Grigory Lipmanovich Sokolov (Grigory Sokolov) |

Grigory Sokolov

Akwai wani tsohon misali game da matafiyi da wani mai hikima da suka hadu a kan hanya ba kowa. "Shin yana da nisa zuwa ga gari mafi kusa?" matafiyi ya tambaya. "Tafi," mai hikima ya amsa a hankali. Mamaki ga dattijon taciturn, matafiyi na shirin ci gaba, sai kwatsam ya ji daga baya: “Za ka isa can cikin sa’a guda.” “Me yasa baki bani amsa nan take ba? “Ya kamata in duba gudun ko taku.

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

Yaya mahimmancin shi - yadda sauri shine mataki ... Lallai, ba ya faruwa cewa an yanke hukunci ga mai zane kawai ta hanyar wasansa a wasu gasa: shin ya nuna basirarsa, fasaha na fasaha, horo, da dai sauransu. Suna yin kisa, yin kisa. hasashe game da makomarsa, ya manta cewa babban abu shine mataki na gaba. Shin zai zama santsi da sauri isa. Grigory Sokolov, wanda ya lashe lambar zinare na Gasar Tchaikovsky ta Uku (1966), yana da sauri da kwarin gwiwa mataki na gaba.

Ayyukansa a mataki na Moscow zai kasance a cikin tarihin tarihin gasar na dogon lokaci. Wannan hakika ba ya faruwa sau da yawa. Da farko, a zagayen farko, wasu masana ba su boye shakkunsu ba: shin ya dace a hada irin wannan matashin mawaki, dalibin aji tara na makarantar, a cikin wadanda suka fafata? (Lokacin da Sokolov ya zo Moscow don shiga gasar Tchaikovsky ta uku, yana da shekaru goma sha shida kawai.). Bayan mataki na biyu na gasar, sunayen Ba'amurke M. Dichter, da 'yan uwansa J. Dick da E. Auer, Bafaranshe F.-J. Thiolier, 'yan wasan pian na Soviet N. Petrov da A. Slobodyanik; An ambaci Sokolov kawai a takaice kuma a cikin wucewa. Bayan zagaye na uku an bayyana shi a matsayin wanda ya yi nasara. Bugu da ƙari, wanda ya lashe kyautar, wanda bai ko raba kyautarsa ​​da wani ba. Ga mutane da yawa, wannan ya zama cikakken abin mamaki, ciki har da kansa. ("Na tuna da kyau cewa na tafi Moscow, zuwa gasa, kawai don yin wasa, don gwada hannuna. Ban ƙidaya wani nasara mai ban sha'awa ba. Wataƙila, wannan shine ya taimake ni...") (Bayanin alamomi, ta hanyoyi da yawa yana sake maimaita abubuwan tunawa na R. Kerer. A cikin sharuɗɗan tunani, hukunce-hukuncen irin wannan suna da sha'awar da ba za a iya musantawa ba. - G. Ts.)

Wasu mutane a lokacin ba su bar shakku ba - shin gaskiya ne, shin hukuncin da alkalai suka yanke daidai ne? Nan gaba ta amsa eh ga wannan tambayar. Koyaushe yana kawo haske na ƙarshe ga sakamakon yaƙin gasa: abin da ya zama halal a cikinsu, ya baratar da kansa, da abin da bai yi ba.

Grigory Lipmanovich Sokolov samu ilmin kida a wani musamman makaranta a Leningrad Conservatory. Malaminsa a ajin piano LI Zelikhman, ya yi karatu da ita kusan shekara goma sha daya. A nan gaba, ya yi karatu tare da shahararren mawaki, Farfesa M. Ya. Khalfin – ya kammala karatunsa na jami’a a karkashin jagorancinsa, sannan ya kammala karatun digiri.

Sun ce cewa tun lokacin yaro Sokolov aka bambanta da wani m aiki. Tun daga benci na makaranta ya kasance mai taurin kai da dagewa a karatunsa. Kuma a yau, ta hanyar, yawancin sa'o'i na aiki a keyboard (kowace rana!) Yana da doka a gare shi, wanda ya kiyaye shi sosai. “Talent? Wannan soyayya ce ga aikin mutum, ”in ji Gorky. Daya bayan daya, nawa kuma nawa Sokolov ya yi aiki kuma ya ci gaba da aiki, a koyaushe ya bayyana cewa wannan shine ainihin basira mai girma.

Grigory Lipmanovich ya ce: “Akan tambayi mawaƙa masu yin kida nawa ne lokacin da suke ba da gudummawa ga karatunsu. "Amsoshin a cikin waɗannan lokuta suna kallon, a ganina, ɗan wucin gadi. Domin ba shi yiwuwa a ƙididdige adadin aikin, wanda zai fi ko žasa daidai da yanayin al'amura. Bayan haka, zai zama wauta a yi tunanin cewa mawaƙin yana aiki ne kawai a waɗannan sa’o’in da yake kan kayan aikin. Yana shagaltuwa da aikinsa kullum....

Idan, duk da haka, don tuntuɓar wannan batu fiye ko žasa bisa ƙa'ida, to zan amsa ta wannan hanyar: a matsakaici, Ina ciyarwa a piano kusan sa'o'i shida a rana. Ko da yake, na maimaita, duk wannan yana da dangi sosai. Kuma ba wai don kowace rana ba dole ba ne. Da farko dai, saboda kunna kayan aiki da aikin ƙirƙira irin waɗannan abubuwa ba iri ɗaya bane. Babu yadda za a yi a sanya madaidaicin aya a tsakaninsu. Na farko wani bangare ne na kashi na biyu.

Abin da kawai zan ƙara a kan abin da aka faɗa shi ne, idan mawaƙi ya yi - a cikin ma'anar kalmar - mafi kyau.

Bari mu koma wasu facts na m biography na Sokolov da tunani alaka da su. Lokacin da yake da shekaru 12, ya ba da clavierabend na farko a rayuwarsa. Wadanda suka samu damar ziyarta sun tuna cewa a wancan lokacin (shi dalibi ne a aji shida) wasansa ya burge da tsantsar sarrafa kayan. Ya dakatar da hankalin wannan fasaha kammalawa, wanda ke ba da aiki mai tsawo, mai ban sha'awa da basira - kuma ba wani abu ba ... A matsayin mai zane-zane, Sokolov ya girmama "dokar kamala" a cikin wasan kwaikwayo na kiɗa (maganin ɗaya daga cikin masu bitar Leningrad), ya sami kiyaye shi sosai. a kan mataki. A bayyane yake, wannan ba shine mafi ƙarancin dalilin da ya tabbatar da nasararsa a gasar ba.

Akwai kuma wani - dorewar sakamakon ƙirƙira. A yayin taron kasa da kasa na uku na mawaka a birnin Moscow, L. Oborin ya bayyana a cikin manema labarai cewa: "Babu daya daga cikin mahalarta, sai G. Sokolov, ya shiga cikin dukan yawon shakatawa ba tare da hasara mai tsanani ba." (… Mai suna bayan Tchaikovsky // Tarin labarai da takardu kan Gasar Kasa da Kasa ta Uku na Mawaƙa-Masu yin waƙa mai suna bayan PI Tchaikovsky. P. 200.). P. Serebryakov, wanda, tare da Oborin, ya kasance memba na juri, kuma ya ja hankali ga wannan al'amari: "Sokolov," ya jaddada, "ya yi fice a cikin abokan hamayyarsa a cikin cewa duk matakai na gasar ya tafi na musamman lami" (Ibid, shafi na 198).

Game da kwanciyar hankali mataki, ya kamata a lura cewa Sokolov yana da bashin ta a fannoni da yawa ga ma'auni na ruhaniya. An san shi a cikin ɗakunan kide-kide a matsayin mai ƙarfi, dukan yanayi. A matsayin mai zane tare da tsari mai jituwa, duniyar ciki mara rarraba; irin wannan kusan ko da yaushe barga a cikin kerawa. Maraice a cikin ainihin halin Sokolov; yana sanya kanta a cikin komai: a cikin sadarwarsa tare da mutane, halin kirki kuma, ba shakka, a cikin ayyukan fasaha. Ko da a lokuta mafi mahimmanci a kan mataki, gwargwadon yadda mutum zai iya yin hukunci daga waje, jimiri ko kamun kai ba zai canza shi ba. Ganinsa a kayan aiki - mara gaggawa, natsuwa da amincewa da kansa - wasu suna tambayar tambaya: shin ya saba da wannan jin daɗi mai daɗi wanda ke mayar da zaman a kan dandalin kusan azaba ga yawancin abokan aikinsa… Da zarar an tambaye shi game da shi. Ya amsa da cewa ya kan shiga tashin hankali kafin wasan kwaikwayo. Kuma cikin tunani sosai, ya kara da cewa. Amma galibi kafin ya shiga fagen wasa, kafin ya fara wasa. Sa'an nan farin ciki ko ta yaya sannu a hankali ya ɓace, yana ba da damar sha'awar tsarin ƙirƙira kuma, a lokaci guda, mai da hankali kamar kasuwanci. Ya shiga aikin pianistic, kuma shi ke nan. Daga cikin kalamansa, a takaice, hoto ya fito wanda za a iya ji daga duk wanda aka haife shi don wasan kwaikwayo, bude wasan kwaikwayo, da sadarwa tare da jama'a.

Wannan shine dalilin da ya sa Sokolov ya tafi "na ban mamaki" a duk zagaye na gwaje-gwajen gasa a cikin 1966, saboda wannan dalili ya ci gaba da yin wasa tare da kishi har zuwa yau.

Tambayar za ta iya tashi: me yasa karramawar a gasar Tchaikovsky ta uku ta zo Sokolov nan da nan? Me ya sa ya zama jagora sai bayan zagaye na karshe? Yadda za a bayyana, a ƙarshe, cewa haihuwar dan wasan zinare yana tare da sanannen sabani na ra'ayi? Batun ƙasa shine cewa Sokolov yana da "aibi" ɗaya mai mahimmanci: shi, a matsayin mai wasan kwaikwayo, yana da kusan babu ... gazawa. Yana da wuya a zarge shi, ƙwararren ƙwararren ɗalibi na makarantar kiɗa ta musamman, ta wata hanya - a idanun wasu wannan ya zama abin zargi. Akwai magana game da "daidaitaccen bakararre" na wasansa; Ta bata wa wasu rai rai… Bai kasance mai yin muhawara ba - wannan ya haifar da tattaunawa. Jama'a, kamar yadda kuka sani, ba sa taka-tsan-tsan ga ƙwararrun ƙwararrun ɗalibai; Inuwar wannan dangantaka ta fadi a kan Sokolov kuma. Sauraran shi, sai suka tuno da kalmomin VV Sofronitsky, wanda ya taɓa faɗi a cikin zuciyarsa game da matasa 'yan takara: "Zai yi kyau sosai idan duk sun yi wasa kaɗan ba daidai ba ..." (Memories na Sofronitsky S. 75.). Zai yiwu wannan paradox yana da wani abu da ya shafi Sokolov - na ɗan gajeren lokaci.

Duk da haka, muna maimaita, waɗanda suka yanke shawarar makomar Sokolov a 1966 sun zama daidai a ƙarshe. Sau da yawa ana yin hukunci a yau, juri ya duba gobe. Kuma ya zato.

Sokolov gudanar ya girma a cikin babban artist. Da zarar, a baya, ɗan makaranta abin koyi wanda ya ja hankali musamman tare da kyan gani da wasansa mai santsi, ya zama ɗaya daga cikin mafi ma'ana, masu fasaha masu ban sha'awa na zamaninsa. Sana'arsa yanzu tana da mahimmanci. “Abin da yake da kyau ne kawai,” in ji Dokta Dorn a cikin Chekhov's The Seagull; Fassarar Sokolov koyaushe suna da mahimmanci, saboda haka ra'ayin da suke yi akan masu sauraro. A haƙiƙa, bai taɓa yin nauyi ba kuma ba shi da haske game da fasaha, har ma a lokacin ƙuruciyarsa; a yau, dabi'ar falsafa ta fara fitowa sosai a cikinsa.

Kuna iya ganin ta ta yadda yake wasa. A cikin shirye-shiryensa, sau da yawa yana sanya sonata na Ashirin da tara, Talatin da ɗaya da talatin da biyu na Bthoven, Bach's Art of Fugue cycle, Schubert's B flat major sonata… wani alkibla a cikinta. Trend a cikin kerawa.

Duk da haka, ba kawai cewa A cikin repertoire na Grigory Sokolov. Yanzu game da tsarinsa na fassarar kiɗa, game da halinsa ga ayyukan da yake yi.

Da zarar a cikin tattaunawa, Sokolov ya ce a gare shi babu mawallafin da aka fi so, styles, ayyuka. "Ina son duk abin da za a iya kira mai kyau kiɗa. Kuma duk abin da nake so, Ina so in yi wasa… ”Wannan ba magana ce kawai ba, kamar yadda wani lokaci ke faruwa. Shirye-shiryen masu wasan pian sun haɗa da kiɗa daga farkon ƙarni na XNUMX zuwa tsakiyar na XNUMX. Babban abu shi ne cewa an rarraba shi daidai daidai a cikin repertoire, ba tare da rashin daidaituwa ba wanda zai iya haifar da rinjaye na kowane suna, salon, jagorancin m. A sama akwai mawaƙan da yake yin ayyukansu da son rai (Bach, Beethoven, Schubert). Za ka iya sa kusa da su Chopin (mazurkas, etudes, polonaises, da dai sauransu), Ravel ("Night Gaspard", "Alborada"), Scriabin (First Sonata), Rachmaninoff (Na uku Concerto, Preludes), Prokofiev (First Concerto, Bakwai). Sonata), Stravinsky ("Petrushka"). Anan, a cikin jerin da ke sama, abin da aka fi ji a shagulgulansa a yau. Masu sauraro, duk da haka, suna da hakkin su jira sabbin shirye-shirye masu kayatarwa daga gare shi nan gaba. "Sokolov yana wasa da yawa," in ji mawallafin mai suka L. Gakkel, "karin nasa yana girma cikin sauri..." (Gakkel L. Game da Leningrad pianists // Sov. music. 1975. No. 4. P. 101.).

...A nan an nuna shi ta bayan fage. Sannu a hankali yana tafiya a ƙetaren mataki zuwa alkiblar piano. Bayan ya yi bakan da aka kayyade ga masu sauraro, ya zauna cikin kwanciyar hankali tare da jin daɗin da ya saba yi a madannai na kayan aikin. Da farko, yana kunna kiɗa, kamar yadda zai iya zama kamar mai sauraron da ba shi da kwarewa, dan kadan phlegmatic, kusan "tare da kasala"; wadanda ba su ne karon farko a wurin kide-kide da wake-wake nasa ba, suna zaton cewa wannan sigar ce da ke nuna kin amincewa da duk wani hargitsi, kawai nunin motsin rai. Kamar kowane fitaccen mashawarci, yana da ban sha'awa don kallon shi a cikin wasan kwaikwayo - wannan yana da yawa don fahimtar ainihin ainihin fasaharsa. Dukkanin siffarsa a kayan aiki - wurin zama, yin gestures, halayen mataki - yana haifar da ma'anar ƙarfi. (Akwai masu fasaha da ake girmamawa don kawai hanyar da suke ɗauka a kan mataki. Yana faruwa, ta hanya, da kuma akasin haka.) Kuma ta hanyar yanayin sauti na piano na Sokolov, da kuma bayyanarsa na musamman na wasa, shi ne. mai sauƙin ganewa a cikinsa ɗan wasan kwaikwayo mai saurin “almara a cikin wasan kida. "Sokolov, a ganina, wani sabon abu ne na "Glazunov" m fold," Ya. I. Zak ya taba cewa. Tare da duk al'ada, watakila batun batun wannan ƙungiyar, a fili bai tashi kwatsam ba.

Yawancin lokaci ba sauƙi ba ne ga masu fasaha na irin wannan ƙirar ƙirƙira don sanin abin da ke fitowa "mafi kyau" da abin da "mafi muni", bambance-bambancen su kusan ba su fahimta. Kuma duk da haka, idan ka yi la'akari da kide-kide na Leningrad pianist a baya shekaru, ba za a iya kasa ce game da ayyukan Schubert (sonatas, impromptu, da dai sauransu). Tare da marigayi Beethoven, su, bisa ga dukkan alamu, sun mallaki wuri na musamman a cikin aikin mai zane.

Yankunan Schubert, musamman Impromptu Op. 90 suna cikin shahararrun misalan wasan piano. Shi ya sa suke da wahala; ɗaukar su, kuna buƙatar samun damar yin nisa daga abubuwan da suka mamaye, stereotypes. Sokolov ya san yadda. A cikin Schubert, kamar yadda, hakika, a cikin kowane abu, sabo ne na gaske da wadatar ƙwarewar kiɗa yana ɗaukar hankali. Babu wata inuwar abin da ake kira pop "poshib" - kuma duk da haka ana iya jin daɗinsa sau da yawa a cikin wasan kwaikwayo.

Akwai, ba shakka, wasu fasalulluka waɗanda suke da halayyar aikin Sokolov na ayyukan Schubert - kuma ba kawai su ba ... Shi ne, ƙari, dumin sauti mai launi da launi. Kuma ba shakka, halayensa na laushi na samar da sauti: lokacin wasa, Sokolov yana da alama yana shafa piano…

Tun lokacin da ya samu nasara a gasar, Sokolov ya zagaya da yawa. An ji shi a Finland, Yugoslavia, Holland, Kanada, Amurka, Japan, da kuma wasu ƙasashe na duniya. Idan muka ƙara a nan akai-akai tafiye-tafiye zuwa biranen Tarayyar Soviet, ba shi da wuya a samu wani ra'ayi na sikelin na kide kide da kuma aiwatar da yi. Sokolov's press ya dubi ban sha'awa: kayan da aka buga game da shi a cikin Tarayyar Soviet da na kasashen waje suna cikin mafi yawan lokuta a cikin manyan sautuna. Abubuwan da suka dace, a cikin kalma, ba a manta da su ba. Idan ya zo ga “amma”… Wataƙila, galibi ana iya jin cewa fasahar ɗan wasan pian - tare da duk cancantar da ba za a iya musantawa ba - wani lokacin yana barin mai sauraro ɗan kwanciyar hankali. Ba ya kawo, kamar yadda ga alama ga wasu daga cikin masu sukar, da ƙarfi fiye da kima, kaifi, ƙona abubuwan kiɗa.

To, ba kowa ba, har ma a cikin manyan mashahuran mashahuran mashahuran, an ba da damar yin wuta ... Duk da haka, yana yiwuwa cewa halayen irin wannan har yanzu za su bayyana kansu a nan gaba: Sokolov, dole ne mutum yayi tunani, yana da tsayi da tsayi. ba kwata-kwata madaidaiciyar hanya madaidaiciya gaba. Kuma wa ya san idan lokacin zai zo lokacin da bakan na motsin zuciyarsa zai haskaka da sabon, m, sharply contrasting haduwa na launuka. Lokacin da zai yiwu a ga manyan rikice-rikice masu ban tsoro a cikin fasaharsa, don jin zafi a cikin wannan fasaha, kaifi, da rikice-rikice na ruhaniya mai rikitarwa. Sa'an nan, watakila, irin waɗannan ayyuka kamar E-flat-minor polonaise (Op. 26) ko C-minor Etude (Op. 25) na Chopin zai yi sauti da ɗan bambanta. Ya zuwa yanzu, suna burge kusan da farko tare da kyawawan zagaye na nau'ikan, filastik na ƙirar kiɗan da pianism mai daraja.

Ko ta yaya, amsa tambayar abin da ke motsa shi a cikin aikinsa, abin da ke motsa tunaninsa na fasaha, Sokolov ya yi magana kamar haka: "A gare ni cewa ba zan yi kuskure ba idan na ce na sami mafi yawan sha'awa daga yankunan da ba su da kyau. kai tsaye da alaka da sana'ata. Wato, wasu "sakamako" na kiɗa na samo asali ne daga wurina ba daga ainihin abubuwan da suka shafi kiɗa da tasirin ba, amma daga wani wuri dabam. Amma inda ainihin, ban sani ba. Ba zan iya cewa tabbatacciyar wani abu game da wannan ba. Na sani kawai idan babu inflows, rasit daga waje, idan babu isasshen "ruwan gina jiki juices" - ci gaban da artist ba makawa tsaya.

Kuma na san cewa mutumin da ya ci gaba ba wai kawai ya tara wani abu da aka dauka ba, wanda aka tsince daga gefe; hakika ya samar da nasa ra'ayoyin. Wato ba kawai ya sha ba, har ma yana halitta. Kuma wannan tabbas shine abu mafi mahimmanci. Na farko ba tare da na biyu ba, ba zai da ma'ana a fasaha."

Game da Sokolov da kansa, ana iya cewa da gaske yana da gaske Halicci kiɗa a piano, ya haifar a cikin ainihin ma'anar kalmar - "yana haifar da ra'ayoyi", don amfani da nasa furci. Yanzu ya ma fi gani fiye da da. Bugu da ƙari, ƙa'idar kirkire-kirkire a cikin wasan pianist ta “karye”, ta bayyana kanta - wannan shine abu mafi ban mamaki! - duk da sanannen kamun kai, ƙwaƙƙwaran ilimi na yadda ya yi. Wannan yana da ban sha'awa musamman…

Sokolov ta m makamashi da aka a fili ji a lokacin da yake magana game da 'yan wasan kwaikwayo a wani concert a cikin Oktoba Hall na House of the Unions a Moscow (Fabrairu 1988), shirin wanda ya hada da Bach's English Suite No. 2 a cikin karamin, Prokofiev's takwas Sonata da Sonata ta Beethoven ta talatin da biyu. Na ƙarshe na waɗannan ayyukan ya ja hankali musamman. Sokolov yana yin shi na dogon lokaci. Duk da haka, yana ci gaba da samun sabbin kusurwoyi masu ban sha'awa a cikin fassararsa. A yau, wasan pianist yana haifar da haɗin gwiwa tare da wani abu wanda, watakila, ya wuce abubuwan jin daɗi da ra'ayoyin kiɗa kawai. (Bari mu tuna da abin da ya fada a baya game da "sha'awa" da "tasiri" da ke da mahimmanci a gare shi, ya bar irin wannan alama mai mahimmanci a cikin fasaharsa - ga duk abin da suka fito daga sassan da ba su da alaka da kiɗa kai tsaye.) A bayyane yake. Wannan shi ne abin da ke ba da mahimmanci ga tsarin Sokolov na yanzu game da Beethoven gabaɗaya, da opus 111 na musamman.

Saboda haka, Grigory Lipmanovich da yarda ya koma ga ayyukan da ya yi a baya. Baya ga Sonata na talatin da biyu, wanda zai iya suna Bach's Golberg Variations da The Art of Fugue, Beethoven's talatin da uku bambance-bambancen akan Waltz ta Diabelli (Op. 120), da kuma wasu abubuwan da suka yi sauti a cikin kide kide da wake-wake a cikin tsakiyar da karshen tamanin . Duk da haka, shi, ba shakka, yana aiki akan wani sabon abu. Ya ci gaba da ƙware a kan repertoire layers waɗanda bai taɓa taɓa su ba. "Wannan ita ce kawai hanyar ci gaba," in ji shi. "A lokaci guda, a ganina, kuna buƙatar yin aiki a iyakar ƙarfin ku - na ruhaniya da na jiki. Duk wani "taimako", duk wani sha'awar kai zai zama daidai da fita daga ainihin fasaha mai girma. Haka ne, gwaninta yana tarawa tsawon shekaru; duk da haka, idan ya sauƙaƙa magance wata matsala ta musamman, kawai don saurin canzawa zuwa wani aiki, zuwa wata matsalar ƙirƙira.

A gare ni, koyan sabon yanki koyaushe yana da ƙarfi, aiki mai juyayi. Wataƙila yana da damuwa musamman - ban da kowane abu - kuma saboda ban rarraba tsarin aiki zuwa kowane matakai da matakai ba. Wasan "yana haɓaka" yayin koyo daga sifili - kuma har zuwa lokacin da aka ɗauke shi zuwa mataki. Wato, aikin ya kasance na giciye, halin da ba shi da bambanci - ba tare da la'akari da cewa ba zan iya samun damar koyon wani yanki ba tare da tsangwama ba, haɗawa ko dai tare da yawon shakatawa, ko tare da maimaita wasu wasanni, da dai sauransu.

Bayan aikin farko na aiki a kan mataki, aiki a kan shi ya ci gaba, amma riga a cikin matsayi na kayan da aka koya. Haka kuma idan dai na kunna wannan guntun kwata-kwata.

... Na tuna cewa a cikin tsakiyar sittin - matashin mai zane ya shiga cikin mataki - daya daga cikin sake dubawar da aka yi masa ya ce: "Gaba ɗaya, mawaƙin Sokolov yana ba da tausayi mai ban sha'awa ... tabbas yana cike da wadata da dama, kuma daga fasaharsa ku ba da son rai ku yi tsammanin kyakkyawa mai yawa. Shekaru da yawa sun shude tun lokacin. Abubuwan da za a iya amfani da su wanda aka cika ɗan wasan pian na Leningrad ya buɗe kuma cikin farin ciki. Amma, mafi mahimmanci, fasahar sa ba ta daina yin alƙawarin kyakkyawa mai yawa…

G. Tsipin, 1990