Lazar Naumovich Berman |

Lazar Berman

Ga waɗanda suke son wurin wasan kwaikwayo, sake dubawa na kide-kide na Lazar Berman a farkon da tsakiyar saba'in za su kasance da sha'awa babu shakka. Kayayyakin suna nuna jaridun Italiya, Ingila, Jamus da sauran ƙasashen Turai; yawancin jaridu da mujallu da ke ɗauke da sunayen masu sukar Amurkawa. Reviews - daya more m fiye da sauran. Yana ba da labari game da "ɗaukakin ra'ayi" da mai wasan pianist ke yi a kan masu sauraro, game da "jin daɗin da ba za a iya misalta shi ba da ƙima mara iyaka." Mawaƙin na USSR shine "titan na gaske," in ji wani mai sukar Milanese; shi “masanin allo ne,” in ji abokin aikinsa daga Naples. Ba'amurke ne mafi fa'ida: mai bitar jarida, alal misali, "kusan ya shake da mamaki" lokacin da ya fara saduwa da Berman - wannan hanyar wasa, ya tabbata, "mai yiwuwa ne kawai da hannu na uku marar ganuwa."

A halin yanzu, jama'a, wanda suka saba da Berman tun farkon shekarun hamsin, sun saba da shi, bari mu fuskanci shi, kwantar da hankali. Shi (kamar yadda aka yi imani) an ba shi hakkinsa, an ba shi babban matsayi a cikin pianism na yau - kuma wannan yana da iyaka. Ba a sami jin daɗi daga clavirabends nasa ba. Af, sakamakon wasan kwaikwayon da Berman ya yi a matakin gasar kasa da kasa bai haifar da jin dadi ba. A gasar Brussels mai suna Sarauniya Elisabeth (1956), ya dauki matsayi na biyar, a gasar Liszt a Budapest - na uku. "Na tuna Brussels," in ji Berman a yau. "Bayan zagaye biyu na gasar, na kasance da kwarin gwiwa a gaban abokan hamayya na, kuma da yawa sun yi hasashen ni a matsayi na farko. Amma kafin zagaye na ƙarshe na uku, na yi babban kuskure: Na maye gurbin (kuma a zahiri, a lokacin ƙarshe!) Ɗaya daga cikin guntun da ke cikin shirin na.

Kasance kamar yadda zai yiwu - wurare na biyar da na uku… Nasarar, ba shakka, ba su da kyau, kodayake ba mafi ban sha'awa ba ne.

Wa ya fi kusa da gaskiya? Wadanda suka yi imani cewa Berman ya kusan sake ganowa a cikin shekara ta arba'in da biyar na rayuwarsa, ko kuma waɗanda har yanzu suna da tabbacin cewa binciken, a gaskiya, bai faru ba kuma babu isassun dalilai na "albarka"?

A taƙaice game da wasu ɓangarori na tarihin ɗan wasan pian, wannan zai ba da haske kan abin da ke biyo baya. Lazar Naumovich Berman aka haife shi a Birnin Leningrad. Mahaifinsa ma'aikaci ne, mahaifiyarsa tana da ilimin kiɗa - a wani lokaci ta yi karatu a sashen piano na St. Petersburg Conservatory. Yaron da wuri, kusan tun yana dan shekara uku, ya nuna hazaka na ban mamaki. Ya zaba a hankali ta kunne, da kyau ingantacce. (“Abin da na fara gani a rayuwa yana da alaƙa da madannai na piano,” in ji Berman. “A ganina ban taɓa rabuwa da shi ba… Wataƙila, na koyi yin sauti a kan piano kafin in iya magana.”) A cikin waɗannan shekaru. , ya shiga gasar bita, wanda ake kira “gasar ƙwararrun matasa a faɗin birni.” An lura da shi, an ware shi daga wasu da dama: alkalai, wanda Farfesa LV Nikolaev ya jagoranta, ya bayyana "wani lamari na musamman na bayyanar iyawar kida da pian a cikin yaro." An lasafta shi a matsayin ɗan wasan kwaikwayo na yara, Lyalik Berman mai shekaru hudu ya zama dalibi na shahararren malamin Leningrad Samariy Ilyich Savshinsky. "Mai kyaun mawaƙi kuma ƙwararren masani," Berman ya kwatanta malaminsa na farko. "Mafi mahimmanci, ƙwararrun ƙwararrun ƙwararrun aiki tare da yara."

Lokacin da yaron yana da shekaru tara, iyayensa sun kawo shi zuwa Moscow. Ya shiga Central Musical School na shekaru goma, a cikin aji na Alexander Borisovich Goldenweiser. Daga yanzu har zuwa karshen karatunsa - jimlar kusan shekaru goma sha takwas - Berman kusan bai taba rabuwa da farfesa ba. Ya zama ɗaya daga cikin ɗaliban Goldenweiser da aka fi so (a cikin mawuyacin lokaci na yaki, malamin ya tallafa wa yaron ba kawai a ruhaniya ba, har ma da kudi), girman kai da bege. "Na koyi daga Alexander Borisovich yadda za a yi aiki da gaske a kan rubutun aikin. A cikin aji, sau da yawa mun ji cewa an fassara manufar marubucin zuwa cikin zane-zane na kiɗa. Na karshen koyaushe yana da sharadi, kusan…Mawaƙin nufin buƙatu na buƙatar warwarewa (wannan shine manufar mai fassarar!) kuma a nuna daidai gwargwadon iyawa a cikin wasan kwaikwayon. Alexander Borisovich da kansa ya kasance mai ban mamaki, mai ban mamaki mai basira na nazarin rubutun kiɗa - ya gabatar da mu, ɗalibansa, ga wannan fasaha ... "

Berman ya ƙara da cewa: “Mutane kaɗan ne za su iya yin daidai da ilimin malaminmu na fasahar pian. Sadarwa tare da shi ya ba da yawa. An yi amfani da dabarun wasa mafi ma'ana, an bayyana sirrin da ke ciki na feda. Ikon fayyace magana cikin jin daɗi da kwanciyar hankali ya zo - Alexander Borisovich ya nemi hakan daga ɗalibansa ba tare da gajiyawa ba… Na yi fice, na yi karatu tare da shi, babban adadin kiɗan da ya bambanta. Ya fi son kawo wa aji ayyukan Scriabin, Medtner, Rachmaninoff. Alexander Borisovich ya kasance takwarorinsu na waɗannan mawaƙa masu ban mamaki, a cikin ƙuruciyarsa sau da yawa ya sadu da su; sun nuna wasanninsu da sha'awa ta musamman..."

Da zarar Goethe ya ce: "Talent himma ce"; Tun yana ƙarami, Berman ya kasance mai himma sosai a cikin aikinsa. Yawancin sa'o'i na aiki a kayan aiki - yau da kullum, ba tare da shakatawa da jin dadi ba - ya zama al'ada na rayuwarsa; sau ɗaya a cikin tattaunawa, ya jefa kalmar: "Ka sani, wani lokacin ina mamakin ko ina da ƙuruciya...". Mahaifiyarsa ce ke kula da azuzuwa. Hali mai aiki da kuzari don cimma burinta, Anna Lazarevna Berman a zahiri bai bar ɗanta daga kulawa ba. Ta tsara ba kawai girma da tsarin tsarin karatun ɗanta ba, har ma da jagorancin aikinsa. Kos ɗin ya dogara ne akan haɓaka halayen fasaha na virtuoso. An zana shi "a cikin madaidaiciyar layi", ya kasance bai canza ba har tsawon shekaru masu yawa. (Muna maimaitawa, sanin dalla-dalla game da tarihin rayuwar fasaha wani lokaci yana faɗi da yawa kuma yana bayyana da yawa.) Tabbas, Goldenweiser kuma ya haɓaka dabarun ɗalibansa, amma shi, ƙwararren mai fasaha, ya magance matsalolin irin wannan a cikin wani yanayi na daban. - a cikin hasken manyan matsaloli da yawa. . Dawowa gida daga makaranta, Berman ya san abu ɗaya: fasaha, fasaha…

A 1953, matasa pianist sauke karatu tare da girmamawa daga Moscow Conservatory, kadan daga baya - postgraduate karatu. Rayuwarsa ta fasaha mai zaman kanta ta fara. Ya ziyarci USSR, kuma daga baya kasashen waje. A gaban masu sauraro akwai mai gabatar da kide-kide tare da kafaffen bayyanar matakin da ke tattare da shi kawai.

Tuni a wannan lokacin, ko da wanene ya yi magana game da Berman - abokin aiki ta hanyar sana'a, mai zargi, mai son kiɗa - kusan koyaushe yana iya jin yadda kalmar "virtuoso" ta kasance ta kowace hanya. Kalmar, gabaɗaya, tana da shubuha a cikin sauti: wani lokacin ana furta ta da ɗan ƙanƙantar ma'anarta, a matsayin ma'anar magana maras mahimmanci, pop tinsel. Halin kirki na Bermanet - dole ne mutum ya fito fili game da wannan - ba ya barin kowane hali na rashin mutunci. Ita ce - sabon abu a cikin pianism; wannan yana faruwa a kan matakin kide-kide kawai a matsayin banda. Da yake kwatanta shi, willy-nilly, dole ne mutum ya zana daga arsenal na ma'anoni a cikin ma'anoni mafi girma: mai girma, mai ban sha'awa, da dai sauransu.

Da zarar AV Lunacharsky ya bayyana ra'ayin cewa kada a yi amfani da kalmar "virtuoso" a cikin "ma'ana mara kyau", kamar yadda ake yi a wasu lokuta, amma don komawa ga "mai zane mai girma a cikin ma'anar ra'ayin da ya yi a kan muhalli. wanda ya san shi. ”… (Daga jawabin AV Lunacharsky a bude taron methodological kan ilimin fasaha a ranar 6 ga Afrilu, 1925 // Daga tarihin ilimin kiɗa na Soviet. - L., 1969. P. 57.). Berman shi ne virtuoso na babban iko, kuma ra'ayin da yake yi a kan "halli mai fahimta" hakika yana da girma.

Gaskiya, manyan virtuosos sun kasance suna ƙaunar jama'a koyaushe. Wasan su yana burge masu sauraro (a cikin Latin virtus - jarumi), yana tada jin wani abu mai haske, biki. Mai sauraro, ko da wanda bai sani ba, ya san cewa mai zane, wanda a yanzu yake gani kuma yake ji, yana yin abin da kawai ’yan kadan ne ke iya yi; a ko da yaushe yana saduwa da nishadi. Ba daidaituwa ba ne cewa kide kide da wake-wake na Berman galibi suna ƙarewa tare da jinjina. Ɗaya daga cikin masu sukar, alal misali, ya kwatanta aikin wani mai zane na Soviet a kasar Amurka kamar haka: "da farko sun yaba shi yayin da suke zaune, sa'an nan kuma a tsaye, sa'an nan kuma suka yi ihu kuma suka buga ƙafafunsu da farin ciki ...".

Wani al'amari game da fasaha, Berman ya kasance Berman a cikin wannan cewa yana wasa. Salon wasansa koyaushe ya kasance yana da fa'ida musamman a cikin mafi wahala, "tsayi" guda na repertoire na piano. Kamar duk virtuosos da aka haifa, Berman ya daɗe yana sha'awar irin waɗannan wasannin. A tsakiya, mafi mashahuri wurare a cikin shirye-shiryensa, B qananan sonata da Liszt na Mutanen Espanya Rhapsody, Concerto na Uku na Rachmaninov da Prokofiev's Toccat, Schubert's The Forest Tsar (a cikin sanannen rubutun Liszt) da Ravel's Ondine, octave etude (op. 25). ) by Chopin da Scriabin's C-kaifi qananan (Op. 42) etude… Irin wannan tarin na pianistic “supercomplexities” suna da ban sha'awa a kansu; mafi ban sha'awa shi ne 'yanci da sauƙi wanda duk abin da mawaƙin ke buga wannan: babu tashin hankali, babu wahalhalu na bayyane, babu ƙoƙari. "Dole ne a shawo kan matsalolin da sauƙi kuma kada a yi wasa da su," Busoni ya taɓa koyarwa. Tare da Berman, a cikin mafi wahala - babu alamun aiki…

Duk da haka, mai wasan pian yana samun jinƙai ba kawai tare da wasan wuta na wurare masu ban sha'awa ba, kayan ado masu ban sha'awa na arpeggios, avalanches na octaves, da dai sauransu. fasaharsa tana jawo hankalin abubuwa masu girma - al'adun wasan kwaikwayo na gaske.

A cikin ƙwaƙwalwar ajiyar masu sauraro akwai ayyuka daban-daban a cikin fassarar Berman. Wasu daga cikinsu sun yi tasiri mai haske sosai, wasu sun fi son ƙasa. Ba zan iya tunawa abu ɗaya kaɗai ba - cewa mai yin wasan kwaikwayo a wani wuri ko wani abu ya gigita mafi tsauri, kunun ƙwararru. Duk wani lambobi na shirye-shiryensa misali ne na ingantacciyar ingantacciyar “aiki” na kayan kida.

A ko'ina, daidaitaccen yin magana, da tsabtar ƙamus na pianistic, bayyanannun watsa bayanai dalla-dalla, da ɗanɗano maras kyau suna jin daɗin kunne. Ba asiri ba ne: al'adar mai yin wasan kwaikwayo koyaushe ana fuskantar gwaji mai tsanani a cikin ɓangarorin climactic na ayyukan da aka yi. Wanne ne daga cikin ƴan wasan piano na yau da kullun bai taɓa saduwa da pianos masu ruɗi ba, ya yi nasara a frenzied fortissimo, ya ga asarar kamun kai. Hakan baya faruwa a wasan kwaikwayon Berman. Mutum na iya komawa a matsayin misali zuwa kololuwar sa a cikin Musical Moments na Rachmaninov ko Sonata na takwas na Prokofiev: raƙuman sauti na pianist suna birgima har zuwa inda haɗarin buga ƙwanƙwasa ya fara fitowa, kuma ba, ba ɗaya iota, ya fantsama bayan wannan layin.

Da zarar a cikin tattaunawa, Berman ya ce shekaru da yawa yana kokawa da matsalar sauti: “A ra’ayina, al’adar wasan piano ta fara da al’adun sauti. A cikin ƙuruciyata, wasu lokuta nakan ji cewa piano dina ba ta da kyau – maras kyau, dusashewa… Na fara sauraron mawaƙa masu kyau, na tuna kunna rikodin akan gramophone tare da rikodin “taurari” na Italiyanci; ya fara tunani, bincike, gwaji… Malamina yana da takamaiman sautin kayan aikin, yana da wuya a kwaikwayi shi. Na karɓi wani abu dangane da timbre da launin sauti daga wasu ƴan pian. Da farko, tare da Vladimir Vladimirovich Sofronitsky - Na ƙaunace shi sosai ... "Yanzu Berman yana da dumi, jin dadi; siliki, kamar ana shafa piano, yatsa ya taɓa. Wannan yana sanar da jan hankali a cikin watsawarsa, ban da bravura, da waƙoƙin waƙa, zuwa guntuwar ɗakunan ajiya na cantilena. Dumi tafi yanzu karya fita ba kawai bayan da Berman ya yi na Liszt ta Wild Hunt ko Blizzard, amma kuma bayan ya yi na Rachmaninov ta melodically singsong ayyukan: misali, da Preludes a F kaifi qananan (Op. 23) ko G Major (Op. 32). ; ana saurare shi sosai a cikin kiɗa kamar Mussorgsky's The Old Castle (daga Hotuna a Nunin) ko Andante sognando daga Sonata na takwas na Prokofiev. Ga wasu, waƙoƙin Berman suna da kyau kawai, masu kyau don ƙirar sautinsu. Mai sauraron da ya fi fahimta yana gane wani abu dabam a cikinsa - taushin harshe mai kirki, wani lokacin dabara, kusan butulci… yadda ake furta kiɗa, - madubi na ran mai yin aiki; mutanen da suka san Berman kurkusa za su yarda da wannan.

Lokacin da Berman ya kasance "a kan bugun", ya tashi zuwa babban matsayi, yana aiki a irin waɗannan lokuta a matsayin mai kula da al'adun gargajiyar salon wasan kwaikwayo mai ban sha'awa - al'adun da ke sa mutum ya tuna da yawan fitattun masu fasaha na baya. (Wani lokaci ana kwatanta shi da Simon Bare, wani lokaci tare da ɗaya daga cikin sauran masu haskaka yanayin wasan piano na shekarun da suka gabata. Don tada irin waɗannan ƙungiyoyi, don tayar da sunaye na almara don tunawa - mutane nawa ne za su iya yin hakan?) da wasu wasu. bangarorin aikinsa.

Berman, tabbas, a wani lokaci ya sami ƙari daga zargi fiye da yawancin abokan aikinsa. Zarge-zargen wani lokaci ya yi kama da tsanani - har zuwa shakku game da abubuwan kirkire-kirkire na fasahar sa. Babu buƙatar yin jayayya a yau tare da irin waɗannan hukunce-hukuncen - ta hanyoyi da yawa sun kasance maganganun da suka gabata; bayan haka, sukar kiɗa, wani lokacin, yana kawo schematism da sauƙaƙan tsari. Zai zama mafi daidai a faɗi cewa Berman ya rasa (kuma ya rasa) mai ƙarfi, ƙarfin hali a farkon wasan. Da farko, it; abun ciki a cikin aiki wani abu ne na asali daban.

Misali, an san fassarar da ’yan pianist suka yi na Beethoven’s Appassionata. Daga waje: jimla, sauti, fasaha - komai a zahiri babu zunubi… Ba shi da motsin ciki na ciki, springiness a cikin jujjuyawar aikin ka'idar mahimmanci. Yayin wasa, mai wasan pian ba ya dagewa kan manufar aikinsa, kamar yadda wasu sukan nace: ya kamata ya zama haka ba wani abu ba. Kuma mai sauraro yana son idan sun kama shi cikakke, su jagorance shi da hannu mai kauri kuma maras kyau (KS Stanislavsky ya rubuta game da babban bala'i Salvini: "Da alama ya yi shi da hannu ɗaya - ya mika hannunsa ga masu sauraro, ya kama kowa a cikin tafin hannunsa kuma ya riƙe shi a ciki, kamar tururuwa, a cikin dukan aikin. Clenches nasa. dunƙule – mutuwa; buɗewa, ya mutu da zafi – ni’ima. Mun riga mun kasance cikin ikonsa, har abada, har abada abadin. 1954)..

… A farkon wannan makala, an ba da labari game da sha'awar da wasan Berman ya haifar a tsakanin masu sukar kasashen waje. Tabbas, kuna buƙatar sanin salon rubutun su - ba ya ɗaukar faɗaɗawa. Koyaya, wuce gona da iri shine ƙari, hanya ce, kuma sha'awar waɗanda suka ji Berman a karon farko har yanzu ba a fahimta ba.

Domin a gare su ya zama sabon abu ga abin da muka daina mamaki kuma - a gaskiya - don gane ainihin farashin. Ƙwarewar fasaha ta musamman na Berman, haske, haskakawa da 'yancin yin wasansa - duk wannan na iya yin tasiri sosai ga tunanin, musamman idan ba ku taɓa saduwa da wannan ƙaƙƙarfan piano na marmari ba. A takaice dai, martani ga jawaban Berman a cikin Sabuwar Duniya bai kamata ya zama abin mamaki ba - dabi'a ce.

Duk da haka, wannan ba duka ba ne. Akwai kuma wani yanayi wanda ke da alaƙa kai tsaye da “tatsuniyar Berman” (maganin masu bitar ƙasashen waje). Wataƙila mafi mahimmanci da mahimmanci. Gaskiyar ita ce, a cikin 'yan shekarun nan mai zane ya ɗauki sabon mataki mai mahimmanci. Ba a lura da shi ba, wannan ya wuce ne kawai daga waɗanda ba su sadu da Berman na dogon lokaci ba, sun gamsu da abubuwan da aka saba da su, da ra'ayoyin da suka dace game da shi; ga wasu, nasarorin da ya samu a mataki na saba'in da tamanin suna da fahimta kuma na halitta. A cikin ɗaya daga cikin hirar da ya yi, ya ce: “Kowane ɗan wasan baƙo yana fuskantar wani lokaci a lokacin farin ciki da tashi. Da alama a gare ni cewa yanzu aikina ya ɗan bambanta da na zamanin da… ”Gaskiya, daban. Idan kafin ya kasance yana da aikin hannu mai girma ("Ni bawansu ne ..."), yanzu za ku ga a lokaci guda hankalin mai zane, wanda ya tabbatar da kansa a cikin 'yancinsa. A baya can, an jawo shi (kusan ba tare da damuwa ba, kamar yadda ya ce) ta hanyar basirar virtuoso da aka haifa, wanda ba tare da son kai ba a cikin abubuwan fasaha na motsa jiki na pianistic - a yau yana jagorantar shi ta hanyar balagaggen tunani mai zurfi, zurfafa jin dadi, ƙwarewar mataki da aka tara a kan. fiye da shekaru talatin. Lokaci na Berman yanzu ya zama mafi kamewa, yana da ma'ana, gefuna na nau'ikan kiɗan sun zama daɗaɗawa, kuma nufin masu fassara sun bayyana. An tabbatar da hakan ta hanyar ayyuka da yawa da ɗan wasan pian ya buga ko ya rubuta: Tchaikovsky's B flat small concerto (tare da ƙungiyar mawaƙa Herbert Karajan), duka Liszt concertos (tare da Carlo Maria Giulini), Beethoven's Goma sha takwas Sonata, Scriabin's Uku, “Hotuna a wani Nunin" Mussorgsky, wanda Shostakovich ya gabatar da shi da ƙari.

Berman da son rai ya ba da ra'ayinsa game da fasahar yin kiɗa. Taken abin da ake kira ƙwararrun yara musamman yana kai shi ga sauri. Ya taba ta fiye da sau ɗaya a cikin zance na sirri da kuma a shafukan mawallafin kiɗa. Bugu da ƙari, ya taɓa ba kawai saboda shi da kansa ya taɓa kasancewa cikin "ya'yan ban mamaki", wanda ke nuna abin mamaki na ɗan yaro. Akwai ƙarin yanayi guda ɗaya. Yana da ɗa, ɗan wasan violin; bisa ga wasu dokoki masu ban mamaki, waɗanda ba za a iya bayyana su ba na gado, Pavel Berman a cikin ƙuruciyarsa ya ɗan maimaita hanyar mahaifinsa. Ya kuma gano fasahar kiɗan sa da wuri, ya burge masana da jama'a tare da ƙarancin bayanan fasaha na virtuoso.

"A gare ni, in ji Lazar Naumovich, cewa geeks na yau, bisa ka'ida, sun bambanta da geeks na tsararraki - daga waɗanda aka yi la'akari da su" yara masu banmamaki " a cikin shekaru talatin da arba'in. A cikin na yanzu, a ganina, ko ta yaya ƙasa da "nau'i", kuma ƙari daga babba… Amma matsalolin, gabaɗaya, iri ɗaya ne. Kamar yadda yabo, farin ciki, yabo mara kyau ya hana mu - don haka yana hana yara a yau. Kamar yadda muka sami lalacewa, kuma mai yawa, daga wasan kwaikwayo akai-akai, haka ma suka yi. Bugu da kari, yara a yau ana hana su ta hanyar yin aiki akai-akai a cikin gasa daban-daban, gwaje-gwaje, zaɓin gasa. Bayan haka, ba shi yiwuwa a lura cewa duk abin da ke da alaka da shi gasar a cikin sana'ar mu, tare da gwagwarmayar neman kyauta, babu makawa ya zama babban nauyin damuwa, wanda ke gajiyar jiki da tunani. Musamman yaro. Kuma yaya game da raunin hankali da matasa masu shiga gasar ke samu sa’ad da, saboda wani dalili ko wani, ba su sami babban matsayi ba? Kuma rauni da girman kai? Ee, da tafiye-tafiye akai-akai, balaguron balaguron da ke faɗowa ga ɗimbin ƙwararrun yara - lokacin da gaske ba su kai ga wannan ba - kuma suna yin illa fiye da mai kyau. (Ba zai yuwu a lura ba dangane da maganganun Berman cewa akwai wasu ra'ayoyi game da wannan batu. Wasu masana, alal misali, sun tabbata cewa waɗanda dabi'a ta ƙaddara don yin wasan kwaikwayo a kan mataki ya kamata su saba da shi tun suna yara. To, da kuma yawan kide kide da wake-wake - Ba a so, ba shakka, kamar duk wani abin da ya wuce gona da iri, har yanzu yana da ƙarancin mugunta fiye da rashin su, don mafi mahimmancin abin da ake yi a cikin wasan kwaikwayon har yanzu ana koya a kan mataki, a cikin tsarin kida na jama'a. ... Tambayar, dole ne a ce, tana da matukar wahala, za a iya jayayya da yanayinta, a kowane hali, ko wane matsayi ka dauka, abin da Berman ya ce ya cancanci kulawa, domin wannan shi ne ra'ayin mutumin da ya gani da yawa, wanda ya gani. ya dandana shi da kansa, wanda ya san ainihin abin da yake magana akai..

Wataƙila Berman kuma yana da ƙin yarda ga yawaitar balaguron balaguron balaguron balaguron balaguron balaguron balaguron balaguron balaguron balaguron balaguron balagaggu, ma - ba yara kaɗai ba. Mai yiyuwa ne da son rai ya rage yawan wasannin nasa… Amma a nan ya riga ya kasa yin komai. Don kar a fita daga “nisa”, kar a bar sha’awar jama’a a gare shi ta huce, shi – kamar kowane mawaƙin kide-kide – dole ne ya kasance “a gani”. Kuma wannan yana nufin - yin wasa, wasa da wasa… Ɗauka, alal misali, kawai 1988. Tafiya ta biyo baya: Spain, Jamus, Jamus ta Gabas, Japan, Faransa, Czechoslovakia, Ostiraliya, Amurka, ba a ma maganar garuruwa daban-daban na ƙasarmu ba. .

Af, game da ziyarar Berman a Amurka a 1988. An gayyace shi, tare da wasu mashahuran masu fasaha a duniya, ta kamfanin Steinway, wanda ya yanke shawarar tunawa da wasu abubuwan tunawa da tarihinsa tare da bukukuwan kide-kide. A wannan asali na Steinway Festival, Berman shi ne kawai wakilin pianists na USSR. Nasarar da ya samu a dandalin Carnegie Hall ya nuna cewa farin jininsa ga jama'ar Amirka, wanda ya yi nasara a baya, bai ragu ko kadan ba.

... Idan kadan ya canza a cikin 'yan shekarun nan dangane da yawan wasan kwaikwayo a cikin ayyukan Berman, to, canje-canje a cikin repertoire, a cikin abubuwan da ke cikin shirye-shiryensa sun fi dacewa. A zamanin da, kamar yadda aka gani, mafi wahala virtuoso opuses yawanci mamaye tsakiyar wuri a kan ta posters. A yau ma bai guje su ba. Kuma ba tsoro ko kadan. Duk da haka, yana gabatowa bakin kofa na ranar haihuwar 60th Lazar Naumovich ya ji cewa sha'awar kiɗansa da sha'awarsa sun ɗan bambanta.

"Na fi sha'awar yin wasa da Mozart a yau. Ko, alal misali, irin wannan mawallafin mai ban mamaki kamar Kunau, wanda ya rubuta waƙarsa a ƙarshen karni na XNUMX - farkon karni na XNUMX. Shi, da rashin alheri, an manta da shi sosai, kuma ina la'akari da shi aikina - aiki mai dadi! - don tunatar da mu da masu sauraronmu na kasashen waje game da shi. Yadda za a bayyana sha'awar tsufa? Ina tsammanin shekaru Ƙari da ƙari yanzu, kiɗa yana da laconic, m a cikin rubutu - daya inda kowane bayanin kula, kamar yadda suke faɗa, ya cancanci nauyinsa a zinariya. Inda kadan ke cewa da yawa.

Af, wasu waƙoƙin piano na marubutan zamani su ma suna da ban sha'awa a gare ni. A cikin repertoire na, alal misali, akwai wasanni uku na N. Karetnikov (tsarin kide-kide na 1986-1988), fantasy na V. Ryabov don tunawa da MV Yudina (lokaci guda). A cikin 1987 da 1988 na yi wasan kwaikwayo na piano na A. Schnittke sau da yawa a bainar jama'a. Ina wasa ne kawai abin da na fahimta da yarda da shi.

… An san cewa abubuwa biyu sun fi wuya ga mai fasaha: don samun suna don kansa da kiyaye shi. Na biyu, kamar yadda rayuwa ta nuna, ya fi wahala. "Glory kaya ne mara riba," Balzac ya taɓa rubutawa. "Yana da tsada, ba a kiyaye shi sosai." Berman yayi tafiya mai tsayi da wuya don ganewa - fadi, yarda da duniya. Duk da haka, da ya cim ma hakan, ya yi nasarar kiyaye abin da ya ci. Wannan ya ce duk…

G. Tsipin, 1990