Dinu Lipatti (Dinu Lipatti) |

Dino Lipatti

Sunansa ya dade ya zama mallakar tarihi: kimanin shekaru hamsin sun shude tun mutuwar mai zane. A wannan lokacin, taurari da yawa sun tashi kuma sun tashi a kan matakan wasan kwaikwayo na duniya, al'ummomi da yawa na fitattun 'yan wasan pian sun girma, an kafa sababbin abubuwa a cikin fasahar wasan kwaikwayo - wadanda ake kira "salon wasan kwaikwayo na zamani". Kuma a halin yanzu, gadon Dinu Lipatti, ba kamar gadon sauran manyan masu fasaha na farkon rabin karni namu ba, ba a rufe shi da "flair na gidan kayan gargajiya", bai rasa fara'a ba, sabo: ya juya. don zama bayan salon, kuma haka ma, ba wai kawai ya ci gaba da faranta wa masu sauraro mamaki ba, har ma yana rinjayar sababbin tsararrun masu pianists. Rikodinsa ba abin alfahari ba ne ga masu tara tsoffin fayafai - ana sake fitar da su akai-akai, ana sayar da su nan take. Duk wannan yana faruwa ba don Lipatti zai iya kasancewa a cikinmu ba, ya kasance a cikinmu, idan ba don rashin lafiya ba. Dalilan sun fi zurfi - a cikin ainihin fasaharsa marar tsufa, a cikin zurfin gaskiyar jin dadi, kamar dai an wanke shi daga duk abin da ke waje, mai wucewa, ninka ƙarfin tasirin gwanintar mawaƙa da kuma a wannan lokacin nisa.

'Yan artists iya barin irin wannan m alama a cikin memory na mutane a cikin wani gajeren lokaci, wanda aka raba musu ta hanyar kaddara. Musamman idan muka tuna cewa Lipatti ba ko kaɗan ba ne yaro mai ƙwazo a ma'anar kalmar gaba ɗaya, kuma a ɗan lokaci ya fara ayyukan kide-kide. Ya girma kuma ya ci gaba a cikin yanayin kiɗa: kakarsa da mahaifiyarsa sun kasance ƙwararrun pianists, mahaifinsa ya kasance mai sha'awar violin (har ma ya ɗauki darasi daga P. Sarasate da K. Flesch). A cikin wata kalma, ba abin mamaki ba ne cewa mawaƙa na gaba, wanda bai san haruffa ba, ya inganta piano kyauta. Gaiety na yara an haɗa shi da ban mamaki a cikin abubuwan da ba su da rikitarwa tare da mahimmancin ban mamaki; irin wannan haɗin kai tsaye na ji da zurfin tunani ya kasance daga baya, ya zama siffar siffa ta balagagge mai fasaha.

Malamin farko na Lipatti ɗan shekara takwas shi ne mawaki M. Zhora. Bayan da ya gano iyawa na musamman na pianism a cikin ɗalibi, a cikin 1928 ya miƙa shi ga fitacciyar malami Florika Muzychesk. A cikin waɗannan shekarun, yana da wani mashawarci da majiɓinci - George Enescu, wanda ya zama "uban uba" na matashin mawaki, wanda ya bi ci gabansa kuma ya taimake shi. Lokacin da yake da shekaru 15, Lipatti ya kammala karatun digiri tare da girmamawa daga Bucharest Conservatory, kuma nan da nan ya sami lambar yabo ta Enescu don babban aikinsa na farko, zane-zane "Chetrari". A lokaci guda, mawaƙin yanke shawarar shiga cikin International Piano Competition a Vienna, daya daga cikin mafi "m" a cikin sharuddan yawan mahalarta a cikin tarihin gasar: sa'an nan game da 250 artists zo babban birnin kasar Austria. Lipatti ya kasance na biyu (bayan B. Kohn), amma yawancin membobin juri sun kira shi ainihin wanda ya yi nasara. A. Cortot har ma ya bar juri don nuna rashin amincewa; a kowane hali, nan da nan ya gayyaci matasan Romania zuwa Paris.

Lipatti ya zauna a babban birnin kasar Faransa tsawon shekaru biyar. Ya inganta tare da A. Cortot da I. Lefebur, sun halarci ajin Nadia Boulanger, ya dauki darussa daga C. Munsch, abun da ke ciki daga I. Stravinsky da P. Duke. Boulanger, wanda ya kawo manyan mawaƙa da yawa, ya faɗi haka game da Lipatti: “Mawaƙin gaske a ma’anar kalmar ana iya ɗauka shi ne wanda ya sadaukar da kansa gabaɗaya ga kiɗa, yana manta da kansa. Zan iya cewa Lipatti yana ɗaya daga cikin waɗannan masu fasaha. Kuma wannan shi ne mafi kyawun bayanin imani na gare shi. Tare da Boulanger ne Lipatti ya yi rikodinsa na farko a cikin 1937: raye-rayen hannu huɗu na Brahms.

A lokaci guda kuma, wasan kwaikwayo na artist ya fara. Tuni wasanninsa na farko a Berlin da biranen Italiya sun ja hankalin kowa. Bayan fara wasansa na farko na Paris, masu suka sun kwatanta shi da Horowitz kuma gaba ɗaya sun yi hasashen kyakkyawar makoma a gare shi. Lipatti ya ziyarci Sweden, Finland, Austria, Switzerland, da kuma ko'ina ya yi nasara. Tare da kowane wasan kwaikwayo, basirarsa ta buɗe da sababbin fuskoki. An sauƙaƙa wannan ta hanyar sukar kansa, hanyar ƙirƙirarsa: kafin ya kawo fassararsa zuwa mataki, ba kawai ya sami cikakkiyar ƙwarewar rubutu ba, har ma da cikakkiyar haɗuwa da kiɗa, wanda ya haifar da zurfin shiga cikin marubucin marubucin. niyya.

Yana da halayyar cewa kawai a cikin 'yan shekarun nan ya fara komawa ga al'adun Beethoven, kuma a baya ya ɗauki kansa ba a shirye don wannan ba. Wata rana ya ce ya ɗauki shekaru huɗu don shirya Beethoven's Fifth Concerto ko Tchaikovsky's Farko. Tabbas, wannan baya magana akan iyakantaccen ikonsa, amma kawai matsananciyar bukatarsa ​​akan kansa. Amma kowanne daga cikin ayyukansa shine gano wani sabon abu. Ci gaba da kasancewa da aminci ga rubutun marubucin, mai wasan piano koyaushe yana kashe fassarar tare da “launi” na mutumtakarsa.

Ɗaya daga cikin waɗannan alamun keɓaɓɓen mutumtakarsa shine dabi'a mai ban mamaki na jimla: sauƙi na waje, bayyanan ra'ayi. A lokaci guda kuma, ga kowane mawaki, ya sami launuka na piano na musamman waɗanda suka dace da nasa ra'ayin duniya. Bach nasa ya yi kama da zanga-zangar adawa da "gidajen kayan tarihi" na fata na babban al'ada. "Wane ne ke da ikon yin tunanin cembalo yayin sauraron Partita ta Farko da Lipatti ya yi, cike da irin wannan ƙarfi mai juyayi, irin wannan legato mai ban sha'awa da irin wannan alherin aristocratic?" In ji daya daga cikin masu suka. Mozart ya jawo hankalinsa, da farko, ba tare da alheri da haske ba, amma tare da jin dadi, har ma da wasan kwaikwayo da ƙarfin hali. "Babu rangwame ga salon gallant," wasan nasa yana faɗi. An jaddada wannan ta hanyar rhythmic rigor, ma'ana ta feda, taɓawa mai kuzari. Fahimtarsa ​​game da Chopin ya ta'allaka ne a cikin jirgin sama guda: babu tunani, tsananin sauƙi, kuma a lokaci guda - babban ƙarfin ji…

Yaƙin Duniya na biyu ya sami mai zane a Switzerland, a wani yawon shakatawa. Ya koma kasarsa, ya ci gaba da yin kida, da kida. Amma yanayi na shaƙatawa na Fasist Romania ya danne shi, kuma a cikin 1943 ya sami damar tafiya zuwa Stockholm, kuma daga can zuwa Switzerland, wanda ya zama mafakarsa ta ƙarshe. Ya jagoranci sashen wasan kwaikwayo da ajin piano a Geneva Conservatory. Amma a daidai lokacin da yakin ya ƙare kuma an buɗe bege masu ban sha'awa a gaban mai zane, alamun farko na cututtukan da ba za a iya warkewa sun bayyana - cutar sankarar bargo. Ya rubuta da zafi zuwa ga malaminsa M. Zhora: “Lokacin da nake cikin koshin lafiya, yaƙi da fatara ya gaji. Yanzu da ba ni da lafiya, akwai gayyata daga dukan ƙasashe. Na sanya hannu tare da Ostiraliya, Kudancin Amurka da Arewacin Amurka. Abin ban haushin kaddara! Amma ban daina ba. Zan yi yaƙi ko da menene.”

An kwashe shekaru ana gwabza fada. Dole ne a soke dogayen yawon shakatawa. A cikin rabin na biyu na 40s, da wuya ya bar Switzerland; Banda tafiye-tafiyensa zuwa Landan, inda ya fara halarta a shekarar 1946 tare da G. Karajan, inda ya buga Concerto na Schumann karkashin jagorancinsa. Daga baya Lipatti ya sake tafiya Ingila sau da yawa don yin rikodi. Amma a cikin 1950, ya iya daina jure ko da irin wannan tafiya, da kuma m I-am-a aika su "kungiyar" zuwa gare shi a Geneva: a cikin 'yan kwanaki, a farashin mafi girma kokarin, 14 Chopin waltzes. Mozart's Sonata (No. 8) an rubuta , Bach Partita (B flat major), Chopin's 32nd Mazurka. A watan Agusta, ya yi tare da ƙungiyar makaɗa na ƙarshe: Mozart's Concerto (Lamba 21) ya yi sauti, G. Karayan ya kasance a filin wasa. Kuma a ranar 16 ga Satumba, Dinu Lipatti ya yi bankwana da masu sauraro a Besançon. Shirin kide-kide ya hada da Bach's Partita in B flat major, Mozart's Sonata, impromptu na Schubert da duk waltzes 14 na Chopin. Ya buga wasa 13 kawai - na karshe bai da karfi sosai. Amma a maimakon haka, fahimtar cewa ba zai sake kasancewa a kan mataki ba, mai zane ya yi Bach Chorale, wanda Myra Hess ya shirya don piano ... Rikodin wannan wasan kwaikwayo ya zama ɗaya daga cikin mafi ban sha'awa, takardun ban mamaki a tarihin kiɗa na karninmu ...

Bayan mutuwar Lipatti, malaminsa kuma abokinsa A. Cortot ya rubuta: “Ya kai Dinu, zamanka na ɗan lokaci a cikinmu ba wai kawai ya sa ka gaba ta hanyar yarda ɗaya ba don matsayi na farko a cikin masu wasan pian na zamaninka. A cikin ƙwaƙwalwar ajiyar waɗanda suka saurare ku, kun bar amincewar cewa da a ce ƙaddara ba ta kasance mai zalunci a gare ku ba, to da sunan ku ya zama almara, misali na hidimar fasaha. Lokacin da ya wuce tun lokacin ya nuna cewa fasahar Lipatti ta kasance irin wannan misali har yau. Gadon sautinsa kaɗan ne kwatankwacinsa - kusan awanni tara na rikodi (idan kun ƙidaya maimaitawa). Baya ga abubuwan da aka ambata a sama, ya sami damar ɗaukar rikodin irin waɗannan kide kide da Bach (Lamba 1), Chopin (No. 1), Grieg, Schumann, wasan Bach, Mozart, Scarlatti, Liszt, Ravel, nasa. abun da ke ciki – Concertino a cikin na gargajiya style da Sonata ga hannun hagu ... Shi ke nan kusan duk. Amma duk wanda ya san waɗannan bayanan ba shakka zai yarda da kalaman Florica Muzycescu: “Maganar fasaha da ya yi wa mutane da ita ta kan ɗauki masu sauraro ko da yaushe, kuma tana kama waɗanda suka saurari wasansa a kan rikodin.”

Grigoriev L., Platek Ya.