da ya tsara - kuma a cikinsu akwai wasan kwaikwayo na piano, kirtani quartet, cello sonata da guda don pianoforte - wani lokaci suna mamaki da sarkar harshe, balaguron balaguro zuwa cikin sararin samaniya.

Duk da haka, babban, babban darajar a cikin gadonsa shine, ba shakka, rikodin. Akwai da yawa daga cikinsu: kide kide da wake-wake da Beethoven, Brahms, Mozart, sonatas da guda da suka fi so marubuta, kuma da yawa, har zuwa Schubert ta Soja Marches, yi a cikin hudu hannu da dansa Karl Ulrich Schnabel, Dvorak da Schubert quintets, kama a cikin haɗin gwiwa tare da quartet "Yro arte". Da yake tantance faifan faifan da ɗan wasan piano ya bari, ɗan Amurka mai suka D. Harrisoa ya rubuta: “Ba zan iya kame kaina ba, sa’ad da nake sauraron magana cewa Schnabel yana fama da kura-kurai a fasaha, saboda haka, kamar yadda wasu suka ce, ya fi jin daɗin kiɗan a hankali. fiye da sauri. Wannan kawai maganar banza ne, tun da pianist yana da cikakken iko da kayan aikin sa kuma koyaushe, tare da ɗaya ko biyu keɓancewa, "ma'amala" tare da sonatas da concertos kamar an halicce su musamman don yatsunsa. Hakika, ana yanke masa hukumcin kisa game da jayayya game da fasaha na Schnabel, kuma waɗannan bayanan sun tabbatar da cewa babu jumla ɗaya, babba ko ƙarami, da ta fi ƙarfin halinsa.

Gadon Artur Schnabel yana ci gaba. A cikin shekarun da suka gabata, ana ci gaba da fitar da faifan bidiyo daga rumbun adana kayan tarihi da kuma ba da dama ga masu son kiɗan da yawa, wanda ke tabbatar da ma'aunin fasahar mawaƙin.

Lit.: Smirnova I. Arthur Schnabel. - L., 1979