Evgeny Igorevich Kissin |

Evgeny Kissin

Jama'a na farko sun koyi game da Evgeny Kisin a 1984, lokacin da ya taka leda tare da ƙungiyar makaɗa da Dm. Kitayenko biyu kide kide kide kide na piano na Chopin. Wannan taron ya faru a cikin Babban Hall na Conservatory na Moscow kuma ya haifar da ainihin abin mamaki. Nan da nan aka yi magana da wannan matashin mai wasan pian mai shekaru goma sha uku, wanda kuma dalibi ne a aji shida na makarantar sakandare ta musamman ta Gnessin a matsayin abin al'ajabi. Bugu da ƙari, ba wai kawai masu son kiɗa da ƙwararru ba sun yi magana, amma har ma masu sana'a. Tabbas, abin da wannan yaron ya yi a piano ya kasance kamar abin al'ajabi ...

An haifi Zhenya a shekara ta 1971, a birnin Moscow, a cikin iyali da za a iya cewa rabin kida ne. (Mahaifiyarsa malamin makarantar kiɗa ce a cikin aji na piano; 'yar uwarsa, kuma mai wasan pian, ta taɓa yin karatu a Makarantar Kiɗa ta Tsakiya a Conservatory.) Da farko, an yanke shawarar sake shi daga darussan kiɗa - isa, in ji su. , yaro daya bai yi yarinta na yau da kullun ba, bari ya zama akalla na biyu. Mahaifin yaron injiniya ne, me zai hana shi a karshe ya bi hanya daya? … Duk da haka, ya faru daban-daban. Ko da yana jariri, Zhenya yana iya sauraron wasan 'yar uwarsa na sa'o'i ba tare da tsayawa ba. Daga nan sai ya fara rera waƙa - daidai kuma a sarari - duk abin da ya zo kunnensa, ko dai Bach's fugues ko Rondo na Beethoven na "Fury over a Lost Penny." Yana da shekaru uku, ya fara inganta wani abu, yana ɗaukar waƙoƙin da yake so akan piano. A cikin wata kalma, ya bayyana sarai cewa ba zai yiwu a koya masa kiɗa ba. Kuma cewa ba a kaddara ya zama injiniya ba.

Yaron yana ɗan shekara shida ne aka kawo shi AP Kantor, sanannen malamin Muscovites na makarantar Gnessin. Anna Pavlovna ta ce: “Daga taronmu na farko, ya fara ba ni mamaki don ya ba ni mamaki a kowane darasi. Maganar gaskiya, wani lokaci ma a yau ba ya daina ba ni mamaki, duk da cewa shekaru da yawa sun shude tun ranar da muka hadu. Yadda ya inganta a keyboard! Ba zan iya gaya muku game da shi, dole in ji shi ... Har yanzu ina tuna yadda ya yardar da kuma ta halitta "tafiya" ta cikin mafi bambancin maɓallai (kuma wannan ba tare da sanin wani ka'idar, kowace dokoki!), Kuma a ƙarshe zai yi. tabbas komawa zuwa tonic. Kuma komai ya fito daga gare shi cikin jituwa, ma'ana, kyakkyawa! An haifi kiɗa a kansa da ƙarƙashin yatsunsa, ko da yaushe na ɗan lokaci; wani dalili nan da nan aka maye gurbinsu da wani. Duk yadda na ce ya maimaita abin da ya buga, ya ki. "Amma ban tuna ba..." Nan da nan ya fara tunanin wani sabon abu.

Na sami dalibai da yawa a cikin shekaru arba'in na koyarwa. Yawancin. Ciki har da ƙwararrun ƙwararrun gaske, kamar, alal misali, N. Demidenko ko A. Batagov (yanzu sun kasance sanannun ƴan wasan pian, masu cin gasa). Amma ban taba haduwa da wani abu kamar Zhenya Kisin ba. Ba wai yana da babban kunne ga kiɗa ba; bayan haka, ba haka ba ne. Babban abu shi ne yadda rayayye wannan jita-jita ke bayyana kanta! Nawa fantasy, m almara, tunanin yaron yana da!

… Nan da nan tambayar ta taso a gabana: yadda ake koyar da ita? Ingantawa, zaɓi ta kunne - duk wannan yana da ban mamaki. Amma kuna buƙatar sanin ilimin kiɗan kiɗa, da abin da muke kira ƙungiyar ƙwararrun wasan. Wajibi ne a mallaki wasu fasaha da iyawa na yin zalla – kuma a mallake su yadda ya kamata… Dole ne in ce ba na jure son sha'awa da jahilci a cikin aji na; a gare ni, pianism yana da nasa kayan ado, kuma abin so ne a gare ni.

A cikin kalma, ban so, kuma ba zan iya ba, aƙalla wani abu a kan tushen ƙwararrun ilimi. Amma kuma ba shi yiwuwa a “bushe” azuzuwan… “

Dole ne a yarda cewa AP Kantor ya fuskanci matsaloli masu wuyar gaske. Duk wanda ya yi mu'amala da ilimin kida ya san: yawan ƙwararrun ɗalibin, mafi wahala (kuma ba sauƙi ba, kamar yadda aka yi imani da shi) malami. Ƙarin sassauci da hazaka dole ne ku nuna a cikin aji. Wannan yana ƙarƙashin yanayi na yau da kullun, tare da ɗalibai masu hazaka na yau da kullun ko žasa. Kuma a nan? Yadda ake gina darussa irin wannan yaro? Wane salon aiki ya kamata ku bi? Yadda ake sadarwa? Menene saurin koyo? A kan wane tushe aka zaba repertoire? Sikeli, motsa jiki na musamman, da dai sauransu - yadda za a magance su? Duk waɗannan tambayoyin AP Kantor, duk da gogewar da ta yi na koyarwa na shekaru, dole ne a sake warware su gaba ɗaya. Babu wasu abubuwan da suka gabata a cikin wannan harka. Ilimin koyarwa bai taba yi mata irin wannan matakin ba. Kerawakamar wannan lokacin.

"A cikin babban farin ciki na, Zhenya ta ƙware duk "fasaha" na wasan piano nan take. Bayanan kiɗa, ƙungiyar metro-rhythmic na kiɗa, ƙwarewar pianistic na asali da iyawa - duk wannan an ba shi ba tare da ƙaramar wahala ba. Kamar ya riga ya sani sau ɗaya kuma yanzu kawai ya tuna. Na koyi karatun kiɗa da sauri. Sa'an nan kuma ya ci gaba - kuma a wane taki!

A karshen shekarar farko ta karatu, Kissin ya buga kusan dukkanin "Albam din Yara" na Tchaikovsky, Sonatas Light Haydn, abubuwan kirkiro na kashi uku na Bach. A cikin aji na uku, shirye-shiryensa sun haɗa da fugues uku da huɗu na Bach, sonatas Mozart, Chopin's mazurkas; bayan shekara guda - Bach's E-minor toccata, Moszkowski's etudes, Beethoven's sonatas, Chopin's F-minor piano concerto Gaba damar da ke cikin shekarun yaron; yana "gudu gaba" a cikin wannan ko irin wannan aiki. Zhenya Kissin, wanda ya kasance babban misali na bajintar yara, a kowace shekara yana daɗa sani kuma yana barin takwarorinsa cikin sauri. Kuma ba kawai dangane da ƙwarewar fasaha na ayyukan da aka yi ba. Ya riski sauran takwarorinsa cikin zurfin shiga cikin waka, cikin sigar siffa da waka, asalinta. Wannan, duk da haka, za a tattauna daga baya.

An riga an san shi a cikin da'irar kiɗa na Moscow. Ko ta yaya, lokacin da yake ɗalibi na biyar, an yanke shawarar shirya wasan kwaikwayo na solo - dukansu suna da amfani ga yaron kuma suna da ban sha'awa ga wasu. Yana da wuya a faɗi yadda wannan ya zama sananne a wajen makarantar Gnessin - ban da takarda guda ɗaya, ƙarami, da aka rubuta da hannu, babu wasu sanarwar game da taron mai zuwa. Duk da haka, da farkon maraice, makarantar Gnessin ta cika makil da mutane. Mutane sun yi cunkoso a kan tituna, suka tsaya a wani katangar katanga a cikin tituna, suka hau kan tebura da kujeru, suna cunkushe a kan tagogin… ", Chopin's mazurkas da yawa, "Sadakarwa" Schumann-List. Chopin's Concerto a cikin ƙaramin F an yi shi a kashi na biyu. (Anna Pavlovna ta tuna cewa a lokacin tsaka-tsakin Zhenya ya ci gaba da ci nasara da ita tare da tambaya: "To, a yaushe ne kashi na biyu zai fara! To, yaushe za a yi kararrawa! . )

Nasarar maraice ta kasance babba. Kuma bayan wani lokaci, wannan haɗin gwiwa tare da D. Kitaenko a cikin BZK (wasan kwaikwayo na piano guda biyu na Chopin), wanda aka riga aka ambata a sama, ya biyo baya. Zhenya Kissin ta zama shahararriyar…

Ta yaya ya burge jama'ar birni? Wani ɓangare na shi - ta ainihin gaskiyar aikin hadaddun, a fili "ba yara" ayyuka. Wannan matashin bakin ciki, mai rauni, kusan yaro, wanda ya riga ya taɓa bayyanarsa a kan mataki - tare da ilhama ta mayar da kansa, buɗe ido, ware daga duk wani abu na duniya… cewa shi ne kawai ba zai yiwu ba a yaba. Tare da mafi wahala da ɓangarori na “masu hankali” na pianistically, ya jimre da yardar kaina, ba tare da ƙoƙarce-ƙoƙarce ba - ba tare da wahala ba a zahiri da ma'anar kalmar.

Duk da haka, masana sun ba da hankali ba kawai ba, kuma ba haka ba har ma da wannan. Sun yi mamakin ganin cewa an ba yaron ya shiga cikin wuraren da aka keɓe da kuma wuraren asirce na kaɗe-kaɗe, cikin tsarkakakkun wurare masu tsarki; mun ga cewa wannan ɗan makaranta yana iya ji - da kuma isar da shi a cikin wasan kwaikwayonsa - abu mafi mahimmanci a cikin kiɗa: shi basirar fasaha, kowane ma'anar magana… Lokacin da Kissin ya buga kide-kiden Chopin tare da mawakan Kitayenko, kamar dai kansa Chopin, mai rai kuma ingantacce ga mafi ƙanƙanta siffofinsa, shine Chopin, kuma ba wani abu ba ko ƙasa da shi, kamar yadda yakan faru. Kuma wannan ya kasance mafi ban mamaki domin a lokacin da shekaru goma sha uku fahimta irin Abubuwan al'ajabi a cikin fasaha suna da alama sun fara bayyana a fili… Akwai kalma a cikin kimiyya - “tsammani”, ma'ana jira, tsinkayar wani abu da mutum ya yi akan abin da ba ya nan a cikin kwarewar rayuwarsa ta sirri. ("Mawallafin mawaƙi na gaskiya, Goethe ya yi imani, yana da ilimin halitta na rayuwa, kuma don kwatanta shi baya buƙatar kwarewa ko kayan aiki mai mahimmanci ..." (Tattaunawar Eckerman tare da Goethe a cikin shekarun ƙarshe na rayuwarsa. - M., 1981) (S. 112).. Kissin kusan daga farkon ya san, yana jin a cikin kiɗan wani abu wanda, idan aka yi la'akari da shekarunsa, ba shakka "bai kamata" ya sani ba kuma ya ji. Akwai wani abu mai ban mamaki, mai ban mamaki game da shi; Wasu daga cikin masu sauraron, bayan sun ziyarci wasan kwaikwayo na matashin pianist, sun yarda cewa wasu lokuta ma suna jin rashin jin daɗi…

Kuma, mafi ban mamaki, fahimtar kiɗan - a cikin babba ba tare da taimakon kowa ko jagora ba. Babu shakka, malaminsa, AP Kantor, kwararre ne; Kuma ba za a iya kima da cancantar ta a cikin wannan harka ba: ta sami damar zama ba kawai ƙwararrun mashawarci ga Zhenya ba, har ma da kyakkyawar aboki da mai ba da shawara. Duk da haka, abin da ya sanya wasansa musamman a haqiqanin kalmar, ita ma ta kasa faďa. Ba ita ba, ba kowa ba. Kawai hankalinsa mai ban mamaki.

…Wasu da yawa sun biyo bayan wasan kwaikwayo mai ban sha'awa a BZK. A cikin watan Mayu na shekarar 1984, Kissin ya buga wani kade-kade na wake-wake a cikin karamin zauren Conservatory; shirin ya ƙunshi, musamman, Chopin's F-minor fantasy. Bari mu tuna a cikin wannan haɗin gwiwa cewa fantasy yana ɗaya daga cikin ayyuka mafi wahala a cikin repertore na masu pian. Kuma ba kawai a cikin sharuddan virtuoso-fasaha - yana tafiya ba tare da faɗi ba; abun da ke ciki yana da wahala saboda zane-zane na zane-zane, tsarin tsarin ra'ayoyin wakoki, bambancin ra'ayi, da rikice-rikice masu rikice-rikice. Kissin ya yi tunanin Chopin tare da lallashi ɗaya kamar yadda ya yi komai. Yana da ban sha'awa a lura cewa ya koyi wannan aikin a cikin ɗan gajeren lokaci mai ban mamaki: kawai makonni uku sun wuce daga farkon aikin a kan shi zuwa farkon a cikin zauren wasan kwaikwayo. Watakila, dole ne mutum ya zama mawaƙi, mai fasaha ko malami don ya fahimci wannan gaskiyar.

Waɗanda suka tuna farkon ayyukan Kissin za su yarda a fili cewa sabo da cikar ji sun ba shi cin hanci. Na yi sha'awar wannan ikhlasi na ƙwarewar kiɗan, tsantsar tsafta da butulci, waɗanda ake samun (har ma da yawa) a tsakanin ƴan wasan fasaha. Kowane yanki na kiɗa Kissin ya yi shi kamar dai shi ne mafi ƙaunataccen kuma ƙaunataccen a gare shi - mai yiwuwa, ya kasance haka ... : daidai a zahiri, “daidai”, sauti na fasaha. Kusa da Kissin, da yawa daga cikin 'yan pian, ba tare da masu iko ba, ba zato ba tsammani sun fara zama kamar masu ban sha'awa, marasa hankali, marasa launi - kamar dai na sakandare a cikin fasaharsu… Abin da ya san da gaske, ba kamar su ba, shine cire ɓangarorin tambari daga kyau- sanannun sauti canvases; kuma waɗannan zane-zane sun fara haskakawa da kyalkyali, launukan kida masu tsafta. Ayyuka da suka saba da masu sauraro sun zama kusan wanda ba a sani ba; abin da aka ji sau dubu ya zama sabo, kamar ba a ji shi a baya ba…

Irin wannan Kissin ya kasance a tsakiyar shekarun tamanin, irin wannan shine, a ka'ida, a yau. Ko da yake, ba shakka, a cikin 'yan shekarun nan ya canza a hankali, balagagge. Yanzu wannan ba yaro ba ne, saurayi ne a cikin shekarunsa, a kan gab da balaga.

Kasancewa koyaushe kuma a cikin komai na musamman, Kissin a lokaci guda an keɓe shi sosai don kayan aikin. Kar a taɓa ketare iyakokin awo da dandano. Yana da wuya a ce ina sakamakon kokarin Anna Pavlovna na ilmantarwa, kuma a ina ne bayyanar ilhami na fasaha na kansa marar kuskure. Ko ta yaya, gaskiyar ta kasance: an yi girma da kyau. Bayyanawa - bayyanawa, sha'awa - sha'awa, amma yanayin wasan ba inda ya ketare iyakoki a gare shi, wanda ya wuce abin da "motsi" zai iya farawa ... Yana da ban sha'awa: ƙaddara kamar ya kula da shading wannan yanayin bayyanarsa. Tare da shi, na ɗan lokaci, wani abin mamaki mai haske na halitta basira ya kasance a kan wasan kwaikwayo mataki - matasa Polina Osetinskaya. Kamar Kissin, ita ma ta kasance a tsakiyar kulawar kwararru da sauran jama'a; sun yi ta hirarsu sosai da shi, suna kwatanta su ta wata hanya, sun zana kamanceceniya da kwatance. Sai hirar irin wannan ta ta yaya suka tsaya da kansu, suka bushe. An tabbatar da (a karo na goma sha biyu!) cewa amincewa a cikin ƙwararrun da'irori yana buƙatar, kuma tare da kowane nau'i, kiyaye ka'idodin dandano mai kyau a cikin fasaha. Yana buƙatar ikon da kyau, mutunci, nuna hali daidai a kan mataki. Kissin ya kasance mara kyau a wannan bangaren. Shi ya sa ya kasance baya gasa a tsakanin takwarorinsa.

Ya jure wani gwaji, ba karamin wahala da alhaki ba. Bai taɓa ba da dalilin zagin kansa don nuna kansa ba, don yawan kula da kansa, wanda ƙwararrun matasa sukan yi zunubi. Bugu da ƙari, sun fi so ga jama'a… "Lokacin da kuka hau matakan fasaha, kada ku yi ƙwanƙwasa da dugadugan ku," in ji fitacciyar 'yar wasan Soviet O. Androvskaya sau ɗaya a hankali. Ba a taɓa jin “ƙwan sheqa” na Kissin ba. Domin ya buga “ba kansa” ba, amma Mawallafin. Bugu da ƙari, wannan ba zai zama abin mamaki ba musamman idan ba don shekarunsa ba.

… Kissin ya fara aikinsa na mataki, kamar yadda suka ce, tare da Chopin. Kuma ba kwatsam ba, ba shakka. Yana da kyauta don soyayya; ya fi a bayyane. Mutum zai iya tunawa, alal misali, Chopin's mazurkas da shi ya yi - suna da taushi, masu kamshi da ƙamshi kamar furanni. Ayyukan Schumann (Arabesques, C manyan fantasy, Symphonic etudes), Liszt (rhapsodies, etudes, da dai sauransu), Schubert (sonata a cikin ƙananan C) suna kusa da Kissin daidai. Duk abin da yake yi a piano, yana fassara romantics, yawanci yana kama da dabi'a, kamar numfashi da numfashi.

Duk da haka, AP Kantor ta gamsu cewa aikin Kissin, bisa manufa, ya fi fadi kuma ya fi yawa. A cikin tabbatarwa, ta ba shi damar gwada kansa a cikin mafi yawan yadudduka na pianistic repertoire. Ya buga da yawa ayyuka da Mozart, a cikin 'yan shekarun nan ya sau da yawa yi da music Shostakovich (First Piano Concerto), Prokofiev (Na uku Piano Concerto, shida Sonata, "Fleeting", raba lambobi daga suite "Romeo da Juliet"). Rasha classics sun tabbatar da kansu a cikin shirye-shiryensa - Rachmaninov (Na biyu Piano Concerto, preludes, etudes-pictures), Scriabin (Sonata na uku, preludes, etudes, wasan kwaikwayo "Fragility", "Waƙar waƙa", "Dance na Longing"). . Kuma a nan, a cikin wannan labarin, Kisin ya kasance Kisin - faɗi Gaskiya kuma ba komai ba sai Gaskiya. Kuma a nan yana ba da wasiƙar ba kawai ba, amma ainihin ruhun kiɗa. Duk da haka, wanda ba zai iya lura da cewa ba 'yan pianists ba a yanzu suna " jimre wa ayyukan Rachmaninov ko Prokofiev; a kowane hali, babban aikin waɗannan ayyukan ba shi da wuyar gaske. Wani abu shine Schumann ko Chopin… "Chopinists" kwanakin nan ana iya ƙidaya su a kan yatsunsu. Kuma da yawan sautin kidan mawaƙin a cikin ɗakunan kide-kide, hakan yana ƙara ɗaukar ido. Yana yiwuwa cewa wannan shi ne dalilin da ya sa Kissin ya jawo irin wannan tausayi daga jama'a, da kuma shirye-shiryensa daga ayyukan romantics sun gamu da irin wannan sha'awar.

Tun daga tsakiyar tamanin, Kissin ya fara tafiya zuwa ƙasashen waje. Ya zuwa yau, ya riga ya ziyarci, kuma fiye da sau ɗaya, a Ingila, Italiya, Spain, Austria, Japan, da kuma wasu ƙasashe. An gane shi kuma ana ƙaunarsa a waje; gayyata zuwa yawon bude ido a yanzu suna zuwa gare shi da yawan karuwa; mai yiwuwa, da ya fi yarda idan ba don karatunsa ba.

Ƙasashen waje, da kuma a gida, Kissin yakan ba da kide-kide tare da V. Spivakov da mawaƙansa. Spivakov, dole ne mu ba shi hakkinsa, gabaɗaya yana taka rawar gani a cikin makomar yaron; ya yi kuma ya ci gaba da yi masa yawa da kansa, don sana'ar sa.

A lokacin daya daga cikin yawon shakatawa, a watan Agusta 1988, a Salzburg, Kissin aka gabatar da Herbert Karajan. Sun ce maestro dan shekara tamanin ya kasa hana hawaye sa’ad da ya fara jin saurayin yana wasa. Nan take ya gayyace shi su yi magana tare. Hakika, bayan 'yan watanni, a ranar 30 ga Disamba na wannan shekarar, Kissin da Herbert Karaja sun buga kade-kade na Piano na farko na Tchaikovsky a yammacin Berlin. Talabijin ya watsa wannan wasan kwaikwayon a cikin Jamus. Washegari da yamma, a jajibirin sabuwar shekara, an maimaita wasan kwaikwayon; A wannan lokacin watsa shirye-shiryen ya tafi yawancin ƙasashen Turai da Amurka. Bayan 'yan watanni, Kissin da Karayan suka yi wasan kwaikwayo a gidan talabijin na tsakiya.

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Valery Bryusov ya taɓa cewa: “... Ƙwararren waƙa yana ba da yawa lokacin da aka haɗa shi da dandano mai kyau da kuma jagorancin tunani mai ƙarfi. Domin ƙirƙira fasaha don samun nasara mai girma, zurfin tunani mai zurfi ya zama dole a gare shi. Al’adun hankali ne kawai ke sa al’adun ruhi ya yiwu.” (Marubuta na Rasha game da aikin adabi. – L., 1956. S. 332.).

Kissin ba kawai yana jin ƙarfi da haske a cikin fasaha ba; mutum ya fahimci duka hankali mai neman ilimi da kuma baiwar ruhi mai fadi - “hankali”, bisa ga kalmomin masana ilimin halin dan Adam na Yamma. Yana son littattafai, ya san waƙa sosai; dangi sun shaida cewa zai iya karanta dukan shafuka da zuciya daga Pushkin, Lermontov, Blok, Mayakovsky. Kullum karatu a makaranta ake ba shi ba tare da wahala ba, duk da cewa a wasu lokutan yakan yi hutu sosai a karatunsa. Yana da abin sha'awa - dara.

Yana da wuya mutanen waje su yi magana da shi. Shi laconic - "shiru", kamar yadda Anna Pavlovna ya ce. Duk da haka, a cikin wannan "mutumin shiru", a fili, akwai aiki na ciki akai-akai, marar katsewa, mai tsanani da kuma hadaddun aiki na ciki. Mafi kyawun tabbacin wannan shine wasansa.

Yana da wuya a yi tunanin irin wahalar da Kissin zai yi a nan gaba. Bayan haka, "application" da ya yi - kuma wanda! – dole ne a barata. Kazalika fatan jama'a, wanda ya karbe matashin mawakin, ya yi imani da shi. Daga ba kowa, tabbas, suna tsammanin abubuwa da yawa a yau kamar daga Kisin. Ba shi yiwuwa ya ci gaba da zama kamar yadda yake a shekaru biyu ko uku da suka wuce - ko ma a matakin da ake ciki yanzu. Ee, a zahiri ba zai yiwu ba. Anan “ko dai – ko”… Yana nufin cewa ba shi da wata hanya sai don ci gaba, koyaushe yana haɓaka kansa, tare da kowane sabon yanayi, sabon shiri.

Bugu da ƙari, ta hanyar, Kissin yana da matsalolin da ke buƙatar magance. Akwai wani abu da za a yi aiki a kai, wani abu don "yawaita". Komai yawan jin daɗin wasan nasa, bayan ka kalle shi da kyau, za ka fara bambance wasu gazawa, gazawa, kwalabe. Alal misali, Kissin ba shi da ma'ana mai kula da aikin nasa: a kan mataki, wani lokacin ba da son rai ya yi sauri ba, "ya tashi", kamar yadda suke faɗa a irin waɗannan lokuta; piano nasa wani lokaci yana yin sauti mai girma, mai danko, "mai yawa"; masana'anta na kida wani lokaci ana rufe su da kauri, yalwar tabo mai cike da feda. Kwanan nan, alal misali, a cikin 1988/89 kakar, ya buga wani shiri a cikin Babban Hall na Conservatory, inda, tare da wasu abubuwa, akwai Chopin's B small sonata. Adalci ya buƙaci a faɗi cewa lahani da aka ambata a sama sun fito fili a ciki.

Wannan shirin wasan kwaikwayo, ta hanyar, ya haɗa da Schumann's Arabesques. Su ne lambar farko, an buɗe maraice kuma, a gaskiya, ba su yi kyau sosai ba. "Larabawa" ya nuna cewa Kissin ba ya nan da nan, ba daga farkon mintuna na wasan kwaikwayon "shigar" kiɗa ba - yana buƙatar wani lokaci don jin daɗin jin daɗi, don samun yanayin matakin da ake so. Tabbas, babu wani abu da ya fi kowa, wanda ya fi kowa a cikin aikin yin taro. Wannan yana faruwa ga kusan kowa da kowa. Amma duk da haka… Kusan, amma ba tare da kowa ba. Abin da ya sa ba shi yiwuwa a nuna wannan diddigin Achilles na matashin pianist.

Wani abu daya. Wataƙila mafi mahimmanci. An riga an lura da shi a baya: don Kissin babu wani shingen fasaha na fasaha da ba za a iya jurewa ba, yana jure duk matsalolin pianistic ba tare da yunƙurin gani ba. Wannan, duk da haka, ba yana nufin cewa zai iya jin wani natsuwa da rashin kulawa dangane da "fasahar". Da fari dai, kamar yadda aka ambata a baya, ita (“fasaha”) ba ta taɓa faruwa da kowa ba. a wuce haddi, ba zai iya zama ba kawai. Kuma lalle ne, a ko da yaushe akwai rashin manyan masu fasaha da buƙatu; haka ma, mafi mahimmanci, ƙarfin tunanin su na ƙirƙira, mafi ƙarancin su. Amma ba haka kawai ba. Dole ne a faɗi kai tsaye, pianism na Kisin a kashin kanta Har yanzu bai wakilci fitacciyar darajar kyan gani ba - wato darajar intrinsic, wanda yawanci ya bambanta manyan masters, yana aiki azaman alamar halayen su. Bari mu tuna da shahararrun masu fasaha na zamaninmu (Kissin ta kyauta yana ba da dama ga irin waɗannan kwatance): ƙwararrun su fasaha murna, taba kanta, saboda haka, ba tare da la'akari da komai ba. Ba za a iya faɗi wannan game da Kisin ba tukuna. Har yanzu bai tashi zuwa irin wannan matsayi ba. Idan, ba shakka, muna tunani game da kiɗa na duniya da yin Olympus.

Kuma gabaɗaya, ra'ayin shine cewa ya zuwa yanzu abubuwa da yawa a cikin wasan piano sun zo masa da sauƙi. Wataƙila ma da sauƙi; Saboda haka da pluses da kuma sanannun minuses na art. A yau, da farko, ana lura da abin da ke fitowa daga gwanintarsa ​​na musamman. Kuma wannan yana da kyau, ba shakka, amma kawai don lokacin. A nan gaba, tabbas wani abu zai canza. Menene? yaya? Yaushe? Duk ya dogara…

G. Tsipin, 1990