Edwin Fischer |
Edwin Fischer ne adam wata
Rabin na biyu na ƙarni namu ana ɗaukarsa a matsayin lokacin kammala fasaha na wasan piano, yin zane-zane gabaɗaya. Lalle ne, a yanzu a kan mataki yana da kusan ba zai yiwu ba don saduwa da wani mai zane wanda ba zai iya yin pianistic "acrobatics" na babban matsayi ba. Wasu mutane, da gaggawar danganta wannan da ci gaban fasaha na ɗan adam, sun riga sun karkata su bayyana santsi da fa'ida na wasan a matsayin halayen da suka wajaba kuma sun wadatar don kaiwa ga kololuwar fasaha. Amma lokacin da aka yanke hukunci in ba haka ba, tunawa da cewa pianism ba wasan motsa jiki ba ne ko gymnastics. Shekaru sun shude, kuma ya bayyana a fili cewa yayin da fasahar wasan kwaikwayo ta inganta gabaɗaya, rabonta a cikin ƙima na gaba ɗaya na aikin wannan ko wannan mai zane yana raguwa a hankali. Shin wannan shine dalilin da ya sa adadin ƙwararrun ƙwararrun ƙwararrun pians ba su ƙaru kwata-kwata ba saboda irin wannan ci gaban gabaɗaya?! A cikin zamanin da “kowa ya koyi yin piano,” haƙiƙanin fasaha na fasaha - abun ciki, ruhi, bayyanawa - sun kasance mara girgiza. Kuma wannan ya sa miliyoyin masu sauraro suka sake komawa ga gadon manyan mawakan da a ko da yaushe suka sanya wadannan manyan dabi'u a sahun gaba na fasaharsu.
Ɗayan irin wannan mai zane shi ne Edwin Fisher. Tarihin pianistic na karni na XNUMX ba shi yiwuwa ba tare da gudunmawarsa ba, ko da yake wasu masu bincike na zamani sun yi ƙoƙari su tambayi fasahar fasaha na Swiss. Menene kuma amma kawai sha'awar Amurka don "kammala" na iya bayyana cewa G. Schonberg a cikin littafinsa, wanda aka buga kawai shekaru uku bayan mutuwar mai zane, bai yi la'akari da cewa dole ne a ba Fischer fiye da ... layi daya ba. Duk da haka, ko da a lokacin rayuwarsa, tare da alamun ƙauna da girmamawa, dole ne ya jimre da zagi don ajizanci daga masu sukar yara, waɗanda a yanzu da kuma bayan sun yi rajista kuma suna farin ciki da shi. Shin hakan bai faru da babban A. Corto na zamaninsa ba?!
Tarihin rayuwar mawakan biyu gabaɗaya sun yi kama da kamanceceniya a cikin manyan abubuwansu, duk da cewa ta fuskar pianistic zalla, ta fuskar “makarantar”, sun sha bamban; kuma wannan kamanceceniya ya sa a iya fahimtar asalin fasahar duka biyun, asalin kyawawan halayensu, wanda ya dogara ne akan ra'ayin mai fassara da farko a matsayin mai zane.
Edwin Fischer an haife shi ne a Basel, a cikin dangin masanan kiɗa na gado, wanda ya samo asali daga Jamhuriyar Czech. Tun 1896, ya yi karatu a dakin motsa jiki na kiɗa, sa'an nan kuma a ɗakin ajiya a karkashin jagorancin X. Huber, kuma ya inganta a Berlin Stern Conservatory karkashin M. Krause (1904-1905). A shekara ta 1905, shi da kansa ya fara jagorantar ajin piano a ɗakin ajiya guda ɗaya, a lokaci guda ya fara aikinsa na fasaha - na farko a matsayin mai rakiya ga mawaƙa L. Vulner, sa'an nan kuma a matsayin soloist. Sau da yawa masu sauraro sun gane shi kuma suna ƙaunarsa a yawancin ƙasashen Turai. Musamman shahararsa ta zo masa ta hanyar haɗin gwiwa tare da A. Nikish, f. Wenngartner, W. Mengelberg, sai W. Furtwängler da sauran manyan madugu. A cikin sadarwa tare da waɗannan manyan mawaƙa, an haɓaka ƙa'idodinsa na ƙirƙira.
A cikin 30s, iyakar ayyukan kide-kide na Fischer ya kasance mai faɗi sosai har ya bar koyarwa kuma ya sadaukar da kansa gabaɗaya don kunna piano. Amma bayan lokaci, mawaƙin ƙwararren mawaƙin ya zama maƙasudi a cikin tsarin kayan aikin da ya fi so. Ya halicci mawaƙan ɗakinsa na kansa, ya yi tare da shi a matsayin jagora da soloist. Gaskiya ne, wannan ba buri na mawaƙi ne ya nufa ba a matsayin jagora: kawai dai halinsa yana da ƙarfi da asali wanda ya fi so, ba koyaushe yana da abokan tarayya a hannu kamar mashawartan mai suna ba, don yin wasa ba tare da jagora ba. A lokaci guda kuma, bai iyakance kansa ga al'adun gargajiya na ƙarni na 1933-1942 (wanda yanzu ya zama kusan gama gari), amma ya jagoranci ƙungiyar makaɗa (kuma ya gudanar da shi daidai!) Ko da lokacin yin kide-kide na Beethoven. Bugu da kari, Fischer ya kasance memba na ban mamaki uku tare da violinist G. Kulenkampf da cellist E. Mainardi. A ƙarshe, bayan lokaci, ya koma ilimin koyarwa: a 1948 ya zama farfesa a Higher School of Music a Berlin, amma a 1945 ya yi nasarar barin Nazi Jamus zuwa mahaifarsa, ya zauna a Lucerne, inda ya shafe shekaru na ƙarshe na rayuwarsa. rayuwa. A hankali, ƙarfin wasan kwaikwayo na wasan kwaikwayo ya ragu: ciwon hannu yakan hana shi yin wasan kwaikwayo. Duk da haka, ya ci gaba da yin wasa, gudanarwa, rikodin, shiga cikin uku, inda G. Kulenkampf ya maye gurbin V. Schneiderhan a 1958. A cikin 1945-1956, Fischer ya koyar da darussan piano a Hertenstein (kusa da Lucerne), inda yawancin matasa masu fasaha. daga ko'ina cikin duniya suna tururuwa zuwa gare shi kowace shekara. Yawancinsu sun zama manyan mawaƙa. Fischer ya rubuta kiɗa, wanda ya haɗa cadenzas don wasan kwaikwayo na gargajiya (na Mozart da Beethoven), ya shirya abubuwan ƙira, kuma a ƙarshe ya zama marubucin manyan karatu da yawa - “J.-S. Bach" (1956), "L. van Beethoven. Piano Sonatas (1960), da kuma labarai da yawa da kuma rubutun da aka tattara a cikin littattafan Kiɗa na Kiɗa (1956) da kuma A kan Ayyuka na Mawaƙa (XNUMX). A cikin XNUMX, jami'ar garin ɗan wasan pian, Basel, ta zaɓe shi digirin girmamawa.
Irin wannan ita ce taswirar tarihin rayuwa. Daidai da shi shine layin juyin halittar ciki na bayyanarsa na fasaha. Da farko, a cikin shekarun farko na farko, Fischer ya yi jajircewa zuwa yanayin wasa mai ma'ana, tafsirinsa sun yi alama da wasu wuce gona da iri har ma da 'yancin son rai. A wannan lokacin, kiɗa na Romantics ya kasance a tsakiyar abubuwan da ya ke so. Gaskiya ne, duk da sabawa daga al'ada, ya sha'awar masu sauraro tare da canja wurin ƙarfin ƙarfin zuciya na Schumann, girman girman Brahms, girman girman Beethoven, wasan kwaikwayo na Schubert. A cikin shekarun da suka wuce, salon wasan kwaikwayo na mai zane ya zama mai karewa, bayyananne, kuma tsakiyar nauyi ya koma ga classic - Bach da Mozart, ko da yake Fischer bai rabu da labarun soyayya ba. A cikin wannan lokacin, yana sane sosai game da aikin mai yin a matsayin mai shiga tsakani, “matsakaici tsakanin madawwamin fasaha na allahntaka da mai sauraro.” Amma matsakanci ba shi da sha'awa, yana tsaye a gefe, amma yana aiki, yana ƙin wannan "madawwamiyar, allahntaka" ta hanyar priism na "I". Taken mai zane ya kasance kalmomin da ya bayyana a cikin ɗaya daga cikin labarin: “Rayuwa dole ne ta motsa cikin aiki; crescendos da fortes waɗanda ba su da gogewa suna kallon wucin gadi.
Siffofin yanayin soyayyar mai zane da ka'idodinsa na fasaha sun zo daidai da daidaito a ƙarshen rayuwarsa. V. Furtwangler, da ya ziyarci wasan kwaikwayo nasa a shekara ta 1947, ya lura cewa “da gaske ya kai matsayinsa.” Wasansa ya buga da ƙarfin gwaninta, rawar jiki na kowace magana; ya zama kamar an sake haifar da aikin a kowane lokaci a ƙarƙashin yatsun mai zane, wanda ya kasance gaba ɗaya ba tare da hatimi da na yau da kullum ba. A wannan lokacin, ya sake komawa ga gwarzon da ya fi so, Beethoven, kuma ya yi rikodin kide-kide na Beethoven a tsakiyar shekarun 50s (a mafi yawan lokuta shi da kansa ya jagoranci kungiyar Orchestra Philharmonic ta London), da kuma yawan sonata. Wadannan rikodin, tare da waɗanda aka yi a baya, a cikin 30s, sun zama tushen tushen sauti na Fischer - gado wanda, bayan mutuwar mai zane, ya haifar da cece-kuce.
Tabbas, bayanan ba su cika isar mana da fara'a na wasan Fischer ba, wani bangare ne kawai suke isar da sha'awar fasaharsa, girman tunani. Ga wadanda suka ji mai zane a cikin zauren, ba su da, ba kome ba ne kawai fiye da tunanin abubuwan da suka gabata. Dalili na wannan ba wuya a gano: ban da takamaiman fasali na pianism, sun kuma kwanta a cikin wani prosaic jirgin sama: pianist ne kawai ji tsoron da makirufo, ya ji m a cikin studio, ba tare da masu sauraro, da kuma nasara. da kyar aka bashi wannan tsoro ba tare da asara ba. A cikin rikodin, wanda zai iya jin alamun juyayi, da wasu rashin jin daɗi, da fasaha "aure". Duk wannan fiye da sau ɗaya ya zama manufa ga masu himma na "tsarki". Kuma mai suka K. Franke ya yi gaskiya: “Mai shelar Bach da Beethoven, Edwin Fischer ya bar baya ba kawai bayanan karya ba. Bugu da ƙari, ana iya cewa har ma da bayanan karya na Fischer suna halin girman girman al'adu, zurfin jin dadi. Fischer ya kasance ainihin yanayin motsin rai - kuma wannan shine girmansa da iyakokinsa. Rashin jin daɗin wasansa ya sami ci gaba a cikin labaransa… Ya kasance a kan tebur kamar yadda yake a piano - ya kasance mutum mai butulci, ba hankali da ilimi ba.
Ga mai sauraro mara son zuciya, nan da nan ya zama a bayyane cewa ko da a farkon rikodin Beethoven's sonatas, wanda aka yi a ƙarshen 30s, ana jin ma'aunin halayen ɗan wasan kwaikwayo, mahimmancin kiɗan kiɗansa. Babban iko, hanyoyin soyayya, haɗe tare da haƙƙin da ba zato ba tsammani amma mai gamsarwa na jin daɗi, zurfin tunani da tabbatar da layukan tsauri, ikon ƙarewa - duk wannan yana haifar da ra'ayi mara kyau. Wani ba da gangan ya tuna da kalmomin Fischer ba, wanda ya yi jayayya a cikin littafinsa "Wa'azin Kiɗa" cewa mai zane mai wasa Beethoven ya kamata ya haɗa pianist, mawaƙa da violin "a cikin mutum ɗaya". Wannan jin ne ya ba shi damar nutsar da kansa gabaɗaya a cikin kiɗa tare da fassarar Appassionata cewa babban sauƙi ba da gangan ba yana sa ku manta da ɓangarori masu ban sha'awa na wasan kwaikwayon.
Babban jituwa, tsayuwar al'ada shine, watakila, babban ƙarfin yin rikodin nasa daga baya. Anan tuni shigarsa cikin zurfin ruhun Beethoven ya ƙaddara ta hanyar gogewa, hikimar rayuwa, fahimtar al'adun gargajiyar Bach da Mozart. Amma, duk da shekarun da suka wuce, ana jin daɗin fahimta da ƙwarewar kiɗa a nan, wanda ba za a iya watsa shi ga masu sauraro ba.
Domin mai sauraron bayanan Fischer ya sami damar yin cikakken tunanin kamanninsa, bari mu kammala ba da labarin ga fitattun dalibansa. P. Badura-Skoda ya tuna: “Shi mutum ne mai ban mamaki, a zahiri yana haskaka alheri. Babban ka'idar koyarwarsa ita ce abin da ake bukata cewa kada mai wasan pian ya janye cikin kayan aikin sa. Fischer ya gamsu cewa duk nasarorin kiɗan dole ne su kasance masu alaƙa da ƙimar ɗan adam. “Babban mawaki na farko mutum ne. Gaskiya mai girma dole ne ta rayu a cikinsa - bayan haka, abin da ba ya nan a cikin mai yin da kansa ba zai iya kasancewa cikin wasan kwaikwayon ba, "bai gaji da maimaitawa a cikin darussan ba."
Dalibi na ƙarshe na Fischer, A. Brendle, ya ba da hoton maigidan mai zuwa: “An baiwa Fischer baiwar ƙwararru (idan har yanzu wannan kalmar da ba a gama amfani da ita ba ce), ba a ba shi na mawaƙi ba, amma daidai da hazakar fassara. Wasansa duka daidai ne kuma a lokaci guda m. Tana da sabo na musamman da ƙarfi, zamantakewar da ke ba ta damar isa ga mai sauraro kai tsaye fiye da duk wani mai wasan kwaikwayo da na sani. Tsakanin shi da ku babu labule, babu shamaki. Yana fitar da sauti mai laushi mai ni'ima, yana samun gogewa pianissimo da ferocious fortissimo, wanda, duk da haka, ba su da kaifi da kaifi. Ya kasance wanda aka azabtar da yanayi da yanayi, kuma bayanansa suna ba da ra'ayi kadan game da abin da ya samu a cikin kide kide da wake-wake da azuzuwansa, yana karatu tare da ɗalibai. Wasansa bai kasance ƙarƙashin lokaci da salon ba. Kuma shi da kansa ya kasance hade da yaro da mai hikima, gauraye na butulci da tsafta, amma duk wannan ya hade cikin cikakkiyar hadin kai. Yana da ikon ganin aikin gaba ɗaya, kowane yanki guda ɗaya ne kuma haka ya bayyana a cikin aikinsa. Kuma wannan shine abin da ake kira manufa…”
L. Grigoriev, J. Platek
