Fritz Kreisler |

Fritz Kreisler

Wanene ya ji aikin guda ɗaya ta hanyar Punyani, Cartier, Francoeur, Porpora, Louis Couperin, Padre Martini ko Stamitz kafin in fara rubutu da sunayensu? Sun rayu ne kawai a kan shafukan kamus na kiɗa, kuma an manta da abubuwan da suka rubuta a cikin ganuwar gidajen ibada ko kuma sun tara ƙura a kan ɗakunan ɗakunan karatu. Waɗannan sunayen ba komai ba ne illa ɓangarorin banza, tsofaffin alkyabbar da aka manta da su waɗanda na ɓoye kaina. F. Kleisler

F. Kreisler shine ɗan wasan violin na ƙarshe, wanda a cikin aikinsa al'adun kirkire-kirkire-romantic art na karni na XNUMX ya ci gaba da haɓakawa, wanda aka soke ta hanyar priism na ra'ayin duniya na sabon zamani. Ta hanyoyi da yawa, ya yi hasashen yanayin tafsiri na yau, yana mai da hankali ga ƴanci da ƙwazo na fassara. Ci gaba da al'adun Strausses, J. Liner, tarihin birni na Viennese, Kreisler ya ƙirƙira ƙwararrun ƙwararrun violin da tsare-tsare waɗanda suka shahara sosai akan matakin.

An haifi Kreisler a cikin dangin likita, dan wasan violin mai son. Tun yana karami ya ji kwarkwata a gidan, wanda mahaifinsa ke jagoranta. Mawaƙin K. Goldberg, Z. Freud da sauran fitattun mutane na Vienna sun kasance a nan. Tun yana ɗan shekara huɗu, Kreisler yayi karatu tare da mahaifinsa, sannan tare da F. Ober. Tuni yana da shekaru 3 ya shiga Vienna Conservatory zuwa I. Helbesberger. A lokaci guda, wasan kwaikwayo na farko na matashin mawaki ya faru a cikin wasan kwaikwayo na K. Patti. Bisa ga ka'idar abun da ke ciki, Kreisler ya yi karatu tare da A. Bruckner kuma yana da shekaru 7 yana tsara nau'i na quartet. Ayyukan A. Rubinstein, I. Joachim, P. Sarasate suna ba shi mamaki sosai. Yana da shekaru 8 Kreisler ya sauke karatu daga Vienna Conservatory tare da lambar zinariya. Wakokinsa sun yi nasara. Amma mahaifinsa yana son ya ba shi makaranta mai mahimmanci. Kuma Kreisler ya sake shiga cikin ɗakunan ajiya, amma yanzu a Paris. J. Massard (malamin G. Venyavsky) ya zama malaminsa na violin, da L. Delibes a cikin abun da ke ciki, wanda ya ƙayyade salon sa. Kuma a nan, bayan shekaru 9, Kreisler ya sami lambar zinariya. Yayin da yake yaro dan shekara goma sha biyu, tare da dalibin F. Liszt M. Rosenthal, ya yi rangadi a Amurka, inda ya fara halarta a Boston tare da wani kade-kade na F. Mendelssohn.

Duk da babban nasarar da ƙaramin yaro ya samu, uban ya nace a kan cikakken ilimin fasaha na sassaucin ra'ayi. Kreisler ya bar violin kuma ya shiga dakin motsa jiki. Yana da shekaru goma sha takwas, ya tafi yawon shakatawa zuwa Rasha. Amma, bayan ya dawo, ya shiga cibiyar kiwon lafiya, ya tsara jerin gwanon soja, ya yi wasa a cikin ƙungiyar Tyrolean tare da A. Schoenberg, ya sadu da I. Brahms kuma ya shiga cikin wasan farko na kwarjinsa. A ƙarshe, Kreisler yanke shawarar gudanar da gasar ga rukuni na biyu violins na Vienna Opera. Kuma - cikakkiyar gazawa! Mawaƙin da ya raunana ya yanke shawarar barin violin har abada. Rikicin ya wuce ne kawai a cikin 1896, lokacin da Kreisler ya ɗauki rangadi na biyu na Rasha, wanda ya zama farkon aikinsa na fasaha mai haske. Sa'an nan, tare da babban nasara, ana gudanar da kide-kide nasa a Berlin karkashin jagorancin A. Nikish. Akwai kuma ganawa da E. Izai, wanda ya shafi salon Kreisler mai violin.

A cikin 1905, Kreisler ya ƙirƙiri zagaye na violin guda "Rubutun Nasiha" - 19 miniatures da aka rubuta azaman kwaikwayon ayyukan gargajiya na ƙarni na 1935. Kreisler, domin ya fayyace, ya ɓoye mawallafinsa, yana ba da wasan kwaikwayo a matsayin rubuce-rubuce. A lokaci guda kuma, ya buga salon sa na tsofaffin waltzes na Viennese - "Farin Ƙauna", "The Pangs of Love", "Beautiful Rosemary", wanda aka yi wa mummunar zargi da kuma adawa da rubuce-rubuce a matsayin kiɗa na gaskiya. Ba har sai da XNUMX Kreisler ya yi ikirari ga hoax, masu sukar mai ban tsoro.

Kreisler ya yi yawon shakatawa akai-akai a Rasha, ya buga tare da V. Safonov, S. Rachmaninov, I. Hoffmann, S. Kusevitsky. A lokacin yakin duniya na farko, an sanya shi cikin soja, kusa da Lvov ya fuskanci farmaki daga Cossacks, ya ji rauni a cinya kuma an yi masa magani na dogon lokaci. Ya tafi Amurka, yana ba da kide-kide, amma, yayin da ya yi yaƙi da Rasha, an hana shi.

A wannan lokacin, tare da mawallafin Hungarian V. Jacobi, ya rubuta operetta "Flowers of the Apple Tree", wanda aka yi a New York a 1919. I. Stravinsky, Rachmaninov, E. Varese, Izai, J. Heifets da sauransu sun halarta. farkon.

Kreisler ya yi tafiye-tafiye da yawa a duniya, ana rubuta bayanai da yawa. A cikin 1933 ya kirkiro operetta na Zizi na biyu da aka yi a Vienna. Littattafan da ya yi a wannan lokacin ya iyakance ga al'adun gargajiya, na soyayya da nasa. A zahiri ba ya kunna kiɗan zamani: “Babu mawaƙin da zai iya samun abin rufe fuska mai inganci don yaƙar iskar gas na wayewar zamani. Bai kamata mutum ya yi mamakin jin waƙar matasan wannan zamani ba. Wannan ita ce kiɗan zamaninmu kuma abu ne na halitta. Waƙar ba za ta ɗauki wata hanya ta dabam ba, sai dai idan yanayin siyasa da zamantakewar duniya ya canza.”

A cikin 1924-32. Kreisler yana zaune a Berlin, amma a 1933 an tilasta masa barin saboda farkisanci, da farko zuwa Faransa sannan zuwa Amurka. Anan ya ci gaba da yi da sarrafa shi. Mafi ban sha'awa daga cikinsu shine rubutun ƙirƙira na wasan kwaikwayo na violin na N. Paganini (Na farko) da P. Tchaikovsky, wasan kwaikwayo na Rachmaninov, N. Rimsky-Korsakov, A. Dvorak, F. Schubert, da sauransu. A cikin 1941, Kreisler ya buge ta. mota kuma bai iya yi ba. Waƙar ta ƙarshe da ya bayar ita ce a Carnegie Hall a cikin 1947.

Peru Kreisler ta mallaki abubuwan ƙira 55 da fiye da rubuce-rubuce sama da 80 da daidaitawa na kide-kide da wasan kwaikwayo daban-daban, wani lokaci suna wakiltar ingantaccen sarrafa asalin asali. Kreisler ta qagaggun - ya violin concerto "Vivaldi", stylizations na d ¯ a Masters, Viennese waltzes, irin guda kamar Recitative da Scherzo, "Chinese Tambourine", shirye-shirye na "Folia" by A. Corelli, "Devil's Trill" by G. Tartini, bambance-bambancen karatu. na "Mayya" Paganini, cadenzas zuwa kide kide da wake-wake na L. Beethoven da Brahms ana yin su sosai a kan mataki, suna jin daɗin babban nasara tare da masu sauraro.

V. Grigoriev

A cikin fasahar kiɗa na uku na farko na ƙarni na XNUMX, ba za a iya samun adadi kamar Kreisler ba. Mahaliccin sabon sabon salon wasan kwaikwayo na asali, ya rinjayi a zahiri duk mutanen zamaninsa. Babu Heifetz, ko Thibaut, ko Enescu, ko Oistrakh, wanda ya "koyi" da yawa daga babban dan wasan violin na Austrian a lokacin da aka kafa gwaninta, ya wuce shi. Wasan Kreisler ya yi mamaki, kwaikwayo, nazari, nazarin ƙananan bayanai; manyan mawaka sun rusuna a gabansa. Ya more iko ba tare da tambaya ba har zuwa karshen rayuwarsa.

A cikin 1937, lokacin da Kreisler yana da shekaru 62, Oistrakh ya ji shi a Brussels. "A gare ni," in ji shi, "wasan Kreisler ya yi tasiri da ba za a manta da shi ba. A cikin minti na farko, a farkon sautin bakansa na musamman, na ji dukkan iko da fara'a na wannan mawaƙi mai ban mamaki. Da yake kimanta duniyar kiɗa na 30s, Rachmaninov ya rubuta: “Kreisler ana ɗaukarsa mafi kyawun violin. Bayan shi akwai Yasha Kheyfets, ko kusa da shi. Tare da Kreisler, Rachmaninoff yana da gungu na dindindin na shekaru masu yawa.

An kirkiro fasahar Kreisler a matsayin mawaƙi kuma mai yin wasan kwaikwayo daga haɗakar al'adun gargajiyar Viennese da na Faransanci, haɗakar da ta ba da wani abu da gaske na asali. Kreisler yana da alaƙa da al'adun kiɗa na Viennese ta abubuwa da yawa waɗanda ke cikin ainihin aikinsa. Vienna ya kawo masa sha'awa ga al'adun gargajiya na karni na XNUMX-XNUMXth, wanda ya haifar da bayyanar kyawawan "tsohuwar" kananan yara. Amma ma fi kai tsaye wannan alaƙa da Vienna ta yau da kullun, haskenta, kide-kide da al'adun gargajiya waɗanda suka fara tun daga Johann Strauss. Tabbas, waltz na Kreisler ya bambanta da na Strauss, wanda, kamar yadda Y. Kremlev ya lura da kyau, “Alheri yana haɗuwa da kuruciya, kuma komai yana cike da haske na musamman da kuma fahimtar rayuwa.” Kreisler's waltz ya rasa kuruciyarsa, ya zama mafi son rai da kusanci, "wasan yanayi". Amma ruhun tsohon "Strauss" Vienna yana zaune a ciki.

Kreisler ya aro fasahar violin da yawa daga fasahar Faransanci, musamman vibrato. Ya ba da girgizar wani kayan yaji wanda ba shi da halayyar Faransanci. Vibrato, wanda aka yi amfani da shi ba kawai a cikin cantilena ba, har ma a cikin sassa, ya zama ɗaya daga cikin alamomin salon wasan kwaikwayonsa. A cewar K. Flesh, ta hanyar ƙara faɗakarwar jijjiga, Kreisler ya bi Yzai, wanda ya fara gabatar da faɗaɗa, mai tsananin girgiza tare da hannun hagu cikin rayuwar yau da kullun ga masu violin. Masanin kade-kade na Faransa Marc Pencherl ya gaskata cewa misalin Kreisler ba Isai ba ne, amma malaminsa a Massard Conservatory na Paris: “Tsohon ɗalibin Massard, ya gaji wa malaminsa wani jijjiga mai ƙarfi, wanda ya bambanta da na makarantar Jamus.” Masu violin na makarantar Jamus sun kasance suna da halin taka tsantsan ga rawar jiki, wanda suka yi amfani da shi sosai. Kuma gaskiyar cewa Kreisler ya fara fenti tare da shi ba kawai cantilena ba, har ma da nau'in nau'i mai motsi, ya saba wa zane-zane na zane-zane na fasaha na ilimi na karni na XNUMX.

Duk da haka, ba daidai ba ne a yi la'akari da Kreisler wajen amfani da rawar jiki mai bin Izaya ko Massar, kamar yadda Flesch da Lehnsherl suke yi. Kreisler ya ba da rawar jiki wani aiki na ban mamaki da ban mamaki, wanda bai saba da magabata ba, gami da Ysaye da Massard. A gare shi, ya daina zama "fenti" kuma ya zama ingantaccen ingancin violin cantilena, mafi ƙarfin magana. Bugu da kari, ya kasance na musamman, a nau'in kasancewa ɗaya daga cikin mafi kyawun fasalin salon sa na mutum ɗaya. Bayan yada rawar jiki zuwa nau'in motar, ya ba wasan wani nau'i mai ban sha'awa na wani nau'in inuwa "mai yaji", wanda aka samo ta hanyar musamman ta hanyar cire sauti. Bayan wannan, ba za a iya la'akari da girgizar Kreisler ba.

Kreisler ya bambanta da duk masu son violin a cikin dabarun bugun jini da samar da sauti. Ya yi wasa da baka mai nisa da gada, kusa da fretboard, tare da gajeriyar bugun jini amma mai yawa; ya yi amfani da portamento da yawa, yana cike da cantilena tare da "ƙara-ƙasa-numfashi" ko raba sauti ɗaya daga wani tare da caesuras mai laushi ta amfani da portamentation. Sau da yawa lafazin a hannun dama suna tare da lafazin a hagu, ta hanyar “turawa” mai girgiza. A sakamakon haka, an halicci tart, "na sha'awa" cantilena na timbre mai laushi "matte".

"A cikin mallakar baka, da gangan Kreisler ya rabu da mutanen zamaninsa," in ji K. Flesh. – A gabansa, akwai ƙa’idar da ba za ta girgiza ba: koyaushe ku yi ƙoƙari don amfani da tsayin baka. Wannan ka'ida ba ta da kyau, idan kawai saboda aiwatar da fasaha na "mai alheri" da "mai kyau" yana buƙatar iyakar iyaka na tsawon baka. Ko ta yaya, misalin Kreisler ya nuna cewa alheri da ƙarfi ba su ƙunshi amfani da baka duka ba. Ya yi amfani da matsananci na saman baka kawai a lokuta na musamman. Kreisler ya bayyana wannan siffa ta fasaha ta baka ta gaskiyar cewa yana da "gajerun makamai"; a lokaci guda, yin amfani da ƙananan ɓangaren baka ya damu da shi dangane da yiwuwar a cikin wannan yanayin don lalata "es" na violin. Wannan "tattalin arzikin" ya daidaita ta hanyar halayensa mai ƙarfin baka mai ƙarfi tare da accentuation, wanda bi da bi an daidaita shi ta hanyar tsananin girgiza.

Pencherl, wanda ke lura da Kreisler shekaru da yawa, ya gabatar da wasu gyare-gyare a cikin kalmomin Flesch; ya rubuta cewa Kreisler ya taka leda a cikin ƙananan bugun jini, tare da sau da yawa canje-canje na baka da gashinsa sosai har sandar ta sami kumbura, amma daga baya, a lokacin yakin bayan yakin (ma'ana yakin duniya na farko. - LR) ya koma zuwa karin ilimi. hanyoyin ruku'u.

Ƙananan bugun jini mai yawa haɗe tare da portamento da firgita bayyananni dabaru ne masu haɗari. Koyaya, amfani da su ta Kreisler bai taɓa ketare iyakokin dandano mai kyau ba. An cece shi ta hanyar mahimmancin kiɗan da ba ta canzawa da Flesch ya lura, wanda ya kasance na asali da kuma sakamakon ilimi: "Ba kome ba ne matakin sha'awa na portamento, ko da yaushe yana kamewa, ba mai ɗanɗano ba, ƙididdiga akan nasara mai arha," in ji Jiki. Pencherl ya zana irin wannan ƙarshe, yana mai imani cewa hanyoyin Kreisler ko kaɗan ba su keta ƙaƙƙarfan ƙaƙƙarfan salon sa ba.

Kayan aikin yatsa na Kreisler sun kasance na musamman tare da sauye-sauye masu yawa na zamewa da "na sha'awa", ya jaddada glissandos, wanda galibi yana haɗa sautunan da ke kusa da su don haɓaka bayyanar su.

Gabaɗaya, wasan Kreisler ya kasance mai laushi wanda ba a saba gani ba, tare da timbres na “zurfi”, rubato na “romantic” kyauta, cikin jituwa tare da madaidaicin kari: “Smellor da rhythm sune tushe guda biyu waɗanda fasahar wasansa ta dogara akansa.” "Bai taɓa yin sadaukarwa da rawar gani ba saboda samun nasara mai ban mamaki, kuma bai taɓa korar rikodin saurin gudu ba." Kalmomin Flesch ba su bambanta da ra'ayin Pencherl ba: "A cikin cantabile, ɗan'uwansa ya sami wani bakon fara'a - mai kyalli, mai zafi, kamar na sha'awa, ba shi da ƙasa da komai saboda taurin ƙwanƙwasa wanda ya rayar da duka wasan. ”

Wannan shine yadda hoton Kreisler ɗan wasan violin ke fitowa. Ya rage don ƙara ɗan taɓa shi.

A cikin manyan rassa biyu na aikinsa - wasan kwaikwayon da kerawa - Kreisler ya zama sananne musamman a matsayin ƙwararren masani. Karamin yana buƙatar daki-daki, don haka wasan Kreisler ya yi amfani da wannan manufa, yana nuna ƙaramar inuwar yanayi, mafi ƙarancin motsin rai. Salon wasansa ya kasance na ban mamaki saboda gyare-gyare na ban mamaki har ma, zuwa wani matsayi, salon salon, ko da yake yana da girma sosai. Ga dukan farin ciki, cantileverness na wasan Kreisler, saboda dalla-dalla ga ɗan gajeren bugun jini, an sami sanarwa da yawa a ciki. Har ila yau, "magana", "magana", innation, wanda ya bambanta aikin baka na zamani, ya samo asali daga Kreisler. Wannan yanayin bayyanawa ya gabatar da abubuwa na haɓakawa a cikin wasansa, kuma taushi, ikhlasi na innation ya ba shi hali na yin kiɗan kyauta, wanda aka bambanta da gaggawa.

Yin la'akari da yanayin salonsa, Kreisler ya gina shirye-shiryen kide-kide nasa daidai da haka. Ya keɓe sashe na farko ga manya-manyan ayyuka, na biyu kuma ga ƙarami. Bayan Kreisler, sauran 'yan wasan violin na karni na XNUMX sun fara cika shirye-shiryen su tare da ƙananan guntu da kwafi, waɗanda ba a taɓa yin su ba a baya (an kunna ƙaramin ƙaramin abu ne kawai azaman haɓakawa). A cewar Pencherl, "a cikin manyan ayyuka shi ne mafi girman fassarar, fantasy a cikiеnza ta bayyana kanta a cikin 'yancin yin ƙananan sassa a ƙarshen wasan kwaikwayo.

Ba shi yiwuwa a yarda da wannan ra'ayi. Kreisler kuma ya gabatar da mutane da yawa, kawai na musamman a gare shi, cikin fassarar litattafai. A cikin babban nau'i, haɓakar halayensa, ƙayyadaddun ƙaya, wanda ya haifar da sophistication na dandano, ya bayyana kansa. K. Flesh ya rubuta cewa Kreisler ya ɗan motsa jiki kuma ya ɗauki abin da ya fi dacewa don "wasa." Bai yi imani da buƙatar yin aiki na yau da kullun ba, sabili da haka fasahar yatsansa ba ta cika ba. Kuma duk da haka, a kan mataki, ya nuna "natsuwa mai daɗi."

Pencherl ya yi magana game da wannan ta wata hanya daban. A cewarsa, fasahar Kreisler ta kasance koyaushe a baya, bai taba zama bawanta ba, yana gaskanta cewa idan an sami kyakkyawan tushe na fasaha a lokacin ƙuruciya, to daga baya kada mutum ya damu. Ya taɓa gaya wa wani ɗan jarida: “Idan mai nagarta ya yi aiki da kyau sa’ad da yake ƙarami, to, yatsunsa za su kasance masu sassauƙa har abada, ko da a lokacin balagagge ba zai iya kula da dabarunsa a kowace rana.” Balagawar hazaka na Kreisler, wadatar da mutumtakarsa, an sauƙaƙe ta ta hanyar karanta waƙa, ilimi na gaba ɗaya (adabi da falsafa) zuwa fiye da sa'o'i da yawa da aka kashe akan ma'auni ko motsa jiki. Amma yunwar kida ba ta koshi. Yin wasa a cikin ensembles tare da abokai, zai iya tambayar sake maimaita Schubert Quintet tare da cellos biyu, wanda ya ƙaunace, sau uku a jere. Ya ce sha'awar kiɗa yana daidai da sha'awar wasa, cewa abu ɗaya ne - "wasa violin ko kunna roulette, tsara ko shan opium…". "Lokacin da kuke da kirki a cikin jinin ku, to, jin daɗin hawan kan mataki yana ba ku ladan duk baƙin cikin ku..."

Pencherl ya rubuta yanayin wasan violin na waje, halinsa akan mataki. A cikin wani talifi da aka ambata a baya, ya rubuta: “Tunanina suna farawa daga nesa. Ni ɗan ƙaramin yaro ne sa’ad da na sami sa’a don yin doguwar tattaunawa da Jacques Thiebaud, wanda har yanzu yake a farkon farkon aikinsa. Na ji shi irin wannan abin sha'awar bautar gumaka wanda yara ke yi masa biyayya (a nesa ba ya zama kamar rashin hankali a gare ni). Lokacin da na tambaye shi da kwaɗayi game da kowane abu da kuma duk mutanen da ke cikin wannan sana'a, ɗaya daga cikin amsoshinsa ta taɓa ni, domin daga abin da nake ɗauka shi ne abin bautawa a cikin violin. "Akwai wani nau'i mai ban mamaki," in ji shi, "wanda zai wuce ni. Tuna sunan Kreisler. Wannan zai zama shugabanmu ga kowa. "

A dabi'a, Pencherl yayi ƙoƙari ya isa wurin wasan kwaikwayo na farko na Kreisler. "Kreisler ya zama kamar wani colossus a gare ni. Koyaushe yana haifar da wani yanayi na ban mamaki na iko tare da faffadan jiki, wuyan wasa na mai kiba, fuskar da ke da fasali na ban mamaki, mai rawanin yanke gashi mai kauri a yanke. Idan aka bincika sosai, zafin kallon ya canza abin da kallo na farko zai yi kama da muni.

Yayin da ƙungiyar mawaƙa ta buga gabatarwar, ya tsaya kamar yana gadi - hannayensa a gefensa, violin ya kusan zuwa ƙasa, ya rataye tare da yatsa na hannun hagu. A lokacin gabatarwar, ya ɗaga shi, kamar yana kwarkwasa, a daidai daƙiƙa na ƙarshe, ya ɗora shi a kafadarsa tare da nuna sauri da sauri cewa kayan aiki sun kama guntu da ƙwanƙwasa.

An cika tarihin Kreisler a cikin littafin Lochner. An haife shi a Vienna a ranar 2 ga Fabrairu, 1875 a cikin dangin likita. Mahaifinsa ya kasance mai sha'awar waka kuma tsayin daka na kakansa ne ya hana shi zabar sana'ar waka. Iyali sukan kunna kiɗa, kuma kwata-kwata suna wasa akai-akai a ranar Asabar. Little Fritz ya saurare su ba tare da tsayawa ba, yana sha'awar sautin. Kida ya kasance a cikin jininsa har ya zare igiyoyin takalmi a kan akwatunan sigari kuma ya kwaikwayi 'yan wasan. Kreisler ya ce: “Lokacin da nake ɗan shekara uku da rabi, na kasance kusa da mahaifina a lokacin wasan motsa jiki na Mozart na bugun jini, wanda ya fara da bayanin kula. sake - b-lebur - gishiri (watau G babba Lamba 156 bisa ga kundin Koechel. – LR). "Ta yaya kuka san kunna waɗannan bayanan uku?" Na tambaye shi. Ya haƙura ya ɗauki takarda ya zana layi biyar ya bayyana mani abin da kowace rubutu ke nufi, sanya shi ko tsakanin wannan ko wancan layin.

Yana da shekaru 4, an sayo shi ainihin violin, kuma Fritz da kansa ya ɗauki taken ƙasar Austrian a kanta. Ya fara ɗaukarsa a cikin iyali a matsayin ƙaramin abin al'ajabi, kuma mahaifinsa ya fara ba shi darussan kiɗa.

Ta yaya sauri ya ci gaba za a iya yanke hukunci da cewa 7-shekara (a 1882) yaro prodigy aka shigar a Vienna Conservatory a cikin aji na Joseph Helmesberger. Kreisler ya rubuta a cikin Musical Courier a cikin Afrilu 1908: “A wannan lokacin, abokai sun ba ni violin mai girman rabin girman, mai laushi kuma mai daɗi, na tsohuwar alama. Ban gamsu da shi gaba ɗaya ba, saboda na yi tunanin cewa yayin da nake karatu a ɗakin karatu zan iya samun aƙalla violin uku cikin huɗu…”

Helmesberger malami ne mai kyau kuma ya ba dabbarsa ingantaccen tushe na fasaha. A cikin shekarar farko na zamansa a gidan ajiyar kayayyaki, Fritz ya fara wasansa na farko a mataki, inda ya yi wani kade-kade da shahararren mawakiyar nan Carlotta Patti ya yi. Ya yi nazarin farkon ka'idar tare da Anton Bruckner kuma, ban da violin, ya ba da lokaci mai yawa don kunna piano. Yanzu, mutane kaɗan ne suka san cewa Kreisler ƙwararren ƙwararren ƙwallo ne, yana wasa da yardar rai ko da hadaddun rakiyar takarda. Sun ce lokacin da Auer ya kawo Heifetz zuwa Berlin a 1914, dukansu biyu sun ƙare a gida ɗaya na sirri. Baƙi da suka taru, daga cikinsu akwai Kreisler, sun tambayi yaron ya buga wani abu. "Amma game da rakiya fa?" Heifetz ya tambaya. Sa'an nan Kreisler ya tafi piano kuma, a matsayin abin tunawa, ya raka Mendelssohn's Concerto da nasa yanki, The Beautiful Rosemary.

Kreisler mai shekaru 10 ya sami nasarar kammala karatunsa daga Conservatory Vienna tare da lambar zinare; Abokai suka sayo masa violin uku kwata na Amati. Yaron, wanda ya riga ya yi mafarkin dukan violin, ya sake rashin gamsuwa. A majalisar iyali a lokaci guda, an yanke shawarar cewa don kammala karatun kiɗansa, Fritz ya buƙaci zuwa Paris.

A cikin 80s da 90s, Makarantar Violin ta Paris ta kasance a matakin farko. Marsik ya koyar a ɗakin ajiya, wanda ya tashe Thibault da Enescu, Massar, wanda daga aji Venyavsky, Rys, Ondrichek ya fito. Kreisler yana cikin ajin Joseph Lambert Massard, “Ina tsammanin Massard yana sona domin na yi wasa da salon Wieniawski,” daga baya ya yarda. A lokaci guda, Kreisler yayi nazarin abun da ke ciki tare da Leo Delibes. Tsabtace salon wannan maigidan ya sanya kansa ji daga baya a cikin ayyukan violin.

Karatu daga Paris Conservatoire a 1887 babban nasara ne. Yaron mai shekaru 12 ya lashe kyautar farko, inda ya fafata da 'yan wasan violin 40, kowannensu ya girme shi akalla shekaru 10.

Ya isa daga Paris zuwa Vienna, matashin dan wasan violin ba zato ba tsammani ya sami tayin daga manajan Amurka Edmond Stenton don tafiya Amurka tare da Pianist Moritz Rosenthal. Yawon shakatawa na Amurka ya faru a lokacin 1888/89. Ranar 9 ga Janairu, 1888, Kreisler ya fara halarta a Boston. Shi ne wasan kwaikwayo na farko wanda a zahiri ya ƙaddamar da aikinsa a matsayin ɗan wasan violin na kide-kide.

Komawa Turai, Kreisler ya bar violin na ɗan lokaci don kammala karatunsa na gabaɗaya. Tun yana yaro, mahaifinsa ya koya masa darussan ilimin gabaɗaya a gida, yana koyar da Latin, Girkanci, kimiyyar halitta da lissafi. Yanzu (a cikin 1889) ya shiga makarantar likitanci a Jami'ar Vienna. Da yake shiga cikin karatun likitanci, ya yi karatu sosai tare da manyan malamai. Akwai shaida cewa ban da haka ya yi karatun zane (a Paris), ya yi nazarin tarihin fasaha (a Roma).

Duk da haka, wannan lokaci na tarihin rayuwarsa ba cikakke ba ne. Labarin I. Yampolsky game da Kreisler ya nuna cewa a cikin 1893 Kreisler ya zo Moscow, inda ya ba da kide-kide 2 a cikin Ƙungiyar Kiɗa na Rasha. Babu ɗayan ƙasashen waje da ke aiki akan violin, gami da monograph na Lochner, wanda ya ƙunshi waɗannan bayanan.

A cikin 1895-1896, Kreisler ya yi hidimar soja a tsarin Archduke Eugene na Habsburg. Archduke ya tuna da matashin ɗan wasan violin daga wasan kwaikwayonsa kuma ya yi amfani da shi a maraice na kiɗa a matsayin mai solo, da kuma cikin ƙungiyar makaɗa lokacin shirya wasan opera mai son. Daga baya (a cikin 1900) Kreisler ya sami matsayi zuwa matsayi na laftanar.

An 'yanta shi daga soja, Kreisler ya koma aikin kiɗa. A shekara ta 1896 ya yi tafiya zuwa Turkiyya, sannan ya yi shekaru 2 (1896-1898) a Vienna. Kuna iya saduwa da shi sau da yawa a cikin cafe "Megalomania" - wani nau'in kiɗa na kiɗa a babban birnin kasar Austria, inda Hugo Wolf, Eduard Hanslick, Johann Brahms, Hugo Hofmannsthal suka taru. Sadarwa tare da waɗannan mutane ya ba Kreisler tunani mai ban mamaki wanda ba a saba gani ba. Fiye da sau ɗaya ya tuna ganawarsa da su.

Hanyar daukaka ba ta da sauki. Musamman yadda Kreisler ya yi, wanda ke yin wasa "ba kamar" sauran 'yan wasan violin ba, yana ba da mamaki kuma yana tsoratar da jama'ar Viennese masu ra'ayin mazan jiya. Cikin matsananciyar sha'awa, har ma ya yi ƙoƙari ya shiga ƙungiyar makaɗa ta Royal Vienna Opera, amma ba a yarda da shi a can ba, ana zargin "saboda rashin jin daɗi." Fame ya zo ne kawai bayan wasan kwaikwayo na 1899. Da ya isa Berlin, Kreisler ya yi ba zato ba tsammani tare da nasara mai nasara. Babban Joachim da kansa yana jin daɗin sabo da gwanintar sa. An yi magana game da Kreisler a matsayin ɗan wasan violin mafi ban sha'awa na zamanin. A cikin 1900, an gayyace shi zuwa Amurka, kuma tafiya zuwa Ingila a watan Mayu 1902 ya ƙarfafa shahararsa a Turai.

Lokaci ne na jin daɗi da rashin kulawa na kuruciyarsa na fasaha. A dabi'a, Kreisler mutum ne mai raye-raye, mai son jama'a, mai saurin barkwanci da barkwanci. A cikin 1900-1901 ya zagaya Amurka tare da John Gerardi mai kade-kade da pianist Bernhard Pollack. Abokai sun ci gaba da yin ba'a ga mai wasan pian, saboda koyaushe yana cikin tashin hankali saboda yadda suke bayyana a cikin ɗakin fasaha a cikin daƙiƙa na ƙarshe, kafin su shiga mataki. Wata rana a Chicago, Pollak ya gano cewa dukansu ba su cikin ɗakin fasaha. An haɗa zauren da otal ɗin da su uku ke zaune, kuma Pollak ya garzaya zuwa ɗakin Kreisler. Ya fad'a ba tare da ya kwankwasa ba, ya tarar da violin da ďan wayar salula a kwance akan katafaren gado biyu, da barguna har zuwa haɓoɓinsu. Sun yi wa fortissimo a cikin mugun duet. “Kai, ku duka kun yi hauka! Pollack ya yi ihu. "Masu sauraro sun taru kuma suna jiran fara wasan kwaikwayo!"

– Bari in yi barci! ya ruri Kreisler a cikin yaren dragon na Wagnerian.

Ga kwanciyar hankalina! nishi Gerardi.

Da wadannan kalamai suka juyo dayan bangarensu suka fara shakuwa mara dadi fiye da da. A fusace, Pollack ya cire barguna ya gano cewa suna sanye da rigar wutsiya. An fara wasan kide-kide na mintuna 10 kacal kuma masu sauraro ba su lura da komai ba.

A cikin 1902, wani babban lamari ya faru a rayuwar Fritz Kreisler - ya auri Harriet Lyse (bayan mijinta na farko, Mrs. Fred Wortz). Ta kasance mace mai ban mamaki, mai hankali, fara'a, mai hankali. Ta zama abokinsa mafi sadaukarwa, mai fadin ra'ayinsa da hauka da alfahari da shi. Har suka tsufa suna murna.

Daga farkon 900s har zuwa 1941, Kreisler ya ziyarci Amurka da yawa kuma yana tafiya akai-akai a cikin Turai. Yana da alaƙa da Amurka kuma, a Turai, tare da Ingila. A cikin 1904, Ƙungiyar Mawaƙa ta London ta ba shi lambar zinare saboda wasan kwaikwayon Beethoven Concerto. Amma a ruhaniya, Kreisler ya fi kusa da Faransa kuma a cikinta akwai abokansa na Faransa Ysaye, Thibault, Casals, Cortot, Casadesus da sauransu. Haɗin Kreisler ga al'adun Faransanci na halitta ne. Yakan ziyarci gidan Belgian na Ysaye, yana kunna kiɗa a gida tare da Thibaut da Casals. Kreisler ya yarda cewa Izai yana da tasirin fasaha sosai a kansa kuma ya ari wasu fasahohin violin daga gare shi. An riga an ambata cewa Kreisler ya zama "magaji" na Izaya dangane da rawar jiki. Amma babban abu shi ne cewa Kreisler yana da sha'awar yanayi na fasaha da ke cikin da'irar Ysaye, Thibaut, Casals, halin su na sha'awar kida, haɗe tare da zurfin nazarinsa. A cikin sadarwa tare da su, Kreisler's kyakkyawan manufa an kafa, mafi kyau da kuma darajar halinsa suna ƙarfafa.

Kafin yakin duniya na daya, ba a san Kreisler ba a Rasha. Ya ba da kide-kide a nan sau biyu, a cikin 1910 da 1911. A cikin Disamba 1910, ya ba da kide-kide na 2 a St. An lura cewa aikin nasa yana da ban sha'awa mai zurfi tare da ƙarfin ɗabi'a da na musamman na zance. Ya buga nasa ayyukan, waɗanda a lokacin har yanzu suna ci gaba da daidaitawa na tsofaffin wasan kwaikwayo.

Bayan shekara guda, Kreisler ya sake bayyana a Rasha. A lokacin wannan ziyarar, wasannin kide-kide nasa (Disamba 2 da 9, 1911) sun riga sun haifar da ƙara mai yawa. "Daga cikin 'yan wasan violin na zamaninmu," in ji mai sukar Rasha, "dole ne a sanya sunan Fritz Kreisler a ɗaya daga cikin wurare na farko. A cikin wasan kwaikwayonsa, Kreisler ya fi mai fasaha fiye da virtuoso, kuma lokacin kyan gani koyaushe yana ɓoye masa sha'awar dabi'ar da duk 'yan wasan violin dole su nuna fasaharsu. " Amma wannan, a cewar mai sukar, ya hana shi daga samun godiya ga "jama'a na jama'a", waɗanda ke neman "tsarki mai kyau" a cikin kowane mai yin aiki, wanda ya fi sauƙi a gane.

A cikin 1905, Kreisler ya fara buga ayyukansa, yana shiga cikin yaudarar da aka sani a yanzu. Daga cikin wallafe-wallafen akwai "Tsoffin raye-raye na Viennese guda uku", da ake zargin na Joseph Lanner ne, da kuma jerin "rubutun" na wasan kwaikwayo na gargajiya - Louis Couperin, Porpora, Punyani, Padre Martini, da sauransu. Da farko, ya yi wadannan "rubutun" a wurin. nasa kide-kide, sa'an nan ya buga da sauri suka watse a duk faɗin duniya. Babu wani dan wasan violin da ba zai saka su a cikin repertoire na kide kide da wake-wakensa ba. Kyawawan sauti, mai salo da dabara, mawaƙa da jama'a suna girmama su sosai. A matsayin ainihin abubuwan da aka tsara na “nasu”, Kreisler a lokaci guda ya fito da wasan kwaikwayo na salon Viennese, kuma zargi ya faɗo masa fiye da sau ɗaya don “mummunan dandano” da ya nuna a cikin wasannin kwaikwayo kamar “The Pangs of Love” ko “Viennese Caprice”.

Haɗin kai tare da “na gargajiya” ya ci gaba har zuwa 1935, lokacin da Kreisler ya yarda da mai sukar kiɗan New Times Olin Dowen cewa duk jerin Rubutun Na gargajiya, ban da sanduna 8 na farko a Ditto Louis Couperin na Louis XIII, shi ne ya rubuta shi. A cewar Kreisler, ra'ayin irin wannan yaudarar ya zo a zuciyarsa shekaru 30 da suka gabata dangane da sha'awar sake cika repertoire na kide-kide. "Na ga zai zama abin kunya da rashin dabara in ci gaba da maimaita sunana a cikin shirye-shirye." A wani lokaci kuma, ya bayyana dalilin da ya sa ake yin wannan yaudara ta yadda ake yawan jinyar farawar mawaƙan waƙa. Kuma a matsayin shaida, ya buga misali na aikinsa, yana nuna yadda aka kimanta wasan kwaikwayon "na gargajiya" da kuma abubuwan da aka sanya hannu tare da sunansa - "Viennese Caprice", "Tambourine na kasar Sin", da dai sauransu.

Bayyanar labarin ya haifar da hadari. Ernst Neumann ya rubuta labari mai ban tsoro. Rigima ta barke, wanda aka kwatanta dalla-dalla a cikin littafin Lochner, amma… har wa yau, “yankin gargajiya” na Kreisler sun kasance a cikin tarihin masu son violin. Bugu da ƙari, Kreisler, ba shakka, daidai lokacin da ya ƙi Neumann, ya rubuta: “Yawancin da yawa ba su san sunayen da na zaɓa a hankali ba. Wanene ya taɓa jin aikin guda ɗaya ta hanyar Punyani, Cartier, Francoeur, Porpora, Louis Couperin, Padre Martini ko Stamitz kafin in fara yin waƙa da sunan su? Sun rayu ne kawai a cikin jerin sakin layi na ayyukan rubuce-rubuce; ayyukansu idan sun wanzu, sannu a hankali suna komawa ƙura a cikin gidajen zuhudu da tsoffin dakunan karatu.” Kreisler ya yada sunayensu ta hanya ta musamman kuma babu shakka ya ba da gudummawa ga fitowar sha'awar kiɗan violin na ƙarni na XNUMX-XNUMXth.

Lokacin da yakin duniya na farko ya fara, Kreislers suna hutu a Switzerland. Bayan soke duk kwangila, ciki har da yawon shakatawa na Rasha tare da Kusevitsky, Kreisler ya gaggauta zuwa Vienna, inda ya shiga a matsayin Laftanar a cikin sojojin. Labarin cewa an aika shahararren dan wasan violin zuwa fagen fama ya haifar da martani mai karfi a Ostiriya da sauran kasashe, amma ba tare da wani sakamako na gaske ba. An bar Kreisler a cikin soja. The rejista a cikin abin da ya yi aiki da aka canjawa wuri zuwa ga Rasha gaban kusa Lvov. A watan Satumba na shekara ta 1914, labarin ƙarya ya bazu cewa an kashe Kreisler. Hasali ma ya samu rauni kuma wannan shi ne dalilin da ya sa aka dakatar da shi. Nan take, tare da Harriet, ya tafi Amurka. Sauran lokacin, yayin da yakin ya ci gaba, sun zauna a can.

Shekarun baya-bayan nan an yi alama da ayyukan kide-kide masu aiki. Amurka, Ingila, Jamus, sake Amurka, Czechoslovakia, Italiya - ba shi yiwuwa a ƙididdige hanyoyin babban zane-zane. A shekara ta 1923, Kreisler ya yi wata babbar tafiya zuwa Gabas, ya ziyarci Japan, Koriya, da Sin. A Japan, ya zama mai sha'awar ayyukan zane-zane da kiɗa. Har ma ya yi niyya ya yi amfani da fasahar fasahar Japanawa a cikin aikinsa. A 1925 ya yi tafiya zuwa Australia da New Zealand, daga nan zuwa Honolulu. Har zuwa tsakiyar 30s, watakila shi ne mafi mashahuri violinist a duniya.

Kreisler ya kasance ƙwaƙƙwaran anti-fascist. Ya yi Allah wadai da zaluncin da Bruno Walter, Klemperer, Busch ya yi a Jamus, kuma ya ƙi zuwa wannan ƙasar “har sai da haƙƙin dukan masu fasaha, ba tare da la’akari da asalinsu, addini da ƙasarsu ba, yin aikin fasaharsu ba ta canzawa a cikin Jamus. .” Don haka ya rubuta a wata wasika zuwa ga Wilhelm Furtwängler.

Tare da damuwa, ya bi yaduwar farkisanci a Jamus, kuma lokacin da Ostiriya ta tilastawa mulkin Fashist Reich, ya wuce (a cikin 1939) zuwa dan kasar Faransa. A lokacin yakin duniya na biyu, Kreisler ya zauna a Amurka. Duk tausayinsa ya kasance a bangaren sojojin adawa da Fascist. A wannan lokacin, har yanzu ya ba da kide-kide, kodayake shekarun sun riga sun fara jin daɗin kansu.

Afrilu 27, 1941, yayin da yake ketare titi a New York, wata babbar mota ta buge shi. Kwanaki da yawa babban mai zane yana tsakanin rayuwa da mutuwa, a cikin hayyacinsa bai gane wadanda ke kewaye da shi ba. Duk da haka, an yi sa'a, jikinsa ya jimre da cutar, kuma a cikin 1942 Kreisler ya iya komawa aikin wasan kwaikwayo. Ayyukansa na ƙarshe sun faru a cikin 1949. Duk da haka, na dogon lokaci bayan barin mataki, Kreisler ya kasance a tsakiyar hankalin mawaƙa na duniya. Sun yi magana da shi, sun yi shawara kamar "lamiri na fasaha" mai tsabta, marar lalacewa.

Kreisler ya shiga tarihin kiɗa ba kawai a matsayin mai yin wasan kwaikwayo ba, har ma a matsayin mawallafin asali. Babban ɓangaren al'adunsa na kirkire-kirkire shine jerin ƙananan abubuwa (kimanin wasan kwaikwayo 45). Za a iya raba su zuwa kungiyoyi biyu: daya ya ƙunshi nau'i-nau'i a cikin salon Viennese, ɗayan - wasan kwaikwayon kwaikwayo na kwaikwayo na 2th-2th century. Kreisler ya gwada hannunsa a cikin babban tsari. Daga cikin manyan ayyukansa akwai 1917 baka quartets da 1932 operettas "Apple Blossom" da "Zizi"; na farko an haɗa shi a cikin 11, na biyu a cikin 1918. Farkon "Apple Blossom" ya faru a watan Nuwamba 1932, XNUMX a New York, "Zizi" - a Vienna a watan Disamba XNUMX. operettas na Kreisler sun kasance babban nasara.

Kreisler ya mallaki rubuce-rubuce da yawa (sama da 60!). Wasu daga cikinsu an tsara su ne don masu sauraro marasa shiri da wasan kwaikwayo na yara, yayin da wasu shirye-shiryen kide-kide ne masu kayatarwa. Elegance, colorfulness, violinism ya ba su da na musamman shahararsa. A lokaci guda, zamu iya magana game da ƙirƙirar kwafi na sabon nau'in, kyauta dangane da salon sarrafawa, asali da yawanci sautin "Kreisler". Rubuce-rubucensa sun haɗa da ayyukan Schumann, Dvorak, Granados, Rimsky-Korsakov, Cyril Scott da sauransu.

Wani nau'in aikin ƙirƙira shine edita kyauta. Waɗannan su ne bambance-bambancen Paganini ("The Witch", "J Palpiti"), "Foglia" na Corelli, Tartini's Variations a kan jigo ta Corelli a cikin aiki da kuma gyara na Kreisler, da dai sauransu. Gado ya hada da cadenzas zuwa concertos ta Beethoven, Brahms, Paganini, Shaidan sonata na Tartini.”

Kreisler mutum ne mai ilimi - ya san Latin da Girkanci daidai, ya karanta Iliad ta Homer da Virgil a cikin asali. Nawa ya tashi sama da matakin gabaɗaya na violin, in faɗi shi a hankali, ba mai girma ba a wancan lokacin, ana iya yanke hukunci ta tattaunawarsa da Misha Elman. Ganin Iliad akan teburinsa, Elman ya tambayi Kreisler:

- Wannan a cikin Ibrananci?

A'a, a cikin Girkanci.

- Wannan yana da kyau?

– Mai girma!

– Akwai shi a Turanci?

- I mana.

Sharhi, kamar yadda suke faɗa, ba su da yawa.

Kreisler ya ci gaba da zama mai ban dariya a duk rayuwarsa. Sau ɗaya, - in ji Elman, - na tambaye shi: daga cikin masu wasan violin da ya ji ya fi burge shi? Kreisler ya amsa ba tare da jinkiri ba: Venyavsky! Hawaye ne ya zubo masa, nan da nan ya fara bayyana wasansa a fili, a haka Elman ma ya zubo da hawaye. Komawa gida, Elman ya dubi ƙamus na Grove kuma… ya tabbatar da cewa Venyavsky ya mutu lokacin da Kreisler yana ɗan shekara 5 kacal.

A wani lokaci kuma, ya juya ga Elman, Kreisler ya fara tabbatar masa da gaske, ba tare da inuwar murmushi ba, cewa lokacin da Paganini ya buga wasan harmonics biyu, wasu daga cikinsu suna buga violin, wasu kuma suna busawa. Don lallashi, ya nuna yadda Paganini ya yi.

Kreisler ya kasance mai kirki da karimci. Ya ba da mafi yawan dukiyarsa ga ayyukan agaji. Bayan wani shagali a Opera na Metropolitan a ranar 27 ga Maris, 1927, ya ba da gudummawar duk abin da aka samu, wanda ya kai adadin dala 26 ga kungiyar Cancer ta Amurka. Bayan yakin duniya na daya, ya dauki nauyin marayu 000 na abokan aikinsa; Lokacin da ya isa Berlin a cikin 43, ya gayyaci 1924 na yara mafi talauci zuwa bikin Kirsimeti. 60 ya bayyana. "Kasuwancina yana tafiya da kyau!" Ya fad'a yana tafa hannuwa.

Damuwarsa ga mutane gaba daya matarsa ​​ce. A ƙarshen yakin duniya na biyu, Kreisler ya aika da kayan abinci daga Amurka zuwa Turai. An sace wasu daga cikin bales. Lokacin da aka ba da rahoto ga Harriet Kreisler, ta kasance cikin nutsuwa sosai: bayan haka, har ma wanda ya yi sata ya yi, a ra'ayinta, don ciyar da iyalinsa.

Tuni wani dattijo, a jajibirin barin filin wasa, wato lokacin da aka riga ya yi wuya a ƙididdige shi don sake cika babban birninsa, ya sayar da mafi kyawun ɗakin karatu na rubuce-rubucen rubuce-rubuce da kayan tarihi daban-daban waɗanda ya tattara cikin ƙauna a tsawon rayuwarsa har 120. dala dubu 372 kuma suka raba wannan kudi tsakanin kungiyoyin agaji biyu na Amurka. Ya ci gaba da taimaka wa danginsa, kuma halinsa ga abokan aiki ana iya kiransa da gaske chivalrous. Lokacin da Joseph Segeti ya fara zuwa Amurka a shekara ta 1925, ya yi mamakin irin halin kirki na jama'a. Ya bayyana cewa kafin zuwansa Kreisler ya buga labarin inda ya gabatar da shi a matsayin mafi kyawun violin da ya fito daga kasashen waje.

Ya kasance mai sauqi qwarai, yana son sauƙi a cikin wasu kuma bai guje wa talakawa ba kwata-kwata. Ya so fasaha ya kai kowa. Wata rana, in ji Lochner, a ɗaya daga cikin tashar jiragen ruwa na Ingilishi, Kreisler ya tashi daga jirgin ruwa don ci gaba da tafiya ta jirgin ƙasa. An daɗe da jira, kuma ya yanke shawarar cewa zai yi kyau a kashe lokaci idan ya ba da ƙaramin kide kide. A cikin dakin sanyi da bakin ciki na tashar, Kreisler ya dauko violin daga cikin harkarsa ya buga wa jami’an kwastam, masu hakar kwal, da masu doki. Da ya gama, ya bayyana fatan cewa suna son fasaharsa.

Kyautar Kreisler ga matasa 'yan wasan violin za a iya kwatanta su da kyautatawa Thibaut. Kreisler da gaske yaba nasarorin da matasa tsara na violinists, yi imani da cewa da yawa daga cikinsu sun samu, idan ba hazaka, sa'an nan da gwaninta na Paganini. Duk da haka, sha'awarsa, a matsayin mai mulkin, yana magana ne kawai ga fasaha: "Suna iya yin sauƙin wasa duk abin da aka rubuta mafi wuya ga kayan aiki, kuma wannan babbar nasara ce a tarihin kiɗa na kayan aiki. Amma daga mahangar hazakar tafsiri da kuma wannan karfi mai ban mamaki wanda shine aikin rediyo na babban mai yin wasan kwaikwayo, ta wannan bangaren zamaninmu bai bambanta da sauran shekaru ba."

Kreisler ya gaji daga karni na 29 karimci na zuciya, bangaskiyar soyayya a cikin mutane, cikin kyawawan manufofi. A cikin fasaharsa, kamar yadda Pencherl ya faɗa da kyau, akwai ɗaukaka da fara'a mai gamsarwa, tsantsar Latin da kuma jin daɗin Viennese na yau da kullun. Tabbas, a cikin abubuwan da aka tsara da wasan kwaikwayon na Kreisler, da yawa ba su cika buƙatun ƙawa na zamaninmu ba. Yawancin na baya ne. Amma kada mu manta cewa fasaharsa ta kasance daɗaɗɗen zamani a tarihin al'adun violin na duniya. Abin da ya sa labarin mutuwarsa a Janairu 1962, XNUMX ya jefa mawaƙa a duk faɗin duniya cikin baƙin ciki mai zurfi. Babban mai fasaha da babban mutum, wanda ƙwaƙwalwarsa za ta kasance har tsawon ƙarni, ya wuce.

L. Rabin