Grigory Romanovich Ginzburg |

Grigory Ginzburg

Grigory Romanovich Ginzburg ya zo Soviet wasan kwaikwayo a farkon shekarun ashirin. Ya zo a lokacin da mawaƙa irin su KN Igumnov, AB Goldenweiser, GG Neuhaus, SE Feinberg ke ba da kide-kide. V. Sofronitsky, M. Yudina ya tsaya a kan asalin hanyar fasaha. Wasu 'yan shekaru za su shude - kuma labarin nasarar da matasa masu kida suka samu daga USSR a Warsaw, Vienna da Brussels za su mamaye duniya; mutane za su kira Lev Oborin, Emil Gilels, Yakov Flier, Yakov Zak da takwarorinsu. Sai kawai babban hazaka mai ban sha'awa, ɗan adam mai haske mai haske, ba zai iya faɗuwa a bango ba a cikin wannan ƙwaƙƙwaran taurari na sunaye, ba za a rasa haƙƙin hankalin jama'a ba. Ya faru ne cewa masu wasan kwaikwayon da ba su da hazaka ko kaɗan sun koma cikin inuwa.

Wannan bai faru da Grigory Ginzburg ba. Har zuwa kwanakin ƙarshe ya kasance daidai a cikin na farko a cikin pianism na Soviet.

Wani lokaci, sa’ad da yake magana da ɗaya daga cikin masu tambayoyin, Ginzburg ya tuna lokacin ƙuruciyarsa: “Tarihina yana da sauƙi. Babu wani mutum ɗaya a cikin iyalinmu da zai yi waƙa ko ya buga wani kayan kida. Iyayen iyayena ne suka fara samun kayan aiki (piano.—Piano. Mr. C.) kuma ya fara ko ta yaya gabatar da yara zuwa duniyar kiɗa. Don haka mu ’yan’uwa uku muka zama mawaƙa.” (Tattaunawa da Ginzburg G. A. Vitsinsky. S. 70.).

Bugu da ari, Grigory Romanovich ya ce an fara lura da ikonsa na kiɗa lokacin yana ɗan shekara shida. A birnin iyayensa, Nizhny Novgorod, babu isasshen iko kwararru a piano pedagogy, kuma ya aka nuna ga sanannen Moscow farfesa Alexander Borisovich Goldenweiser. Wannan ya yanke shawarar abin da yaron ya kasance: ya ƙare a Moscow, a cikin gidan Goldenweiser, da farko a matsayin almajiri da dalibi, daga baya - kusan ɗan ɗa.

Koyarwa tare da Goldenweiser ba ta da sauƙi da farko. “Alexander Borisovich ya yi aiki tare da ni a hankali kuma cikin tsananin buƙata… Wani lokaci yana da wahala a gare ni. Watarana ya fusata ya jefar da duk littattafan rubutu na zuwa kan titi daga hawa na biyar, sai na bi su a guje. A lokacin bazara ne na 1917. Duk da haka, waɗannan azuzuwan sun ba ni abubuwa da yawa, na tuna tsawon rayuwata.” (Tattaunawa da Ginzburg G. A. Vitsinsky. S. 72.).

Lokaci zai zo, kuma Ginzburg zai zama sananne a matsayin daya daga cikin mafi "fasaha" Soviet pianists; dole ne a sake duba wannan. A halin yanzu, ya kamata a lura cewa tun yana karami ya kafa harsashin yin zane-zane, kuma rawar da babban jami'in gine-ginen, wanda ya sa ido a kan ginin wannan gidauniya, wanda ya yi nasarar ba shi rashin iya granite da taurinsa, yana da girma na musamman. . Alexander Borisovich ya ba ni cikakken horo na fasaha. Ya sami damar kawo aikina akan fasaha tare da juriya da halayensa zuwa mafi kyawun iyaka. ”… (Tattaunawa da Ginzburg G. A. Vitsinsky. S. 72.).

Tabbas, darussan ƙwararren ƙwararren da aka sani gabaɗaya a cikin kiɗa, kamar Goldenweiser, ba'a iyakance ga aiki akan fasaha ba. Bugu da ƙari, ba a rage su zuwa wasan piano ɗaya kawai ba. Har ila yau, akwai lokaci don ilimin kida-ka'idar, kuma - Ginzburg ya yi magana game da wannan tare da jin dadi na musamman - don karatun ido na yau da kullum (yawan shirye-shiryen ayyuka hudu na Haydn, Mozart, Beethoven, da sauran marubuta sun sake buga su ta wannan hanya). Alexander Borisovich kuma bi janar m ci gaban da Pet: ya gabatar da shi zuwa ga wallafe-wallafe da kuma wasan kwaikwayo, ya kawo sha'awar a wideth na views art. Baƙi na yawan ziyartar gidan Goldenweisers; Daga cikin su akwai iya ganin Rachmaninov, Scriabin, Medtner, kuma da yawa wasu wakilan m basira na wadanda shekaru. Yanayin matashin mawaƙin ya kasance mai ba da rai sosai kuma yana da fa'ida; yana da kowane dalili da zai ce a nan gaba cewa ya kasance da gaske "sa'a" tun yana yaro.

A 1917, Ginzburg shiga Moscow Conservatory, sauke karatu daga gare ta a 1924 (sunan saurayi da aka shigar a kan marmara Board of girmamawa). a 1928 karatun digirinsa ya ƙare. Shekara guda a baya, daya daga cikin tsakiya, wanda zai iya cewa, abubuwan da suka ƙare a rayuwarsa ta fasaha sun faru - Chopin Competition a Warsaw.

Ginzburg ya shiga gasar tare da gungun 'yan uwansa - LN Oborin, DD Shostakovich da Yu. V. Bryushkov. Dangane da sakamakon gasa da aka gudanar, an ba shi kyauta ta hudu (wani gagarumin nasara bisa ka'idojin wadannan shekarun da waccan gasar); Oborin ya lashe matsayi na daya, Shostakovich da Bryushkov sun sami lambar girmamawa. Wasan ɗalibin Goldenweiser ya kasance babban nasara tare da Varsovians. Oborin, bayan ya koma Moscow, ya yi magana a cikin 'yan jarida game da "nasara" na abokin aikinsa, "game da ci gaba da tafi" wanda ke tare da bayyanarsa a kan mataki. Da yake zama mai nasara, Ginzburg ya yi, kamar cinyar girmamawa, yawon shakatawa na biranen Poland - rangadin farko na kasashen waje a rayuwarsa. Bayan wani lokaci, ya sake ziyarci wurin farin ciki na Poland a gare shi.

Amma game da sanin Ginzburg tare da masu sauraron Soviet, ya faru tun kafin abubuwan da aka bayyana. Duk da yake har yanzu dalibi, a 1922 ya taka leda tare da Persimfans (Persimfans - Ƙungiyar Symphony ta Farko. Ƙwararren makaɗa ba tare da jagora ba, wanda akai-akai kuma ya yi nasara a Moscow a 1922-1932) Liszt's concerto a cikin E-flat major. Bayan shekara daya ko biyu, ayyukan yawon shakatawa, wanda ba shi da ƙarfi a farkon, ya fara. (“Lokacin da na sauke karatu a makarantar renon yara a shekara ta 1924,” in ji Grigory Romanovich, “kusan babu inda zan yi wasa sai dai kide-kide guda biyu a wani karamin zauren. Ba a gayyace su musamman zuwa larduna ba. Har yanzu babu wata ƙungiyar Philharmonic…”)

Duk da yawan ganawa da jama'a, sunan Ginzburg yana samun farin jini a hankali. Yin la'akari da rayayyun shaidun da suka gabata - abubuwan tunawa, tsofaffin jaridu - yana samun farin jini tun kafin nasarar Warsaw na pianist. Masu sauraro suna sha'awar wasansa - mai karfi, daidai, m; a cikin martani na masu dubawa wanda zai iya gane sha'awar "mai karfi, mai lalata" na kirki na mai zane-zane, wanda, ba tare da la'akari da shekaru ba, shine "fitaccen mutum a kan wasan kwaikwayo na Moscow". A lokaci guda kuma, gazawarta ba a ɓoye ko dai: sha'awar wuce gona da iri, sonorities da yawa, bayyananne, buga tasirin da yatsa "kunshtuk".

Sukar sun fi kama abin da ke saman, wanda aka yi hukunci da alamun waje: taki, sauti, fasaha, dabarun wasa. Pianist da kansa ya ga babban abu kuma babban abu. A tsakiyar shekarun ashirin, ba zato ba tsammani ya gane cewa ya shiga wani lokaci na rikici - mai zurfi, mai tsayi, wanda ya haifar da tunani da kwarewa a gare shi. “… A ƙarshen ɗakin karatu, na kasance da cikakken kwarin gwiwa a kaina, da kwarin guiwa a kan iyawata mara iyaka, kuma a zahiri shekara guda bayan haka sai na ji ba zato ba tsammani ba zan iya yin komai ba – lokaci ne mai muni… Nan da nan, na kalli tawa. wasa da idon wani, kuma mugunyar natsuwa ta rikide zuwa cikakkiyar rashin gamsuwa da kai” (Ginzburg G. Tattaunawa tare da A. Vitsinsky. S. 76.).

Daga baya, ya gane shi duka. Ya bayyana a gare shi cewa rikicin ya nuna wani mataki na tsaka-tsaki, lokacin samartaka a wasan piano ya ƙare, kuma mai koyo yana da lokaci don shiga rukunin masters. Daga baya, ya sami lokuta don tabbatar da - a misalin abokan aikinsa, da kuma dalibansa - cewa lokacin maye gurbin fasaha ba ya ci gaba a asirce, da rashin fahimta kuma ba tare da jin zafi ga kowa ba. Ya koyi cewa "harseness" na muryar mataki a wannan lokacin kusan babu makawa; cewa ji na rashin jituwa na cikin gida, rashin gamsuwa, sabani da kai abu ne na halitta. Sa'an nan, a cikin twenties, Ginzburg ya sani kawai cewa "lokaci ne mai muni."

Zai zama alama cewa lokaci mai tsawo da ya wuce yana da sauƙi a gare shi: ya daidaita rubutun aikin, ya koyi bayanin kula da zuciya - kuma duk abin da ya kara fitowa da kansa. Halin kida na dabi'a, pop " ilhami ", kulawa da malami - wannan ya kawar da matsala mai yawa da matsaloli. An yi fim ɗin - a yanzu ya zama - ga ɗalibin abin koyi na ɗakunan ajiya, amma ba don mai yin kide-kide ba.

Ya yi nasarar shawo kan matsalolinsa. Lokaci ya zo kuma dalili, fahimta, tunani mai ban sha'awa, wanda, a cewarsa, ba shi da yawa a kan bakin kofa na aiki mai zaman kanta, ya fara ƙayyade da yawa a cikin fasahar pianist. Amma kada mu ci gaba da kanmu.

Rikicin ya ɗauki kimanin shekaru biyu - tsawon watanni na yawo, bincike, shakku, tunani… Sai dai a lokacin gasar Chopin, Ginzburg na iya cewa lokaci mai wuya ya kasance a baya. Ya sake tako kan hanya madaidaiciya, ya sami ƙarfi da kwanciyar hankali, ya yanke shawarar kansa - cewa shi yayi wasa kuma as.

Yana da kyau a lura cewa na farko cewa Wasa ya kasance kamar a gare shi wani lamari ne na musamman. Ginzburg bai gane (dangane da kansa, a kowane hali) repertoire "omnivorousness". Rashin yarda da ra'ayoyin gaye, ya yi imanin cewa mawaƙin mai yin wasan kwaikwayo, kamar ɗan wasan kwaikwayo, ya kamata ya kasance yana da nasa rawar - salon ƙirƙira, yanayi, mawaƙa, da kuma wasa kusa da shi. Da farko, matashin ɗan wasan wasan kwaikwayo ya kasance mai sha'awar soyayya, musamman Liszt. M, mai kyan gani, sanye da kayan marmari na pianistic Liszt - marubucin "Don Giovanni", "Aure na Figaro", "Dance na Mutuwa", "Campanella", "Rhapsody na Mutanen Espanya"; waɗannan abubuwan haɗin gwiwar sun ƙunshi asusun zinari na shirye-shiryen kafin yaƙin Ginzburg. (Mai zane zai zo ga wani Liszt - marubucin mafarki mai mafarki, mawaƙa, mahaliccin Waltzes da aka manta da Grey Clouds, amma daga baya.) Duk abin da ke cikin ayyukan da aka ambata a sama ya kasance daidai da yanayin aikin Ginzburg a cikin post-conservatory. Wasa da su, ya kasance a cikin ainihin ɗan ƙasa kashi: a cikin dukan ɗaukakarsa, ya bayyana kanta a nan, kyalkyali da kyalkyali, da ban mamaki virtuoso kyauta. A cikin ƙuruciyarsa, lissafin wasan kwaikwayo na Liszt ya kasance sau da yawa ana tsara shi ta hanyar wasan kwaikwayo irin su Chopin's A-flat major polonaise, Balakirev's Islamey, shahararren Brahmsian bambance-bambancen akan jigon Paganini - kiɗan wani mataki mai ban mamaki, launuka masu launuka iri-iri, nau'in nau'in. Pianistic "Empire".

Da shigewar lokaci, haɗe-haɗe na mawallafin pianist sun canza. Hankalin wasu marubuta ya yi sanyi, sha'awar wasu ta tashi. Ƙauna ta zo ga ƙwararrun kiɗa; Ginzburg zai kasance da aminci gare ta har zuwa ƙarshen kwanakinsa. Tare da cikakken tabbacin ya taɓa faɗi, yana magana game da Mozart da Beethoven na farkon da tsakiyar lokaci: "Wannan shine ainihin yanayin aikace-aikacen sojojina, wannan shine abin da zan iya kuma na sani mafi yawa." (Tattaunawa da Ginzburg G. A. Vitsinsky. S. 78.).

Ginzburg zai iya faɗi kalmomi iri ɗaya game da kiɗan Rasha. Ya buga shi da son rai da kuma sau da yawa - duk abin da daga Glinka ga piano, da yawa daga Arensky, Scriabin da kuma, ba shakka, Tchaikovsky (pianist da kansa ya yi la'akari da "Lullaby" a cikin mafi girman nasarar fassararsa kuma ya yi alfahari da shi).

Hanyoyin Ginzburg zuwa fasahar kiɗan zamani ba su da sauƙi. Yana da ban sha'awa cewa ko da a tsakiyar shekaru arba'in, kusan shekaru ashirin bayan fara aikin wasan kwaikwayo mai yawa, babu wani layi na Prokofiev a cikin wasan kwaikwayonsa a kan mataki. Daga baya, duk da haka, duka biyun Prokofiev na kida da piano opuses na Shostakovich ya bayyana a cikin repertoire; Mawallafin biyu sun sami matsayi a cikin mafi ƙaunarsa da girmamawa. (Shin ba alama ba ne: daga cikin ayyukan ƙarshe da ɗan wasan pian ya koya a rayuwarsa shine Shostakovich's Second Sonata; shirin daya daga cikin ayyukansa na ƙarshe na jama'a ya haɗa da zaɓi na preludes ta wannan mawaki.) Wani abu kuma yana da ban sha'awa. Ba kamar yawancin ƴan piano na zamani ba, Ginzburg bai yi sakaci da nau'in rubutun piano ba. Ya kasance yana buga rubuce-rubuce - da wasu da nasa; gyare-gyaren kide kide na ayyukan Punyani, Rossini, Liszt, Grieg, Ruzhitsky.

Abun da ke ciki da yanayin ɓangarorin da pianist ya bayar ga jama'a sun canza - yanayinsa, salonsa, fuskarsa ta canza. Don haka, alal misali, ba a daɗe ba a bar wata alama ta ƙuruciyarsa ta ƙwaƙƙwaran fasaha, furucin virtuoso. Tuni a farkon shekarun XNUMXs ɗin, zargi ya yi wani abin lura mai mahimmanci: “Yana magana kamar virtuoso, shi (Ginzburg.—Ginzburg. Mr. C.) yana tunani kamar mawaƙin” (Kogan G. Batutuwan pianism. - M., 1968. P. 367.). Rubutun hannu na mai zane yana ƙara zama tabbatacce kuma mai zaman kansa, pianism yana ƙara girma kuma, mafi mahimmanci, halayen ɗaiɗaiku. Daban-daban fasali na wannan pianism suna a hankali a cikin gungumen azaba, diametrically tsayayya da matsa lamba na iko, kowane nau'i na exaggeration na bayyana, wasan "Sturm und Drang". Kwararrun da suka kalli mawaƙin a cikin shekarun kafin yaƙi sun ce: "Ƙaunataccen sha'awa," bravura mai surutu ", sautin murya, feda" gajimare da gajimare "ba haka yake ba. Ba a cikin fortissimo ba, amma a cikin pianissimo, ba a cikin tarzoma na launuka ba, amma a cikin filastik na zane, ba a cikin brioso ba, amma a cikin leggiero - babban ƙarfin Ginzburg " (Kogan G. Batutuwan pianism. - M., 1968. P. 368.).

Kyawawan bayyanar da pianist ya zo ƙarshe a cikin arba'in da hamsin. Mutane da yawa har yanzu suna tunawa da Ginzburg na wancan lokacin: haziki, mawaƙi mai cikakken ilimi wanda ya gamsu da dabaru da tabbataccen shaida game da ra'ayoyinsa, mai ban sha'awa tare da ɗanɗanonsa mai kyan gani, wasu tsarkakakku na musamman da fayyace salon wasansa. (Tun da farko, an ambaci sha'awarsa ga Mozart, Beethoven; mai yiwuwa, ba haɗari ba ne, kamar yadda ya nuna wasu kaddarorin nau'ikan wannan nau'in fasaha.) Lallai, launi na gargajiya na wasan Ginzburg a bayyane yake, jituwa, horo na ciki, daidaitawa gaba ɗaya. da bayanai - watakila mafi fitattun siffa na fasahar kere-kere na pianist. Ga abin da ya bambanta fasaharsa, jawabinsa na yin magana daga maganganun kida na Sofronitsky, fashewar soyayya na Neuhaus, wakoki masu taushi da gaskiya na matasa Oborin, monumentalism na piano na Gilels, karatun Flier ya shafa.

Da zarar ya kasance yana sane da rashin "ƙarfafawa", kamar yadda ya ce, yin tunani, fahimta. Ya zo kan abin da yake nema. Lokaci yana zuwa lokacin da girman Ginzburg (babu wata kalma a gare shi) "ratio" na fasaha ya bayyana kansa a saman muryarsa. Duk abin da marubucin ya juya a cikin shekarunsa na girma - Bach ko Shostakovich, Mozart ko Liszt, Beethoven ko Chopin - a cikin wasansa mutum zai iya jin mahimmancin cikakken tunani na fassarar tunani, yanke a hankali. Bazuwar, kwatsam, ba a kafa shi cikin bayyananniyar aiki ba nufi – kusan babu wani wuri ga duk wannan a cikin fassarar Ginzburg. Saboda haka - daidaiton waka da daidaito na karshen, babban ingancin su na fasaha, ma'ana aiki. "Yana da wahala a daina tunanin cewa tunanin wani lokaci nan da nan ya kan gaba da sha'awar motsa jiki a nan, kamar dai wayewar pianist, wanda ya fara ƙirƙirar hoto mai fasaha, sannan ya haifar da jin daɗin kiɗan da ya dace." (Rabinovich D. Hotunan ƴan pian. - M., 1962. P. 125.), - masu suka sun ba da ra'ayinsu game da wasan pianist.

Farkon zane-zane da fasaha na Ginzburg ya jefa tunaninsa akan duk hanyoyin haɗin gwiwa na tsarin ƙirƙira. Yana da hali, alal misali, cewa wani muhimmin ɓangare na aikin a kan hoton kiɗa ya yi shi kai tsaye "a cikin tunaninsa", kuma ba a maballin ba. (Kamar yadda kuka sani, ana amfani da wannan ka'ida sau da yawa a cikin azuzuwan Busoni, Hoffmann, Gieseking da wasu ƙwararrun masana waɗanda suka ƙware hanyar da ake kira "hanyar fasaha".) Mr. C.), ya zauna a kujera a cikin kwanciyar hankali da kwanciyar hankali kuma, rufe idanunsa, "wasa" kowane aiki daga farko zuwa ƙarshe a hankali a hankali, yana mai da hankali a cikin gabatarwarsa tare da cikakkiyar daidaito duk cikakkun bayanai na rubutun, sautin kowane. bayanin kula da dukan masana'antar kiɗa gaba ɗaya. Koyaushe yana musanyawa yana kunna kayan aiki tare da tabbatarwa ta hankali da haɓaka abubuwan da ya koya. (Nikolaev AGR Ginzburg / / Tambayoyi na wasan piano. - M., 1968. Fitowa ta 2. P. 179.). Bayan irin wannan aikin, a cewar Ginzburg, wasan da aka fassara ya fara fitowa a cikin tunaninsa tare da matsakaicin tsabta da bambanci. Kuna iya ƙarawa: a cikin tunanin ba kawai mai zane ba, har ma da jama'a waɗanda suka halarci kide-kide nasa.

Daga sito na wasan Ginzburg tunani - da ɗan ɗanɗano ɗan ƙaramin motsin rai na aikin sa: kamewa, mai tsauri, a wasu lokuta kamar “muffled”. Fasahar dan wasan piano ba ta taɓa fashewa da walƙiya mai haske na sha'awa ba; akwai magana, abin ya faru, na “rashin wadatar sa” a zuciya. Ba shi da wuya a yi adalci (mafi kyawun mintuna ba a ƙidaya su ba, kowa zai iya samun su) - tare da duk laconicism, har ma da sirrin bayyanar cututtuka, tunanin mawaƙa ya kasance mai ma'ana da ban sha'awa a hanyarsu.

"Koyaushe yana gani a gare ni cewa Ginzburg mawaki ne na sirri, yana jin kunya don buɗe ransa," ɗaya daga cikin masu bitar ya taɓa yin magana ga mai wasan pian. Akwai gaskiya da yawa a cikin waɗannan kalmomi. Rubutun gramophone na Ginzburg sun tsira; Masana falsafa da masu son kiɗa suna daraja su sosai. (Mai wasan pian ya yi rikodin abubuwan da ba a so ba na Chopin, Scriabin's etudes, fassarar waƙoƙin Schubert, sonatas na Mozart da Grieg, Medtner da Prokofiev, wasan Weber, Schumann, Liszt, Tchaikovsky, Myaskovsky da ƙari.); ko da daga waɗannan fayafai - shaidun da ba a dogara ba, waɗanda suka yi hasarar da yawa a lokacinsu - wanda zai iya yin la'akari da dabara, kusan jin kunya na ƙwaƙƙwarar ƙwaƙƙwarar mai zane. An yi tsammani, duk da rashin zaman lafiya na musamman ko "ƙullun zumunci" a cikinta. Akwai karin maganar Faransa: ba sai ka yaga kirjin ka bude don nuna cewa kana da zuciya ba. Mafi mahimmanci, Ginzburg mai zane ya yi tunani iri ɗaya.

Masu zamani baki ɗaya sun lura da ƙwararrun ƙwararrun ƙwararrun pianistic na Ginzburg, wasan kwaikwayonsa na musamman fasaha. (Mun riga mun tattauna nawa ne bashi a wannan batun ba kawai ga yanayi da ƙwazo ba, har ma da AB Goldenweiser). Kadan daga cikin abokan aikinsa sun sami damar bayyana ma'anar ma'anar piano da fasaha tare da cikakkiyar cikawa kamar yadda ya yi; mutane kaɗan ne suka sani kuma suka fahimta, kamar yadda ya yi, “rai” na kayan aikinsa. An kira shi "mawaƙin fasaha na pianistic", yana sha'awar "sihiri" na fasaharsa. Lallai, kamala, cikakkiyar cikar abin da Ginzburg ya yi a madannai na piano, ya ware shi har ma da shahararrun 'yan wasan kide-kide. Sai dai idan wasu za su iya kwatanta shi da shi a cikin buɗaɗɗen aikin korar kayan ado na hanya, haske da ƙaya na wasan kide-kide ko octaves, kyakkyawar zagaye na jimla, ƙayyadaddun kayan adon duk abubuwa da ƙayyadaddun ƙirar piano. ("Wasansa," waɗanda suka yi zamani sun rubuta da ban sha'awa, "mai tunawa da yadin da aka saka, inda ƙwararru da hannaye masu hankali suka saƙa kowane dalla-dalla na kyakkyawan tsari - kowane kulli, kowane madauki.") Ba zai zama ƙari ba idan an ce pianistic mai ban mamaki fasaha – daya daga cikin abubuwan da suka fi daukar hankali da ban sha’awa a cikin hoton mawakin.

Wani lokaci, a'a, a'a, a, kuma an bayyana ra'ayi cewa cancantar wasan Ginzburg za a iya danganta shi ga mafi yawan ɓangaren waje a cikin pianism, zuwa siffar sauti. Wannan, ba shakka, bai kasance ba tare da sauƙaƙawa ba. An san cewa tsari da abun ciki a cikin fasahar wasan kwaikwayo na kida ba iri ɗaya ba ne; amma halitta, indisoluble hadin kai ba shi da wani sharadi. Ɗayan anan yana shiga ɗayan, yana haɗuwa da shi ta hanyar alaƙar ciki mara adadi. Abin da ya sa GG Neuhaus ya rubuta a lokacinsa cewa a cikin pianism yana iya zama "mawuyaci don zana madaidaicin layi tsakanin aiki a kan fasaha da kuma aiki a kan kiɗa ...", saboda "duk wani ci gaba a cikin fasaha shine ci gaba a cikin fasaha kanta, wanda ke nufin shi. yana taimakawa wajen gano abubuwan da ke ciki, "boyayyun ma'anar..." (Neigauz G. Akan fasahar wasan piano. – M., 1958. P. 7. Lura cewa wasu masu fasaha da dama, ba kawai masu wasan pian ba, suna jayayya a irin wannan hanya. Shahararren shugaba F. Weingartner ya ce: “Kyakkyawan tsari
 mara rabuwa daga zane-zane mai rai (detente na. - G. Ts.). Kuma daidai domin yana ciyar da ruhun fasaha da kansa, yana iya isar da wannan ruhun ga duniya” (wanda aka nakalto daga littafin: Ayyukan Gudanarwa. M., 1975. P. 176)..

Ginzburg malamin ya yi abubuwa masu ban sha'awa da amfani a lokacinsa. Daga cikin dalibansa a Moscow Conservatory mutum zai iya ganin daga baya mashahuran al'adun gargajiya na Soviet - S. Dorensky, G. Axelrod, A. Skavronsky, A. Nikolaev, I. Ilyin, I. Chernyshov, M. Pollak ... Dukkansu suna godiya. Tuna daga baya makarantar da suka shiga karkashin jagorancin wani mawaƙi mai ban mamaki.

Ginzburg, a cewarsu, ya cusa wa ɗalibansa kyakkyawar al'adar sana'a. Ya koyar da jituwa da tsari mai tsauri da ke mulki a cikin fasaharsa.

Yana bin AB Goldenweiser kuma yana bin misalinsa, ta kowace hanya ya ba da gudummawa ga haɓaka fa'ida da fa'ida tsakanin ɗalibai matasa. Kuma ba shakka, ya kasance babban gwani na koyon wasan piano: yana da kwarewa mai girma, ya kuma sami kyautar farin ciki don raba shi da wasu. (Za a tattauna malamin Ginsburg daga baya, a cikin wata makala da aka keɓe ga ɗaya daga cikin ƙwararrun ɗalibansa, S. Dorensky.).

Ginzburg ya ji daɗin girma a tsakanin abokan aikinsa a lokacin rayuwarsa, ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararru da ƙwararrun masu son kiɗa sun furta sunansa da girmamawa. Duk da haka, mai wasan pianist, watakila, ba shi da tabbacin cewa yana da hakkin ya ƙidaya. Lokacin da ya mutu, an ji muryoyin cewa, a cewarsa, mutanen zamaninsa ba su yi masa godiya sosai ba. Wataƙila ... Daga nesa na tarihi, wuri da kuma rawar da mai zane a baya ya fi dacewa ya ƙayyade: bayan haka, babban "wanda ba zai iya ganin fuska da fuska", ana gani daga nesa.

Ba da daɗewa ba kafin mutuwar Grigory Ginzburg, ɗaya daga cikin jaridu na ƙasashen waje ya kira shi “babban ƙwararrun ’yan wasan pian na Tarayyar Soviet.” A da, irin waɗannan maganganun, watakila, ba a ba su ƙima mai yawa ba. A yau, bayan shekaru da yawa, abubuwa sun bambanta.

G. Tsipin