David Fedorovich Oistrakh |

David Oistrakh

Tarayyar Soviet ta dade da shahara ga masu son violin. A baya a cikin 30s, nasarori masu ban sha'awa na 'yan wasanmu a gasar kasa da kasa sun bai wa al'ummar mawakan duniya mamaki. An yi magana game da makarantar violin na Soviet a matsayin mafi kyau a duniya. Daga cikin ƙungiyar taurari masu basira, dabino ya riga ya kasance na David Oistrakh. Ya rike mukaminsa har yau.

An rubuta labarai da yawa game da Oistrakh, watakila a cikin yarukan yawancin mutanen duniya; An rubuta litattafai da kasidu game da shi, kuma da alama babu wasu kalmomi da masu sha'awar gwanintarsa ​​ba za su faɗi game da mai zane ba. Amma duk da haka ina son yin magana akai akai. Wataƙila, babu wani daga cikin violin masu nuna cikakken tarihin fasahar violin na ƙasarmu. Oistrakh ya ci gaba tare da al'adun kiɗa na Soviet, yana shayar da manufofinsa sosai, kyawawan kayan sa. An “halicce shi” a matsayin mai fasaha ta duniyarmu, yana jagorantar ci gaban babban hazakar mai zane a hankali.

Akwai fasaha da ke dannewa, ta haifar da damuwa, ta sa ku fuskanci bala'o'in rayuwa; amma akwai fasaha na nau'i daban-daban, wanda ke kawo salama, farin ciki, warkar da raunuka na ruhaniya, yana inganta kafa bangaskiya cikin rayuwa, a nan gaba. Na karshen yana da matukar halayyar Oistrakh. Sana'ar Oistrakh tana shaida ma'amala mai ban mamaki na yanayinsa, duniyar ruhaniyarsa, zuwa haske mai haske da fahimtar rayuwa. Oistrakh mawaƙin bincike ne, wanda har abada bai gamsu da abin da ya samu ba. Kowane mataki na tarihin rayuwarsa na halitta shine "sabon Oistrakh". A cikin 30s, ya kasance ƙwararren ƙwararru, tare da mai da hankali kan laushi, kyakkyawa, waƙoƙi mai haske. A wannan lokacin, wasansa yana burgewa da dabarar alheri, yana shiga cikin ƙwaƙƙwaran waƙa, da tsaftataccen cikar kowane daki-daki. Shekaru sun shude, kuma Oistrakh ya zama babban masanin manyan siffofi, yayin da yake riƙe tsoffin halayensa.

A mataki na farko, wasansa ya mamaye "sautin ruwa" tare da nuna son kai ga nau'in launuka masu launi, launuka masu launin azurfa tare da sauye-sauye marasa fahimta daga juna zuwa wani. Duk da haka, a cikin Khachaturian Concerto, ba zato ba tsammani ya nuna kansa a cikin wani sabon matsayi. Ya zama kamar ya ƙirƙiri hoto mai ban sha'awa mai ban sha'awa, tare da zurfin "velvety" timbres na launin sauti. Kuma idan a cikin kide kide da wake-wake na Mendelssohn, Tchaikovsky, a cikin miniatures na Kreisler, Scriabin, Debussy, shi aka gane a matsayin mai wasan kwaikwayo na zalla lyrical iyawa, sa'an nan a cikin Khachaturian's Concerto ya bayyana a matsayin wani m Genre zanen; fassarar da ya yi game da wannan Concerto ya zama al'ada.

Wani sabon mataki, sabon ƙoƙarce-ƙoƙarce na haɓakar ƙirƙira na mai fasaha mai ban mamaki - Shostakovich's Concerto. Ba shi yiwuwa a manta da ra'ayin da aka bari a farkon wasan kwaikwayon da Oistrakh ya yi. A zahiri ya canza; wasansa ya sami ma'auni na "symphonic", iko mai ban tausayi, "hikimar zuciya" da kuma jin zafi ga mutum, wanda ke da mahimmanci a cikin kiɗa na babban mawaki na Soviet.

Da yake kwatanta aikin Oistrakh, ba zai yuwu a lura da babban fasaharsa na kayan aiki ba. Da alama dabi'a ba ta taba haifar da cikakkiyar haduwar mutum da kayan aiki irin wannan ba. A lokaci guda kuma, kyawun aikin Oistrakh na musamman ne. Yana da duka haske da nunawa lokacin da kiɗa ya buƙaci shi, amma ba su ne babban abu ba, amma filastik. Haske mai ban mamaki da sauƙi wanda mai zane ya yi mafi yawan sassa masu rikitarwa ba su misaltuwa. Cikakkiyar na'urarsa ta yadda za ku sami jin daɗi na gaske lokacin da kuke kallon wasansa. Tare da rashin fahimta mara fahimta, hannun hagu yana motsawa tare da wuyansa. Babu kaifi mai kaifi ko jujjuyawar angular. Duk wani tsalle yana cin nasara tare da cikakken 'yanci, kowane mikewa na yatsu - tare da matuƙar ƙarfi. Ana “haɗe baka” da kirtani ta yadda ba za a manta da guntun violin na Oistrakh ba da daɗewa ba.

Shekaru suna ƙara ƙarin fuskoki a fasaharsa. Ya zama mai zurfi da… sauƙi. Amma, ci gaba, ci gaba da ci gaba, Oistrakh ya kasance "kansa" - mai fasaha na haske da rana, mafi yawan violin na zamaninmu.

An haifi Oistrakh a Odessa a ranar 30 ga Satumba, 1908. Mahaifinsa, ma'aikacin ofis mai ladabi, ya buga mandolin, violin, kuma ya kasance babban mai son kiɗa; uwa, ƙwararriyar mawaƙi, ta rera waƙa a cikin ƙungiyar mawaƙa ta Odessa Opera House. Tun yana ɗan shekara huɗu, ɗan ƙaramin David ya saurari ƙwaƙƙwaran wasan operas da mahaifiyarsa ta rera waƙa, kuma a gida ya yi wasan kwaikwayo kuma ya “gudanar da” ƙungiyar makaɗa ta hasashe. Waƙarsa ta kasance a bayyane cewa ya zama mai sha'awar wani sanannen malami wanda ya shahara a cikin aikinsa tare da yara, dan wasan violin P. Stolyarsky. Tun yana dan shekara biyar Oistrakh ya fara karatu tare da shi.

Yaƙin Duniya na farko ya barke. Mahaifin Oistrakh ya tafi gaba, amma Stolyarsky ya ci gaba da aiki tare da yaron kyauta. A wannan lokacin, yana da makarantar kiɗa mai zaman kansa, wanda a Odessa ake kira "ma'aikatar basira". Oistrakh ya ce: "Yana da babban ruhi a matsayin mai zane da kuma son yara." Stolyarsky ya ɗora masa ƙauna ga kiɗan ɗakin, ya tilasta masa yin kiɗa a cikin ƙungiyoyin makaranta a kan viola ko violin.

Bayan juyin juya hali da yakin basasa, an bude Cibiyar Music da Drama a Odessa. A 1923 Oistrakh ya shiga nan, kuma, ba shakka, a cikin aji na Stolyarsky. A 1924 ya ba da na farko solo concert da sauri ƙware da tsakiyar ayyukan violin repertoire (concert Bach, Tchaikovsky, Glazunov). A 1925 ya yi tafiya ta farko na wasan kwaikwayo zuwa Elizavetgrad, Nikolaev, Kherson. A cikin bazara na 1926, Oistrakh ya sauke karatu daga cibiyar tare da hazaka, bayan ya yi Concerto na Farko na Prokofiev, Sonata na Tartini "Tsarin Shaidan", A. Rubinstein's Sonata na Viola da Piano.

Bari mu lura cewa Prokofiev's Concerto da aka zaba a matsayin babban aikin jarrabawa. A wannan lokacin, ba kowa ba ne zai iya ɗaukar irin wannan matakin kwarin gwiwa. An fahimci kiɗan Prokofiev ta wasu 'yan kaɗan, yana da wahala cewa ya sami karɓuwa daga mawaƙa da aka kawo a kan litattafai na ƙarni na XNUMX-XNUMXth. Sha'awar sabon abu, mai sauri da zurfin fahimtar sabon ya kasance halayyar Oistrakh, wanda za a iya amfani da juyin halittarsa ​​don rubuta tarihin kiɗan Soviet. Ana iya cewa ba tare da ƙari ba cewa yawancin wasan kwaikwayo na violin, sonatas, ayyukan manya da ƙanana waɗanda mawaƙan Soviet suka kirkiro Oistrakh ne ya fara yi. Haka ne, kuma daga wallafe-wallafen violin na kasashen waje na karni na XNUMX, Oistrakh ne ya gabatar da masu sauraron Soviet zuwa manyan abubuwan da suka faru; misali, tare da kide-kide na Szymanowski, Chausson, Bartók's First Concerto, da dai sauransu.

Hakika, a lokacin ƙuruciyarsa Oistrakh ba zai iya fahimtar kide-kide na kide-kide na Prokofiev sosai ba, kamar yadda mai zanen kansa ya tuna. Ba da daɗewa ba bayan Oistrakh ya sauke karatu daga cibiyar, Prokofiev ya zo Odessa tare da kide-kide na marubucin. A wani maraice da aka shirya don girmama shi, Oistrakh mai shekaru 18 ya yi scherzo daga Concerto na Farko. Mawaƙin yana zaune kusa da matakin. Oistrakh ya ce: “Lokacin da nake yin wasan kwaikwayo, fuskarsa ta ƙara yin baƙin ciki. Sai da aka tafa, bai shiga cikinsu ba. Da yake kusantar dandalin, ya yi watsi da hayaniya da jin daɗin ’yan kallo, sai ya ce wa mai wasan piano ya ba shi hanya, ya juya gare ni da kalmomin: “Saurayi, ba ka yin wasa yadda ya kamata,” ya fara. don ya nuna min da kuma bayyana mani yanayin wakarsa. . Shekaru da yawa bayan haka, Oistrakh ya tunatar da Prokofiev game da wannan lamarin, kuma ya ji kunya sosai lokacin da ya gano ko wanene "saurayi mara sa'a" wanda ya sha wahala sosai daga gare shi.

A cikin 20s, F. Kreisler yana da babban tasiri akan Oistrakh. Oistrakh ya san wasansa ta hanyar faifai kuma asalin salonsa ya burge shi. Babban tasirin Kreisler akan tsarar yan wasan violin na 20s da 30s yawanci ana ganin su duka tabbatacce da korau. A bayyane yake, Kreisler ya kasance "laifi" na sha'awar Oistrakh tare da ƙaramin tsari - ƙanƙanta da rubuce-rubuce, wanda shirye-shiryen Kreisler da wasan kwaikwayo na asali suka mamaye wuri mai mahimmanci.

Sha'awar Kreisler ya kasance na duniya kuma kaɗan ne suka kasance ba ruwansu da salonsa da ƙirarsa. Daga Kreisler, Oistrakh ya karɓi wasu dabarun wasa - halayen glissando, vibrato, portamento. Wataƙila Oistrakh yana da bashi ga "makarantar Kreisler" don ladabi, sauƙi, laushi, wadatar inuwar "chamber" wanda ke burge mu a wasansa. Duk da haka, duk abin da ya aro, ba a saba sarrafa shi ba ko da a lokacin. Halin mutum na matashin zane ya juya ya zama mai haske wanda ya canza duk wani "saye". A cikin lokacin balagagge, Oistrakh ya bar Kreisler, yana sanya dabarun bayyanawa waɗanda ya taɓa ɗauka daga gare shi zuwa sabis na mabambanta mabanbanta. Sha'awar ilimin halin dan Adam, haifuwa na duniya mai zurfi na motsin rai ya jagoranci shi zuwa hanyoyin ƙaddamar da ƙaddamarwa, yanayin wanda yake gaba da m, mai salo na Kreisler.

A lokacin rani na 1927, a kan himma na Kyiv pianist K. Mikhailov, Oistrakh aka gabatar da AK Glazunov, wanda ya zo Kyiv don gudanar da dama concert. A cikin otal din da aka kawo Oistrakh, Glazunov ya raka matashin dan wasan violin a cikin Concerto a kan piano. A karkashin sandar Glazunov, Oistrakh sau biyu ya yi Concerto a bainar jama'a tare da makada. A Odessa, inda Oistrakh ya dawo tare da Glazunov, ya sadu da Polyakin, wanda ke yawon shakatawa a can, kuma bayan wani lokaci, tare da shugaba N. Malko, wanda ya gayyace shi a kan farko tafiya zuwa Leningrad. A ranar 10 ga Oktoba, 1928, Oistrakh ya yi nasara a karon farko a Leningrad; matashin mawakin ya samu karbuwa.

A 1928 Oistrakh ya koma Moscow. Wani lokaci yana jagorantar rayuwar baƙon wasan kwaikwayo, yana tafiya a kusa da Ukraine tare da kide-kide. Babban mahimmanci a cikin ayyukansa na fasaha shine nasara a Gasar Violin All-Ukrainian a 1930. Ya lashe lambar yabo ta farko.

P. Kogan, darektan ofishin kide kide da wake-wake na jihar Orchestras da ensembles na Ukraine, ya zama sha'awar matasa mawaki. Kyakkyawan mai tsarawa, ya kasance wani adadi mai ban mamaki na "Soviet impresario-educator", kamar yadda za a iya kiransa bisa ga shugabanci da yanayin aikinsa. Ya kasance ainihin farfagandar fasahar gargajiya a tsakanin jama'a, kuma yawancin mawakan Soviet suna tunawa da shi sosai. Kogan ya yi yawa don yaɗa Oistrakh, amma har yanzu babban yanki na wasan violin ya kasance a wajen Moscow da Leningrad. Sai kawai a 1933 Oistrakh ya fara tafiya a Moscow kuma. Ayyukan da ya yi tare da shirin da ya ƙunshi kide kide da wake-wake na Mozart, Mendelssohn da Tchaikovsky, wanda aka yi a wata maraice, wani lamari ne wanda Moscow ta yi magana game da kida. Reviews da aka rubuta game da Oistrakh, a cikin abin da aka lura da cewa wasan yana dauke da mafi kyau halaye na matasa tsara na Soviet wasan kwaikwayo, cewa wannan art ne lafiya, m, farin ciki, da karfi-nufi. Masu suka suna lura da mahimman abubuwan salon wasan kwaikwayonsa, waɗanda suka kasance halayensa a waɗannan shekarun - ƙwarewa na musamman a cikin ayyukan ƙaramin tsari.

Hakazalika, a cikin ɗaya daga cikin talifofin muna samun layi na gaba: “Duk da haka, bai daɗe ba mu yi la’akari da cewa ƙaramin nau’insa ne. A'a, filin Oistrakh shine kiɗan filastik, nau'i mai kyau, cikakken jini, kiɗa mai fata.

A 1934, a kan himma na A. Goldenweiser, Oistrakh aka gayyace zuwa Conservatory. A nan ne ya fara aikinsa na koyarwa, wanda ya ci gaba har zuwa yanzu.

Shekaru 30 sun kasance lokacin manyan nasarorin da Oistrakh ya samu akan matakin Tarayyar Turai da matakin duniya. 1935 - lambar yabo ta farko a gasa ta II All-Union Competition of Performing Musicians a Leningrad; a cikin wannan shekarar, bayan 'yan watanni - lambar yabo ta biyu a Gasar Violin International ta Henryk Wieniawski a Warsaw (kyautar farko ta tafi Ginette Neve, dalibin Thibaut); 1937 - lambar yabo ta farko a gasar Eugene Ysaye International Violin Competition a Brussels.

Gasar ta karshe, wacce ‘yan wasan violin na Soviet D. Oistrakh, B. Goldstein, E. Gilels, M. Kozolupova da M. Fikhtengolts suka samu nasarar lashe kyaututtukan farko na ‘yan jarida na duniya a matsayin nasara ta Soviet violin. makaranta. Memban juri na gasar Jacques Thibault ya rubuta: “Waɗannan hazaka ne masu ban mamaki. USSR ita ce kawai ƙasar da ta kula da matasa masu fasaha kuma ta ba da cikakkiyar dama ga ci gaban su. Daga yau Oistrakh yana samun shahara a duniya. Suna son su saurare shi a duk ƙasashe.”

Bayan gasar, mahalarta gasar sun yi wasa a birnin Paris. Gasar ta bude hanya ga Oistrakh ga faffadan ayyukan kasa da kasa. A gida, Oistrakh ya zama dan wasan violin da ya fi shahara, ya samu nasarar yin takara a wannan girmamawa tare da Miron Polyakin. Amma babban abu shi ne cewa zane mai ban sha'awa yana jawo hankalin mawaƙa, yana ƙarfafa su. A 1939, Myaskovsky Concerto da aka halitta a 1940 - Khachaturian. Dukansu kide-kide an sadaukar da su ga Oistrakh. Ayyukan kide-kide na Myaskovsky da Khachaturian sun yi la'akari da shi a matsayin babban abin da ya faru a cikin rayuwar kiɗa na kasar, shine sakamakon da kuma ƙarewar zamanin pre-yaki na aikin mai ban mamaki.

A lokacin yakin, Oistrakh ya ci gaba da ba da kide-kide, yana wasa a asibitoci, a baya da kuma a gaba. Kamar yawancin masu fasaha na Soviet, yana cike da kishin kasa, a 1942 ya yi wasan kwaikwayo a Birnin Leningrad da ke kewaye. Sojoji da ma’aikata da ma’aikatan jirgin ruwa da mazauna birnin suna sauraronsa. "Oki ya zo nan bayan aiki mai wuyar rana don sauraron Oistrakh, wani mai fasaha daga Mainland, daga Moscow. Har yanzu dai ba a gama bikin ba a lokacin da aka sanar da sanarwar harin ta sama. Babu wanda ya bar dakin. Bayan kammala wasan, mawaƙin ya samu kyakkyawar tarba. An yi ta murna musamman lokacin da aka ba da sanarwar ba da lambar yabo ta Jiha ga D. Oistrakh… ”.

Yakin ya kare. A 1945, Yehudi Menuhin ya isa Moscow. Oistrakh yana buga Concerto na Bach sau biyu tare da shi. A cikin 1946/47 kakar ya yi a Moscow wani gagarumin sake zagayowar sadaukar domin tarihi na violin concerto. Wannan aikin yana tunawa da shahararrun kide-kide na tarihi na A. Rubinstein. Zagayen ya haɗa da ayyuka kamar kide kide na Elgar, Sibelius da Walton. Ya bayyana wani sabon abu a cikin hoton kirkire-kirkire na Oistrakh, wanda tun daga lokacin ya zama ingancinsa wanda ba za a iya rabuwa da shi ba - duniya, sha'awar ɗaukar nauyin wallafe-wallafen violin na kowane lokaci da mutane, gami da zamani.

Bayan yaƙin, Oistrakh ya buɗe buƙatun ga manyan ayyukan ƙasa da ƙasa. Tafiyarsa ta farko ta faru ne a Vienna a shekara ta 1945. Yin bitar ayyukansa abin lura ne: “... Sai kawai balaga na ruhaniya na wasansa mai salo ya sa shi shelar babban ɗan adam, babban mawaƙin gaske, wanda wurinsa yake a matsayi na farko. violinists na duniya."

A cikin 1945-1947, Oistrakh ya sadu da Enescu a Bucharest, da Menuhin a Prague; a 1951 an nada shi memba na juri na Belgian Sarauniya Elisabeth International Competition a Brussels. A cikin shekarun 50s, duk 'yan jaridu na kasashen waje sun sanya shi a matsayin daya daga cikin manyan 'yan wasan violin a duniya. Yayin da yake Brussels, yana yin wasa tare da Thibault, wanda ke gudanar da ƙungiyar mawaƙa a cikin kide-kiden nasa, yana buga kide-kide na Bach, Mozart da Beethoven. Thiebaud yana cike da tsananin sha'awar basirar Oistrakh. Binciken ayyukansa a Düsseldorf a cikin 1954 yana jaddada shigar ɗan adam da ruhi na ayyukansa. “Wannan mutumin yana son mutane, wannan mai zane yana son kyakkyawa, mai daraja; don taimaka wa mutane sanin wannan sana'a ce."

A cikin waɗannan sake dubawa, Oistrakh ya bayyana a matsayin mai yin wasan kwaikwayo wanda ya kai zurfin ƙa'idar ɗan adam a cikin kiɗa. Hankalin rai da wakokin fasaharsa suna da hankali, kuma wannan shine abin da ke shafar masu sauraro. "Yaya za a taƙaita ra'ayoyin wasan David Oistrakh? – E. Jourdan-Morrange ya rubuta. – Ma’anoni na gama-gari, duk da haka dithyrambic suna iya zama, basu cancanci fasaharsa mai tsarki ba. Oistrakh shi ne mafi cikar violin da na taɓa ji, ba wai kawai ta fuskar fasaharsa ba, wanda ya yi daidai da na Heifetz, musamman saboda wannan dabara ta koma hidimar kiɗa. Abin da gaskiya, abin da daraja a kisa!

A 1955 Oistrakh ya tafi Japan da Amurka. A Japan, sun rubuta: “Masu sauraro a wannan ƙasar sun san yadda za su yaba fasaha, amma suna iya kamewa a bayyanar da ji. Anan, a zahiri ta haukace. Tafi mai ban mamaki ya hade tare da ihun "bravo!" kuma da alama zai iya tuntube. Nasarar Oistrakh a Amurka ta yi iyaka da nasara: “David Oistrakh babban dan wasan violin ne, daya daga cikin manyan ’yan violin na zamaninmu. Oistrakh yana da kyau ba wai kawai don shi mai kirki ne ba, amma mawaƙin ruhaniya na gaske. " F. Kreisler, C. Francescatti, M. Elman, I. Stern, N. Milstein, T. Spivakovsky, P. Robson, E. Schwarzkopf, P. Monte sun saurari Oistrakh a wurin wasan kwaikwayo a Hall Carnegie.

“Na ji daɗin kasancewar Kreisler a zauren. Lokacin da na ga babban dan wasan violin, yana sauraron wasa na, sannan ya yaba ni a tsaye, duk abin da ya faru ya zama kamar wani irin mafarki mai ban mamaki. Oistrakh ya gana da Kreisler a ziyararsa ta biyu a Amurka a 1962-1963. Kreisler ya kasance a lokacin ya riga ya tsufa sosai. Daga cikin tarurruka tare da manyan mawaƙa, ya kamata a ambaci taron tare da P. Casals a 1961, wanda ya bar alama mai zurfi a cikin zuciyar Oistrakh.

Layi mafi haske a cikin wasan kwaikwayon Oistrakh shine kiɗan ɗaki. Oistrakh ya shiga cikin maraice na jam'iyya a Odessa; Daga baya ya taka leda a cikin uku tare da Igumnov da Knushevitsky, maye gurbin da violinist Kalinovsky a cikin wannan gungu. A 1935 ya kafa ƙungiyar sonata tare da L. Oborin. A cewar Oistrakh, hakan ya faru kamar haka: sun tafi Turkiyya a farkon 30s, kuma a can dole ne su yi wasan maraice na sonata. "Hankalin kiɗa" ya juya yana da alaƙa da cewa ra'ayin ya zo don ci gaba da wannan ƙungiyar bazuwar.

Yawancin wasan kwaikwayo a maraice na haɗin gwiwa sun kawo daya daga cikin mafi girma na Soviet cellists, Svyatoslav Knushevitsky, kusa da Oistrakh da Oborin. Shawarar ƙirƙirar uku na dindindin ya zo ne a cikin 1940. Aikin farko na wannan babban taron ya faru a cikin 1941, amma aikin kide-kide na yau da kullun ya fara a 1943. The trio L. Oborin, D. Oistrakh, S. Knushevitsky shekaru da yawa (har sai da 1962, lokacin da Knushevitsky ya mutu) ya kasance girman kai na kiɗan ɗakin Soviet. Wasan kide-kide da yawa na wannan gungu na yau da kullun sun tattara cikakkun zauren masu sauraro masu kishi. An gudanar da wasan kwaikwayonsa a Moscow, Leningrad. A cikin 1952, 'yan uku sun yi tafiya zuwa bikin Beethoven a Leipzig. Oborin da Oistrakh sun yi duk zagaye na sonatas na Beethoven.

Wasan na uku ya bambanta ta hanyar haɗin kai da ba kasafai ba. Knushevitsky na ban mamaki mai yawa cantilena, tare da sauti, velvety timbre, daidai hade da silvery sauti na Oistrakh. An ƙara sautin su ta hanyar waƙa akan piano Oborin. A cikin kiɗa, masu zane-zane sun bayyana kuma sun jaddada gefensa na lyrical, an bambanta wasan su da gaskiya, taushi da ke fitowa daga zuciya. Gabaɗaya, ana iya kiran salon wasan kwaikwayon wasan kwaikwayo na lyrical, amma tare da kwanciyar hankali na gargajiya da tsauri.

Ƙungiyar Oborin-Oistrakh tana nan a yau. Maraice na sonata suna barin ra'ayi na mutunci da kamala. An haɗu da waƙar da ke cikin wasan Oborin tare da ma'anar tunani na tunanin kiɗa; Oistrakh babban abokin tarayya ne a wannan fannin. Wannan gungu ne na dandano mai daɗi, ƙwarewar kiɗan da ba kasafai ba.

Oistrakh sananne ne a duk faɗin duniya. Yana da lakabi da yawa; a shekara ta 1959 Cibiyar Kiɗa ta Sarauta da ke Landan ta zaɓe shi mamba mai daraja, a 1960 ya zama ƙwararren malami na St. Cecilia a Roma; a cikin 1961 - mamba na Cibiyar Nazarin Arts ta Jamus a Berlin, da kuma memba na Cibiyar Kimiyya da Fasaha ta Amirka a Boston. An ba Oistrakh lambar yabo ta Lenin da lambar girmamawa; Ya aka bayar da lakabi na People's Artist na Tarayyar Soviet. A shekarar 1961, an ba shi lambar yabo ta Lenin, na farko a cikin mawakan Soviet.

A cikin littafin Yampolsky game da Oistrakh, halayen halayensa sun kasance a taƙaice kuma an kama su a takaice: makamashi marar ƙarfi, aiki mai wuyar gaske, tunani mai mahimmanci, iya lura da duk abin da ke da halayyar. Wannan ya fito fili daga hukuncin Oistrakh game da kidan fitattun mawakan. Koyaushe ya san yadda ake nuna mafi mahimmanci, zana ingantaccen hoto, ba da nazari mai zurfi na salo, lura da yanayin bayyanar mawaƙi. Za a iya aminta da hukunce-hukuncensa, domin galibi ba su nuna son kai ba.

Yampolsky ya kuma lura da yanayin ban dariya: “Yana godiya kuma yana son kalma mai kaifi, mai kaifi, yana iya yin dariya yayin da yake ba da labari mai ban dariya ko sauraron labarin ban dariya. Kamar Heifetz, yana iya yin kwafin wasan fara violin cikin farin ciki. " Tare da ƙarfin kuzarin da yake kashewa kowace rana, koyaushe yana da wayo, kamewa. A cikin rayuwar yau da kullum yana son wasanni - a cikin ƙananan shekarunsa ya buga wasan tennis; kyakkyawan direban mota, mai tsananin son dara. A cikin 30s, abokin tarayya na dara shine S. Prokofiev. Kafin yakin, Oistrakh ya kasance shugaban sashen wasanni na gidan wasan kwaikwayo na tsakiya na tsawon shekaru da yawa kuma babban malamin dara.

A kan mataki, Oistrakh yana da kyauta; ba shi da sha'awar da ta mamaye nau'ikan ayyukan ɗimbin yawa na mawaƙa. Bari mu tuna yadda damuwa mai raɗaɗi Joachim, Auer, Thiebaud, Huberman, Polyakin, yawan kuzarin da suka kashe akan kowane wasan kwaikwayo. Oistrakh yana son matakin kuma, kamar yadda ya yarda, kawai hutu mai mahimmanci a cikin wasan kwaikwayo ya sa shi farin ciki.

Aikin Oistrakh ya wuce iyakar ayyukan aiwatar da kai tsaye. Ya ba da gudummawa da yawa ga adabin violin a matsayin edita; alal misali, sigarsa (tare da K. Mostras) na wasan violin na Tchaikovsky yana da kyau kwarai, yana wadatarwa kuma yana gyara fasalin Auer. Bari kuma mu nuna aikin Oistrakh akan duka sonatas na violin na Prokofiev. Masu violin suna bashi gaskiyar cewa Sonata ta biyu, wacce aka rubuta ta asali don sarewa da violin, Prokofiev ya sake yin violin.

Oistrakh yana aiki akai-akai akan sabbin ayyuka, kasancewa mai fassara na farko. Jerin sabbin ayyukan da mawakan Soviet suka yi, "saki" ta Oistrakh, yana da girma. Don suna kawai: sonatas na Prokofiev, concertos na Myaskovsky, Rakov, Khachaturian, Shostakovich. Oistrakh wani lokaci yakan rubuta labarai game da guntuwar da ya buga, kuma wasu masana kiɗa na iya hassada bincikensa.

M, alal misali, su ne nazarin violin Concerto na Myaskovsky, kuma musamman ta Shostakovich.

Oistrakh fitaccen malami ne. Daga cikin dalibansa akwai wadanda suka lashe gasar kasa da kasa V. Klimov; dansa, a halin yanzu fitaccen soloist I. Oistrakh, da O. Parkhomenko, V. Pikaizen, S. Snitkovetsky, J. Ter-Merkeryan, R. Fine, N. Beilina, O. Krysa. Yawancin 'yan wasan violin na ƙasashen waje suna ƙoƙarin shiga ajin Oistrakh. Faransanci M. Bussino da D. Arthur, Baturke E. Erduran, ɗan wasan violin na Australiya M. Beryl-Kimber, D. Bravnichar daga Yugoslavia, Bulgarian B. Lechev, Romaniyawa I. Voicu, S. Georgiou ya yi karatu a wurinsa. Oistrakh yana son ilimin koyarwa kuma yana aiki a cikin aji tare da sha'awar. Hanyarsa ta dogara ne akan ƙwarewar yin aikin kansa. "Maganganun da ya yi game da wannan ko waccan hanyar aiwatarwa koyaushe suna da taƙaitacciya kuma suna da matuƙar mahimmanci; a cikin kowace kalma-shawarwari, yana nuna zurfin fahimtar yanayin kayan aiki da fasaha na wasan violin.

Ya ba da mahimmanci ga nunin kai tsaye a kan kayan aikin da malamin sashin da ɗalibin yake karantawa. Amma kawai nuna, a cikin ra'ayinsa, yana da amfani musamman a lokacin lokacin da ɗalibin ke nazarin aikin, saboda yana iya ci gaba da kawo cikas ga ci gaban ɗabi'a na ɗabi'a.

Oistrakh da basira yana haɓaka na'urorin fasaha na ɗalibansa. A mafi yawan lokuta, dabbobinsa suna bambanta ta hanyar 'yancin mallakar kayan aiki. A lokaci guda, kulawa ta musamman ga fasaha ba ta da ma'ana ta Oistrakh malami. Ya fi sha'awar matsalolin ilimin kiɗa da fasaha na ɗalibansa.

A cikin 'yan shekarun nan, Oistrakh ya ɗauki sha'awar gudanarwa. Ayyukansa na farko a matsayin jagoran ya faru ne a ranar 17 ga Fabrairu, 1962 a Moscow - ya kasance tare da dansa Igor, wanda ya yi wasan kwaikwayo na Bach, Beethoven da Brahms. “Salon gudanar da Oistrakh abu ne mai sauƙi kuma na halitta, kamar yadda yake buga violin. Yana da nutsuwa, mai rowa tare da motsi mara amfani. Ba ya murƙushe ƙungiyar makaɗa da “ikon” jagoransa, amma yana ba ƙungiyar ƙwararrun ƴancin ƙirƙira, dogaro da basirar fasaha na membobinta. Laya da ikon babban mawaƙin na da tasirin da ba za a iya jurewa ba a kan mawaƙa."

A 1966, Oistrakh ya cika shekaru 58. Duk da haka, yana cike da kuzarin ƙirƙira mai aiki. Har yanzu ana bambanta fasaharsa ta 'yanci, cikakkiyar kamala. An wadatar da shi ne kawai ta hanyar ƙwarewar fasaha na rayuwa mai tsawo, gaba ɗaya ya sadaukar da fasahar ƙaunataccensa.

L. Rabin, 1967