Emil Grigorievich Gilels |

Emil Gilels ne adam wata

Ɗaya daga cikin mashahuran masu sukar kiɗan ya taɓa cewa ba zai zama da amfani ba don tattauna batun - wanene na farko, wanda shine na biyu, wanda shine na uku a cikin 'yan pian na Soviet na zamani. Teburin darajoji a cikin fasaha ya wuce abin shakku, wannan mai sukar ya ce; tausayi na fasaha da dandano na mutane sun bambanta: wasu na iya son irin wannan kuma irin wannan mai yin wasan kwaikwayo, wasu za su ba da fifiko ga irin wannan da irin wannan ... fasaha yana haifar da mafi girma ga jama'a, ya fi jin dadi. na kowa gane a cikin da'irar masu sauraro" (Kogan GM Tambayoyin pianism.—M., 1968, shafi na 376.). Irin wannan tsari na tambayar dole ne a gane shi, a fili, a matsayin kawai daidai. Idan, bin ma'anar mai sukar, daya daga cikin na farko da ya yi magana game da masu yin wasan kwaikwayo, wanda fasaharsu ta ji dadin "janar" amincewa shekaru da yawa, ya haifar da "mafi girman kukan jama'a," E. Gilels ya kamata a kira shi daya daga cikin na farko. .

Aikin Gilels ana kiransa shi a matsayin mafi girman nasarar pianism na karni na 1957. An dangana su duka a cikin kasar, inda kowane taro tare da artist juya a cikin wani taron na babban al'adu sikelin, da kuma kasashen waje. Jaridun duniya sun yi ta yin magana akai-akai kuma babu shakka akan wannan maki. "Akwai pan Pan ne da yawa Piaan Adam a cikin duniya da kuma manyan Masters waɗanda hasumiya a kan kowa. Emil Gilels na ɗaya daga cikinsu…” (“Humanite”, 27 ga Yuni 1957). "Titans Piano kamar Gilels an haife su sau ɗaya a cikin karni" ("Mainiti Shimbun", 22, Oktoba XNUMX). Waɗannan wasu ne, nesa da mafi fa'ida daga cikin maganganun game da Gilels ta masu bitar ƙasashen waje…

Idan kana buƙatar kiɗan takarda na piano, duba shi a kan Notestore.

Emil Grigorevich Gilels aka haife shi a Odessa. Ubansa ko mahaifiyarsa ba ƙwararrun mawaƙa ba ne, amma dangin suna son kiɗa. Akwai piano a cikin gidan, kuma wannan yanayin, kamar yadda sau da yawa ya faru, ya taka muhimmiyar rawa a cikin makomar mai zane na gaba.

"A lokacin da nake yaro, ban yi barci da yawa ba," in ji Gilels daga baya. “Da dare, da komai ya riga ya yi shiru, sai na fito da sarkin mahaifina daga ƙarƙashin matashin kai, na fara gudanar da ayyuka. Karamar gidan gandun daji mai duhu ta rikide zuwa gidan wasan kwaikwayo mai ban mamaki. Ina tsaye a kan dandalin, na ji numfashin babban taron jama'a a bayana, kuma kungiyar makada ta tsaya tana jira a gabana. Ina daga sandar madugu kuma iskar ta cika da kyawawan sautuka. Sautunan suna ƙara ƙara da ƙarfi. Forte, fortissimo! Amma sai ƙofar yakan buɗe kaɗan, kuma mahaifiyar da ta firgita ta katse wasan kwaikwayo a wuri mafi ban sha'awa: "Shin kuna sake ɗaga hannuwanku kuna ci da dare maimakon barci?" Shin kun sake ɗaukar layin? Yanzu mayar da shi ku yi barci nan da minti biyu!" (Gilels EG Burina ya cika!//Rayuwar kiɗa. 1986. No. 19. P. 17.)

Lokacin da yaron ya kai kimanin shekaru biyar, an kai shi ga malamin Kwalejin kiɗa na Odessa, Yakov Isaakovich Tkach. Ya kasance mawaƙi mai ilimi, mai ilimi, almajiri na sanannen Raul Pugno. Idan aka yi la’akari da abubuwan tarihin da aka adana game da shi, shi ƙwararren masani ne a cikin bugu daban-daban na repertoire na piano. Kuma wani abu guda: mai goyon baya na makarantar Jamus na etudes. A Tkach, matasa Gilels sun sha wahala da yawa ta hanyar Leshgorn, Bertini, Moshkovsky; wannan shi ne ya kafa ginshikin fasaha mafi ƙarfi. Maƙen ya kasance mai tsauri kuma mai tsauri a cikin karatunsa; Tun daga farkon, Gilels ya saba da aiki - na yau da kullum, da tsari mai kyau, ba tare da sanin wani rangwame ko jin dadi ba.

"Na tuna wasana na farko," Gilels ya ci gaba. “Ɗalibin ɗan shekara bakwai na Makarantar kiɗa ta Odessa, na haura zuwa matakin don yin babbar sonata ta Mozart's C. Iyaye da malamai sun zauna a baya cikin kyakkyawan fata. Shahararren mawaki Grechaninov ya zo wurin wasan kwaikwayo na makaranta. Kowa yana riƙe da ainihin shirye-shiryen bugu a hannunsu. A kan shirin, wanda na gani a karon farko a rayuwata, an buga shi: “Mozart’s Sonata Spanish. Mile Gilels ne. Na yanke shawarar cewa "sp." - yana nufin Mutanen Espanya kuma ya yi mamaki sosai. Na gama wasa. Piano yana kusa da taga. Kyawawan tsuntsaye sun tashi zuwa bishiyar a wajen taga. Na manta cewa wannan mataki ne, sai na fara kallon tsuntsaye da sha'awa sosai. Daga nan sai suka matso kusa da ni kuma sun yi shiru sun ba da shawarar barin wurin da wuri-wuri. Cikin rashin so na fita, ina kallon tagar. Wannan shine yadda wasana na farko ya ƙare. (Gilels EG Burina ya cika!//Rayuwar kiɗa. 1986. No. 19. P. 17.).

A shekaru 13 Gilels shiga ajin Berta Mihaylovna Reingbald. A nan ya sake kunna kida mai yawa, ya koyi sababbin abubuwa da yawa - kuma ba kawai a fagen wallafe-wallafen piano ba, har ma a wasu nau'o'in: opera, symphony. Reingbald ya gabatar da saurayin zuwa da'irori na Odessa masu hankali, ya gabatar da shi ga mutane masu ban sha'awa. Ƙauna ta zo gidan wasan kwaikwayo, zuwa littattafai - Gogol, O'Henry, Dostoevsky; Rayuwar ruhaniya na matashin mawaki ya zama kowace shekara mai arziki, mai arziki, da bambanci. Wani mutum mai al'adu na ciki, daya daga cikin mafi kyawun malaman da suka yi aiki a Odessa Conservatory a cikin waɗannan shekarun, Reingbald ya taimaka wa ɗalibanta da yawa. Ta kawo shi kusa da abinda ya fi bukata. Mafi mahimmanci, ta jingina kanta gare shi da dukan zuciyarta; ba zai zama ƙari ba a ce ba kafin ko bayanta ba, Gilels ɗalibin ya hadu wannan hali ga kansa… Ya riƙe jin daɗin godiya ga Reingbald har abada.

Kuma nan da nan shahara ta zo masa. Shekara ta 1933 ta zo, an sanar da Gasar Mawaka ta Farko ta Ƙungiyar Ƙungiya ta Farko a babban birnin kasar. Tafiya zuwa Moscow, Gilels bai dogara da sa'a sosai ba. Abin da ya faru ya zo a matsayin cikakken mamaki ga kansa, ga Reingbald, ga kowa da kowa. Ɗaya daga cikin mawallafin tarihin pianist, ya dawo zuwa kwanakin da ke da nisa na Gilels na farko na gasa, ya zana hoto mai zuwa:

“Ba a lura da bayyanar wani matashi mai bakin ciki a dandalin ba. Ya tunkari piano a cikin salon kasuwanci, ya ɗaga hannuwansa, ya yi jinkiri, kuma, da taurin kai yana jan laɓɓansa, ya fara wasa. Zaure ya damu. Ya yi shiru da alama mutane sun daskare cikin rashin motsi. Idanu sun juya zuwa mataki. Kuma daga nan ne wata igiyar ruwa mai ƙarfi ta fito, tana kama masu saurare kuma ta tilasta musu yin biyayya ga mai yin. Tashin hankali ya karu. Ba shi yiwuwa a yi tsayayya da wannan karfi, kuma bayan sauti na ƙarshe na Aure na Figaro, kowa ya garzaya zuwa mataki. An karya dokokin. Masu sauraro sun yaba. Alkalin kotun ya yaba. Baƙi sun yi ta murna da juna. Dayawa sai hawaye na farin ciki a idanunsu. Kuma mutum ɗaya ne kawai ya tsaya a hankali kuma a hankali, ko da yake duk abin da ya damu da shi - shi ne mai wasan kwaikwayo da kansa. (Khentova S. Emil Gilels. - M., 1967. P. 6.).

Nasarar ta kasance cikakke kuma ba tare da sharadi ba. Halin saduwa da wani matashi daga Odessa yayi kama, kamar yadda suka fada a lokacin, alamar fashewar bam. Jaridu sun cika da hotunansa, rediyon ya yada labarinsa zuwa ko'ina cikin kasar uwa. Sannan kace: farko pianist wanda ya ci nasara farko a tarihin kasar gasar matasa masu kirkire-kirkire. Duk da haka, nasarar Gilels ba ta ƙare a nan ba. Shekaru uku sun wuce - kuma yana da kyauta ta biyu a gasar kasa da kasa a Vienna. Sannan - lambar zinare a gasar mafi wahala a Brussels (1938). A halin yanzu tsara na masu wasan kwaikwayo sun saba da yakin gwagwarmaya akai-akai, yanzu ba za ku iya mamaki da laureate regalia, lakabi, laurel wreaths na daban-daban isa yabo. Kafin yakin ya sha bamban. An yi ƙarancin gasa, nasara tana nufin ƙari.

A cikin tarihin rayuwar fitattun masu fasaha, ana nuna alama ɗaya sau da yawa, juyin halitta akai-akai a cikin kerawa, motsi mara tsayawa gaba. Hazaka na ƙananan matsayi ba dade ko ba dade an daidaita shi a wasu matakai masu mahimmanci, gwanin babban sikelin ba ya daɗe na dogon lokaci akan kowannensu. "Biography of Gilels..." da zarar ya rubuta GG Neuhaus, wanda ya kula da nazarin saurayi a Makarantar Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwallon Ƙwallon Ƙasa ta Moscow (1935-1938), "yana da ban mamaki don tsayin daka, daidaitaccen layi na girma da ci gaba. Da yawa, har ma da kwararrun Piansters sosai, sun makale a wani matsayi, abin da babu wani yanki na musamman (motsi na gaba!) The baya yana tare da Kayels. Daga shekara zuwa shekara, daga kide-kide zuwa kide-kide, ayyukansa suna bunƙasa, haɓaka, haɓakawa. (Neigauz GG The Art of Emil Gilels // Tunani, Memoirs, Diaries. P. 267.).

Wannan shi ne lamarin a farkon hanyar fasaha ta Gilels, kuma an kiyaye shi a nan gaba, har zuwa mataki na karshe na aikinsa. A kan shi, ta hanyar, wajibi ne a dakatar da musamman, don la'akari da shi daki-daki. Na farko, yana da ban sha'awa sosai a cikin kanta. Na biyu, ba a rufe shi sosai a cikin jaridu fiye da na baya. Sukar kiɗa, wanda a baya yana mai da hankali ga Gilels, a ƙarshen shekarun saba'in da farkon tamanin ba kamar ya ci gaba da juyin halittar ɗan pianist ba.

To, mene ne halayensa a wannan lokacin? Abin da ya samo watakila mafi cikakken bayaninsa a cikin kalmar ra'ayi. Mahimman bayyanannen ra'ayi na fasaha da hankali a cikin aikin da aka yi: "rubutunsa", jagorar siffa da ra'ayin waka. Mahimmancin na ciki a kan na waje, mai ma'ana akan tsarin fasaha a cikin tsarin yin kiɗa. Ba asiri ba ne cewa ra'ayi a cikin ainihin ma'anar kalmar shine abin da Goethe ya yi a zuciyarsa lokacin da ya yi iƙirarin hakan. dukan A cikin aikin fasaha an ƙaddara, a ƙarshe, ta zurfin zurfi da ƙimar ruhi na ra'ayi, wani abu mai wuyar gaske a cikin wasan kwaikwayo na kiɗa. Tsananin magana, yana da halayyar kawai na nasarorin mafi girman tsari, irin su aikin Gilels, wanda a ko'ina, daga wasan kwaikwayo na piano zuwa wani dada na daya da rabi zuwa minti biyu na sauti, mai tsanani, capacious, psychologistly condensed. ra'ayin fassara yana cikin gaba.

Da zarar Gilels ya ba da kyawawan kide-kide; wasansa ya ba da mamaki kuma ya kama shi da ikon fasaha; fadin gaskiya kayan nan a bayyane sun yi rinjaye akan na ruhaniya. Menene, ya kasance. Tarurruka masu zuwa tare da shi Ina so in danganta, a maimakon haka, zuwa wani irin zance game da kiɗa. Tattaunawa tare da maestro, wanda yake da hikima tare da gogewa mai yawa wajen yin ayyuka, an wadatar da shi ta shekaru da yawa na tunani na fasaha wanda ya zama mafi rikitarwa tsawon shekaru, wanda a ƙarshe ya ba da nauyi na musamman ga maganganunsa da hukunce-hukuncensa a matsayin mai fassara. Mai yuwuwa, tunanin mai zane ya yi nisa daga sãɓãwar launukansa da madaidaiciyar buɗe ido (shi, duk da haka, ya kasance a taƙaice a koyaushe kuma yana kame cikin wahayin tunaninsa); amma suna da iyawa, da ɗimbin ma'auni mai yawa, da ɓoye, kamar an matsa, ƙarfin ciki.

Wannan ya sa kansa ya ji a kusan kowane fitowar Gilels mai fa'ida. Amma, watakila, an ga duniyar tunanin ɗan pianist a fili a cikin Mozart. Ya bambanta da haske, alheri, wasan rashin kulawa, alheri mai ban sha'awa da sauran kayan haɗi na "style mai ban sha'awa" wanda ya zama sananne lokacin da ake fassara abubuwan da Mozart ya yi, wani abu mai mahimmanci da mahimmanci ya mamaye nau'ikan Gilels na waɗannan abubuwan. Natsuwa, amma mai saurin fahimta, tsawatar tsawatarwa mai tsawatarwa; rage jinkirin, a wasu lokatai a hankali jinkirin lokaci (wannan dabara, ta hanya, an yi amfani da ita sosai ta hanyar pianist); majestic, m, imbued da babban darajar yin halaye - a sakamakon haka, da general sautin, ba quite saba, kamar yadda suka ce, ga gargajiya fassarar: wani tunanin da m tashin hankali, electrification, ruhaniya maida hankali ... "Watakila tarihi ya yaudare mu: shi ne Mozart. da roko? - jaridu na kasashen waje sun rubuta, ba tare da wani rabo ba, bayan wasan kwaikwayo na Gilels a cikin mahaifar babban mawaki. - Wataƙila muna ba da hankali sosai ga kayayyaki, kayan ado, kayan ado da salon gyara gashi? Emil Gilels ya sa mu yi tunani game da al'adun gargajiya da na al'ada da yawa. (Schumann Karl. Jaridar Jamus ta Kudu. 1970. 31 Jan.). Lalle ne, Gilels' Mozart - ko ya zama Concertos na Piano na Ashirin da Bakwai ko Ashirin da Takwas, Sonatas na Uku ko Takwas, D-aramin Fantasy ko F-manyan bambance-bambancen akan jigo ta Paisiello (Ayyukan da aka fi nunawa akai-akai akan hoton Gilels' Mozart a cikin shekarun saba'in.) - bai tada ƙaramin haɗin gwiwa tare da ƙimar fasaha ba a la Lancre, Boucher da sauransu. Hangen dan wasan pianist na mawallafin mawallafin Requiem ya kasance daidai da abin da ya taɓa yin wahayi zuwa Auguste Rodin, marubucin sanannen zane-zane na mawallafin: irin wannan girmamawa ga ƙaddamar da Mozart, rikici da wasan kwaikwayo na Mozart, wani lokacin boyewa a baya. murmushi mai kayatarwa, b'oyayyun bakin cikin Mozart.

Irin wannan halin ruhaniya, "tonality" na ji ya kasance kusa da Gilels. Kamar kowane babba, mai fasaha mara daidaituwa, yana da ya canza launin motsin rai, wanda ya ba da siffa, canza launi na mutum-mutumi ga hotunan sautin da ya ƙirƙira. A cikin wannan canza launin, tsattsauran ra'ayi, sautunan duhu mai duhu sun ƙara zamewa sosai a cikin shekaru da yawa, tsanani da kuma namiji ya zama sananne, yana tada tunanin da ba a sani ba - idan muka ci gaba da kwatanci tare da zane-zane masu kyau - hade da ayyukan tsofaffin masanan Mutanen Espanya. masu zanen makarantun Morales, Ribalta, Ribera. , Velasquez… (Daya daga cikin masu sukar ƙasashen waje ya taɓa bayyana ra'ayin cewa "a cikin wasan pianist mutum zai iya jin wani abu koyaushe daga la grande tristezza - babban bakin ciki, kamar yadda Dante ya kira wannan jin.") Irin wannan, alal misali, Gilels na uku da na huɗu. Piano Beethoven's concertos, sonatas nasa, na sha biyu da ashirin da shida, "Pathétique" da "Appassionata", "Lunar", da Ashirin da bakwai; irin su ballads, op. 10 da Fantasia, Op. 116 Brahms, waƙoƙin kayan aiki na Schubert da Grieg, waɗanda Medtner suka buga, Rachmaninov da ƙari mai yawa. Ayyukan da suka yi tare da mai zane a cikin wani muhimmin bangare na tarihin rayuwarsa sun nuna karara a kan metamorphoses da suka faru a tsawon shekaru a cikin ra'ayin duniya na waƙar Gilels; wani lokacin sai ya zama kamar wani tunani na baƙin ciki ya faɗo a shafukansu…

Tsarin mataki na mai fasaha, salon "marigayi" Gilels, ya kuma sami canje-canje a tsawon lokaci. Bari mu juya, alal misali, zuwa tsoffin rahotanni masu mahimmanci, tuna abin da mai wasan pianist ya taɓa samu - a cikin ƙananan shekarunsa. Akwai, bisa ga shaidar waɗanda suka ji shi, "masonry na fadi da karfi gine-gine", akwai "mathematically tabbatar da karfi, karfe bugun jini", hade da "masu iko da ban mamaki matsa lamba"; akwai wasan "dan wasan piano na gaske", "hasken jin daɗi na bikin virtuoso" (G. Kogan, A. Alschwang, M. Grinberg, da dai sauransu). Sai wani abu ya zo. "karfe" yajin yatsa na Gilels ya zama ƙasa da ƙasa, an fara ɗaukar "ba zato ba tsammani" a ƙarƙashin kulawa sosai, mai zane ya matsa gaba da gaba daga piano "wasan wasa". Haka ne, kuma kalmar "jubilation" ya zama, watakila, ba shine mafi dacewa da ma'anar fasaharsa ba. Wasu bravura, virtuoso guda guda sun yi kama da Gilels anti-virtuoso – misali, Liszt ta biyu Rhapsody, ko sanannen G qananan, Op. 23, prelude ta Rachmaninov, ko Schumann's Toccata (duk wanda Emil Grigorievich ya yi sau da yawa a kan clavirabends a tsakiyar da marigayi saba'in). Ya shahara da ɗimbin ƴan wasan kide-kide, a cikin watsawa Gilels wannan waƙar ta juya ta zama maras ko da inuwa ta pianistic, pop bravado. Wasansa a nan - kamar sauran wurare - ya yi kama da launi kadan, yana da kyau a fasaha; An kame motsi da gangan, an daidaita saurin gudu - duk wannan ya ba da damar jin daɗin sautin pian, kyakkyawa da kamala.

Ƙara, hankalin jama'a a cikin shekarun saba'in da tamanin ya kasance a kan clavirabends Gilels don jinkirin, mai da hankali, zurfin abubuwan ayyukansa, zuwa kiɗan da ke cike da tunani, tunani, da falsafar nutsewa a cikin kansa. Mai sauraro ya dandana a nan watakila mafi ban sha'awa: ya a fili shigar Na ga raɗaɗi, buɗe ido, tsananin bugu na tunanin kiɗan mai yin. Mutum zai iya ganin "buga" na wannan tunanin, yana bayyana a cikin sauti da lokaci. Wani abu makamancin haka, mai yiwuwa, yana iya samun gogewa, yana bin aikin mai zane a cikin ɗakin studio ɗinsa, yana kallon mai sassaƙa yana canza shingen marmara tare da gunkinsa zuwa hoto mai faɗi. Gilels sun haɗa da masu sauraro a cikin ainihin tsarin sassaka hoton sauti, wanda ya tilasta musu su ji tare da kansu mafi mahimmanci da rikitarwa na wannan tsari. Anan ga ɗaya daga cikin mafi halayen halayen aikinsa. "Don zama ba kawai shaida ba, har ma da shiga cikin wannan biki na ban mamaki, wanda ake kira gwaninta na kirkire-kirkire, ƙwaƙƙwaran mai fasaha - menene zai iya ba mai kallo jin daɗin ruhaniya?" (Zakhava BE Ƙwararriyar ɗan wasan kwaikwayo kuma darakta. - M., 1937. P. 19.) – in ji sanannen darektan Soviet da kuma gidan wasan kwaikwayo B. Zakhava. Ko ga mai kallo, baƙon zauren wasan kwaikwayo, ba komai ɗaya ba ne? Don zama mai haɗin gwiwa a cikin bikin na Gilels 'kirkirar fahimtar juna yana nufin samun farin ciki na ruhaniya na gaske.

Kuma game da wani abu a cikin pianism na "marigayi" Gilels. Sautunan zanensa sun kasance ainihin mutunci, ƙanƙanta, haɗin kai na ciki. A lokaci guda kuma, ba zai yiwu ba a kula da dabarar, kayan ado na gaske na kayan ado na "kananan abubuwa". Gilels ya kasance sananne koyaushe don na farko ( sifofin monolithic ); a cikin na biyu ya sami babban fasaha daidai a cikin shekaru daya da rabi zuwa ashirin da suka gabata.

An bambanta abubuwan jin daɗin sa na waƙa da kwalaye ta hanyar aiki na filigree na musamman. Kowane innation an tsara shi da kyau kuma daidai, yana da kaifi sosai a gefuna, a sarari “a bayyane” ga jama'a. Mafi ƙanƙantar motsin motsi, sel, hanyoyin haɗin gwiwa - komai yana cike da bayyanawa. "Tuni yadda Gilels ya gabatar da wannan furci na farko ya isa ya sanya shi cikin manyan ƴan pian na zamaninmu," in ji ɗaya daga cikin masu sukar ƙasashen waje. Wannan yana nufin farkon kalmar ɗaya daga cikin sonatas na Mozart wanda ɗan pian ya buga a Salzburg a cikin 1970; tare da wannan dalili, mai bita zai iya komawa ga jimla a cikin kowane ɗayan ayyukan da ya bayyana a lokacin a cikin jerin da Gilels ya yi.

An san cewa kowane babban mai gabatar da kide-kide yana sa kida ta hanyarsa. Igumnov da Feinberg, Goldenweiser da Neuhaus, Oborin da Ginzburg "sun furta" rubutun kiɗa a hanyoyi daban-daban. Salon innation na Gilels mai pianist wani lokaci ana danganta shi da maganganun sa na musamman da halayyarsa: rowa da daidaito a cikin zaɓin kayan bayyanawa, salon laconic, rashin kula da kyawawan abubuwan waje; a kowace kalma - nauyi, mahimmanci, rarrabuwa, zai…

Duk wanda ya sami damar halartar wasan kwaikwayo na ƙarshe na Gilels tabbas zai tuna da su har abada. "Nazarin Symphonic" da Pieces Hudu, Op. 32 Schumann, Fantasies, Op. 116 da Brahms' Bambance-bambance akan Jigo na Paganini, Song Without Words in A Flat Major ("Duet") da Etude in A small by Mendelssohn, Five Preludes, Op. 74 da Scriabin's Sonata na uku, Beethoven's Twenty-XNUMX Sonata da Prokofiev's Uku - duk wannan ba shi yiwuwa a share shi a cikin ƙwaƙwalwar ajiyar waɗanda suka ji Emil Grigorievich a farkon shekarun tamanin.

Ba shi yiwuwa a kula, duban jerin da ke sama, cewa Gilels, duk da shekarunsa na tsakiya, ya haɗa da abubuwan da ke da wuyar gaske a cikin shirye-shiryensa - kawai Brahms' Variations suna da daraja wani abu. Ko Ashirin da Tara na Beethoven… Amma zai iya, kamar yadda suke faɗa, ya sauƙaƙa rayuwarsa ta hanyar wasa da wani abu mafi sauƙi, ba da alhakin haka ba, a zahirin gaskiya. Amma, na farko, bai taɓa sauƙaƙa wa kansa wani abu ba a cikin al'amuran halitta; ba a cikin dokokinsa ba. Na biyu kuma: Gilels ya kasance mai girman kai; a lokacin cin nasarar su - har ma fiye da haka. A gare shi, a fili, yana da mahimmanci a nuna da kuma tabbatar da cewa kyakkyawar fasaharsa ta pianistic ba ta wuce tsawon shekaru ba. Cewa ya kasance Gilels iri ɗaya kamar yadda aka san shi a baya. Ainihin, ya kasance. Kuma wasu kurakuran fasaha da gazawar da suka faru ga mai wasan pianist a cikin raguwar shekarunsa ba su canza yanayin gaba ɗaya ba.

… Fasahar Emil Grigorievich Gilels babban abu ne mai rikitarwa. Ba abin mamaki ba ne cewa wani lokaci yakan haifar da amsa iri-iri da rashin daidaituwa. (V. Sofronitsky sau ɗaya ya yi magana game da sana'arsa: kawai cewa a cikinta yana da farashin da ake jayayya - kuma ya kasance daidai.) A lokacin wasan, mamaki, wani lokacin rashin jituwa tare da wasu yanke shawara na E. Gilels [...] paradoxically ba da hanya bayan da concert zuwa zurfin gamsuwa. Komai ya fada wurinsa” (Bita na wasan kwaikwayo: 1984, Fabrairu-Maris / / Soviet music. 1984. No. 7. P. 89.). Abin lura daidai ne. Lalle ne, a ƙarshe, duk abin da ya fadi a wurin "a wurinsa" ... Domin aikin Gilels yana da iko mai girma na shawarwarin fasaha, yana da gaskiya koyaushe kuma a cikin komai. Kuma ba za a iya samun sauran fasaha na gaske ba! Bayan haka, a cikin kalmomin ban mamaki na Chekhov, “yana da kyau musamman cewa ba za ku iya yin ƙarya a ciki ba… Kuna iya yin ƙarya cikin ƙauna, a cikin siyasa, a cikin magani, kuna iya yaudarar mutane da Ubangiji Allah kansa… – amma ba za ku iya ba. yaudara a cikin art..."

G. Tsipin