Evgeny Gedeonovich Mogilevsky |

Evgeny Mogilevsky

Evgeny Gedeonovich Mogilevsky ne daga wani m iyali. Iyayensa malamai ne a Odessa Conservatory. Uwar, Serafima Leonidovna, wanda ya taba yin karatu tare da GG Neuhaus, tun daga farko ya kula da ilimin kiɗa na ɗanta. A karkashin kulawarta, ya zauna a piano a karo na farko (wannan shi ne a cikin 1952, darussa da aka gudanar a cikin ganuwar sanannen makarantar Stolyarsky) kuma ta, yana da shekaru 18, ya sauke karatu daga wannan makaranta. Mogilevsky ya ce: "An yi imanin cewa ba shi da sauƙi ga iyaye waɗanda mawaƙa ne su koya wa 'ya'yansu, kuma yara su yi karatu a ƙarƙashin kulawar danginsu." "Wataƙila haka haka. Ni kadai ban ji ba. Lokacin da na zo ajin mahaifiyata ko kuma lokacin da muke aiki a gida, akwai malami da almajiri kusa da juna - kuma ba komai. Mama ta kasance koyaushe tana neman sabon abu - dabaru, hanyoyin koyarwa. Kullum ina sha'awarta..."

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Tun 1963 Mogilevsky a Moscow. Na ɗan lokaci, rashin alheri gajere, ya yi karatu tare da GG Neuhaus; bayan mutuwarsa, tare da SG Neuhaus kuma, a ƙarshe, tare da YI Zak. "Daga Yakov Izrailevich na koyi abubuwa da yawa da na rasa a lokacin. Da yake magana a mafi girman nau'i, ya ladabtar da yanayin aiki na. Dangane da haka, wasana. Sadarwa tare da shi, ko da ba ni da sauƙi a wasu lokuta, yana da fa'ida sosai. Ban daina yin karatu tare da Yakov Izrailevich ba ko da bayan kammala karatun, na kasance a cikin aji a matsayin mataimaki.

Tun lokacin yaro, Mogilevsky ya saba da mataki - yana da shekaru tara ya buga wasa a gaban masu sauraro a karo na farko, a goma sha ɗaya ya yi tare da mawaƙa. Farkon aikinsa na fasaha ya kasance yana tunawa da irin wannan tarihin tarihin rayuwar yara, abin farin ciki, kawai farkon. Geeks yawanci "isa" na ɗan gajeren lokaci, na shekaru da yawa; Mogilevsky, akasin haka, ya sami ci gaba a kowace shekara. Kuma a lokacin da yake da shekaru goma sha tara, shahararsa a cikin da'irar kiɗa ya zama duniya. Wannan ya faru a cikin 1964, a Brussels, a gasar Sarauniya Elizabeth.

Ya sami lambar yabo ta farko a Brussels. An ci nasara a gasar da aka dade ana daukar daya daga cikin mafi wahala: a babban birnin Belgium, saboda bazuwar dalili, za ku iya. kar a dauka wurin kyauta; ba za ku iya ɗauka da gangan ba. Daga cikin masu fafatawa na fafatawa a cikin akwai 'yan wasa kadan da suka horar da Piansts, ciki har da manyan manyan masoya. Yana da wuya ya zama na farko idan an gudanar da gasa bisa ga tsarin "dabaran wa ya fi kyau". Duk abin da wannan lokacin ya yanke shawarar in ba haka ba - fara'a na gwanintarsa.

Ya. I. Zak ya taɓa faɗi game da Mogilevsky cewa akwai "yawan fara'a" a cikin wasansa (Zak Ya. In Brussels // Sov. Music. 1964. No. 9. P. 72.). GG Neuhaus, har ma ya sadu da saurayin na ɗan gajeren lokaci, ya lura cewa yana da "mafi kyau sosai, yana da kyakkyawar fara'a na ɗan adam, daidai da fasaharsa ta halitta" (Neigauz GG Tunani na juri memba // Neugauz GG Tunani, memoirs, diaries. Zaɓaɓɓun labarai. Wasiƙu ga iyaye. P. 115.). Dukansu Zach da Neuhaus sun yi magana da gaske game da abu ɗaya, ko da yake a cikin kalmomi daban-daban. Dukansu suna nufin cewa idan fara'a yana da daraja mai daraja ko da a cikin sauƙi, "kowace rana" sadarwa tsakanin mutane, to, yaya mahimmanci ga mai zane-zane - wanda ke tafiya a kan mataki, sadarwa tare da daruruwan, dubban mutane. Dukansu sun ga cewa Mogilevsky an ba shi wannan kyauta mai farin ciki (kuma rare!) daga haihuwa. Wannan "kyakkyawan sirri," kamar yadda Zach ya sanya shi, ya kawo nasarar Mogilevsky a cikin wasan kwaikwayo na yara; daga baya ya yanke shawarar makomarsa ta fasaha a Brussels. Har yanzu yana jan hankalin mutane zuwa shagali nasa har yau.

(Tun da farko, fiye da sau ɗaya an faɗi game da abin da ke tattare da wasan kwaikwayo da wasan kwaikwayo tare. "Shin kun san irin waɗannan 'yan wasan kwaikwayo waɗanda kawai dole ne su bayyana a kan mataki, kuma masu sauraro sun riga sun ƙaunace su?" KS Stanislavsky ya rubuta. Don me?. Don waccan kadarorin da muke kira fara'a. Wannan ita ce sha'awar ɗan wasan da ba za a iya misalta shi ba, wanda ko da lahani ya juya ya zama kyawawan halaye… ” (Stanislavsky KS Yi aiki da kansa a cikin tsarin ƙirƙirar jiki // Ayyukan da aka tattara - M., 1955. T. 3. S. 234.))

Ƙaunar Mogilevsky a matsayin mai yin kide kide da wake-wake, idan muka bar "marasa fahimta" da "marasa bayani", ya riga ya kasance a cikin hanyar da ya dace: taushi, mai ban sha'awa; Ƙorafe-ƙorafe-ƙorafe-ƙorafe-ƙorafe-ƙorafe-ƙorafe-ƙorafe-ƙorafe-ƙorafe-ƙorafe-ƙorafe-ƙorafe-ƙorafe-ƙorafe-ƙorafe-ƙorafe-ƙorafe-ƙora-ƙora-ƙorafe Misalai sun haɗa da wasan kwaikwayon Mogilevsky na farkon Chopin's Fourth Ballade, jigon waƙa daga motsi na uku na Schumann's Fantasy a C babba, wanda kuma yana cikin nasarorinsa; wanda zai iya tunawa da yawa a cikin Sonata na biyu da na uku Concerto na Rachmaninov, a cikin ayyukan Tchaikovsky, Scriabin da sauran marubuta. Muryarsa ta piano ita ma tana da ban sha'awa - sauti mai daɗi, wani lokaci mai ban sha'awa, kamar na ɗan wasan opera - muryar da alama tana lulluɓe da ni'ima, dumi, ƙamshi mai ƙamshi. (Wani lokaci, wani abu mai laushi, mai kamshi, mai kauri mai kauri a launi - da alama yana cikin zanen sauti na Mogilevsky, shin wannan ba fara'a ta musamman ba ce?)

A ƙarshe, salon wasan kwaikwayo na mai zane yana da ban sha'awa, yadda yake nunawa a gaban mutane: bayyanarsa a kan mataki, yana nunawa a lokacin wasan, motsin rai. A cikinsa, a cikin dukkan bayyanarsa a bayan kayan aiki, akwai nau'i na ciki da kuma kiwo mai kyau, wanda ke haifar da rashin son rai zuwa gare shi. Mogilevsky a kan clavirabends ba kawai jin daɗin sauraronsa ba ne, yana da daɗin kallonsa.

Mai zane yana da kyau musamman a cikin repertoire na soyayya. Ya dade da samun karbuwa ga kansa a irin wadannan ayyuka kamar su Schumann's Kreisleriana da F kaifi qananan novelta, Liszt's sonata a B qananan, etudes da Petrarch's Sonnets, Fantasia da Fugue kan jigogin wasan opera na Liszt Annabi - Busoni, impromptu da “Musical Motsin Motsa jiki na Schubert ”, sonatas da Chopin's Na Biyu Piano Concerto. A cikin wannan waƙar ne aka fi ganin tasirinsa ga masu sauraro, yanayin maganan sa, ƙarfinsa na ban mamaki. harba abubuwan da suka samu na wasu. Yana faruwa cewa wani lokaci ya wuce bayan taron na gaba tare da dan wasan pianist kuma kun fara tunani: shin babu haske a cikin maganganun matakinsa fiye da zurfin? Fiye da fara'a na sha'awa fiye da abin da aka fahimta a cikin kiɗa kamar falsafanci, zurfafa ruhaniya, nutsewa cikin kai? .. Abin sha'awa ne kawai cewa duk waɗannan la'akari sun zo a hankali daga bayalokacin da Mogilevsky conchaet wasa.

Yana da wuya a gare shi tare da classic. Mogilevsky, da zarar sun yi magana da shi a kan wannan batu a baya, yawanci ya amsa cewa Bach, Scarlatti, Hynd, Mozart ba "marubutansa" ba ne. (A cikin 'yan shekarun nan, duk da haka, halin da ake ciki ya ɗan canza - amma fiye da haka daga baya.) Waɗannan su ne, a fili, abubuwan da ke cikin "psychology" na pianist: ya fi sauƙi a gare shi. bude a cikin kiɗan bayan Beethoven. Duk da haka, wani abu kuma yana da mahimmanci - halayen mutum na fasaha na aikinsa.

Batun ƙasa shine cewa a cikin Mogilevsky koyaushe yana bayyana kansa daga mafi fa'ida daidai a cikin repertoire na romantic. Don kayan ado na hoto, "launi" ya mamaye shi a kan zane, wuri mai launi - a kan madaidaicin zane, bugun sauti mai kauri - a kan busassun busassun ƙafa. Babban yana da fifiko a kan ƙananan ƙananan, mawallafin "janar" - a kan musamman, daki-daki, kayan ado na kayan ado.

Ya faru cewa a cikin wasan kwaikwayo na Mogilevsky mutum zai iya jin wasu zane-zane, alal misali, a cikin fassararsa na preludes na Chopin, etudes, da dai sauransu. Ƙaƙwalwar sauti na pianist suna da alama a wasu lokuta (Ravel's "Night Gaspar", Scriabin's miniatures, Debussy's "Images). "," Hotuna a wani nuni "Mussorgsky, da dai sauransu) - kamar yadda ake iya gani a cikin zane-zane na masu zane-zane. Babu shakka, a cikin kiɗa na wani nau'i - wanda, da farko, wanda aka haife shi ta hanyar motsa jiki ba tare da bata lokaci ba - wannan fasaha yana da kyau kuma yana da tasiri a hanyarta. Amma ba a cikin litattafan gargajiya ba, ba a cikin ingantaccen sautin sauti na ƙarni na XNUMX ba.

Mogilevsky bai daina aiki a yau a kan "kammala" basirarsa. Hakanan ana jin wannan cewa yana wasa - menene marubuta da ayyukan da yake nufi - don haka, as Ya dubi yanzu a kan dandalin wasan kwaikwayo. Yana da alama cewa da yawa daga cikin sonatas na Haydn da na Mozart na piano da aka sake koyan sun bayyana a cikin shirye-shiryensa na tsakiyar da ƙarshen tamanin; ya shiga cikin waɗannan shirye-shiryen kuma ya kafu sosai a cikinsu irin su "Elegy" da "Tambourine" na Rameau-Godowsky, "Giga" na Lully-Godowsky. Kuma gaba. Ƙungiyoyin Beethoven sun fara ƙara sauti da yawa a maraicensa - wasan kwaikwayo na piano (duka biyar), 33 bambancin Waltz na Diabelli, Ashirin da tara, Talatin da biyu da wasu sonatas, Fantasia don piano, mawaƙa da makada, da dai sauransu. Tabbas, yana ba da sanin abubuwan jan hankali ga al'adun gargajiya waɗanda ke zuwa tare da shekaru zuwa kowane mawaƙa mai mahimmanci. Amma ba kawai. Evgeny Gedeonovich ta m sha'awar inganta, inganta "fasaha" na wasan kuma yana da tasiri. Kuma classic a cikin wannan yanayin ba makawa bane…

Mogilevsky ya ce: “A yau ina fuskantar matsalolin da ban mai da hankali sosai a lokacin ƙuruciyata ba. Sanin a general sharuddan m biography na pianist, ba wuya a gane abin da ke boye a bayan wadannan kalmomi. Gaskiyar ita ce, shi, mutum mai karimci, ya buga kayan aiki tun yana yaro ba tare da ƙoƙari sosai ba; yana da bangarorinsa masu kyau da marasa kyau. Korau – saboda akwai nasarori a cikin fasaha waɗanda ke samun ƙima kawai sakamakon taurin kai da mai zane ya yi na “juriya na kayan.” Tchaikovsky ya ce sa'ar kirkire-kirkire sau da yawa dole ne a "yi aiki". Haka kuma, a cikin sana'ar mawaƙa.

Mogilevsky yana buƙatar haɓaka dabarun wasansa, don cimma mafi girman dabara na kayan ado na waje, haɓakawa a cikin haɓaka cikakkun bayanai, ba kawai don samun damar yin amfani da wasu ƙwararrun ƙwararrun litattafai ba - Scarlatti, Haydn ko Mozart. Wannan kuma yana buƙatar waƙar da ya saba yi. Ko da ya yi, ba shakka, ya yi nasara sosai, kamar misali, Medtner's E small sonata, ko Bartok's sonata (1926), Liszt's First Concerto ko Prokofiev's Na biyu. Mawaƙin pianist ya san-kuma a yau mafi kyau fiye da kowane lokaci-cewa duk wanda yake so ya tashi sama da matakin "mai kyau" ko ma "mai kyau" wasa ana buƙatar kwanakin nan don samun ƙwarewar wasan kwaikwayo na filigree. Wannan shine kawai abin da kawai za a iya "azabtarwa".

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A shekarar 1987, wani abu mai ban sha'awa ya faru a cikin rayuwar Mogilevsky. An gayyace shi a matsayin memba na alkalai a gasar Sarauniya Elizabeth da aka yi a Brussels - daidai lokacin da ya taba lashe lambar zinare shekaru 27 da suka wuce. Ya tuna da yawa, ya yi tunani mai yawa lokacin da yake kan teburin ɗan juri - da kuma hanyar da ya bi tun 1964, game da abin da aka yi, da aka samu a wannan lokacin, da kuma abin da ba a yi ba tukuna. ba a aiwatar da shi gwargwadon yadda kuke so ba. Irin waɗannan tunanin, waɗanda wasu lokuta suke da wuyar ƙirƙira da ƙira daidai, koyaushe suna da mahimmanci ga masu aikin ƙirƙira: kawo rashin natsuwa da damuwa a cikin rai, suna kamar abubuwan da ke ƙarfafa su don ci gaba.

A Brussels, Mogilevsky ya ji yawancin matasa pianists daga ko'ina cikin duniya. Don haka ya sami, kamar yadda ya ce, wani ra'ayi na wasu halayen halayen halayen piano na zamani. Musamman a gare shi cewa layin anti-romantic yanzu ya mamaye mafi karara.

A ƙarshen XNUMXs, akwai wasu abubuwan fasaha masu ban sha'awa da tarurruka na Mogilev; akwai abubuwan ban sha'awa na kida da yawa waɗanda ko ta yaya suka yi tasiri a kansa, sun burge shi, sun bar wata alama a cikin ƙwaƙwalwarsa. Alal misali, ba ya gajiya da raba ra'ayoyi masu ɗorewa daga kide-kiden Evgeny Kissin. Kuma ana iya fahimta: a cikin fasaha, wani lokacin babba zai iya zana, koya daga yaro ba kasa da yaro daga babba ba. Kissin gabaɗaya yana burge Mogilevsky. Wataƙila ya ji a cikinsa wani abu mai kama da kansa - a kowane hali, idan muka tuna lokacin da shi da kansa ya fara aikinsa na mataki. Yevgeny Gedeonovich yana son wasan piano na matashin saboda ya saba wa "tsarin soyayya" da ya lura a Brussels.

...Mogilevsky ƙwararren ɗan wasan kide-kide ne. Jama'a sun kasance suna son sa, tun daga matakin farko da ya dauka a kan dandalin. Muna son shi don basirarsa, wanda, duk da duk canje-canje a cikin abubuwan da suka faru, salo, dandano da salon zamani, ya kasance kuma zai kasance darajar "lambar daya" a cikin fasaha. Ana iya cimma komai, a samu, “karbtar da su” sai dai hakkin a ce da shi Talent. ("Kuna iya koyar da yadda ake ƙara mita, amma ba za ku iya koyon yadda ake ƙara kwatance ba," in ji Aristotle.) Mogilevsky, duk da haka, ba ya shakkar wannan haƙƙin.

G. Tsipin