Lev Nikolaevich Oborin |

Lev Oborin

Lev Nikolaevich Oborin shi ne dan wasan Soviet na farko da ya samu nasara ta farko a tarihin fasahar wasan kwaikwayo na Soviet a gasar kasa da kasa (Warsaw, 1927, Chopin Competition). A yau, a lokacin da jerin gwanaye a gasar kade-kade daban-daban ke tafiya daya bayan daya, yayin da sabbin sunaye da fuskoki ke fitowa a cikin su, wadanda “babu adadi”, yana da wuya a fahimci abin da Oborin ya yi shekaru 85 da suka gabata. Ya kasance nasara, abin mamaki, abin alfahari. Masu binciken koyaushe suna kewaye da girmamawa - a cikin binciken sararin samaniya, a cikin kimiyya, a cikin al'amuran jama'a; Oborin ya bude hanyar, wanda J. Flier, E. Gilels, J. Zak da wasu da dama suka bi su da kyar. Samun lambar yabo ta farko a cikin gasa mai mahimmanci na ƙirƙira koyaushe yana da wahala; a cikin 1927, a cikin yanayin rashin lafiya wanda ya mamaye bourgeois Poland dangane da masu fasahar Soviet, Oborin ya kasance sau biyu, sau uku. Bai bi bashin nasarar da ya samu ba ko wani abu ba - bashi ne kawai don kansa ba, ga babbar baiwar sa.

• Kiɗa na Piano a cikin shagon kan layi na Ozon →

An haifi Oborin a Moscow, a cikin iyalin injiniyan jirgin kasa. Mahaifiyar yaron, Nina Viktorovna, yana son yin amfani da lokaci a piano, kuma mahaifinsa, Nikolai Nikolaevich, ya kasance mai son kiɗa. Daga lokaci zuwa lokaci, an shirya kide kide da wake-wake a Oborins: daya daga cikin baƙi ya raira waƙa ko wasa, Nikolai Nikolayevich a cikin irin waɗannan lokuta ya yarda ya zama ɗan rakiya.

Malami na farko na pianist na gaba shine Elena Fabianovna Gnesina, wanda aka sani a cikin da'irori na kiɗa. Daga baya, a Conservatory Oborin karatu tare da Konstantin Nikolaevich Igumnov. “Yana da zurfi, hadaddun, yanayi na musamman. A wasu hanyoyi, yana da na musamman. Ina tsammanin ƙoƙarin da aka yi don nuna halayen fasaha na Igumnov tare da taimakon sharuɗɗa ɗaya ko biyu ko ma'anoni - ya kasance "mai rubutawa" ko wani abu na iri ɗaya - gabaɗaya ya ƙare ga gazawa. (Kuma matasa na Conservatory, waɗanda suka san Igumnov kawai daga rikodin rikodi guda ɗaya da kuma shaidar baka, wasu lokuta suna karkata zuwa irin wannan ma'anar.)

Don faɗi gaskiya, - ya ci gaba da labarin game da malaminsa Oborin, - Igumnov ba koyaushe ba ne, a matsayin dan wasan pianist. Zai yiwu mafi kyau duka ya taka leda a gida, a cikin da'irar masoya. Anan, a cikin yanayin da ya saba, jin dadi, ya ji dadi da kwanciyar hankali. Ya buga kida a irin wannan lokacin da ilhami, tare da sha'awa ta gaske. Bugu da ƙari, a gida, a kan kayan aikinsa, duk abin da kullum "ya fito" a gare shi. A cikin ɗakunan ajiya, a cikin aji, inda wasu lokuta mutane da yawa suka taru (dalibi, baƙi ...), ya "numfashi" a piano ba ya da 'yanci. Ya taka leda sosai a nan, kodayake, a gaskiya, ba koyaushe yake yin nasara ba kuma ba koyaushe yana yin nasara a komai daidai ba. Igumnov ya kasance yana nuna aikin da aka yi nazari tare da ɗalibin ba daga farkon zuwa ƙarshe ba, amma a cikin sassa, guntu (waɗanda suke aiki a halin yanzu). Dangane da jawaban da ya yi wa jama’a, ba a taba yiwuwa a yi hasashen yadda wannan wasan zai kasance ba.

Akwai clavirabends masu ban mamaki, waɗanda ba za a iya mantawa da su ba, waɗanda aka ruguza su daga na farko zuwa na ƙarshe, wanda aka yiwa alama ta mafi ƙarancin shiga cikin ran kiɗa. Kuma tare da su an yi wasan kwaikwayo marasa daidaituwa. Komai ya dogara da minti daya, a kan yanayi, ko Konstantin Nikolayevich ya gudanar da sarrafa jijiyoyi, ya shawo kan tashin hankali.

Lambobin sadarwa tare da Igumnov nufi da yawa a cikin m rayuwa Oborin. Amma ba su kadai ba. Matashin mawaƙin ya kasance gabaɗaya, kamar yadda suke faɗa, “ya ​​yi sa’a” tare da malamai. Daga cikin mashawarta masu ra'ayin mazan jiya akwai Nikolai Yakovlevich Myaskovsky, wanda saurayin ya ɗauki darussan abun da ke ciki. Ba sai Oborin ya zama kwararren mawaki ba; daga baya rayuwa kawai ba ta bar masa irin wannan damar ba. Duk da haka, nazarin ƙirƙira a lokacin nazarin ya ba da shahararren pianist mai yawa - ya jaddada wannan fiye da sau ɗaya. "Rayuwa ta kasance a irin wannan hanya," in ji shi, cewa a ƙarshe na zama mai zane da malami, ba mawallafi ba. Duk da haka, yanzu ina tayar da ƙanana na a cikin ƙwaƙwalwar ajiya, sau da yawa ina mamakin yadda fa'ida da fa'ida waɗannan yunƙurin rubuta sun kasance gare ni a lokacin. Ma'anar ba wai kawai ta hanyar "gwaji" a maɓalli ba, na zurfafa fahimtar abubuwan da ke bayyana kaddarorin piano, amma ta hanyar ƙirƙira da aiwatar da haɗe-haɗe daban-daban da kaina, gabaɗaya, na ci gaba a matsayin ɗan wasan piano. Af, dole ne in yi karatu da yawa - ba don koyon wasan kwaikwayo na ba, kamar yadda Rachmaninov, alal misali, bai koya musu ba, ba zan iya ba ...

Kuma duk da haka babban abu ya bambanta. Sa’ad da, na ajiye rubuce-rubucen rubuce-rubucena, na ɗauki kiɗan wasu mutane, ayyukan wasu mawallafa, tsari da tsarin waɗannan ayyukan, tsarinsu na ciki da ainihin tsarin kayan sauti ya ƙara bayyana a gare ni. Na lura cewa daga nan na fara zurfafa cikin ma'anar hadaddun sauye-sauye-sauye-sauye masu jituwa, dabaru na ci gaban ra'ayoyin melodic, da dai sauransu ta hanyar da ta fi dacewa. Ƙirƙirar kiɗa ya sa ni, mai yin wasan kwaikwayo, ayyuka masu mahimmanci.

Wani lamari mai ban sha'awa a rayuwata yakan zo a zuciyata," Oborin ya kammala tattaunawar game da fa'idodin yin waƙa ga ƴan wasan kwaikwayo. "Ko ta yaya a farkon shekarun talatin an gayyace ni in ziyarci Alexei Maksimovich Gorky. Dole ne in ce Gorky yana son kiɗa kuma yana jin shi a hankali. A zahiri, bisa ga buƙatar mai shi, dole ne in zauna a wurin kayan aikin. Na yi wasa da yawa kuma, da alama, tare da babbar sha'awa. Aleksey Maksimovich ya saurara da kyau, yana dora hantarsa ​​akan tafin hannunsa kuma bai taba dauke idanunsa na hankali da kirki daga gareni ba. Ba zato ba tsammani, ya yi tambaya: "Ka gaya mani, Lev Nikolaevich, me ya sa ba ka tsara kiɗa da kanka ba?" A'a, na amsa, na kasance ina jin daɗinsa, amma yanzu ba ni da lokaci - tafiye-tafiye, wasan kwaikwayo, ɗalibai ... "Abin takaici ne, abin tausayi ne," in ji Gorky, "idan kyautar mawaki ta riga ta kasance. a cikin ku ta yanayi, dole ne a kiyaye shi - yana da babbar daraja. Ee, kuma a cikin wasan kwaikwayon, mai yiwuwa, zai taimaka muku da yawa… ”Na tuna cewa ni, matashin mawaƙi, waɗannan kalmomin sun burge ni sosai. Kada ku ce komai - cikin hikima! Shi, mutum mai nisa daga kiɗa, don haka da sauri kuma daidai ya fahimci ainihin matsalar - mai yin-mawaki".

Ganawa tare da Gorky ɗaya ne kawai a cikin jerin tarurrukan tarurruka masu ban sha'awa da kuma sanannun da suka shafi Oborin a cikin XNUMXs da XNUMXs. A wannan lokacin ya kasance a cikin kusanci da Shostakovich, Prokofiev, Shebalin, Khachaturian, Sofronitsky, Kozlovsky. Ya kasance kusa da duniyar gidan wasan kwaikwayo - zuwa Meyerhold, zuwa "MKhAT", kuma musamman ga Moskvin; tare da wasu daga cikin wadanda aka ambata a sama, yana da abota mai karfi. Daga baya, lokacin da Oborin ya zama mashahurin ubangida, zargi zai rubuta tare da sha'awar al'adun ciki, ko da yaushe yana cikin wasansa, cewa a cikinsa za ku iya jin fara'a na hankali a rayuwa da kuma a kan mataki. Oborin ya ɗora wa wannan ƙuruciyarsa farin ciki: iyali, malamai, ɗalibansa; sau ɗaya a cikin tattaunawa, ya ce yana da kyakkyawan “yanayin gina jiki” a cikin ƙuruciyarsa.

A 1926, Oborin brilliantly sauke karatu daga Moscow Conservatory. An rubuta sunansa da zinare a kan sanannen kwamitin karramawa na marmara wanda ke ƙawata falon ƙaramin ɗakin ɗakin ajiya na Conservatory. Wannan ya faru ne a cikin bazara, kuma a watan Disamba na wannan shekara, an sami damar shiga gasar Chopin Piano ta farko a Warsaw a Moscow. An gayyaci mawaƙa daga USSR. Matsalar ita ce kusan babu sauran lokacin da za a shirya gasar. "Makonni uku kafin fara gasar, Igumnov ya nuna mini shirin gasar," Oborin ya tuna daga baya. “Wataƙila na sun haɗa da kusan kashi ɗaya bisa uku na shirin gasar dole. Horo a karkashin irin wannan yanayi ya zama kamar mara ma'ana." Duk da haka, ya fara shirya: Igumnov ya nace da kuma daya daga cikin mafi iko mawaƙa na wancan lokacin, BL Yavorsky, wanda ra'ayi Oborin dauke zuwa ga mafi girma mataki. "Idan da gaske kuke so, to kuna iya magana," in ji Yavorsky ga Oborin. Kuma ya yi imani.

A Warsaw, Oborin ya nuna kansa sosai. Baki daya aka ba shi kyautar farko. Ƙasashen waje, ba tare da ɓoye abin mamaki ba (an riga an fada a sama: 1927) ya yi magana da sha'awa game da wasan kwaikwayo na Soviet mawaki. Shahararren mawaƙin ƙasar Poland Karol Szymanowski, da yake ba da kimanta aikin Oborin, ya furta kalaman da jaridun ƙasashe da yawa na duniya suka tsallake a lokaci guda: “Abin mamaki ne! Ba laifi a bauta masa, domin shi ne ya halicci Kyau.

Dawowa daga Warsaw, Oborin ya fara aikin kide-kide. Yana tasowa: yanayin yanayin tafiye-tafiyensa yana fadadawa, yawan wasan kwaikwayo yana karuwa (dole ne a watsar da abun da ke ciki - babu isasshen lokaci ko makamashi). Ayyukan kide-kide na Oborin sun bunkasa musamman a shekarun baya-bayan nan: ban da Tarayyar Soviet, yana taka leda a Amurka, Faransa, Belgium, Burtaniya, Japan, da sauran kasashe da dama. Rashin lafiya ne kawai ke katse wannan balaguron balaguro da sauri.

Waɗanda suka tuna da ɗan wasan pian a lokacin shekaru talatin suna magana gaba ɗaya game da fara'a na wasansa da ba kasafai ba - marasa fasaha, cike da sabon kuruciya da saurin ji. IS Kozlovsky, yana magana game da matashin Oborin, ya rubuta cewa ya buga da “waƙa, fara’a, jin daɗin ɗan adam, wani irin haske.” Kalmar "halitta" tana jawo hankali a nan: mai bayyanawa, mai ban sha'awa da ma'ana, yana taimakawa wajen fahimtar da yawa a cikin bayyanar mawaƙa.

Kuma wani karin cin hanci a ciki - sauki. Watakila makarantar Igumnov ta sami tasiri, watakila siffofi na dabi'ar Oborin, halayen halayensa (mafi kusantar duka biyu), - kawai akwai a cikinsa, a matsayin mai zane, tsabta mai ban mamaki, haske, mutunci, jituwa na ciki. Wannan ya yi kusan ra'ayi ga jama'a, da kuma ga abokan aikin pian. A Oborin, pianist, sun ji wani abu wanda ya koma ga al'adun gargajiya masu nisa da ɗaukaka na fasahar Rasha - sun ƙaddara da yawa a cikin salon wasan kwaikwayonsa.

Babban wuri a cikin shirye-shiryensa ya mamaye ayyukan marubutan Rasha. Ya taka rawar gani mai kyau Seasons Hudu, Dumka da Tchaikovsky's First Piano Concerto. Sau da yawa mutum zai iya jin Hotunan Mussorgsky a wani nuni, da kuma ayyukan Rachmaninov - na biyu da na uku na Piano Concertos, preludes, etudes-pictures, Musical Moments. Ba zai yiwu a tuna ba, taɓa wannan ɓangaren na Oborin na repertoire, da kuma rawar da ya taka na Borodin's "Little Suite", Lyadov's Variations on a Theme by Glinka, Concerto for Piano and Orchestra, Op. 70 A. Rubinstein. Ya kasance mai zane-zane na ainihin rukunan Rasha - a cikin halinsa, bayyanarsa, hali, dandano na fasaha da ƙauna. Yana da wuya kawai kada a ji duk wannan a cikin fasaharsa.

Kuma dole ne a ambaci sunan wani marubuci yayin da yake magana game da repertoire na Oborin - Chopin. Ya buga wakarsa tun daga matakin farko a kan dandalin har zuwa karshen kwanakinsa; ya taɓa rubuta a cikin ɗaya daga cikin talifofinsa: “Jin farin ciki da ’yan pians suke da Chopin ba ya barina.” Yana da wuya a tuna duk abin da Oborin ya buga a cikin shirye-shiryensa na Chopin - etudes, preludes, waltzes, nocturnes, mazurkas, sonatas, concertos da sauransu. Yana da wuya a lissafta cewa ya taka, yana da wuya a yi wasan kwaikwayon yau, as ya aikata shi. "Chopinsa - mai haske da haske - ya kama kowane mai sauraro ba tare da rarrabuwa ba," in ji J. Flier. Ba daidai ba ne, ba shakka, Oborin ya sami nasararsa ta farko kuma mafi girma a cikin rayuwarsa a gasar da aka sadaukar don tunawa da babban mawakin Poland.

… A 1953, wasan farko na duet Oborin – Oistrakh ya faru. Bayan 'yan shekaru, an haifi uku: Oborin - Oistrakh - Knushevitsky. Tun daga wannan lokacin, Oborin ya zama sananne ga duniyar kiɗa ba kawai a matsayin ɗan solo ba, har ma a matsayin ɗan wasa na farko. Tun yana matashi yana son kiɗa na ɗakin (ko da kafin saduwa da abokansa na gaba, ya taka leda a cikin duet tare da D. Tsyganov, tare da Beethoven Quartet). Tabbas, wasu fasalulluka na dabi'ar fasaha ta Oborin - yin sassauci, azanci, ikon yin saurin kafa abokan hulɗar kirkire-kirkire, salo mai salo - sun sanya shi zama memba na duets da trios. A kan asusun Oborin, Oistrakh da Knushevitsky, akwai adadi mai yawa na kiɗa da aka sake kunna su - ayyukan da masu fasaha, romantics, marubuta na zamani suka yi. Idan muka yi magana game da kololuwa nasarori, ba za a iya kasa a yi suna Rachmaninoff cello sonata fassara ta Oborin da Knushevitsky, da kuma dukan goma Beethoven sonata for violin da piano, yi a lokaci daya da Oborin da Oistrakh. An yi waɗannan sonatas, musamman, a cikin 1962 a Paris, inda wani sanannen kamfani na rikodi na Faransa ya gayyaci masu fasahar Soviet. A cikin wata daya da rabi, sun kama ayyukansu a rubuce-rubuce, kuma - a cikin jerin kide-kide - sun gabatar da shi ga jama'ar Faransa. Lokaci ne mai wahala ga ƙwararrun duo. Daga baya DF Oistrakh ya ce: “Mun yi aiki tuƙuru da himma, ba mu je ko’ina ba, mun daina zagayawa cikin gari, muna ƙin gayyatar baƙi da yawa. Komawa zuwa kiɗan Beethoven, Ina so in sake yin tunani game da tsarin sonatas na gabaɗaya (wanda ya ƙidaya!) Kuma in sake farfado da kowane daki-daki. Amma yana da wuya masu sauraro, sun ziyarci wuraren wasan kwaikwayo na mu, sun sami jin daɗi fiye da yadda muka yi. Mun ji daɗin kowace maraice lokacin da muka buga sonatas daga mataki, mun kasance cikin farin ciki mara iyaka, muna sauraron kiɗan a cikin shiru na ɗakin studio, inda aka ƙirƙiri duk yanayin wannan. ”

Tare da komai, Oborin ma ya koyar. Daga 1931 har zuwa kwanakin ƙarshe na rayuwarsa, ya jagoranci wani aji mai cike da cunkoson jama'a a Makarantar Conservatory na Moscow - ya haɓaka ɗalibai fiye da dozin, waɗanda za a iya kiran sunayensu da yawa daga cikin mashahuran pianists. A matsayinka na mai mulki, Oborin ya yi yawon shakatawa: ya yi tafiya zuwa birane daban-daban na kasar, ya shafe lokaci mai tsawo a kasashen waje. Hakan ya faru da cewa tarurrukan da ya yi da dalibai ba su kasance da yawa ba, ba koyaushe ba ne kuma na yau da kullum. Wannan, ba shakka, ba zai iya barin wani tambari a azuzuwan da ke ajinsa ba. A nan ba dole ba ne mutum ya ƙidaya a kan yau da kullum, kula da ilmantarwa; ga abubuwa da yawa, "Oborint" dole ne su gano da kansu. Akwai, a fili, a cikin irin wannan halin ilimi duka biyu su pluses da minuses. Yana da game da wani abu yanzu. Tattaunawar da ba a saba gani ba da malami ko ta yaya musamman mai kima sosai dabbobinsa – abin da zan so nanata ke nan. An ba su daraja, watakila, fiye da azuzuwan sauran furofesoshi (ko da ba su kasance masu daraja ba kuma sun cancanci, amma sun fi "na gida"). Wadannan darussa-darussa da Oborin wani lamari ne; an shirya musu kulawa ta musamman, ya jira su, abin ya faru, kusan kamar biki. Yana da wuya a ce ko akwai bambanci mai mahimmanci ga dalibi na Lev Nikolayevich a cikin yin aiki, ka ce, a cikin Ƙananan Hall na Conservatory a kowane maraice na dalibai ko wasa sabon yanki ga malaminsa, ya koya a cikin rashi. Wannan ya ƙara ji Sanadiyyar kafin wasan kwaikwayon a cikin aji wani nau'i ne na motsa jiki - mai karfi da mahimmanci - a cikin azuzuwan tare da Oborin. Ya ƙaddara abubuwa da yawa a cikin ilimin halin ɗan adam da aikin ilimi na unguwanninsa, a cikin dangantakarsa da Farfesa.

Babu shakka daya daga cikin manyan ma'auni da mutum zai iya yanke hukunci kan nasarar koyarwa yana da alaƙa dalĩli malami, ma'auni na kwarjininsa na ƙwararru a idon ɗalibai, gwargwadon tasirin motsin rai da son rai ga ɗalibansa. Babu shakka ikon Oborin a cikin ajin yana da girma, kuma tasirinsa a kan matasan ƴan pian yana da ƙarfi na musamman; wannan kadai ya isa ya yi magana a kansa a matsayin babban mai koyar da tarbiyya. Mutanen da suka yi magana da shi a hankali sun tuna cewa wasu kalmomi da Lev Nikolaevich ya fitar sun kasance wasu lokuta sun fi nauyi da mahimmanci fiye da sauran maganganu masu ban mamaki da furanni.

Kalmomi kaɗan, dole ne a faɗi, gabaɗaya sun fi Oborin fifiko fiye da dogayen kalmomin koyarwa. Maimakon ya ɗan rufe shi fiye da yawan jama'a, koyaushe ya kasance mai laconic, mai rowa tare da maganganu. Duk nau'ikan digressions na adabi, kamanceceniya da kamanceceniya, kamanceceniya masu launi da misalan wakoki - duk wannan ya keɓanta a cikin darussansa maimakon ka'ida. Da yake magana game da kiɗan kanta - halayensa, hotuna, abubuwan akida da fasaha - ya kasance mai taƙaitaccen bayani, daidai kuma mai tsauri a cikin maganganu. Babu wani abu da ya wuce gona da iri, na zaɓi, da ke jagorantar maganganunsa. Akwai nau'i na balaga na musamman: don faɗi kawai abin da ya dace, kuma ba wani abu ba; a wannan ma'ana, Oborin ya kasance mai iya magana da gaske.

Lev Nikolaevich ya kasance ɗan taƙaitaccen bayani a karatun, kwana ɗaya ko biyu kafin wasan kwaikwayon, ɗalibin aji na gaba. "Ina jin tsoron ɓata ɗalibin," in ji ya taɓa cewa, "aƙalla ta wata hanya don girgiza bangaskiyarsa ga ƙa'idar da aka kafa, Ina jin tsoron" tsoratar da "ji na motsa jiki. A ganina, yana da kyau malami a cikin lokacin wasan kwaikwayo kada ya koyar, kada ya koya wa matashin mawaki akai-akai, amma don kawai ya goyi bayansa, ya faranta masa rai… "

Wani lokacin halayyar. Umurnin koyarwa da maganganun Oborin, musamman takamaiman kuma suna da manufa, yawanci ana magana da su ga abin da ke da alaƙa da. m gefe a pianism. Tare da aiki kamar haka. Ta yaya, alal misali, yin wasa da wannan ko wancan wuri mai wuyar gaske, sauƙaƙe shi gwargwadon yadda zai yiwu, sa shi sauƙi a fasaha; abin da yatsa zai iya zama mafi dacewa a nan; wane matsayi na yatsunsu, hannaye da jiki zai zama mafi dacewa da dacewa; Waɗanne abubuwan jin daɗi ne za su haifar da sautin da ake so, da dai sauransu - waɗannan tambayoyi da makamantansu galibi sun zo kan gaba a cikin darasin Oborin, wanda ke ƙayyadad da ingancinsa na musamman, wadatar abubuwan “fasaha”.

Yana da matukar mahimmanci ga ɗalibai cewa duk abin da Oborin ya yi magana game da shi "an samar da shi" - a matsayin nau'in ajiyar zinare - ta hanyar ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwarar ƙwarar.

Ta yaya, ka ce, don yin wani yanki tare da tsammanin sautinsa na gaba a cikin zauren wasan kwaikwayo? Yadda za a gyara samar da sauti, nuance, pedalization, da dai sauransu a wannan batun? Nasiha da shawarwari irin wannan sun zo daga maigidan, sau da yawa kuma, mafi mahimmanci, da kaina wanda ya gwada shi duka a aikace. Akwai wani lamari da, a daya daga cikin darussan da suka gudana a gidan Oborin, daya daga cikin dalibansa ya buga Ballade na Farko na Chopin. "To, da kyau, ba mummunan ba," in ji Lev Nikolayevich, bayan sauraron aikin daga farkon zuwa ƙarshe, kamar yadda ya saba. "Amma wannan kidan yayi kama da ɗaki, zan ma ce" kamar ɗaki". Kuma za ku yi wasa a cikin ƙaramin zauren… Shin kun manta da hakan? Da fatan za a sake farawa kuma kuyi la'akari da wannan…”

Wannan labarin ya kawo a hankali, ta hanya, ɗaya daga cikin umarnin Oborin, wanda aka maimaita akai-akai ga ɗalibansa: mai wasan pianist daga mataki dole ne ya kasance yana da bayyananniyar tsawatarwa, mai fahimi, "tsawatarwa" - "kyakkyawan sanya ƙamus," kamar yadda Lev Nikolayevich ya sanya shi a daya daga cikin azuzuwan. Sabili da haka: "Mafi embossed, ya fi girma, mafi tabbatacce," sau da yawa ya bukaci a maimaitawa. “Mai magana da ke magana daga mumbari zai yi magana dabam da fuska da fuska da mai magana da shi. Haka lamarin yake ga mai wasan pian wasan kide-kide da ke wasa a bainar jama'a. Duk zauren ya kamata ya ji shi, ba kawai layuka na farko na rumfunan ba.

Wataƙila kayan aiki mafi ƙarfi a cikin arsenal na Oborin malamin ya daɗe show (misali) akan kayan aiki; kawai a cikin 'yan shekarun nan, saboda rashin lafiya, Lev Nikolaevich fara kusantar da piano a kasa sau da yawa. Dangane da fifikonsa na “aiki”, dangane da tasirinsa, hanyar nuni, ana iya cewa, ta yi fice idan aka kwatanta da bayanin da aka yi na magana. Kuma ba haka ba ne ma cewa takamaiman zanga-zanga a kan keyboard na daya ko wani yin dabara taimaka wa "Oborints" a cikin aikin su a kan sauti, fasaha, pedalization, da dai sauransu Nuna-misalai na malami, wani rai da kuma kusa misali na ya yi - duk abin da aka ɗauka da shi wani abu ne mai mahimmanci. Yin wasa Lev Nikolaevich akan kayan aiki na biyu wahayi matasa masu kida, sun buɗe sabon, hangen nesa da ba a san su ba a baya da hangen nesa a cikin pianism, sun ba su damar numfashi cikin ƙamshi mai ban sha'awa na babban wasan kide kide. Wannan wasan wani lokaci ya farka wani abu mai kama da "fararen kishi": bayan haka, ya zama haka as и cewa za a iya yi a kan piano… Ya kasance cewa nuna ɗaya ko wani aiki akan piano na Oborinsky ya kawo haske ga yanayi mafi wuya ga ɗalibin ya yi, yanke mafi mahimmancin "Gordian knots". A cikin tarihin Leopold Auer game da malaminsa, ɗan wasan violin na Hungary J. Joachim, akwai layi: so!” tare da murmushi mai gamsarwa.” (Auer L. Makaranta na buga violin. - M., 1965. S. 38-39.). Irin wannan al'amuran sau da yawa sun faru a cikin Oborinsky class. An buga wasu wasan kwaikwayo masu rikitarwa na pianist, an nuna "misali" - sannan aka ƙara taƙaitaccen kalmomi biyu ko uku: "A ganina, don haka..."

… To, menene Oborin ya koyar a ƙarshe? Menene "credo" na koyarwarsa? Menene abin da ya fi mayar da hankali ga ayyukansa na kirkire-kirkire?

Oborin ya gabatar da ɗalibansa zuwa ga gaskiya, gaskiya, tabbataccen ra'ayi game da abin da ke cikin waƙa da ma'ana; wannan shine alpha da omega na koyarwarsa. Lev Nikolayevich zai iya magana game da abubuwa daban-daban a cikin darussa, amma duk wannan ƙarshe ya haifar da abu ɗaya: don taimaka wa ɗalibin ya fahimci ainihin abin da mawallafin ya yi, don gane shi da tunaninsa da zuciyarsa, don shiga cikin "mawallafin haɗin gwiwa. " tare da mahaliccin kiɗa, don ƙaddamar da ra'ayoyinsa tare da iyakar tabbaci da lallashi. "Idan mai yin shi ya kara fahimtar marubucin, mafi girman damar cewa a nan gaba za su yarda da mai yin da kansa," ya maimaita ra'ayinsa, wani lokaci yakan bambanta kalmomin wannan tunanin, amma ba ainihinsa ba.

To, don fahimtar marubucin - kuma a nan Lev Nikolayevich ya yi magana da cikakkiyar yarjejeniya tare da makarantar da ta tashe shi, tare da Igumnov - yana nufin a cikin Oborinsky aji don ƙaddamar da rubutun aikin a hankali kamar yadda zai yiwu, don "share" shi gaba daya kuma zuwa kasa, don bayyana ba kawai babban abu a cikin m bayanin kula, amma kuma mafi dabara nuances na mawaki ta tunani, gyarawa a ciki. "Kiɗa, wanda alamun da ke nuna akan takarda na kiɗa, kyakkyawa ne na barci, har yanzu yana buƙatar rashin jin daɗi," in ji shi a cikin da'irar ɗalibai. Dangane da daidaiton rubutu, bukatun Lev Nikolayevich ga ɗalibansa sun kasance mafi tsauri, ba a ce pedantic ba: babu wani abu mai ƙima a cikin wasan, da aka yi cikin gaggawa, “a gaba ɗaya”, ba tare da cikakkiyar daidaito da daidaito ba. "Mafi kyawun ɗan wasa shi ne wanda ke isar da rubutu a sarari kuma cikin ma'ana," waɗannan kalmomi (an danganta su ga L. Godovsky) na iya zama kyakkyawan hoto ga yawancin darussan Oborin. Duk wani zunubi ga marubucin - ba ga ruhu kaɗai ba, har ma da haruffan ayyukan da aka fassara - ana ɗaukar su a nan a matsayin wani abu mai ban tsoro, a matsayin mummunan ɗabi'a na mai yin. Tare da duk bayyanarsa, Lev Nikolaevich ya nuna rashin jin daɗi a irin waɗannan yanayi ...

Babu wani dalla-dalla da aka zayyana da alama maras fa'ida, ba ko ɗaya voyayyen eco, slurred note, da sauransu, da ya tsira daga idonsa na fasaha. Haskakawa tare da kulawar sauraro dukan и dukan a cikin aikin da aka fassara, Oborin ya koyar, ainihin shine "gane", don fahimtar aikin da aka ba. “Don mawaki ji – nufin fahimta", - ya fadi a cikin daya daga cikin darussan.

Babu shakka cewa ya yaba da bayyanar da mutumtaka da kuma m 'yancin kai a cikin matasa pianists, amma har zuwa yadda wadannan halaye suka taimaka wajen ganewa. haƙiƙa na yau da kullun abubuwan kida.

Saboda haka, an ƙaddara bukatun Lev Nikolaevich don wasan dalibai. Mawaƙin mai tsananin ƙarfi, wanda zai iya faɗi, ɗanɗano mai tsafta, ɗan ilimi a lokacin shekarun hamsin da sittin, ya ƙaƙƙarfan adawa da son zuciya a cikin aiki. Duk abin da ya wuce kima a cikin fassarori na abokan aikinsa matasa, suna da'awar zama sabon abu, mai ban mamaki tare da ainihin asali, ba tare da nuna bambanci da tsoro ba. Saboda haka, da zarar magana game da matsalolin fasaha kerawa, Oborin tuna A. Kramskoy, yarda da shi cewa "asali a cikin art daga farko matakai ne ko da yaushe da ɗan m, kuma wajen nuna kunkuntar da iyaka fiye da fadi da m iyawa. Dabi'a mai zurfi da jin daɗi a farkon ba za a iya ɗauka ba sai dai duk abin da aka aikata na alheri a baya; irin waɗannan dabi'un suna koyi… ”…

Wato, abin da Oborin ya nema daga ɗalibansa, yana son ji a cikin wasansu, yana iya kasancewa cikin yanayi: mai sauƙi, ladabi, dabi'a, gaskiya, waƙa. Girman ruhaniya, ɗan karin magana a cikin tsarin yin kiɗa - duk wannan yakan jawo Lev Nikolayevich. Shi da kansa, kamar yadda aka ce, a cikin rayuwa da kuma a kan mataki, a cikin kayan aiki, an hana shi, daidaitawa a cikin ji; kusan "digiri" na zuciya ɗaya ya yi kira gare shi a cikin wasan kwaikwayo na sauran 'yan pian. (Ko ta yaya, ya saurari wasan kwaikwayo na yanayi na ɗan wasan kwaikwayo na farko, ya tuna da kalmomin Anton Rubinstein cewa kada a sami yawan ji, jin zai iya kasancewa cikin daidaituwa kawai; idan akwai mai yawa, to, shi karya ne…) Daidaituwa da daidaito a cikin bayyanar da motsin rai, jituwa ta ciki a cikin wakoki, cikar kisa na fasaha, daidaito mai salo, tsauri da tsafta - waɗannan da halaye masu kama da aikin sun haifar da amsawar Oborin koyaushe.

Abin da ya noma a ajinsa ana iya bayyana shi a matsayin kyakkyawan ilimin ƙwararrun kiɗan waƙa, wanda ke haifar da ɗabi'a mara kyau ga ɗalibansa. A lokaci guda kuma, Oborin ya ci gaba da cewa: “Malam komai ilimi da gogewa ba zai iya sa dalibi ya fi shi hazaka ba kamar yadda ya ke a dabi’a. Ba zai yi aiki ba, ko da me za a yi a nan, ko da wane irin dabaru na koyarwa ake amfani da su. Matashin mawaki yana da basira ta gaske - ba dade ko ba dade zai bayyana kansa, zai fita; a'a, babu abin da zai taimaka a nan. Wani lamari ne da ya zama wajibi a ko da yaushe a kafa ginshikin sana’a a karkashin baiwar matasa, komai girmansa; gabatar da shi ga ka'idodin kyawawan halaye a cikin kiɗa (kuma watakila ba kawai a cikin kiɗa ba). Dama akwai aiki kai tsaye da aikin malami.

A irin wannan yanayin, akwai hikima mai girma, natsuwa da fahimtar abin da malami zai iya yi da abin da ya fi ƙarfinsa…

Oborin ya yi aiki na shekaru da yawa a matsayin misali mai ban sha'awa, babban samfurin fasaha ga abokan aikinsa matasa. Sun koyi da fasaharsa, suka yi koyi da shi. Mu maimaita, nasarar da ya yi a Warsaw ta tada hankalin da yawa daga cikin wadanda suka bi shi daga baya. Ba shi yiwuwa Oborin ya taka wannan jagorar, muhimmiyar rawa a cikin pianism na Soviet, idan ba don fara'a ba, halayen ɗan adam kawai.

Ana ba da wannan mahimmanci koyaushe a cikin da'irori masu sana'a; don haka, ta fuskoki da yawa, halin da mai zane yake da shi, da kuma yadda jama'a ke jin ayyukansa. "Babu wani sabani tsakanin Oborin mai zane da Oborin mutumin," Ya rubuta Ya. I. Zak, wanda ya san shi sosai. “Ya kasance mai jituwa sosai. Mai gaskiya a fasaha, ya kasance mai gaskiya a rayuwa… Ya kasance koyaushe abokantaka, mai kirki, mai gaskiya da gaskiya. Ya kasance haɗin kai da ba kasafai ba na ƙayatarwa da ƙa'idodin ɗabi'a, gami da babban fasaha da zurfin ladabi. (Zak Ya. Bright talent / / LN Oborin: Articles. Memoirs. – M., 1977. P. 121.).

G. Tsipin