Ferdinand Laub |

Ferdinand Laub

Rabin na biyu na karni na XNUMX lokaci ne na ci gaba cikin sauri na gwagwarmayar 'yanci-demokradiyya. Babban sabani da bambance-bambancen al'ummar Burgeois suna haifar da zanga-zangar kishin kasa a tsakanin masu hankali masu ci gaba. Amma zanga-zangar ba ta da hali na tawaye na soyayya na wani mutum a kan rashin daidaiton zamantakewa. Ra'ayoyin dimokuradiyya sun taso ne sakamakon bincike da kuma kima na hakika game da rayuwar zamantakewa, sha'awar ilimi da bayanin duniya. A cikin fagen fasaha, ka'idodin gaskiya an tabbatar da su ba bisa ka'ida ba. A cikin wallafe-wallafen, wannan zamanin yana da siffar fure mai ƙarfi na ainihin mahimmanci, wanda kuma aka nuna a cikin zanen - 'yan Wanderers na Rasha misali ne na wannan; a cikin kiɗa wannan ya haifar da ilimin halin mutum, mutane masu sha'awar, da kuma a cikin ayyukan zamantakewa na mawaƙa - don haskakawa. Abubuwan buƙatun fasaha suna canzawa. Gudun cikin Hallolin Concert, yana son koyo daga komai, da petty-bourgeois, da aka sani a Rasha kamar yadda "music m. Taken ranar shine yaki da kyawawan dabi'u, nunin waje, salon salon gyara gashi. Duk wannan yana haifar da canje-canje na asali a cikin rayuwar kiɗa - a cikin repertoire na masu yin wasan kwaikwayo, a cikin hanyoyin yin fasaha.

Ana maye gurbin repertoire ɗin da ke cike da ayyukan virtuoso da maƙalar da aka wadatar da fasaha mai ƙima. Ba abubuwan ban sha'awa na 'yan wasan violin da kansu ba ne ake yin su ba, amma wasan kwaikwayo na Beethoven, Mendelssohn, da kuma daga baya - Brahms, Tchaikovsky. Akwai ya zo "farfadowa" na ayyukan tsohon masters na XVII-XVIII ƙarni - J.-S. Bach, Corelli, Vivaldi, Tartini, Leclerc; a cikin repertoire na ɗakin, an biya kulawa ta musamman ga Beethoven's quartets na ƙarshe, waɗanda a baya aka ƙi. A cikin wasan kwaikwayon, fasahar "canjin fasaha", "manufa" watsa abun ciki da salon aikin ya zo kan gaba. Mai sauraren da ya zo wurin kide-kide ya fi sha'awar kiɗa, yayin da halayen ɗan wasan kwaikwayo, ana auna fasaha ta hanyar iya isar da ra'ayoyin da ke cikin ayyukan mawaƙa. Ma'anar waɗannan canje-canjen L. Auer ya lura da shi daidai: "The epigraph - "music exist for the virtuoso" ba a gane shi ba, kuma kalmar "virtuoso ya wanzu don kiɗa" ya zama maƙasudin mai fasaha na zamani na zamaninmu. .”

Wakilan masu haske na sabon salon fasaha a cikin wasan kwaikwayo na violin sune F. Laub, J. Joachim da L. Auer. Su ne suka ɓullo da tushe na haƙiƙanin hanya a cikin aiki, su ne masu kirkiro ka'idodinsa, kodayake Laub na zahiri yana da alaƙa da yawa tare da soyayya.

An haifi Ferdinand Laub a ranar 19 ga Janairu, 1832 a Prague. Mahaifin violin, Erasmus, mawaki ne kuma malaminsa na farko. Wasan kwaikwayo na farko na dan wasan violin mai shekaru 6 ya faru a cikin wani wasan kwaikwayo na sirri. Karami ne ya sa aka dora shi akan tebur. A lokacin da yake da shekaru 8, Laub ya bayyana a gaban jama'a na Prague a cikin wani taron jama'a, kuma wani lokaci daga baya ya tafi tare da mahaifinsa a kan yawon shakatawa na biranen kasarsa. Dan wasan violin na Norway Ole Bull, wanda aka taba kawo yaron, ya yi farin ciki da basirarsa.

A 1843, Laub ya shiga Prague Conservatory a cikin aji na Farfesa Mildner kuma ya kammala karatunsa sosai yana da shekaru 14. Ayyukan matashin mawaƙin yana jan hankali, kuma Laub, bayan kammala karatunsa, bai rasa kide-kide ba.

Matasa ya zo daidai da lokacin da ake kira "Czech Renaissance" - saurin ci gaban ra'ayoyin 'yanci na kasa. A tsawon rayuwarsa, Laub ya riƙe kishin ƙasa mai zafin gaske, ƙauna marar iyaka ga bautar ƙasa mai wahala. Bayan boren Prague na 1848, da hukumomin Ostiriya suka murkushe, ta'addanci ya mamaye kasar. Dubban 'yan kishin kasa ne ake tilastawa gudun hijira. Daga cikin su akwai F. Laub, wanda ya zauna tsawon shekaru 2 a Vienna. Yana wasa a nan a cikin ƙungiyar makaɗar opera, yana ɗaukar matsayi na soloist da rakiya a cikinta, yana inganta ka'idar kiɗan da ƙima tare da Shimon Sekhter, mawaƙin Czech wanda ya zauna a Vienna.

A cikin 1859, Laub ya koma Weimar don ya maye gurbin Josef Joachim, wanda ya tafi Hannover. Weimar - mazaunin Liszt, ya taka muhimmiyar rawa a cikin ci gaban violin. A matsayinsa na mawaƙin solo kuma mai kula da kade-kade na ƙungiyar mawaƙa, koyaushe yana yin magana da Liszt, wanda ke yaba wa ɗan wasan ban mamaki. A Weimar, Laub ya zama abokai tare da Smetana, yana raba cikakken burinsa da fatansa na kishin ƙasa. Daga Weimar, Laub yakan yi tafiya tare da kide-kide zuwa Prague da sauran biranen Jamhuriyar Czech. Masanin kiɗan L. Ginzburg ya rubuta: “A lokacin, sa’ad da aka tsananta wa furcin Czech har a biranen Czech, Laub bai yi jinkirin yin yaren sa ba sa’ad da yake Jamus. Matarsa ​​daga baya ta tuna yadda Smetana, ganawa da Laub a Liszt a Weimar, ya firgita saboda ƙarfin hali da Laub yayi magana a Czech a tsakiyar Jamus.

Shekara guda bayan ƙaura zuwa Weimar, Laub ya auri Anna Maresh. Ya sadu da ita a Novaya Guta, a daya daga cikin ziyararsa zuwa ƙasarsa. Anna Maresh mawakiya ce kuma yadda Anna Laub ta yi suna ta yawan yawon shakatawa tare da mijinta. Ta haifi 'ya'ya biyar - maza biyu da 'ya'ya mata uku, kuma a duk rayuwarta shine abokinsa mafi sadaukarwa. Violinist I. Grzhimali ya auri ɗaya daga cikin 'ya'yansa mata Isabella.

Manyan mawakan duniya sun yaba da fasahar Laub, amma a farkon shekarun 50s an fi lura da wasansa saboda halin kirki. A wata wasiƙa zuwa ga ɗan’uwansa da ke Landan a shekara ta 1852, Joachim ya rubuta: “Abin mamaki ne yadda wannan mutum yake da fasaha mai kyau; babu wahala gareshi”. Repertoire na Laub a lokacin yana cike da kiɗan kirki. Da son rai yana yin kide kide da wake-wake na Bazzini, Ernst, Vietana. Daga baya, hankalinsa ya koma ga classic. Bayan haka, Laub ne, a cikin fassarar ayyukan Bach, concertos da ensembles na Mozart da Beethoven, ya kasance wani matsayi na gaba sannan kuma abokin hamayyar Joachim.

Ayyukan quartet na Laub sun taka muhimmiyar rawa wajen zurfafa sha'awa a cikin litattafai. A cikin 1860, Joachim ya kira Laub "mafi kyawun violin a cikin abokan aikinsa" kuma ya kimanta shi a matsayin ɗan wasan quartet.

A cikin 1856, Laub ya karɓi goron gayyata daga kotun Berlin kuma ya zauna a babban birnin Prussian. Ayyukansa a nan suna da ƙarfi sosai - yana yin wasan kwaikwayo tare da Hans Bülow da Wohlers, yana ba da maraice na quartet, yana tallata litattafai, gami da sabbin kwartocin Beethoven. Kafin Laub, maraice na quartet na jama'a a Berlin a cikin 40s an gudanar da shi ta wani gungu wanda Zimmermann ke jagoranta; Faɗin tarihi na Laub shine cewa kide-kide na ɗakinsa ya zama na dindindin. Quartet ya yi aiki daga 1856 zuwa 1862 kuma ya yi yawa don ilmantar da dandano na jama'a, yana share hanya ga Joachim. An haɗu da aiki a Berlin tare da tafiye-tafiye na kiɗa, musamman sau da yawa zuwa Jamhuriyar Czech, inda ya rayu na dogon lokaci a lokacin rani.

A 1859 Laub ya ziyarci Rasha a karon farko. Ayyukansa a St. Fitattun masu sukar Rasha V. Odoevsky, A. Serov sun yi farin ciki da ayyukansa. A cikin ɗaya daga cikin wasiƙun da suka shafi wannan lokacin, Serov ya kira Laub “aljanar gaskiya.” "A ranar Lahadi a Vielgorsky's na ji guda biyu kawai (Beethoven's in F-dur, daga Razumovskys, op. 59, da Haydn's a G-dur), amma menene haka!! Ko da a cikin injin, Viettan ya wuce kansa.

Serov ya sadaukar da jerin labarai ga Laub, yana mai da hankali sosai ga fassarar waƙar Bach, Mendelssohn, da Beethoven. Bach's Chaconne, ya sake mamakin baka da hannun hagu na Laub, ya rubuta Serov, sautinsa mafi kauri, babban sautin sauti a ƙarƙashin bakansa, wanda ke haɓaka violin sau huɗu a kan wanda ya saba, mafi ƙarancin nuances ɗinsa a cikin “pianissimo”, nasa. jimla mara misaltuwa, tare da zurfin fahimtar zurfin salon Bach! .. Sauraron wannan kade-kade mai ban sha'awa da wasan kwaikwayo na Laub ya yi, za ku fara mamakin: shin har yanzu ana iya samun wasu kiɗa a duniya, salon da ya bambanta (ba polyphonic ba), ko 'yancin zama ɗan ƙasa a cikin ƙara zai iya samun salo daban-daban. , - kamar cikakken kamar yadda maras iyaka Organic, polyphonic style na babban Sebastian?

Laub yana burge Serov a cikin Beethoven's Concerto shima. Bayan wasan kwaikwayo a ranar 23 ga Maris, 1859, ya rubuta: “A wannan karon wannan abin ban mamaki ne; ya rera kade-kade mai haske da mala'iku tare da bakansa har ma da misaltuwa fiye da kide-kiden da ya yi a zauren Majalisar. Halin kirki yana da ban mamaki! Amma ita ba ta wanzu a Laub don kanta, amma don amfanin abubuwan ƙirƙira na kiɗan. Idan da duk virtuosos sun fahimci ma'anarsu da manufarsu ta wannan hanyar!" "A cikin kwata-kwata," in ji Serov, bayan sauraron ɗakin da yamma, "Laub yana da tsayi fiye da na solo. Ya haɗu gaba ɗaya tare da kiɗan da ake yi, waɗanda yawancin virtuosos, gami da Vieuxne, ba za su iya yi ba. ”

Wani lokaci mai ban sha'awa a cikin maraice kwata-kwata na Laub don manyan mawakan Petersburg shi ne haɗa ƙusoshin na ƙarshe na Beethoven a cikin adadin ayyukan da aka yi. The karkata zuwa na uku lokaci na Beethoven ta aiki ya kasance halayyar dimokuradiyya masu hankali na 50s: "... kuma musamman mun yi kokarin samun saba a cikin wasan kwaikwayon da Beethoven ta karshe quartets," ya rubuta D. Stasov. Bayan haka, a bayyane yake dalilin da ya sa aka sami karbuwar kide kide da wake-wake na Chamber na Laub.

A cikin farkon 60s, Laub ya shafe lokaci mai yawa a Jamhuriyar Czech. Waɗannan shekaru na Jamhuriyar Czech wani lokaci sun kasance haɓaka cikin sauri a al'adun kiɗan ƙasa. B. Smetana ne ya kafa tushen tushen kidan kida na Czech, wanda Laub ke kula da mafi kusancin dangantaka. A shekara ta 1861, an buɗe gidan wasan kwaikwayo na Czech a Prague, kuma an yi bikin cika shekaru 50 na Conservatory. Laub yana wasa Beethoven Concerto a bikin ranar tunawa. Ya kasance mai shiga tsakani a duk ayyukan kishin kasa, memba mai aiki na kungiyar wakilan fasaha ta kasa "Tattaunawa mai basira".

A lokacin rani na 1861, lokacin da Laub ya zauna a Baden-Baden, Borodin da matarsa ​​sukan zo su gan shi, wanda, kasancewarsa dan wasan pian, yana son yin wasa tare da Laub. Laub ya yaba da basirar kida na Borodin.

Daga Berlin, Laub ya koma Vienna kuma ya zauna a nan har zuwa 1865, yana haɓaka ayyukan shagali da ɗakin. "Zuwa ga Sarkin Violin Ferdinand Laub," karanta rubutun da ke kan furen zinariya da Ƙungiyar Philharmonic ta Vienna ta gabatar masa lokacin da Laub ya bar Vienna.

A 1865 Laub ya tafi Rasha a karo na biyu. A ranar 6 ga Maris, ya yi wasa da maraice a N. Rubinstein, kuma marubucin Rasha V. Sollogub, wanda ya kasance a wurin, a cikin wata budaddiyar wasika zuwa ga Matvey Vielgorsky, wanda aka buga a Moskovskie Vedomosti, ya sadaukar da layin masu zuwa gare shi: “… Laub's Wasan ya faranta min rai har na manta da dusar ƙanƙara, da blizzard, da cututtuka… Kwanciyar hankali, son kai, sauƙi, tsananin salon, rashin pretentiousness, rarrabewa da, a lokaci guda, ilhama mai zurfi, haɗe da ƙarfin ban mamaki, kamar Ni Laub ta musamman kaddarorin… Shi ba bushe, kamar classic, ba m, kamar romantic. Yana da asali, mai zaman kansa, yana da, kamar yadda Bryullov ya ce, gag. Ba za a iya kwatanta shi da kowa ba. Mai fasaha na gaskiya ko da yaushe dabi'a ce. Ya ba ni labari da yawa kuma ya tambaye ku. Yana son ki daga zuciyarsa, kamar yadda duk wanda ya san ki yana son ki. A cikin yanayinsa na ga kamar shi mai sauki ne, mai tausayi, a shirye yake ya gane mutuncin wani kuma ba su yi musu ba don ya daukaka darajarsa.

Don haka tare da ƴan bugun jini, Sollogub ya zana hoto mai ban sha'awa na Laub, mutum da ɗan fasaha. Daga cikin wasiƙarsa a bayyane yake cewa Laub ya riga ya saba kuma yana kusa da yawancin mawaƙa na Rasha, ciki har da Count Vielgorsky, wani fitaccen mawallafi, dalibi na B. Romberg, da kuma fitaccen mawaki a Rasha.

Bayan aikin Laub na Mozart's G qananan Quintet, V. Odoevsky ya amsa da wani labari mai daɗi: "Duk wanda bai ji Laub a Mozart's G Minor Quintet ba," ya rubuta, "bai ji wannan quintet ba. A cikin mawakan wanne ne bai san waƙar nan mai ban mamaki mai suna Hemole Quintet ba? Amma yaya da wuya a ji irin wannan wasan kwaikwayon nasa wanda zai gamsar da hankalinmu na fasaha.

Laub ya zo Rasha a karo na uku a shekara ta 1866. Kade-kaden da ya yi a St. Petersburg da Moscow a karshe sun karfafa masa farin jini na musamman. A fili yanayin rayuwar waƙar Rasha ya burge Laub. Maris 1, 1866 ya sanya hannu kan kwangilar yin aiki a reshen Moscow na Ƙungiyar Kiɗa na Rasha; a gayyatar N. Rubinstein, ya zama farfesa na farko na Conservatory na Moscow, wanda ya buɗe a cikin kaka na 1866.

Kamar Venyavsky da Auer a St. ya kasance mai kula da kade-kade da soloist na kungiyar kade-kade ta kade-kade kuma dan wasan violin na farko a rukunin reshen Moscow na Kungiyar Kade-kade ta Rasha.

Laub ya zauna a Moscow har tsawon shekaru 8, wato, kusan har mutuwarsa; Sakamakon aikinsa yana da girma da kima. Ya tsaya a matsayin malami na farko wanda ya horar da game da 30 violinists, daga cikinsu akwai V. Villuan, wanda ya sauke karatu daga Conservatory a 1873 tare da lambar zinariya, I. Loiko, wanda ya zama wani concert player, Tchaikovsky abokin I. Kotek. Shahararren dan wasan violin na Poland S. Bartsevich ya fara karatunsa tare da Laub.

Ayyukan Laub, musamman na ɗakin, ya sami daraja sosai a wurin mutanen zamaninsa. Tchaikovsky ya rubuta, "A cikin Moscow, akwai irin wannan mai wasan kwaikwayo na quartet, wanda duk manyan kasashen yammacin Turai ke kallonsa da hassada ..." A cewar Tchaikovsky, Joachim ne kawai zai iya yin gasa tare da Laub a cikin ayyukan gargajiya, "wanda ya zarce Laub a cikin iyawa. kayan aiki masu tausasa wakoki masu taushi, amma tabbas sun yi kasa da shi a cikin karfin sauti, cikin sha'awa da kuzari mai daraja.

Da yawa daga baya, a cikin 1878, bayan mutuwar Laub, a cikin ɗaya daga cikin wasiƙunsa zuwa von Meck, Tchaikovsky ya rubuta game da wasan kwaikwayon Laub na Adagio daga Mozart's G-moll quintet: "Lokacin da Laub ya buga wannan Adagio, koyaushe ina ɓoye a cikin kusurwar zauren. , don kada su ga abin da aka yi mini daga wannan waƙar.

A Moscow, Laub yana kewaye da yanayi mai dumi, abokantaka. N. Rubinstein, Kossman, Albrecht, Tchaikovsky - duk manyan mawakan kida na Moscow sun kasance tare da shi sosai. A cikin wasiƙun Tchaikovsky daga 1866, akwai layin da ke ba da shaidar kusantar sadarwa tare da Laub: “Ina aika muku da menu na wayo don abincin dare ɗaya a Prince Odoevsky, wanda na halarta tare da Rubinstein, Laub, Kossmann da Albrecht, na nuna wa Davydov. ”

Laubov Quartet a gidan Rubinstein shine farkon wanda ya fara yin Quartet na biyu na Tchaikovsky; Babban mawaki ya sadaukar da Quartet na Uku ga Laub.

Laub yana son Rasha. Sau da yawa ya ba da kide-kide a biranen lardin - Vitebsk, Smolensk, Yaroslavl; An saurari wasansa a Kyiv, Odessa, Kharkov.

Ya zauna tare da iyalinsa a Moscow a kan Tverskoy Boulevard. Furen na Moscow na kiɗa ya taru a gidansa. Laub ya kasance mai sauƙin rikewa, ko da yake ya kasance yana ɗaukar kansa da girman kai da mutunci. An bambanta shi da ƙwazo sosai a duk abin da ya shafi sana’arsa: “Ya kusan ci gaba da yin wasa kuma yana yinsa, kuma sa’ad da na tambaye shi,” in ji Servas Heller, mai koyar da ’ya’yansa, “me ya sa har yanzu yake cikin damuwa sa’ad da ya riga ya isa. , watakila , kololuwar halin kirki, ya yi dariya kamar ya ji tausayina, sannan ya ce da gaske: “Da zarar na daina ingantawa, nan da nan za a ga wani ya fi ni wasa, kuma ba na so in yi. .”

Babban abokantaka da sha'awar fasaha sun haɗa da Laub tare da N. Rubinstein, wanda ya zama abokin tarayya na yau da kullum a cikin maraice na sonata: "Shi da NG Rubinstein sun dace da juna sosai game da yanayin wasan, kuma duets na su wani lokaci suna da kyau sosai. Da kyar kowa ya ji, alal misali, mafi kyawun wasan kwaikwayo na Kreutzer Sonata na Beethoven, wanda duka masu fasaha suka fafata a cikin ƙarfi, taushi da sha'awar wasan. Sun kasance da tabbacin juna ta yadda a wasu lokutan sukan yi abubuwan da ba a san su ba a bainar jama'a ba tare da bita da kulli ba, kai tsaye ba zato ba tsammani.

Ana cikin cin nasarar Laub, nan take rashin lafiya ta riske shi. A lokacin rani na 1874, likitoci sun ba da shawarar cewa ya tafi Karlsbad (Karlovy Vary). Kamar dai yana tsammanin ƙarshen kusa, Laub ya tsaya a hanya a cikin ƙauyukan Czech da ke ƙaunataccen zuciyarsa - na farko a Křivoklát, inda ya dasa daji na hazel a gaban gidan da ya taɓa zama, sannan a Novaya Guta, inda ya taka leda. da yawa quartets tare da dangi.

Jiyya a cikin Karlovy Vary bai yi kyau ba kuma an canja mawallafin marasa lafiya zuwa Tyrolean Gris. A nan, Maris 18, 1875, ya mutu.

Tchaikovsky, a cikin nazarinsa na wani kade-kade na ’yan wasan violin na virtuoso K. Sivori, ya rubuta: “Sa’ad da nake sauraronsa, na yi tunani game da abin da yake a wannan mataki daidai shekara guda da ta shige. a karo na ƙarshe wani ɗan wasan violin ya yi wasa a gaban jama'a, cike da rayuwa da ƙarfi, a cikin duk furannin baiwar hazaka; cewa wannan violin ba zai ƙara bayyana a gaban kowane mai sauraro na ɗan adam ba, cewa babu wanda zai yi farin ciki da hannun da ya yi sauti mai ƙarfi, mai ƙarfi kuma a lokaci guda mai taushi da shafa. G. Laub ya mutu ne kawai yana da shekaru 43.

L. Rabin