Konstantin Nikolaevich Igumnov (Konstantin Igumnov) |

Konstantin Igumnov

"Igumnov wani mutum ne mai fara'a, sauki da kuma daraja. Babu wani girma da ɗaukaka da zai iya girgiza girman girmansa. Babu wata inuwar wannan shirme a cikinsa, wanda wasu masu fasaha a wasu lokuta ke fama da shi. Wannan shi ne game da Igumnov mutumin. "Mai fasaha mai gaskiya da gaske, Igumnov ya kasance baƙo ga kowane irin tasiri, matsayi, mai sheki na waje. Domin kare kanka da m sakamako, domin kare kai na sama haske, bai taba sadaukar da fasaha ma'ana ... Igumnov bai jure wani abu mai tsanani, matsananci, wuce kima. Salon wasansa ya kasance mai sauki kuma a takaice.” Wannan shi ne game da Igumnov da artist.

"Maƙasudi da neman kansa, Igumnov yana buƙatar ɗalibansa kuma. Ya kware wajen tantance karfinsu da iyawarsu, ya ci gaba da koyar da gaskiya ta fasaha, sauki da yanayin magana. Ya koyar da kunya, daidaito da tattalin arziki ta hanyoyin da ake amfani da su. Ya koyar da furcin magana, farin ciki, sauti mai laushi, robobi da sassaucin jimla. Ya koyar da "numfashin rai" na wasan kwaikwayo na kiɗa." Wannan game da Igumnov malami ne.

"Ainihin kuma mafi mahimmanci, ra'ayoyin Igumnov da ka'idodin kyawawan dabi'un sun kasance, a fili, suna da kwanciyar hankali ... Tausayinsa a matsayin mai zane da malami sun dade a gefen kiɗan da ke bayyana, ma'ana, ainihin gaske a cikin tushensa (kawai bai gane ba. wani), mawaƙinsa na “credo”-mai fassara ya kasance koyaushe yana bayyana kansa ta irin waɗannan halaye kamar gaggawar aiwatar da hoton, shigar da dabarar ƙwarewar waƙa. Wannan shi ne game da ka'idodin fasaha na Igumnov. Abubuwan da ke sama suna cikin ɗaliban babban malami - J. Milshtein da J. Flier, waɗanda suka san Konstantin Nikolayevich sosai shekaru da yawa. Kwatanta su, wanda ba da gangan ya zo ga ƙarshe game da ban mamaki mutuncin Igumnov na ɗan adam da fasaha yanayi. A cikin kowane abu ya kasance mai gaskiya ga kansa, kasancewa mutum ne kuma mai fasaha na asali mai zurfi.

Ya rungumi mafi kyawun al'adun Rashawa da tsara makarantu. A Moscow Conservatory, daga abin da ya sauke karatu a 1894, Igumnov karatu piano na farko da AI Siloti, sa'an nan tare da PA Pabst. A nan ya yi nazarin ka'idar kiɗa da abun da ke ciki tare da SI Taneyev, AS Arensky da MM Ippolitov-Ivanov kuma a cikin ɗakin taro tare da VI Safonov. A lokaci guda (1892-1895) ya yi karatu a Faculty of History and Philology na Moscow University. Muscovites hadu da pianist Igumnov baya a 1895, kuma nan da nan ya dauki wani gagarumin wuri a cikin Rasha concert wasan kwaikwayo. A cikin shekarunsa na raguwa, Igumnov ya tsara wannan makirci na ci gaban pianism: "Hanyar wasan kwaikwayo na da rikitarwa kuma mai ban tsoro. Na raba shi zuwa lokuta masu zuwa: 1895-1908 - lokacin ilimi; 1908-1917 - lokacin haihuwar bincike a ƙarƙashin rinjayar masu fasaha da marubuta (Serov, Somov, Bryusov, da dai sauransu); 1917-1930 - lokacin sake kimanta duk dabi'u; sha'awar launi don lalata tsarin rhythmic, cin zarafi na rubato; Shekaru 1930-1940 sune tushen ra'ayoyina a hankali. Duk da haka, na gane su sosai kuma na "samin kaina" kawai bayan Babban Yaƙin Patriotic ... Duk da haka, ko da idan muka yi la'akari da sakamakon wannan "introspection", yana da kyau a fili cewa ma'anar siffofi sun kasance a cikin wasan Igumnov a cikin duka. na ciki "metamorphoses". Wannan kuma ya shafi ka'idodin fassara da sha'awar repertoire na mai zane.

All masana gaba ɗaya lura da wani musamman hali na Igumnov ga kayan aiki, da rare ikon gudanar da live magana da mutane tare da taimakon piano. A shekara ta 1933, darekta na Conservatory na Moscow, B. Pshibyshevsky, ya rubuta a cikin jaridar Soviet Art: “A matsayin ɗan wasan piano, Igumnov wani abu ne na musamman. Gaskiya ne, ba ya cikin dangin mashawartan piano, waɗanda aka bambanta ta hanyar fasaha mai haske, sauti mai ƙarfi, da fassarar kayan aiki na ƙungiyar makaɗa. Igumnov nasa ne na pianists kamar Field, Chopin, watau Masters wanda ya zo kusa da ƙayyadaddun piano, ba su nemi artificially haifar da orchestral effects a cikinta, amma cirewa daga abin da ya fi wuya a cire daga karkashin waje rigidity. sautin - jin daɗi. Piano na Igumnov yana rera waƙa, kamar yadda ba kasafai yake tsakanin manyan ƴan piano na zamani ba. Bayan ƴan shekaru, A. Alschwang ya shiga wannan ra'ayi: "Ya sami farin jini saboda kyakkyawan sahihanci na wasansa, hulɗar kai tsaye da masu sauraro da kuma kyakkyawan fassarar litattafan gargajiya ... Mutane da yawa sun lura da tsananin ƙarfin hali a cikin ayyukan K. Igumnov. A lokaci guda, sautin Igumnov yana da laushi mai laushi, kusanci da waƙar magana. An bambanta fassararsa ta hanyar rayuwa, sabo da launuka. Farfesa J. Milshtein, wanda ya fara a matsayin mataimaki ga Igumnov kuma ya yi nazari da yawa don nazarin gadon malaminsa, ya yi nuni da waɗannan abubuwan sau da yawa: “Kaɗan ne za su iya yin gogayya da Igumnov a kyawun sauti, wanda ya bambanta ta wurin wadata mai ban mamaki. na launi da ban mamaki melodiousness. A ƙarƙashin hannunsa, piano ya sami kaddarorin muryar mutum. Godiya ga wasu musamman taɓawa, kamar dai haɗawa tare da keyboard (ta hanyar shigar da kansa, ka'idar fusion ta kwanta a zuciyar taɓawa), da kuma godiya ga dabara, bambance-bambancen, pulsating amfani da feda, ya samar da sauti. na rare laya. Ko da tare da bugun da ya fi karfi, gawarsa bai rasa fara'a ba: ko da yaushe yana da daraja. Igumnov ya fi son yin wasa mai shuru, amma kawai ba don "yi ihu", ba don tilasta sautin piano ba, kada ya wuce iyakokin yanayinsa.

Ta yaya Igumnov ya cimma abubuwan ban mamaki na zane-zane? An kai shi gare su ba kawai ta hanyar ilimin fasaha na halitta ba. Kwanan baya bisa dabi'a, ya taɓa buɗe "ƙofa" zuwa dakin gwaje-gwajensa mai ƙirƙira: "Ina tsammanin cewa duk wani wasan kwaikwayo na kida magana ce mai rai, labari mai ma'ana… Amma kawai faɗin bai isa ba. Wajibi ne labarin ya kasance yana da wani abu kuma mai yin wasan yana da wani abu da zai kusantar da shi zuwa ga wannan abun. Kuma a nan ba zan iya tunanin wasan kwaikwayo na kida ba a cikin m: A koyaushe ina so in yi amfani da wasu kwatancen yau da kullun. A takaice, na zana abin da labarin ya kunsa ko dai daga tunanin mutum ne, ko kuma daga dabi'a, ko na fasaha, ko kuma daga wasu ra'ayoyi, ko kuma daga wani lokaci na tarihi. A gare ni, babu shakka cewa a cikin kowane muhimmin aiki ana neman wani abu wanda ya haɗa mai yin aiki da rayuwa ta ainihi. Ba zan iya tunanin kiɗa don kiɗa ba, ba tare da abubuwan ɗan adam ba… Shi ya sa ya zama dole cewa aikin da aka yi ya sami ɗan amsa a cikin halayen mai yin, don ya kasance kusa da shi. Kuna iya, ba shakka, reincarnate, amma dole ne koyaushe akwai wasu zaren haɗin kai. Ba za a iya cewa lallai na yi tunanin shirin aikin ba. A'a, abin da nake tsammani ba shiri ba ne. Waɗannan wasu ji ne kawai, tunani, kwatancen da ke taimakawa wajen haifar da yanayi mai kama da waɗanda nake son isar da su a cikin aikina. Waɗannan su ne, kamar yadda yake, wani nau'i ne na "hasashen aiki", wanda ke sauƙaƙe fahimtar tunanin fasaha.

Ranar 3 ga Disamba, 1947, Igumnov ya ɗauki mataki na karshe na Babban Hall na Conservatory na Moscow. Shirin na wannan maraice ya haɗa da Sonata na bakwai na Beethoven, Tchaikovsky's Sonata, Chopin's B Minor Sonata, Lyadov's Variations on a Theme na Glinka, wasan kwaikwayo na Tchaikovsky Passionate Confession, wanda jama'a ba su sani ba. Rubinstein's Impromptu, Schubert's A Musical Moment a cikin ƙananan ƙananan C-kaifi da Tchaikovsky-Pabst's Lullaby an yi su don haɓakawa. Wannan shirin na bankwana ya haɗa da sunayen mawaƙa waɗanda waƙarsu ta kasance kusa da mai wasan piano. "Idan har yanzu kuna neman abin da ke da mahimmanci a cikin hoton Igumnov," in ji K. Grimikh a cikin 1933, "to, abin da ya fi daukar hankali shine yawancin zaren da ke haɗa ayyukansa da shafukan soyayya na fasahar piano ... Nan - ba a ciki ba. Bach, ba a Mozart ba, ba a cikin Prokofiev ba, ba a cikin Hindemith ba, amma a cikin Beethoven, Mendelssohn, Schumann, Brahms, Chopin, Liszt, Tchaikovsky, Rachmaninoff - halayen Igumnov na wasan kwaikwayon sun fi gamsarwa: kamewa da bayyanawa mai ban sha'awa. sauti, 'yancin kai da sabon tafsiri.

Lalle ne, Igumnov ba, kamar yadda suka ce, wani omnivorous m. Ya ci gaba da kasancewa da gaskiya ga kansa: “Idan mawaƙin ya kasance baƙo a gare ni kuma abubuwan da ya rubuta ba su ba ni kayan wasan kwaikwayo da kaina ba, ba zan iya haɗa shi a cikin waƙata ba (misali, ayyukan piano na Balakirev, ’yan wasan Faransanci, marigayi Scriabin, wasu. guda daga Soviet composers)." Kuma a nan ya zama dole don haskaka daɗaɗɗen roƙo na pianist zuwa ga classic piano na Rasha, kuma, da farko, ga aikin Tchaikovsky. Ana iya cewa Igumnov ne ya sake farfado da yawancin ayyukan babban mawaki na Rasha a kan wasan kwaikwayo.

Duk wanda ya saurari Igumnov zai yarda da kyawawan kalmomi na J. Milstein: "Babu ko'ina, ko da a Chopin, Schumann, Liszt, Igumnov na musamman, cike da sauƙi, daraja da ladabi mai tsabta, an bayyana shi cikin nasara kamar yadda a cikin ayyukan Tchaikovsky. . Ba shi yiwuwa a yi tunanin cewa za a iya kawo dabarar aikin zuwa mafi girman matakin kamala. Ba shi yiwuwa a yi tunanin mafi girman santsi da tunani na fitowar waƙa, mafi girman gaskiya da sahihanci na ji. Ayyukan Igumnov na waɗannan ayyukan sun bambanta da sauran, kamar yadda wani tsantsa ya bambanta da cakuda mai narkewa. Hakika, duk abin da ke cikinsa yana da ban mamaki: kowane nau'i a nan abin koyi ne, kowane bugun jini abu ne mai ban sha'awa. Don kimanta aikin koyarwa na Igumnov, ya isa ya ambaci wasu ɗalibai: N. Orlov, I. Dobrovein, L. Oborin, J. Flier, A. Dyakov, M. Grinberg, I. Mikhnevsky, A. Ioheles. A. da M. Gottlieb, O. Boshnyakovich, N. Shtarkman. Duk waɗannan ƴan wasan pian ne waɗanda suka sami shahara sosai. Ya fara koyarwa ba da daɗewa ba bayan kammala karatunsa daga makarantar Conservatory, na ɗan lokaci yana malami a makarantar kiɗa a Tbilisi (1898-1899), kuma daga 1899 ya zama farfesa a Moscow Conservatory; a 1924-1929 kuma shi ne shugabanta. A cikin sadarwarsa tare da dalibansa, Igumnov ya kasance mai nisa daga kowane nau'i na akida, kowane darasi nasa shine tsarin kirkire-kirkire mai rai, gano dukiyar kiɗan da ba ta ƙarewa ba. “Koyarwar koyarwa na,” in ji shi, “yana da alaƙa da aikina, kuma hakan yana haifar da rashin kwanciyar hankali a ɗabi’a na koyarwa.” Watakila wannan yana bayyana bambancin ban mamaki, wani lokacin sabanin adawa na ɗaliban Igumnov. Amma, watakila, dukansu sun haɗu da halin girmamawa ga kiɗa, wanda aka gada daga malami. Yin bankwana da malaminsa a ranar bacin rai. J. Flier daidai ya gano ainihin “sasilin” na ra’ayin koyarwa na Igumnov: “Konstantin Nikolaevich zai iya gafarta wa ɗalibi don bayanan ƙarya, amma bai gafarta ba kuma ya kasa jure tunanin ƙarya.”

… Da yake magana game da ɗaya daga cikin ganawarsa ta ƙarshe da Igumnov, ɗalibinsa Farfesa K. Adzhemov ya tuna: “A wannan maraice na ga kamar KN ba shi da lafiya sosai. Bugu da kari, ya ce likitocin ba su ba shi damar yin wasa ba. “Amma menene ma’anar rayuwata? Yi wasa…”

Lit .: Rabinovich D. Hotunan ƴan pian. M., 1970; Milshtein I, Konstantin Nikolaevich Igumnov. M., 1975.

Grigoriev L., Platek Ya.