Yusuf Joachim (Yusuf Joachim) |

Joseph Joachim

Akwai mutanen da suka bambanta da lokaci da yanayin da aka tilasta musu su zauna; akwai mutane waɗanda abin mamaki suka daidaita halaye na zahiri, ra'ayin duniya da buƙatun fasaha tare da ma'anar akida da kyawawan halaye na wannan zamani. Daga cikin na karshen na Joachim ne. Ya kasance "bisa ga Joachim", a matsayin mafi girman samfurin "madaidaici", cewa masana tarihin kiɗa Vasilevsky da Moser sun ƙaddara manyan alamun fassarar fassarar a cikin fasahar violin na rabin na biyu na karni na XNUMX.

Josef (Joseph) An haifi Joachim a ranar 28 ga Yuni, 1831 a garin Kopchen kusa da Bratislava, babban birnin Slovakia na yanzu. Yana da shekaru 2 lokacin da iyayensa suka koma Pest, inda, yana da shekaru 8, dan wasan violin na gaba ya fara daukar darussa daga dan wasan violin na Poland Stanislav Serwaczyński, wanda ya zauna a can. A cewar Joachim, shi ƙwararren malami ne, ko da yake yana da wasu lahani a cikin renon sa, musamman dangane da fasahar hannun dama, daga baya Joachim ya yi yaƙi. Ya koyar da Joachim ta amfani da karatun Bayo, Rode, Kreutzer, wasan kwaikwayo na Berio, Maiseder, da dai sauransu.

A 1839 Joachim ya zo Vienna. Babban birnin kasar Ostiriya ya haskaka da tarin mawaka na ban mamaki, wadanda Josef Böhm da Georg Helmesberger suka yi fice musamman. Bayan darussa da yawa daga M. Hauser, Joachim ya tafi Helmesberger. Duk da haka, ba da daɗewa ba ya yi watsi da shi, yana yanke shawarar cewa an yi watsi da hannun dama na matashin violin. Abin farin ciki, W. Ernst ya zama mai sha'awar Joachim kuma ya ba da shawarar cewa mahaifin yaron ya juya zuwa Bem.

Bayan watanni 18 na azuzuwan tare da Bem, Joachim ya fara bayyanar jama'a a Vienna. Ya yi Ernst's Othello, kuma zargi ya lura da girma, zurfi, da cikar fassarar ga ƙwararren yaro.

Duk da haka, Joachim bashi da haƙiƙanin samuwar halayensa a matsayin mawaƙin-mai tunani, mawaƙa-mawaƙin ba Boehm ba kuma, gabaɗaya, ba zuwa Vienna ba, amma ga Conservatory Leipzig, inda ya tafi a cikin 1843. Ƙwararrun Conservatory na Jamus na farko da Mendelssohn ya kafa. yana da fitattun malamai. F. David, abokin Mendelssohn na kud da kud ne ya jagoranci azuzuwan violin a cikinsa. Leipzig a wannan lokacin ya zama cibiyar kiɗa mafi girma a Jamus. Shahararren gidan wasan kwaikwayo na Gewandhaus ya ja hankalin mawaƙa daga ko'ina cikin duniya.

Yanayin kida na Leipzig yana da tasiri mai tasiri akan Joachim. Mendelssohn, David da Hauptmann, daga wanda Joachim ya yi karatu a cikin abun da ke ciki, ya taka muhimmiyar rawa a cikin renon yara. Mawakan da suka yi karatun boko, sun raya saurayi ta kowace hanya. Joachim ya burge Mendelssohn a taron farko. Jin Concerto nasa da ya yi, sai ya yi farin ciki: “Oh, kai ne mala’ika na mai kambi,” ya yi dariya, yana nufin wani yaro mai kitse.

Babu azuzuwan na musamman a cikin ajin Dauda a cikin ma'anar kalmar; komai ya ta’allaka ne ga shawarar da malami ya ba dalibi. Haka ne, Joachim ba dole ba ne ya zama "koyarwa", tun da ya riga ya kasance mai horar da violin a Leipzig. Darussan sun juya zuwa kiɗan gida tare da sa hannun Mendelssohn, wanda ya yi wasa da son rai tare da Joachim.

Watanni 3 bayan zuwansa Leipzig, Joachim ya yi a cikin wani wasan kwaikwayo tare da Pauline Viardot, Mendelssohn da Clara Schumann. A ranakun 19 da 27 ga Mayu, 1844, an gudanar da kide-kide da wake-wakensa a Landan, inda ya yi kade-kade da wake-wake na Beethoven (Mendelssohn ya jagoranci kungiyar kade-kade); Ranar 11 ga Mayu, 1845, ya buga Concerto Mendelssohn a Dresden (R. Schumann ya jagoranci ƙungiyar makaɗa). Waɗannan abubuwan sun ba da shaida ga saurin fahimtar Joachim da manyan mawaƙa na zamanin suka yi.

Sa’ad da Joachim ya cika shekara 16, Mendelssohn ya gayyace shi ya ɗauki matsayin malami a ƙungiyar mawaƙa da mawaƙa na ƙungiyar mawaƙa ta Gewandhaus. Joachim na ƙarshe ya raba tare da tsohon malaminsa F. David.

Joachim ya sha wahala sosai game da mutuwar Mendelssohn, wanda ya biyo baya a ranar 4 ga Nuwamba, 1847, don haka da yardar rai ya karɓi gayyatar Liszt kuma ya koma Weimar a 1850. Ya kuma ja hankalinsa a nan ta hanyar cewa a cikin wannan lokacin an ɗauke shi da sha'awa. Liszt, ya yi ƙoƙari don sadarwa ta kud da kud da shi da da'irarsa. Duk da haka, da Mendelssohn da Schumann suka rene shi a cikin tsattsauran al'adar ilimi, da sauri ya ji kunya game da kyawawan halaye na "sabuwar makarantar Jamus" kuma ya fara kimanta Liszt sosai. J. Milstein ya rubuta daidai cewa Joachim ne wanda, bin Schumann da Balzac, ya kafa harsashin ra'ayi cewa Liszt ya kasance babban mai yin wasan kwaikwayo da kuma mawallafi na tsaka-tsaki. "A cikin kowane bayanin Liszt mutum zai iya jin ƙarya," in ji Joachim.

Rashin jituwa da aka fara ya haifar da sha'awar Joachim ya bar Weimar, kuma a cikin 1852 ya tafi tare da sauƙi zuwa Hannover don maye gurbin marigayi Georg Helmesberger, ɗan malaminsa na Viennese.

Hanover muhimmin ci gaba ne a rayuwar Joachim. Makaho Sarkin Hanoverian ya kasance babban mai son kida kuma yana matukar yaba hazakarsa. A cikin Hannover, an haɓaka aikin koyarwa na babban ɗan wasan violin. Anan Auer yayi nazari tare da shi, bisa ga hukuncin wanda za'a iya yankewa cewa a wannan lokacin an riga an ƙaddamar da ƙa'idodin koyarwa na Joachim sosai. A Hanover, Joachim ya ƙirƙiri ayyuka da yawa, ciki har da Concerto na violin na Hungary, mafi kyawun abin da ya rubuta.

A cikin Mayu 1853, bayan wani wasan kwaikwayo a Düsseldorf inda ya yi a matsayin jagora, Joachim ya zama abokai da Robert Schumann. Ya ci gaba da dangantaka da Schumann har zuwa mutuwar mawaki. Joachim yana ɗaya daga cikin 'yan kaɗan da suka ziyarci Schumann mara lafiya a Endenich. An adana wasiƙunsa zuwa Clara Schumann game da waɗannan ziyarce-ziyarcen, inda ya rubuta cewa a taron farko yana da bege ga mai yin waƙa, duk da haka, a ƙarshe ya ɓace lokacin da ya zo a karo na biyu: “.

Schumann ya sadaukar da Fantasia don Violin (op. 131) ga Joachim kuma ya ba da rubutun wasan piano ga masu kishin Paganini, wanda ya kasance yana aiki a cikin shekaru na ƙarshe na rayuwarsa.

A Hannover, a cikin Mayu 1853, Joachim ya sadu da Brahms (sai mawallafin da ba a sani ba). A taronsu na farko, an kafa dangantaka ta musamman a tsakanin su, wanda ke tattare da kyakkyawar kyakkyawar manufa ta gama gari. Joachim ya mika wa Brahms wasiƙar shawara ga Liszt, ya gayyaci abokin saurayin zuwa wurinsa a Göttingen don lokacin rani, inda suka saurari laccoci game da falsafa a sanannen jami'a.

Joachim ya taka muhimmiyar rawa a rayuwar Brahms, yana yin abubuwa da yawa don gane aikinsa. Bi da bi, Brahms ya yi babban tasiri a kan Joachim a cikin zane-zane da kyawawan sharuddan. A ƙarƙashin rinjayar Brahms, Joachim a ƙarshe ya rabu da Liszt kuma ya shiga cikin gwagwarmayar gwagwarmaya da "sabuwar makarantar Jamus".

Tare da ƙiyayya ga Liszt, Joachim ya ji daɗin ƙiyayya ga Wagner, wanda, ta hanyar, ya kasance tare. A cikin wani littafi game da gudanarwa, Wagner "ya sadaukar da" layukan caustic ga Joachim.

A 1868, Joachim ya zauna a Berlin, inda bayan shekara guda aka nada shi darektan sabuwar bude Conservatory. Ya kasance a wannan matsayi har zuwa karshen rayuwarsa. Daga waje, ba a sake rubuta wasu manyan abubuwan da suka faru a tarihin rayuwarsa ba. An kewaye shi da girmamawa da girmamawa, ɗalibai daga ko'ina cikin duniya suna tururuwa zuwa gare shi, yana gudanar da kide kide-kide - solo da gungu - ayyuka.

Sau biyu (a cikin 1872, 1884) Joachim ya zo Rasha, inda aka gudanar da wasan kwaikwayonsa na soloist da maraice na quartet tare da babban nasara. Ya ba wa Rasha mafi kyawun ɗalibinsa, L. Auer, wanda ya ci gaba a nan kuma ya haɓaka al'adun babban malaminsa. 'Yan wasan violin na Rasha I. Kotek, K. Grigorovich, I. Nalbandyan, I. Ryvkind sun je Joachim don inganta fasaharsu.

Ranar 22 ga Afrilu, 1891, an yi bikin cika shekaru 60 na Joachim a Berlin. An karramawa a wurin bikin tunawa da ranar tunawa; ƙungiyar mawaƙan kirtani, ban da bass biyu, an zaɓi na musamman daga ɗaliban jarumar ranar - 24 na farko da adadin guda na violin na biyu, violas 32, 24 cellos.

A cikin 'yan shekarun nan, Joachim yayi aiki da yawa tare da ɗalibinsa kuma marubucin tarihin rayuwar A. Moser akan gyaran sonatas da partitas ta J.-S. Bach, Beethoven's quartets. Ya ba da gudummawa sosai wajen haɓaka makarantar violin na A. Moser, don haka sunansa ya bayyana a matsayin mawallafi. A cikin wannan makaranta, ƙa'idodin koyarwarsa sun daidaita.

Joachim ya mutu a ranar 15 ga Agusta, 1907.

Mawallafin tarihin Joachim Moser da Vasilevsky suna kimanta ayyukansa sosai, suna ganin cewa shi ne ke da darajar "gano" violin Bach, yana ba da sha'awa ga Concerto da Beethoven na ƙarshe. Moser, alal misali, ya rubuta: “Da a shekaru talatin da suka shige, ƙwararrun ƙwararru kaɗan ne kawai suke sha’awar Beethoven na ƙarshe, yanzu, godiya ga dagewar da Joachim Quartet ya yi, adadin masu sha’awar ya ƙaru sosai. Kuma wannan ya shafi ba kawai ga Berlin da London, inda Quartet kullum ba da kide kide. A duk inda ɗaliban masters ke zaune kuma suke aiki, har zuwa Amurka, aikin Joachim da Quartet ɗin sa yana ci gaba.

Don haka al'amarin zamanin ya juya ya zama mai banƙyama ga Joachim. Fitowar sha'awar kiɗan Bach, wasan violin da ƙwanƙwasa na ƙarshe na Beethoven yana faruwa a ko'ina. Wani tsari ne na gaba ɗaya wanda ya ci gaba a cikin ƙasashen Turai tare da al'adun kiɗa. Daidaita ayyukan J.-S. Bach, Beethoven akan wasan kide-kide da gaske yana faruwa a tsakiyar karni na XNUMX, amma farfagandar su ta fara tun kafin Joachim, tana ba da hanyar ayyukansa.

Tomasini ya yi wasan kwaikwayo na Beethoven a Berlin a 1812, na Baio a Paris a 1828, na Viettan a Vienna a 1833. Viet Tang na ɗaya daga cikin waɗanda suka fara yin wannan aikin. An yi nasarar yin wasan kwaikwayo na Beethoven Concerto a St. Petersburg ta L. Maurer a 1834, ta Ulrich a Leipzig a 1836. A cikin "farkawa" na Bach, ayyukan Mendelssohn, Clara Schumann, Bulow, Reinecke da sauransu suna da mahimmanci. Amma ga Beethoven's karshe quartets, kafin Joachim sun ba da hankali sosai ga Joseph Helmesberger Quartet, wanda a cikin 1858 ya yi ƙoƙari ya yi a fili ko da Quartet Fugue (Op. 133).

Beethoven's quartets na ƙarshe an haɗa su a cikin repertoire na rukunin da Ferdinand Laub ya jagoranta. A Rasha, wasan kwaikwayon Lipinski na Beethoven quartets na ƙarshe a gidan Dollmaker a 1839 ya burge Glinka. A lokacin zamansu a St.

Rarraba yawan waɗannan ayyukan da sha'awar su ya zama mai yiwuwa ne kawai daga tsakiyar karni na XNUMX, ba saboda Joachim ya bayyana ba, amma saboda yanayin zamantakewar da aka yi a lokacin.

Adalci yana buƙatar, duk da haka, don gane cewa akwai wasu gaskiya a cikin kimantawar Moser na cancantar Joachim. Ya ta'allaka ne da cewa Joachim ya taka muhimmiyar rawa wajen yadawa da yada ayyukan Bach da Beethoven. Ba shakka farfagandarsu ta kasance aikin dukan rayuwarsa ta halitta. A cikin kare manufofinsa, yana da ka'ida, ba ya yin sulhu a cikin al'amuran fasaha. A kan misalan gwagwarmayar gwagwarmayar da ya yi don kiɗa na Brahms, dangantakarsa da Wagner, Liszt, za ku ga yadda ya dage a cikin hukuncinsa. Wannan ya bayyana a cikin kyawawan ka'idodin Joachim, wanda ya yi sha'awar zuwa ga litattafai kuma ya yarda da 'yan misalai kaɗan daga virtuoso romantic wallafe-wallafe. Halinsa mai mahimmanci ga Paganini an san shi, wanda yake kama da matsayi na Spohr.

Idan wani abu ya ɓata masa rai har ma a cikin ayyukan mawaƙa na kusa da shi, ya kasance a matsayi na haƙiƙa na bin ƙa’idodi. Labarin da J. Breitburg ya rubuta game da Joachim ya ce, da ya gano da yawa "wanda ba Bachian" a cikin rakiyar Schumann ga Bach's cello suites, ya yi magana game da littafin su kuma ya rubuta wa Clara Schumann cewa kada mutum "tare da ta'aziyya ƙara ... bushesshen ganye” ga mawaƙiyar furen da ba ta mutu ba . Idan aka yi la’akari da cewa wasan violin na Schumann, wanda aka rubuta watanni shida kafin mutuwarsa, ya yi ƙasa da sauran abubuwan da ya rubuta, ya rubuta: “Abin da yake da kyau mu ƙyale tunani ya mamaye inda muka saba ƙauna da daraja da dukan zuciyarmu!” Kuma Breitburg ya ƙara da cewa: "Ya ɗauki wannan tsafta da ƙarfin akida na matsayi mai ƙa'ida a cikin kiɗan da ba a zalunce shi ba a duk rayuwarsa ta ƙirƙira."

A cikin rayuwarsa na sirri irin wannan bin ka'idoji, da'a da halin ɗabi'a mai tsanani, wani lokaci ya juya ga Joachim kansa. Mutum ne mai wahala ga kansa da na kusa da shi. Wannan yana tabbatar da labarin aurensa, wanda ba a iya karantawa ba tare da jin dadi ba. A cikin Afrilu 1863, Joachim, yayin da yake zaune a Hannover, ya shiga tare da Amalia Weiss, mawaƙa mai basira (contralto), amma ya sanya shi yanayin auren su don barin aikin wasan kwaikwayo. Amalia ta amince, duk da cewa a cikin gida ta nuna rashin amincewa da barin dandalin. Muryar ta Brahms ta kasance mai daraja sosai, kuma yawancin abubuwan da ya rubuta an rubuta mata, gami da Alto Rhapsody.

Duk da haka, Amalia ta kasa kiyaye maganarta kuma ta sadaukar da kanta ga danginta da mijinta. Ba da daɗewa ba bayan daurin aure, ta dawo fagen wasan kwaikwayo. Geringer ya rubuta cewa: “Rayuwar auren babban ɗan wasan violin, sannu a hankali ya zama marar farin ciki, yayin da mijin ya sha fama da kishi na kusan ɗabi’a, wanda a kullum ya sa Madame Joachim ta zama mai rera waƙa a matsayin mawaƙa.” Rikicin da ke tsakanin su ya ƙaru musamman a shekara ta 1879, sa’ad da Joachim ya zargi matarsa ​​da dangantaka ta kud da kud da mawallafin Fritz Simrock. Brahms ya shiga tsakani a cikin wannan rikici, yana da cikakken gamsuwa da rashin laifin Amalia. Ya rinjayi Joachim ya dawo cikin hayyacinsa kuma a cikin Disamba 1880 ya aika da wasiƙa zuwa Amalia, wanda daga baya ya zama dalilin rabuwar tsakanin abokai: “Ban taɓa baratar da mijinki ba,” in ji Brahms. "Ko da a gaban ku, na san halin rashin tausayi na halinsa, godiya ga wanda Joachim ya azabtar da kansa da sauran mutane ba tare da gafara ba" ... Wasiƙar Brahms ta fito ne a cikin shari'ar kisan aure tsakanin Joachim da matarsa ​​kuma ta ɓata wa mawakin rai sosai. Abotakarsa da Brahms ta zo ƙarshe. Joachim ya sake saki a cikin 1882. Ko a cikin wannan labarin, inda Joachim ya yi kuskure sosai, ya bayyana a matsayin mutum mai ka'idodin ɗabi'a.

Joachim shine shugaban makarantar violin na Jamus a rabi na biyu na karni na XNUMX. Al'adun wannan makaranta sun koma ta hanyar David zuwa Spohr, wanda Joachim ya girmama sosai, kuma daga Spohr zuwa Roda, Kreutzer da Viotti. Wasan kide-kide na Viotti na ashirin da biyu, kide kide na Kreutzer da Rode, Spohr da Mendelssohn sun kafa tushen tarihin karatunsa. Wannan ya biyo bayan Bach, Beethoven, Mozart, Paganini, Ernst (a cikin matsakaicin matsakaici).

Ƙungiyoyin Bach da Beethoven's Concerto sun mamaye wuri na tsakiya a cikin repertoire. Game da wasan kwaikwayo na Beethoven Concerto, Hans Bülow ya rubuta a cikin Berliner Feuerspitze (1855): "Wannan maraice zai kasance wanda ba za a manta da shi ba kuma shine kadai a cikin ƙwaƙwalwar ajiyar waɗanda suka sami wannan jin daɗin fasaha wanda ya cika rayukansu da farin ciki mai zurfi. Ba Joachim ya buga Beethoven jiya ba, Beethoven da kansa ya buga! Wannan ba aikin babban gwani bane, wannan shine wahayi da kansa. Ko da babban mai shakka dole ne ya gaskanta mu'ujiza; har yanzu ba a sami irin wannan sauyi ba. Ba a taɓa fahimtar aikin fasaha a sarari da wayewa ba, ba a taɓa samun dauwama da ta koma mafi kyawun gaskiya mai girma da haskakawa ba. Ya kamata ku kasance a durkushe kuna sauraron irin wannan waƙar." Schumann ya kira Joachim mafi kyawun fassarar kiɗan banmamaki na Bach. An yaba Joachim da farkon fitowar zane-zane na Bach's sonatas da maki don solo violin, 'ya'yan itacen babban aikinsa, mai tunani.

Yin la'akari da sake dubawa, taushi, taushi, jin daɗin soyayya ya mamaye wasan Joachim. Yana da ƙaramin ƙarami amma mai daɗi sosai. Guguwar bayyanawa, rashin tausayi sun kasance baƙo gare shi. Tchaikovsky, yana kwatanta aikin Joachim da Laub, ya rubuta cewa Joachim ya fi Laub "a cikin ikon fitar da wakoki masu tausayi", amma kasa da shi "a cikin ikon sauti, cikin sha'awa da kuzari." Yawancin sake dubawa sun jaddada haƙƙin Joachim, kuma Cui ya zarge shi har ma da sanyi. Duk da haka, a haƙiƙanin gaskiya shine tsanani na namiji, sauƙi da tsangwama na salon wasan kwaikwayo na gargajiya. Da yake tunawa da wasan kwaikwayon Joachim tare da Laub a Moscow a shekara ta 1872, mawallafin kiɗa na Rasha O. Levenzon ya rubuta: “Muna tunawa da Spohr duet musamman; wannan wasan kwaikwayon ya kasance gasa ta gaske tsakanin jarumai biyu. Yadda kwantar da hankulan wasan gargajiya na Joachim da zafin zafin Laub ya shafi wannan duet! Kamar yadda yanzu mun tuna da kararrawa mai siffar kararrawa na Joachim da kona cantilena na Laub.

"Wani tsautsayi, ɗan Romawa," da ake kira Joachim Koptyaev, yana zana mana hotonsa: "Fuskar da aka aski, faffadan haɓɓaka, gashi mai kauri mai kauri, ɗabi'a, ƙanƙan da kai - gaba ɗaya sun ba da ra'ayi na aski. fasto. Ga Joachim a kan mataki, kowa ya ja numfashi. Babu wani abu na asali ko aljani, sai dai tsantsar nutsuwa na gargajiya, wanda baya buɗe raunuka na ruhaniya, amma yana warkar da su. Wani Roman na gaske (ba na zamanin raguwa ba) a kan mataki, mai mahimmanci - wannan shine ra'ayi na Joachim.

Wajibi ne a faɗi 'yan kalmomi game da ɗan wasan Joachim. Lokacin da Joachim ya zauna a Berlin, a nan ya ƙirƙiri quartet wanda aka ɗauka ɗaya daga cikin mafi kyau a duniya. Ƙungiyar ta ƙunshi, ban da Joachim G. de Ahn (wanda aka maye gurbinsa da K. Galirzh), E. Wirth da R. Gausman.

Game da Joachim the quartetist, musamman game da fassarar da ya yi game da ƙwararrun ƙwararru na ƙarshe na Beethoven, AV Ossovsky ya rubuta: “A cikin waɗannan abubuwan halitta, waɗanda ke jan hankalin kyawawan kyawawan su da mamaye zurfin zurfinsu, gwanin mawaki da mai yin wasansa ’yan’uwa ne a ruhu. Ba abin mamaki ba ne Bonn, wurin haifuwar Beethoven, ya ba Joachim a cikin 1906 da lakabin ɗan ƙasa mai daraja. Kuma kawai abin da sauran masu yin wasan kwaikwayo suka fashe - Adadio da Andante na Beethoven - su ne suka ba Joachim sarari don tura dukkan ikonsa na fasaha.

A matsayinsa na mawaki, Joachim bai haifar da wani abu mai girma ba, ko da yake Schumann da Liszt sun mutunta abubuwan da ya rubuta na farko, kuma Brahms ya gano cewa abokinsa "yana da fiye da sauran mawakan matasa." Brahms ya sake gyara biyu daga cikin abubuwan da Joachim ya yi don piano.

Ya rubuta adadin guda don violin, orchestra da piano (Andante da Allegro op. 1, "Romance" op. 2, da dai sauransu); da yawa overtures ga makada: "Hamlet" (ba a gama), zuwa wasan kwaikwayo na Schiller "Demetrius" da kuma zuwa ga bala'in Shakespeare "Henry IV"; 3 concertos don violin da orchestra, wanda mafi kyawun su shine Concerto akan Jigogin Hungarian, wanda Joachim da ɗalibansa sukan yi sau da yawa. Buga na Joachim da cadences sun kasance (kuma an kiyaye su har zuwa yau) - bugu na Bach's sonatas da partitas don solo violin, tsari don violin da piano na raye-rayen Hungarian Brahms, cadenzas zuwa wasan kwaikwayo na Mozart, Beethoven, Viotti , Brahms, ana amfani da su a cikin wasan kwaikwayo na zamani da aikin koyarwa.

Joachim ya taka rawa sosai wajen ƙirƙirar Brahms Concerto kuma shine ɗan wasansa na farko.

Hoton kirkire-kirkire na Joachim ba zai cika ba idan an wuce aikin koyarwarsa cikin shiru. Koyarwar Joachim ta kasance ilimi sosai kuma tana ƙarƙashin ƙa'idodin fasaha na ilmantar da ɗalibai. Wani mai adawa da horar da injiniyoyi, ya kirkiro hanyar da ta hanyoyi da yawa ta share hanyar zuwa gaba, saboda ta dogara ne akan ka'idar haɗin kai na haɓaka fasaha da fasaha na ɗalibi. Makarantar, da aka rubuta tare da haɗin gwiwar Moser, ta tabbatar da cewa a farkon matakin koyo, Joachim ya nemi abubuwa na hanyar saurare, yana ba da shawarar irin waɗannan dabaru don inganta kunnuwan kiɗa na novice violin kamar yadda yake so: “Yana da matukar muhimmanci cewa kiɗan ɗalibin yana da mahimmanci. gabatarwa za a fara noma. Dole ne ya sake rera waƙa, ya rera waƙa da rera waƙa. Tartini ya riga ya ce: "Kyakkyawan sauti yana buƙatar waƙa mai kyau." Bai kamata ɗan wasan violin na farko ya fitar da sauti ɗaya da bai taɓa bugawa da muryarsa ba…”.

Joachim ya yi imanin cewa ci gaban dan wasan violin ba shi da bambanci daga babban shirin ilimi na ilimi na yau da kullum, wanda ba zai yiwu ba a waje da ingantaccen ingantaccen dandano na fasaha. Abubuwan da ake buƙata don bayyana manufar mawaƙa, da gangan isar da salo da abun ciki na aikin, fasaha na "canjin fasaha" - waɗannan su ne ginshiƙan da ba za su girgiza ba na tsarin koyarwa na Joachim. Ƙarfin fasaha ne, ikon haɓaka tunanin fasaha, dandano, da fahimtar kiɗa a cikin ɗalibin Joachim ya kasance mai girma a matsayin malami. “Shi,” in ji Auer, “Wahayi ne na gaske a gare ni, yana bayyana a idanuna irin wannan fasahar fasaha da ba zan iya tsammani ba sai lokacin. A karkashinsa, na yi aiki ba kawai da hannuna ba, har ma da kaina, ina nazarin yawan mawaƙa da ƙoƙarin kutsawa cikin zurfin tunaninsu. Mun yi kade-kade da yawa tare da ’yan uwanmu kuma mun saurari lambobin solo, muna warwarewa tare da gyara kurakuran juna. Ƙari ga haka, mun halarci raye-rayen kade-kade da Joachim ya yi, waɗanda muka yi alfahari da su. Wani lokaci a ranar Lahadi, Joachim ya yi taro sau huɗu, kuma mu ɗalibansa, an gayyace mu zuwa wurin.”

Game da fasaha na wasan, an ba shi wuri mara mahimmanci a cikin koyarwar Joachim. "Joachim da wuya ya shiga cikin cikakkun bayanai na fasaha," mun karanta daga Auer, "bai taba bayyana wa ɗalibansa yadda za a samu sauƙi na fasaha ba, yadda za a cimma wannan ko wannan bugun jini, yadda za a yi wasa da wasu sassa, ko yadda za a sauƙaƙe aiki ta amfani da wasu yatsa. A cikin darasin, ya rike violin da baka, kuma da zarar wasan kwaikwayo na wani yanki ko kuma wata magana ta kida da dalibi bai gamsar da shi ba, sai ya taka rawar gani a fili. Ba kasafai ya bayyana kansa a fili ba, kuma kawai jawabin da ya yi bayan ya buga wurin dalibin da ya gaza shi ne: “Dole ku yi wasa da shi haka!”, tare da murmushi mai gamsarwa. Don haka, mu da muka iya fahimtar Joachim, mu bi ja-gorarsa, mun amfana sosai daga ƙoƙarin mu yi koyi da shi gwargwadon iyawarmu; wasu, rashin farin ciki, sun tsaya a tsaye, ba su fahimci komai ba…”

Mun sami tabbacin kalmomin Auer a wasu kafofin. N. Nalbandian, da ya shiga ajin Joachim bayan Conservatory na St. Gyaran lokuta, a cewarsa, bai sha'awar Joachim ba. A halin da ake ciki, a Berlin, Joachim ya ba da horon fasaha na dalibai ga mataimakinsa E. Wirth. A cewar I. Ryvkind, wanda ya yi karatu tare da Joachim a cikin shekaru na ƙarshe na rayuwarsa, Wirth ya yi aiki sosai a hankali, kuma wannan yana da mahimmanci ga gazawar tsarin Joachim.

Almajiran sun yi wa Joachim sujada. Auer ya ji soyayya da sadaukarwa gare shi; ya yi masa kalamai masu dumi-dumi a cikin tarihinsa, ya tura dalibansa don ingantawa a lokacin da shi kansa ya riga ya shahara a duniya.

Pablo Casals ya ce: “Na buga wasan kwaikwayo na Schumann a Berlin tare da ƙungiyar mawaƙa ta Philharmonic Orchestra da Arthur Nikisch ya yi. “Bayan wasan kwaikwayo, wasu mutane biyu suka zo kusa da ni a hankali, daya daga cikinsu, kamar yadda na riga na lura, bai iya ganin komai ba. Sa’ad da suke gabana, wanda yake jagorantar makahon da hannu ya ce: “Ba ku san shi ba? Wannan shine Farfesa Wirth" (violist daga Joachim Quartet).

Kuna buƙatar sanin cewa mutuwar mai girma Joachim ya haifar da irin wannan gibi a tsakanin abokansa wanda har zuwa ƙarshen kwanakinsu ba su iya yin la'akari da asarar maestro.

Farfesa Wirth yayi shiru ya fara jin yatsuna, hannaye, kirjina. Sai ya rungume ni, ya sumbace ni kuma a hankali ya ce a kunnena: “Joachim bai mutu ba!”.

Don haka ga abokan Joachim, ɗalibansa da mabiyansa, ya kasance kuma ya kasance mafi girman manufa ta fasahar violin.

L. Rabin