Glenn Gould (Glenn Gould) |

Glenn gould

A yammacin ranar 7 ga Mayu, 1957, mutane kalilan ne suka taru don wani shagali a babban dakin taro na Moscow Conservatory. Ba a san sunan mai wasan kwaikwayon ba ga kowane masoya kiɗa na Moscow, kuma da wuya duk waɗanda ke halarta suna da kyakkyawan fata ga wannan maraice. Amma abin da ya biyo baya tabbas kowa zai tuna da shi na dogon lokaci.

Wannan shine yadda Farfesa GM Kogan ya bayyana ra'ayoyinsa: "Daga farkon sanduna na fugue na farko na Bach's Art of Fugue, wanda dan wasan pian na Kanada Glen Gould ya fara kide-kide da shi, ya bayyana a fili cewa muna fuskantar wani gagarumin al'amari a cikin filin wasan fasaha akan piano. Wannan ra'ayi bai canza ba, amma an ƙarfafa shi kawai a ko'ina cikin wasan kwaikwayo. Glen Gould har yanzu yana matashi (yana da shekaru ashirin da hudu). Duk da haka, ya riga ya kasance balagagge mai fasaha kuma cikakken jagora tare da ma'anar ma'auni mai mahimmanci. Wannan daidaitaccen mutum yana nunawa a cikin komai - duka a cikin repertoire, kuma a cikin fassarar, da kuma hanyoyin fasaha na wasa, har ma a cikin yanayin waje. Tushen rubutun Gould shine manyan ayyuka na Bach (misali, Partita na shida, Goldberg Variations), Beethoven (alal misali, Sonata, Op. 109, Concerto na huɗu), da kuma masu magana da Jamusanci na karni na XNUMX (sonatas ta Hindemith). , Alban Berg). Ayyukan mawaƙa irin su Chopin, Liszt, Rachmaninoff, ba tare da ambaton ayyukan kyawawan dabi'u ko salon salon ba, a fili ba sa jan hankalin ɗan wasan pian na Kanada kwata-kwata.

• Kiɗa na Piano a cikin shagon kan layi na Ozon →

Fusion iri ɗaya na dabi'un al'ada da na furci shima yana nuna fassarar Gould. Yana da ban mamaki ga babban tashin hankali na tunani da son rai, mai ban mamaki da ke tattare da kari, jimla, alaƙa mai ƙarfi, mai bayyanawa ta hanyarsa; amma wannan furucin, a zahiri mai bayyanawa, yana a lokaci guda mai ban sha'awa. Ƙaddamar da abin da dan wasan pianist "ya rabu da shi" daga kewayensa, ya nutsar da kansa a cikin kiɗa, ƙarfin da yake nunawa da kuma "sanya" nufinsa a kan masu sauraro yana da ban mamaki. Wadannan niyya ta wasu hanyoyi, watakila, abin muhawara ne; duk da haka, wanda ba zai iya kasa biyan haraji ga mai wasan kwaikwayo ya tabbatar da cewa ya yi ban sha'awa ba, wanda ba zai iya taimakawa ba sai dai ya sha'awar amincewa, tsabta, tabbacin yanayin su, daidaitaccen fasaha na pianistic - irin wannan layin sauti (musamman a piano da pianissimo), irin wannan. wurare daban-daban, irin wannan aikin buɗe ido, ta kuma ta hanyar "duba ta" polyphony. Duk abin da ke cikin pianism na Gould na musamman ne, har zuwa dabaru. Saukowarta ta musamman ce. Yadda yake gudanar da aikinsa da hannunsa na kyauta a lokacin wasan kwaikwayon na musamman… Glen Gould har yanzu yana kan farkon hanyarsa ta fasaha. Ko shakka babu kyakkyawar makoma tana jiran sa.”

Mun kawo wannan ɗan gajeren bita kusan gaba ɗaya, ba wai kawai saboda shine farkon amsa mai mahimmanci ga wasan pianist na Kanada ba, amma galibi saboda hoton da aka tsara tare da irin wannan hangen nesa ta mawaƙin Soviet mai daraja, a zahiri, ya kiyaye sahihancinsa. yafi kuma daga baya, ko da yake lokaci, ba shakka, ya yi wasu gyare-gyare a gare shi. Wannan, ta hanyar, ya tabbatar da abin da wani balagagge, ingantaccen ubangida matashi Gould ya bayyana a gabanmu.

Ya sami darussan kiɗan sa na farko a garin mahaifiyarsa Toronto, tun yana ɗan shekara 11 ya halarci Royal Conservatory a can, inda ya karanta piano a cikin aji na Alberto Guerrero da haɗakarwa tare da Leo Smith, kuma ya yi karatu tare da mafi kyawun organists a cikin birni. Gould ya fara halarta a karon a matsayin mai wasan pianist da organist a shekara ta 1947, kuma ya sauke karatu daga jami'ar Conservatory kawai a 1952. Babu wani abu da ya annabta tashin meteoric ko da bayan da ya yi nasara a New York, Washington da sauran biranen Amurka a 1955. Babban sakamakon wadannan wasanni kwangila ne tare da kamfanin rikodin CBS, wanda ya riƙe ƙarfinsa na dogon lokaci. Ba da da ewa na farko mai tsanani rikodin da aka yi - "Goldberg" bambancin Bach - wanda daga baya ya zama Popular (kafin cewa, shi, duk da haka, ya riga ya rubuta da dama ayyuka da Haydn, Mozart da na zamani marubuta a Kanada). Kuma a wannan maraice a Moscow ne ya kafa harsashin shaharar Gould a duniya.

Bayan ya ɗauki babban matsayi a ƙungiyar manyan ƴan wasan pian, Gould ya jagoranci ayyukan kide-kide na shekaru da yawa. Gaskiya ne, da sauri ya zama sananne ba kawai don nasarorin fasaha ba, amma har ma da almubazzaranci na halayya da taurin hali. Ko dai ya bukaci wani zafin jiki daga masu shirya kide-kide a cikin zauren, ya fita kan dandalin sanye da safar hannu, sannan ya ki yin wasa har sai da gilashin ruwa a kan piano, sannan ya fara shari'ar abin kunya, ya soke wasan kwaikwayo, sannan ya bayyana. rashin gamsuwa da jama'a, ya zo cikin rikici da masu gudanarwa.

Kafofin watsa labaru na duniya sun zagaya, musamman, labarin yadda Gould, yayin da yake karatun Brahms Concerto a cikin ƙananan yara a New York, ya kasance da rashin jituwa tare da jagoran L. Bernstein a cikin fassarar aikin cewa wasan kwaikwayon ya kusan rushewa. A ƙarshe, Bernstein ya yi jawabi ga masu sauraro kafin fara wasan, yana mai gargaɗin cewa ba zai iya "ɗaukar alhakin duk abin da ke shirin faruwa ba", amma har yanzu zai yi aiki, saboda wasan kwaikwayon Gould ya kasance "cancantar saurara"…

Haka ne, tun daga farko, Gould ya shagaltar da wani wuri na musamman a tsakanin masu fasaha na zamani, kuma an gafarta masa da yawa daidai saboda rashin saninsa, saboda bambancin fasaharsa. Ba za a iya kusantar shi da ka'idodin gargajiya ba, kuma shi da kansa ya san wannan. Yana da halayyar cewa, bayan dawowa daga USSR, da farko ya so ya shiga cikin gasar Tchaikovsky, amma, bayan tunani, ya watsar da wannan ra'ayin; yana da wuya cewa irin wannan fasaha na asali zai iya shiga cikin tsarin gasa. Duk da haka, ba kawai asali ba, har ma da gefe ɗaya. Kuma ƙarar da Gould ya yi a cikin kide-kide, mafi bayyanawa ya zama ba kawai ƙarfinsa ba, har ma da iyakokinsa - duka repertoire da salo. Idan fassararsa na kiɗan Bach ko marubutan zamani - ga duk asalinsa - ba koyaushe ya sami babban yabo ba, to "forays" nasa a cikin sauran sassan kiɗan ya haifar da husuma mara iyaka, rashin gamsuwa, da kuma wasu lokuta har ma da shakku game da muhimmancin manufar pianist.

Komai yadda Glen Gould ya yi, duk da haka, shawarar da ya yanke na barin aikin kide-kide ya cika kamar tsawa. Tun 1964, Gould bai bayyana a kan wasan kide-kide ba, kuma a 1967 ya yi bayyanarsa na ƙarshe na jama'a a Chicago. Daga nan sai ya bayyana a fili cewa bai yi niyyar sake yin wasa ba kuma yana son ya sadaukar da kansa ga yin rikodi. An yi ta rade-radin cewa dalilin, na karshe, shi ne liyafar rashin sada zumunci da jama'ar Italiya suka yi masa bayan wasan kwaikwayo na Schoenberg. Amma mai zane da kansa ya motsa shawararsa tare da la'akari da ka'idoji. Ya bayyana cewa a cikin shekarun fasaha, rayuwar kide-kide gabaɗaya ba ta ƙarewa, cewa rikodin rikodin gramophone kawai yana ba da damar ƙirƙirar wasan kwaikwayo mai kyau, da jama'a yanayi don kyakkyawar fahimtar kiɗa, ba tare da tsangwama daga maƙwabta ba. zauren wasan kwaikwayo, ba tare da hatsari ba. "Zauren kide-kide za su bace," Gould ya annabta. "Littafin zai maye gurbinsu."

Shawarar Gould da dalilansa sun haifar da martani mai karfi tsakanin kwararru da jama'a. Wasu sun yi izgili, wasu sun yi adawa da gaske, wasu - kaɗan - sun yarda da hankali. Duk da haka, gaskiyar ta kasance cewa kusan shekaru goma da rabi Glen Gould yayi magana da jama'a kawai a cikin rashi, kawai tare da taimakon bayanan.

A farkon wannan lokacin, ya yi aiki sosai kuma mai zurfi; Sunansa ya daina fitowa a cikin jigon tarihin abin kunya, amma duk da haka ya ja hankalin mawaka, masu suka, da masu son kiɗa. Sabbin rikodin Gould ya bayyana kusan kowace shekara, amma adadin su kaɗan ne. Wani muhimmin sashi na rikodinsa shine ayyukan Bach: shida Partitas, concertos a cikin manyan D, F ƙarami, G ƙarami, bambance-bambancen "Goldberg" da "Clavier mai zafin rai", ƙirƙira kashi biyu da uku, Faransanci Suite, Italiyanci Concerto , “The Art of Fugue” … Anan Gould ya sake yin aiki a matsayin mawaƙi na musamman, kamar ba kowa, wanda ya ji kuma ya sake ƙirƙirar masana'antar polyphonic na kiɗan Bach tare da tsananin ƙarfi, bayyanawa, da ruhi mai girma. Tare da kowane rikodin nasa, ya sake tabbatar da yiwuwar karatun zamani na kiɗan Bach - ba tare da waiwaya ga abubuwan tarihi ba, ba tare da komawa ga salo da kayan aiki na baya ba, wato, ya tabbatar da zurfin kuzari da zamani. na kiɗan Bach a yau.

Wani muhimmin sashe na repertoire na Gould shine aikin Beethoven. Ko da a baya (daga 1957 zuwa 1965) ya yi rikodin duk kide kide, sa'an nan kuma ya kara da jerin rikodi tare da yawa sonatas da uku manyan bambancin hawan keke. Anan kuma yana jan hankalin sabo da ra'ayoyinsa, amma ba koyaushe ba - tare da kwayoyin halitta da lallashi; wani lokacin fassarorinsa sun yi karo da juna, kamar yadda masanin kiɗan Soviet kuma ɗan wasan piano D. Blagoy ya lura, “ba kawai tare da al’adu ba, har ma da tushen tunanin Beethoven.” Ba tare da son rai ba, wani lokacin akwai zato cewa sabawa daga lokacin da aka yarda da shi, tsarin rhythmic, ɗimbin ƙarfi ba ya haifar da ra'ayi mai kyau da aka yi tunani, amma ta hanyar sha'awar yin komai daban da sauran. "Sabbin faifan rikodin Gould na sonatas na Beethoven daga opus 31," in ji ɗaya daga cikin masu sukar ƙasashen waje a tsakiyar 70s, "ba zai gamsar da masu sha'awar sa da abokan hamayyarsa ba. Waɗanda suke ƙaunarsa saboda yana zuwa ɗakin studio ne kawai lokacin da ya shirya ya faɗi sabon abu, waɗanda ba a faɗi ba tukuna, wasu za su ga cewa abin da ya ɓace a cikin waɗannan sonata uku shine ainihin ƙalubalen ƙirƙira; ga wasu, duk abin da yake yi dabam da abokan aikinsa ba zai yi kama da asali na musamman ba.

Wannan ra'ayi ya dawo da mu ga kalmomin Gould da kansa, wanda ya taɓa bayyana manufarsa kamar haka: "Na farko, na yi ƙoƙari na guje wa ma'anar zinare, wanda ba a mutu ba a tarihin da yawa na pianists. Ina tsammanin yana da matukar muhimmanci a haskaka waɗancan bangarorin na rikodin da ke haskaka yanki ta mabanbanta mabanbanta. Dole ne kisa ya kasance kusa da yiwuwar yin aiki mai ƙirƙira - wannan shine mabuɗin, wannan shine maganin matsalar. Wani lokaci wannan ka'ida ta haifar da nasarori masu ban mamaki, amma a cikin lokuta inda ikon kirkire-kirkire na halayensa ya zo cikin rikici da yanayin kiɗa, ga gazawa. Masu sayen rikodi sun saba da gaskiyar cewa kowane sabon rikodin Gould ya ɗauki abin mamaki, ya sa ya yiwu a ji aikin da aka saba a cikin sabon haske. Amma, kamar yadda daya daga cikin masu sukar ya lura da kyau, a cikin fassarori masu banƙyama na dindindin, a cikin ƙoƙari na har abada don asali, barazanar na yau da kullum kuma yana ɓoye - duka masu yin wasan kwaikwayo da masu sauraro sun saba da su, sa'an nan kuma sun zama "tambayoyin asali".

Gould's repertoire ya kasance koyaushe ana bayyana su a sarari, amma ba kunkuntar ba. Ya yi wuya ya buga Schubert, Chopin, Schumann, Liszt, ya yi waƙa da yawa na karni na 3 - sonatas ta Scriabin (No. 7), Prokofiev (No. 7), A. Berg, E. Ksheneck, P. Hindemith, duk ayyukan A. Schoenberg, wanda ya haɗa da piano; ya farfado da ayyukan tsoffin marubuta - Byrd da Gibbons, masu sha'awar kiɗan piano sun ba da mamaki tare da roƙon da ba zato ba tsammani ga Liszt na rubutun Beethoven's Symphony na Biyar (ya sake haifar da cikakken sautin mawaƙa a cikin piano) da kuma gutsure daga Wagner operas; ba zato ba tsammani ya rubuta misalai da aka manta na kiɗan soyayya - Grieg's Sonata (Op. XNUMX), Wiese's Nocturne da Chromatic Variations, da kuma wani lokacin ma Sibelius sonatas. Gould kuma ya hada nasa cadenzas don wasan kwaikwayo na Beethoven kuma ya yi wasan piano a cikin R. Strauss 'monodrama Enoch Arden, kuma a ƙarshe, ya rubuta Bach's Art of Fugue akan sashin jiki kuma, a karon farko yana zaune a gunkin garaya, ya baiwa masu sha'awar sa kyakkyawan fassarar Handel's Suite. Ga duk wannan, Gould ya yi aiki sosai a matsayin ɗan jarida, marubucin shirye-shiryen talabijin, labarai da annotations zuwa nasa rikodin, duka rubuce-rubuce da na baka; wani lokacin kuma kalaman nasa na kunshe da hare-haren da suka fusata mawaka masu tsanani, wani lokaci, akasin haka, mai zurfi, ko da yake tunani mai ban sha'awa. Amma kuma ya faru da cewa ya karyata maganganunsa na adabi da na siyasa da nasa fassarar.

Wannan aiki mai mahimmanci da ma'ana ya ba da dalilin bege cewa mai zane bai riga ya faɗi kalma ta ƙarshe ba; cewa a nan gaba bincikensa zai haifar da gagarumin sakamako na fasaha. A cikin wasu faifan bidiyo nasa, duk da cewa ba su da fa'ida, har yanzu akwai ra'ayin kau da kai daga matsananci da suka siffantu da shi zuwa yanzu. Abubuwan sabon sauƙi, ƙin yarda da ɗabi'a da almubazzaranci, komawa zuwa ainihin kyawun sautin piano an fi gani a fili a cikin rikodin sonatas da yawa na Mozart da 10 intermezzos na Brahms; wasan kwaikwayon mai zanen bai rasa wani sabon salo da asali ba.

Yana da, ba shakka, yana da wahala a faɗi iyakar yadda wannan yanayin zai ci gaba. Daya daga cikin 'yan kallo na kasashen waje, "hasashen" hanyar ci gaban Glenn Gould a nan gaba, ya nuna cewa ko dai zai zama "mawaƙin al'ada", ko kuma zai yi wasa a duet tare da wani "mai tayar da hankali" - Friedrich Gulda. Babu yiwuwar da alama ba zai yuwu ba.

A cikin 'yan shekarun nan, Gould - wannan "Fisher na kiɗa", kamar yadda 'yan jarida suka kira shi - ya kasance a nesa daga rayuwar fasaha. Ya zauna a Toronto, a cikin dakin otal, inda ya samar da wani karamin dakin daukar hoto. Daga nan, bayanansa sun bazu a duniya. Shi kanshi bai dade da barin falon ba sai dare yayi yawo da mota. Anan, a cikin wannan otal, mutuwar bazata ta riski mai zane. Amma, ba shakka, gadon Gould yana ci gaba da rayuwa, kuma wasansa ya faɗo a yau tare da asalinsa, rashin kamance da kowane sanannen misalan. Abin sha'awa sosai shine ayyukan adabinsa, wanda T. Page ya tattara kuma yayi sharhi kuma aka buga a cikin harsuna da yawa.

Grigoriev L., Platek Ya.