Henri Vieuxtemps |

Henry Vieuxtemps

Vietnam. Concert. Allegro non troppo (Jascha Heifetz) →

Ko da Joachim mai mahimmanci ya ɗauki Vieuxtan babban dan wasan violin; Auer ya rusuna a gaban Viettan, yana yaba masa sosai a matsayin mai yin wasan kwaikwayo da mawaki. Ga Auer, Vietang da Spohr sun kasance ƙwararrun fasahar violin, "saboda ayyukansu, kowanne ta hanyarsa, suna zama misalai na makarantu daban-daban na tunanin kiɗa da wasan kwaikwayo."

Babban abin mamaki shine rawar tarihi na Vietnam a cikin haɓaka al'adun violin na Turai. Ya kasance mai fasaha mai zurfi, wanda aka bambanta da ra'ayi na ci gaba, kuma cancantarsa ​​a cikin haɓaka ayyukan irin waɗannan ayyukan kamar wasan violin da na Beethoven na ƙarshe a zamanin da aka ƙi su har ma da manyan mawaƙa da yawa suna da kima.

Dangane da wannan, Vieuxtan shine magajin kai tsaye na Laub, Joachim, Auer, wato, waɗancan masu yin wasan kwaikwayo waɗanda suka tabbatar da ka'idodin gaske a cikin fasahar violin a tsakiyar karni na XNUMX.

An haifi Vietanne a cikin ƙaramin garin Verviers na Belgium a ranar 17 ga Fabrairu, 1820. Mahaifinsa, Jean-Francois Vietain, mai yin zane ta hanyar sana'a, ya buga violin sosai ga mai son, sau da yawa yana wasa a liyafa da kuma cikin ƙungiyar makaɗa ta coci; mahaifiyar Marie-Albertine Vietain, ta fito ne daga dangin Anselm na gado - masu sana'a na birnin Verviers.

A cewar almara na iyali, lokacin da Henri yana ɗan shekara 2, ko yaya kuka yi, zai iya samun nutsuwa da sauri ta hanyar sautin violin. Bayan gano iyawar kida na zahiri, yaron ya fara koyon violin da wuri. Darussa na farko mahaifinsa ne ya koya masa, amma dansa ya yi sauri ya zarce shi da fasaha. Sai uban ya damƙa Henri ga wani Leclos-Dejon, ƙwararren ɗan wasan violin da ke zaune a Verviers. Attajirin nan mai taimakon jama'a M. Zhenin ya taka rawa sosai a cikin makomar matashin mawakin, wanda ya amince da biyan kudin darussan yaron tare da Leclou-Dejon. Malamin ya zama mai iyawa kuma ya ba yaron tushe mai kyau a wasan violin.

A cikin 1826, lokacin da Henri yana da shekaru 6, an gudanar da kide-kide na farko a Verviers, kuma bayan shekara guda - na biyu, a makwabciyar Liege (Nuwamba 29, 1827). Nasarar ta kasance mai girma cewa labarin M. Lansber ya bayyana a cikin jaridar gida, yana rubutawa da ban sha'awa game da basirar yaron. Gretry Society, a cikin zauren da wasan kwaikwayo ya faru, ya gabatar da yaron tare da baka da F. Turt ya yi, tare da rubutun "Henri Vietan Gretry Society" a matsayin kyauta. Bayan wasan kwaikwayo a Verviers da Liege, an so a ji yarinyar mai bajinta a babban birnin Belgium. Ranar 20 ga Janairu, 1828, Henri, tare da mahaifinsa, ya tafi Brussels, inda ya sake girbi laurels. 'Yan jarida sun mayar da martani ga kide-kide nasa: "Courrier des Pays-Bas" da "Journal d'Anvers" cikin ƙwazo suna ƙididdige kyawawan halayen wasansa.

Bisa ga kwatancin masu rubutun tarihin, Viettan ya girma a matsayin yaro mai farin ciki. Duk da muhimmancin darussan waƙa, da son rai ya shiga cikin wasannin yara da raye-raye. A lokaci guda kuma, kiɗan wani lokaci yana cin nasara har ma a nan. Wata rana, Henri ya ga zakara a cikin tagar kanti kuma ya karɓe shi a matsayin kyauta. Komawa gida, ba zato ba tsammani ya bace kuma ya bayyana a gaban manya bayan sa'o'i 3 tare da takarda - wannan shi ne "opus" na farko - "The Song of the Cockerel".

A lokacin halarta na farko na Viet Tang a fagen fasaha, iyayensa sun sami babban matsalar kuɗi. Ranar 4 ga Satumba, 1822, an haifi yarinya mai suna Barbara, kuma a ranar 5 ga Yuli, 1828, an haifi wani yaro Jean-Joseph-Lucien. Akwai ƙarin yara biyu - Isidore da Maria, amma sun mutu. Koyaya, har ma da sauran, dangin sun ƙunshi mutane 5. Saboda haka, lokacin da, bayan nasarar Brussels, mahaifinsa ya ba da damar daukar Henri zuwa Holland, ba shi da isasshen kuɗi don wannan. Dole ne in sake komawa wurin Zhenen don neman taimako. Majiɓincin bai ƙi ba, kuma uba da ɗansu sun tafi The Hague, Rotterdam da Amsterdam.

A Amsterdam, sun sadu da Charles Berio. Jin Henri, Berio ya yi farin ciki da basirar yaron kuma ya ba shi darussan da dukan iyalin suka koma Brussels. Sauƙi don faɗi! Matsugunin yana buƙatar kuɗi da kuma fatan samun aikin yi don ciyar da iyali. Iyayen Henri sun yi jinkiri na dogon lokaci, amma sha'awar ba da ɗansu ilimi daga irin wannan babban malami kamar Berio ya yi nasara. An yi hijira a cikin 1829.

Henri ɗalibi ne mai himma da godiya, kuma ya bauta wa malamin har ya fara ƙoƙarin yin kwafinsa. Clever Berio bai ji daɗin wannan ba. An kyamace shi da epigonism kuma ya kishi ya kare 'yancin kai a cikin fasahar fasaha na mawaƙa. Saboda haka, a cikin ɗalibin, ya haɓaka ɗabi'a, yana kare shi ko da tasirinsa. Da yake lura cewa kowace furcinsa ta zama doka ga Henri, ya tsawata masa da zagi: “Abin baƙin ciki, idan ka kwafa ni haka, za ka zauna kaɗan Berio, amma kana bukatar ka zama kanka.”

Damuwar Berio ga ɗalibin ya kai komai. Ganin cewa dangin Vietan suna cikin bukata, ya nemi alawus na shekara-shekara na florins 300 daga Sarkin Belgium.

Bayan 'yan watanni na azuzuwan, a cikin 1829, Berio yana ɗaukar Vietana zuwa Paris. Malami da dalibi suna yin wasa tare. Mafi yawan mawaƙa na Paris sun fara magana game da Viettan: "Wannan yaron," Fetis ya rubuta, "yana da ƙarfi, amincewa da tsabta, da gaske na ban mamaki ga shekarunsa; an haife shi ya zama mawaki.”

A cikin 1830, Berio da Malibran sun tafi Italiya. Viet Tang ta kasance ba tare da malami ba. Bugu da ƙari, abubuwan da suka faru na juyin juya hali na waɗannan shekarun sun dakatar da ayyukan wasan kwaikwayo na Henri na ɗan lokaci. Yana zaune a Brussels, inda tarurrukansa da Mademoiselle Rage ya rinjayi shi sosai, ƙwararren mawaƙi wanda ya gabatar da shi ga ayyukan Haydn, Mozart, da Beethoven. Ita ce ta ba da gudummawar haihuwar haihuwa a Vietnam na ƙauna marar iyaka ga litattafai, don Beethoven. A lokaci guda, Vietang ya fara nazarin abun da ke ciki, wanda ya hada Concerto for Violin da Orchestra da bambance-bambance masu yawa. Abin takaici, ba a adana abubuwan da ya shafi dalibinsa ba.

Wasan Vieuxtaine ya riga ya kasance cikakke a wancan lokacin cewa Berio, kafin ya tafi, ya shawarci mahaifinsa kada ya ba Henri ga malamin kuma ya bar shi don kansa don ya yi tunani kuma ya saurari wasan na manyan masu fasaha kamar yadda zai yiwu.

A ƙarshe, Berio ya sake gudanar da samun 600 francs daga sarki don Viettan, wanda ya ba da damar matashin mawaki ya tafi Jamus. A cikin Jamus, Vietang ya saurari Spohr, wanda ya kai matsayin mai daraja, da Molik da Maiseder. Sa’ad da mahaifin ya tambayi Mayseder yadda ya sami fassarar ayyukan da ɗansa ya yi, ya ce: “Ba ya wasa da su a cikin yanayi na, amma da kyau, na asali da cewa zai kasance da haɗari a canza wani abu.”

A Jamus, Vieuxtan yana sha'awar waƙar Goethe; a nan, ƙaunarsa ga kiɗan Beethoven ta ƙara ƙarfafa a cikinsa. Lokacin da ya ji "Fidelio" a Frankfurt, ya gigice. “Ba shi yiwuwa in faɗi ra’ayin,” in ji daga baya ya rubuta a cikin tarihin rayuwarsa, “cewa wannan waƙar da ba ta misaltuwa ta kasance a raina sa’ad da nake ɗan shekara 13.” Ya yi mamakin cewa Rudolf Kreutzer bai fahimci sonata da Beethoven ya keɓe masa ba: “...abin baƙin ciki, irin wannan babban mai fasaha, irin wannan ɗan wasan violin mai ban mamaki kamar yadda ya kasance, zai yi tafiya daga Paris zuwa Vienna a durƙusa don ganin Allah. , ku biya shi ku mutu !”

Ta haka ne aka kafa zane-zane na Vietanne, wanda ya sanya a gaban Laub da Joachim babban mai fassarar kiɗan Beethoven.

A Vienna, Vietanne yana halartar darussan haɗin gwiwa tare da Simon Zechter kuma ya haɗu tare da gungun masu sha'awar Beethoven - Czerny, Merck, darektan gidan ra'ayi Eduard Lannoy, mawaki Weigl, mawallafin kiɗa Dominik Artaria. A Vienna, a karon farko tun bayan mutuwar Beethoven, Vietent ya yi wasan kwaikwayo na Violin na Beethoven. Lannoy ne ya jagoranci ƙungiyar mawaƙa. Bayan wannan maraice, ya aika da wasiƙa mai zuwa zuwa Vietang: “Don Allah karɓe ni taya murna a cikin sabuwar, asali kuma a lokaci guda na gargajiya da kuka yi wasan kwaikwayo na violin na Beethoven jiya a cikin ruhin kide-kide. Kun fahimci ainihin ainihin wannan aikin, gwanintar ɗaya daga cikin manyan malamanmu. Ingancin sautin da kuka bayar a cikin cantabile, ruhun da kuka sanya a cikin aikin Andante, aminci da tsayin daka wanda kuka taka leda mafi wahala wanda ya mamaye wannan yanki, komai yayi magana akan babban baiwa, komai ya nuna. cewa ya kasance har yanzu matashi, kusan a lamba tare da yara , kai ne mai girma artist wanda ya yaba da abin da ka yi wasa, zai iya ba kowane nau'i na kansa magana, kuma ya wuce sha'awar mamaki masu sauraro da matsaloli. Kuna haɗuwa da tsayin baka, ƙwaƙƙwaran kisa na manyan matsaloli, rai, wanda ba tare da abin da fasaha ba shi da iko, tare da hankali wanda ya fahimci tunanin mawallafin, tare da dandano mai kyau wanda ke hana mai zane daga ruɗi na tunaninsa. Wannan wasiƙar tana kwanan wata Maris 17, 1834, Vietnam Tang tana da shekaru 14 kawai!

Bugu da ari - sababbin nasara. Bayan Prague da Dresden - Leipzig, inda Schumann ya saurare shi, sannan - London, inda ya sadu da Paganini. Schumann ya kwatanta wasansa da na Paganini kuma ya ƙare labarinsa da waɗannan kalmomi: “Daga sautin farko zuwa na ƙarshe da yake yi daga kayan aikinsa, Vietanne yana kiyaye ku cikin da’irar sihiri, ta rufe ku don kada ku sami farkon farawa. ko kuma karshen." "Wannan yaron zai zama babban mutum," in ji Paganini game da shi.

Nasara yana tare da Viettan a duk rayuwarsa ta fasaha. An yi masa ruwan furanni, ana sadaukar da wakoki a gare shi, an yi masa tsafi a zahiri. Yawancin shari'o'in ban dariya suna da alaƙa tare da balaguron kide-kide na Viet Tang. Sau ɗaya a Giera ya gamu da sanyin da ba a saba gani ba. Ya bayyana cewa jim kadan kafin zuwan Viettan, wani dan kasada ya bayyana a Giera, wanda ake kira kansa Vietan, ya yi hayar daki a cikin mafi kyawun otal na tsawon kwanaki takwas, ya hau jirgin ruwa, ya rayu ba tare da ƙaryata kansa ba, sa'an nan kuma ya gayyaci masoya zuwa otel din " don bincika tarin kayan aikin sa", ya gudu, "mantawa" don biyan lissafin.

A cikin 1835-1836 Vieuxtan ya zauna a Paris, yana tsunduma cikin abun da ke ciki a ƙarƙashin jagorancin Reich. Sa’ad da yake ɗan shekara 17, ya shirya Concerto na Violin Concerto na biyu (fis-moll), wanda ya kasance babban nasara tare da jama’a.

A cikin 1837, ya fara tafiya zuwa Rasha, amma ya isa St. Ba a lura da maganarsa ba. Rasha ta sha'awar shi. Komawa zuwa Brussels, ya fara shirya sosai don tafiya ta biyu zuwa ƙasarmu. A kan hanyar zuwa St. Petersburg, ya yi rashin lafiya kuma ya yi watanni 23 a Narva. Wasannin kide-kide a St. Petersburg a wannan lokacin sun yi nasara. Sun faru a Maris 8, 3 da Afrilu 15 (OS), 22. V. Odoevsky ya rubuta game da wadannan kide-kide.

Domin yanayi biyu na gaba, Viettan ya sake ba da kide-kide a St. Petersburg. A lokacin rashin lafiya a Narva, an haifi "Fantasy-Caprice" da Concerto a cikin E manyan, wanda yanzu aka sani da Concerto Vietana na farko don violin da orchestra, an yi ciki. Waɗannan ayyukan, musamman ma wasan kwaikwayo, suna cikin mafi mahimmanci a farkon lokacin aikin Vieuxtan. "Premiere" nasu ya faru a St. Bayot da Berlioz sun sami kide-kide a Paris a cikin 4 ba tare da ƙaranci ba.

Berlioz ya rubuta: "Wasan kwaikwayo nasa a cikin E major aiki ne mai kyau," in ji Berlioz, "mai ban sha'awa ne gaba ɗaya, yana cike da cikakkun bayanai masu ban sha'awa duka a cikin babban ɓangaren da kuma a cikin ƙungiyar makaɗa, waɗanda aka yi da fasaha sosai. Ba a manta ko ɗaya daga cikin mawaƙan ƙungiyar makaɗa, mafi ƙarancin fahimta, a cikin makinsa; ya sa kowa ya ce wani abu "mai yaji". Ya sami babban tasiri a cikin rarrabuwa na violin, ya kasu kashi 3-4 tare da viola a cikin bass, yana wasa tremolo yayin rakiyar violin na gubar. Sabuwar maraba ce mai ban sha'awa. Sarauniya-violin tana shawagi sama da ƙaramin ƙungiyar makaɗar rawar jiki kuma tana sa ku yi mafarki mai daɗi, yayin da kuke mafarki cikin nutsuwar dare a bakin tafkin:

Lokacin da kodad'in wata ya Bayyana a cikin igiyar ruwa fan ɗin ku na azurfa .. "

A cikin shekara ta 1841, Vieuxtan ita ce jarumar duk bukukuwan kida na Parisiya. Mawallafin Dantier ya yi masa baƙar fata, impresario yana ba shi kwangiloli mafi riba. A cikin shekaru masu zuwa, Viettan yana ciyar da rayuwarsa a kan hanya: Holland, Austria, Jamus, Amurka da Kanada, Turai kuma, da dai sauransu. An zabe shi a matsayin memba na girmamawa na Belgian Academy of Arts tare da Berio (Vietan yana da shekaru 25 kawai. tsoho!).

Shekara guda da ta wuce, a cikin 1844, wani babban canji ya faru a rayuwar Vieuxtan - ya auri 'yar pianist Josephine Eder. Josephine, 'yar asalin Vienna, mace ce mai ilimi wacce ta iya Jamusanci, Faransanci, Ingilishi, Latin. Ta kasance 'yar wasan pian mai kyau kuma, tun daga lokacin da ta yi aure, ta zama mai rakiya na Viet-Gang. Rayuwarsu ta yi farin ciki. Viettan ya bauta wa matarsa, wadda ta amsa masa ba tare da ƙwazo ba.

A cikin 1846, Vieuxtan ya sami gayyata daga St. Ta haka ya fara mafi girma tsawon rayuwarsa a Rasha. Ya zauna a Petersburg har zuwa 1852. Matashi, cike da makamashi, yana haɓaka rayuwa mai aiki - yana ba da kide-kide, yana koyarwa a cikin kayan aikin kayan wasan kwaikwayo na Makarantar Gidan wasan kwaikwayo, yana wasa a cikin kwata-kwata na salon kiɗa na St. Petersburg.

"The Counts of Vielgorsky," in ji Lenz, "ya jawo Viettan zuwa St. Petersburg. wanda, kasancewarsa babban virtuoso, koyaushe yana shirye don kunna komai - duka biyun Haydn da Beethoven na ƙarshe na quartets, sun kasance masu zaman kansu daga gidan wasan kwaikwayo kuma sun fi dacewa don kiɗan quartet. Lokaci ne mai ban sha'awa lokacin da, don watanni da yawa na hunturu, a cikin gidan Count Stroganov, wanda ke kusa da Viet Temps, wanda zai iya sauraron quartets sau uku a mako.

Odoevsky ya bar bayanin wani kade-kade na Vietanne tare da dan wasan kwallon kafa na Belgium Servais a Counts of Vielgorsky: “… Ba su dade da yin wasa tare ba: babu wata makada; kiɗa kuma; biyu ko uku baƙi. Daga nan sai mashahuran mawakan mu suka fara tuno dut ɗinsu da aka rubuta ba tare da rakiya ba. An sanya su a bayan zauren, an rufe kofofin ga duk sauran baƙi; Cikakken shiru ya yi mulki tsakanin 'yan masu sauraro, wanda ya zama dole don jin daɗin fasaha… Masu fasahar mu sun tuna da Fantasia don wasan opera na Meyerbeer Les Huguenots… yanayin sonority na kayan kida, cikar sarrafawa, bisa ko dai akan bayanin kula sau biyu ko kan ƙwararrun motsi. na muryoyin, a ƙarshe, ƙarfin ban mamaki da daidaito na mawaƙan duka biyun a cikin mafi tsananin juyi na muryoyin sun samar da cikakkiyar fara'a; a gaban idanunmu sun wuce duk wannan opera mai ban mamaki tare da dukkan inuwarta; a fili mun bambanta rera waƙa daga guguwar da ta tashi a cikin ƙungiyar makaɗa; ga sautin soyayya, ga tsattsauran ra'ayi na rera waƙoƙin Lutheran, ga kukan baƙin ciki, kukan daji na masu tsattsauran ra'ayi, ga sautin fara'a na hayaniya. hasashe ya bi duk waɗannan abubuwan tunawa kuma ya mayar da su gaskiya.

A karon farko a St. Sun dauki nau'i na kide-kide na biyan kuɗi kuma an ba su a cikin ginin makarantar da ke bayan Jamus Peter-kirche akan Nevsky Prospekt. Sakamakon aikinsa na koyarwa - daliban Rasha - Prince Nikolai Yusupov, Valkov, Pozansky da sauransu.

Vietang bai ma yi tunanin rabuwa da Rasha ba, amma a lokacin rani na 1852, lokacin da yake birnin Paris, rashin lafiyar matarsa ​​ta tilasta masa ya daina kwangilarsa da St. Petersburg. Ya sake ziyarci Rasha a 1860, amma ya riga ya zama mai wasan kwaikwayo.

A St. Petersburg, ya rubuta mafi romantic concerto da kida na hudu Concerto a D qananan. Sabon salo na nau'insa ya kasance irin wannan cewa Vieuxtan bai kuskura ya yi wasa a fili ba na dogon lokaci kuma ya yi shi a Paris kawai a 1851. Nasarar ta kasance babba. Shahararren mawakin Australiya da masanin ilimin Arnold Schering, wanda ayyukansa sun haɗa da Tarihin Concerto Instrumental, duk da halin shakku game da kiɗan kayan aikin Faransanci, kuma ya gane mahimmancin mahimmancin wannan aikin: kusa da List. Domin abin da ya bayar bayan ɗan wasansa na “jarirai” a cikin fis-moll (Lamba 2) yana cikin mafi mahimmanci a cikin adabin violin na Romanesque. Babban ɓangaren farko na wasan kwaikwayo na E-dur ya wuce Baio da Berio. A cikin d-moll concerto, muna da aiki a gabanmu da ke da alaƙa da sake fasalin wannan nau'in. Ba tare da jinkiri ba, mawaki ya yanke shawarar buga shi. Ya ji tsoron tada zanga-zanga da sabon salon wasan kide-kide nasa. A lokacin da har yanzu ba a san wasannin kide-kide na Liszt ba, wannan wasan kwaikwayo na Vieuxtan na iya tada suka. Saboda haka, a matsayin mawaƙiya, Vietang a wata ma'ana ta kasance mai ƙirƙira.

Bayan barin Rasha, rayuwa ta sake fara yawo. A cikin 1860, Vietang ya tafi Sweden, daga nan kuma ya tafi Baden-Baden, inda ya fara rubuta Concerto na biyar, wanda aka yi niyya don gasar da Huber Leonard ya yi a Brussels Conservatory. Leonard, da ya karbi wasan kwaikwayo, ya amsa da wasiƙa (Afrilu 10, 1861), wanda ya gode wa Vieuxtan, yana gaskata cewa, ban da Adagio na Concerto na Uku, na biyar ya zama mafi kyau a gare shi. "Tsohon Grétry namu na iya jin daɗin cewa waƙarsa 'Lucille' ta yi ado sosai." Fetis ya aika da wasiƙar farin ciki game da wasan kwaikwayo ga Viettan, kuma Berlioz ya buga wani babban labari a cikin Journal de Debas.

A 1868, Viet Tang ya sha wahala mai girma - mutuwar matarsa, wadda ta mutu da kwalara. Rashin ya girgiza shi. Ya yi doguwar tafiya don ya manta da kansa. A halin yanzu, shine lokacin mafi girman haɓakar haɓakar fasahar sa. Wasan sa yana bugu da cikar kamala, namiji da kwarjini. Wahalar tunani ta yi kamar zai kara mata zurfi.

Ana iya yin la’akari da yanayin tunanin Viettan a lokacin daga wasiƙar da ya aika wa N. Yusupov a ranar 15 ga Disamba, 1871. “Ina yawan yin tunani game da kai, masoyi yarima, game da matarka, game da lokacin farin ciki da kake tare da kai ko tare da kai. a kan kyawawan bankunan Moika ko a cikin Paris, Ostend da Vienna. Lokaci ne mai ban sha'awa, ina matashi, kuma ko da yake wannan ba shine farkon rayuwata ba, amma a kowane hali shi ne ranar farin ciki na rayuwata; lokacin cikakken Bloom. A cikin kalma, na yi farin ciki, kuma ƙwaƙwalwar ajiyar ku tana da alaƙa da waɗannan lokutan farin ciki. Kuma yanzu rayuwata ba ta da launi. Wanda ya kawata shi ya tafi, ni kuma na ci ciyayi, ina yawo a duniya, amma tunanina yana can gefe guda. Na gode sammai, duk da haka, ina farin ciki a cikin 'ya'yana. Ɗana injiniya ne kuma aikinsa yana da fa'ida sosai. 'Yata tana zaune tare da ni, tana da kyakkyawar zuciya, kuma tana jiran wanda zai iya godiya. Wannan duka game da kaina ne. Game da rayuwata ta fasaha, har yanzu iri ɗaya ce kamar yadda ta kasance koyaushe - mai tafiya, rashin tsari… yanzu ni farfesa ne a Cibiyar Conservatory na Brussels. Yana canza rayuwata da manufata. Daga soyayya, na juya zuwa mai tuƙi, cikin dokin aiki dangane da ƙa'idodin tirer et pousser.

Aikin koyarwa na Viettan a Brussels, ya fara a 1870, ya ci gaba cikin nasara (ya isa a ce babban dan wasan violin Eugene Ysaye ya bar aji). Nan da nan, wani sabon mugun bala'i ya faɗo a kan ƙasar Viet Tang - bugun firgici ya shanye hannunsa na dama. Duk kokarin da likitocin suka yi don dawo da motsi a hannun bai haifar da komai ba. Domin wani lokaci Viettan har yanzu kokarin koyarwa, amma cutar ci gaba, da kuma a 1879 ya aka tilasta barin Conservatory.

Vietanne ya zauna a gidansa kusa da Algiers; yana kewaye da kulawar 'yarsa da surukinsa, mawaƙa da yawa suna zuwa wurinsa, yana aiki da zazzaɓi a kan ƙididdiga, yana ƙoƙarin ramawa don rabuwa da fasahar ƙaunataccensa tare da kerawa. Duk da haka, ƙarfinsa yana raguwa. A ranar 18 ga Agusta, 1880, ya rubuta wa ɗaya daga cikin abokansa: “A nan, a farkon bazarar nan, rashin amfanin begena ya bayyana a gare ni. Ina tsiro, ina ci da sha akai-akai, kuma, gaskiya ne, kaina har yanzu yana haske, tunanina a bayyane yake, amma ina jin cewa ƙarfina yana raguwa kowace rana. Ƙafafuna suna da rauni fiye da kima, gwiwoyina suna rawar jiki, kuma tare da wahala mai girma, abokina, zan iya yin yawon shakatawa daya a gonar, jingina a gefe ɗaya a kan wani karfi mai karfi, kuma a daya a kan kulob na.

Ranar 6 ga Yuni, 1881, Viet-Gang ya mutu. An kai gawarsa zuwa Verviers kuma an binne shi tare da dimbin jama'a.

An kafa Viet Tang kuma ya fara aikinsa a cikin 30-40s. Ta hanyar yanayi na ilimi ta hanyar Lecloux-Dejon da Berio, ya kasance da tabbaci da alaka da al'adun gargajiya na Faransa violin makaranta na Viotti-Bayo-Rode, amma a lokaci guda ya samu wani karfi tasiri na romantic art. Ba wuri ba ne don tunawa da tasirin Berio kai tsaye kuma, a ƙarshe, ba zai yiwu ba don jaddada gaskiyar cewa Vieuxtan ya kasance mai sha'awar Beethovenian. Don haka, ƙa'idodinsa na fasaha sun samo asali ne sakamakon haɗaɗɗen yanayin kyawawan halaye iri-iri.

"A da, ɗalibin Berio, shi, ba ya cikin makarantarsa, ba kamar kowane violin da muka taɓa ji ba," sun rubuta game da Vieuxtan bayan wasan kwaikwayo a London a shekara ta 1841. Idan za mu iya samun kuɗin kiɗan kiɗa. kwatanta, za mu ce shi ne Beethoven na dukan shahararrun violinists. "

V. Odoevsky, bayan sauraron Viettan a 1838, ya nuna (kuma daidai!) Hadisai na Viotti a cikin Concerto na Farko ya taka leda: "Wasan kwaikwayo nasa, yana tunawa da dangin Viotti mai kyau, amma ya sake farfado da sabon cigaba a wasan. cancanta da babbar murya. A cikin salon wasan kwaikwayon Vietanne, ka'idodin makarantar Faransanci na gargajiya koyaushe suna yaƙi tare da soyayya. V. Odoevsky kai tsaye ya kira shi "matsakaici mai farin ciki tsakanin classicism da romanticism."

Vietang ba shakka mai son soyayya ne a cikin neman kyawawan halaye masu kyau, amma kuma ya kasance sananne a salon wasansa na musamman na maza, wanda hakan ya sa ya rage jin daɗi. An ƙaddara wannan a fili, har ma da matashin Viettan, cewa, bayan sauraron wasansa, Odoevsky ya ba da shawarar cewa ya fada cikin soyayya: "Barkwanci a gefe - wasansa yana kama da wani tsohon mutum-mutumi mai kyau da aka yi tare da kyawawan siffofi, masu zagaye; tana da fara'a, ta kama idanun mai zane, amma duk ba za ku iya kwatanta mutum-mutumin da kyau ba, amma m mace. Kalmomin Odoevsky sun tabbatar da cewa Viettan ya sami nau'in nau'i na nau'i na nau'i na kiɗa a lokacin da ya yi wannan ko wannan aikin, wanda ya haifar da dangantaka da mutum-mutumi.

"Vietanne," in ji mai sukar Faransa P. Scyudo, "ana iya zama ba tare da jinkiri ba a sanya shi cikin nau'in virtuosos na matsayi na farko… Yadda yake kusa da al'ada kuma yana tabbatar da gaskiyar cewa, kafin Laub da Joachim, an ɗauke shi a matsayin mai fassarar waƙar Beethoven wanda ba a taɓa gani ba. Komai nawa ne ya ba wa son zuciya, ainihin ainihin yanayinsa na mawaƙi ya yi nisa da soyayya; Ya kusanci romanticism maimakon, kamar yadda tare da "fashionable" Trend. Amma yana da alaƙa da cewa bai shiga cikin kowane salon soyayya na zamaninsa ba. Yana da sabani na ciki da lokaci, wanda, watakila, shine dalilin da ya sa sanannen duality na kyawawan burinsa, wanda ya sa shi, duk da yanayinsa, ya girmama Beethoven, kuma a cikin Beethoven daidai abin da ke nesa da romantics.

Vietang ya rubuta 7 violin da cello concertos, da yawa fantasies, sonatas, baka quartets, concert miniatures, wani salon yanki, da dai sauransu Yawancin abubuwan da ya tsara su ne na hali na virtuoso-romantic wallafe-wallafen na farkon rabin na XX karni. Vietang yana ba da yabo ga kyawawan halayen kirki kuma yana ƙoƙarin samun salon kide-kide mai haske a cikin aikinsa na ƙirƙira. Auer ya rubuta cewa kide kide kide kide da wake-wakensa "da ƙwararrun tsararrun sa na bravura suna da wadatar kyawawan tunanin kida, kasancewar a lokaci guda ma'anar kida mai kyau."

Amma virtuosity na Vietanne ta ayyukan ba iri daya ba a ko'ina: a cikin m ladabi na Fantasy-Caprice, ya tunatar da mai yawa Berio, a cikin Concerto na farko ya bi Viotti, duk da haka, tura iyakoki na gargajiya virtuosity da kuma ba da wannan aiki tare da. kayan aikin soyayya masu launi. Mafi kyawun soyayya shine Concerto na Hudu, wanda aka bambanta da guguwa da ɗan wasan wasan kwaikwayo na cadenzas, yayin da waƙoƙin tashin hankali ba shakka suna kusa da waƙoƙin wasan kwaikwayo na Gounod-Halévy. Kuma a sa'an nan akwai daban-daban virtuoso concert guda - "Reverie", Fantasia Appassionata, "Ballad da Polonaise", "Tarantella", da dai sauransu.

Masu zamani sun yaba da aikinsa sosai. Mun riga mun kawo sharhin Schumann, Berlioz da sauran mawaƙa. Kuma ko da a yau, ba tare da ma'anar manhaja ba, wanda ya ƙunshi duka wasan kwaikwayo da kide-kide na Viet Temps, Concerto na hudu na Heifetz koyaushe yana yin shi, yana tabbatar da cewa har yanzu wannan waƙar tana ci gaba da raye da ban sha'awa.

L. Rabin, 1967