Kosaku Yamada |

Kosaku Yamada

Mawaƙin Jafananci, madugu da malamin kiɗa. Wanda ya kafa makarantar mawaƙa ta Japan. Matsayin Yamada - mawaki, jagora, jama'a - a cikin ci gaban al'adun kiɗa na Japan yana da girma da bambanta. Amma, watakila, babban abin da ya dace shi ne tushe na ƙwararrun mawaƙa na farko a tarihin ƙasar. Wannan ya faru ne a cikin 1914, jim kadan bayan matashin mawaƙin ya kammala horon sana'a.

An haifi Yamada kuma ya girma a Tokyo, inda ya sauke karatu daga Kwalejin Kiɗa a 1908, sannan ya inganta a karkashin Max Bruch a Berlin. Komawa kasarsa, ya gane cewa ba tare da samar da cikakkiyar kungiyar makada ba, ba za a iya yada al'adun kade-kade ba, ko ci gaban fasahar gudanarwa, ko kuma a karshe, bullowar wata makaranta ta kasa da kasa ba za ta yiwu ba. A lokacin ne Yamada ya kafa ƙungiyarsa - ƙungiyar mawaƙa Philharmonic Tokyo.

Yamada yana jagorantar ƙungiyar mawaƙa, ya yi ayyukan ilimi da yawa. Ya kan ba da kide-kide da dama a kowace shekara, inda ya rika yin kida ba kawai na gargajiya ba, har ma da sabbin kade-kade na ’yan uwansa. Ya kuma nuna kansa a matsayin ƙwararren mai farfagandar matasa kiɗan Jafanawa a cikin balaguron balaguro na ƙasashen waje, waɗanda suka yi zafi sosai tsawon shekaru da dama. A baya a cikin 1918, Yamada ya ziyarci Amurka a karon farko, kuma a cikin shekaru talatin ya sami shahara a duniya, yana yin wasa a cikin ƙasashe da yawa, ciki har da sau biyu - a cikin 1930 da 1933 - a cikin USSR.

A cikin salon tafiyarsa, Yamada ya kasance a makarantar gargajiya ta Turai. An bambanta mai gudanarwa ta hanyar ƙwarewa a cikin aikinsa tare da ƙungiyar mawaƙa, da hankali ga daki-daki, fasaha mai haske da tattalin arziki. Yamada ya mallaki ɗimbin ƙididdiga: operas, cantatas, symphonies, ƙungiyar makaɗa da ɗaki, mawaƙa da waƙoƙi. An tsara su musamman a cikin salon gargajiya na Turai, amma kuma sun ƙunshi abubuwa na kiɗa da tsarin kiɗan Japan. Yamada ya ba da kuzari mai yawa ga aikin koyarwa - yawancin mawaƙa da masu gudanarwa na Japan, zuwa digiri ɗaya ko wani, ɗalibansa.

L. Grigoriev, J. Platek, 1969