Lev Nikolaevich Vlasenko |

Lev Vlasenko

Akwai biranen da ke da cancantar musamman kafin duniyar kiɗa, misali, Odessa. Sunaye nawa haziƙan da aka ba da gudummawa ga wasan kide kide a shekarun kafin yaƙi. Tbilisi, wurin haifuwar Rudolf Kerer, Dmitry Bashkirov, Eliso Virsalazze, Liana Isakadze da sauran manyan mawaƙa, yana da abin alfahari. Lev Nikolaevich Vlasenko kuma ya fara hanyarsa ta fasaha a babban birnin Jojiya - birni mai tsayi da al'adun fasaha masu yawa.

Kamar yadda sau da yawa yakan faru da mawaƙa na gaba, malaminsa na farko shine mahaifiyarsa, wanda ya taba koyar da kansa a sashen piano na Tbilisi Conservatory. Bayan wani lokaci, Vlasenko tafi zuwa ga sanannen Jojiya malami Anastasia Davidovna Virsaladze, digiri, karatu a cikin aji, shekaru goma music makaranta, sa'an nan a farkon shekara na Conservatory. Kuma, bin hanyar basira da yawa, ya koma Moscow. Tun 1948, ya kasance daga cikin daliban Yakov Vladimirovich Flier.

Wadannan shekarun ba su da sauƙi a gare shi. Shi dalibi ne na manyan cibiyoyin ilimi guda biyu a lokaci daya: ban da ɗakin karatu, Vlasenko karatu (kuma ya kammala karatunsa cikin nasara a lokacin da ya dace) a Cibiyar Harsunan Waje; Mawaƙin piano yana iya magana da Ingilishi, Faransanci, Italiyanci. Kuma duk da haka saurayin yana da isasshen kuzari da ƙarfi ga komai. A ɗakin ajiyar, yana ƙara yin wasan kwaikwayo a jam'iyyun dalibai, sunansa ya zama sananne a cikin da'irar kiɗa. Duk da haka, ana sa ran fiye da shi. Lalle ne, a cikin 1956 Vlasenko ya lashe lambar yabo ta farko a gasar Liszt a Budapest.

Bayan shekaru biyu, ya sake shiga gasar mawaka. A wannan karon, a gidansa a birnin Moscow, a gasar Tchaikovsky ta kasa da kasa ta farko, dan wasan pian ya lashe lambar yabo ta biyu, inda ya bar Van Cliburn kawai, wanda a lokacin yana cikin babban hazakarsa.

Vlasenko ya ce: “Ba da daɗewa ba bayan na sauke karatu daga jami’ar kula da ‘yan mazan jiya, aka sa ni aikin sojan Soviet. Kimanin shekara guda ban taɓa kayan aiki ba - Na rayu tare da tunani daban-daban, ayyuka, damuwa. Kuma, ba shakka, kyawawan nostalgic ga kiɗa. Lokacin da aka lalatar da ni, na saita yin aiki da makamashi sau uku. A bayyane yake, a cikin wasan kwaikwayo na akwai wani nau'i na jin daɗi, ƙarfin fasaha mara amfani, ƙishirwa ga ƙirƙira mataki. Yana taimakawa koyaushe akan mataki: ya taimake ni a wancan lokacin kuma.

Mawallafin pian ya ce an yi masa tambaya: a kan wane gwajin - a Budapest ko Moscow - ya fi wahala? "Hakika, a Moscow," in ji shi a irin waɗannan lokuta, "Tchaikovsky Competition, wanda na yi, an gudanar da shi a karo na farko a kasarmu. A karo na farko – wannan ya ce shi duka. Ya tayar da sha'awa mai girma - ya tattara manyan mashahuran mawaƙa, na Soviet da na waje, a cikin juri, ya jawo hankalin masu sauraro, ya shiga tsakiyar rediyo, talabijin, da kuma manema labarai. Yana da matukar wahala kuma yana da alhakin yin wasa a wannan gasa - kowane shigarwa zuwa piano ya cancanci tashin hankali mai yawa… "

Nasarar da aka samu a gasa na kade-kade - da "zinariya" da Vlasenko ya lashe a Budapest, da "azurfa" da ya samu a Moscow an dauke shi a matsayin babban nasara - ya bude masa kofofin zuwa babban mataki. Ya zama kwararren mai yin kide-kide. Ayyukansa a gida da kuma a wasu ƙasashe suna jan hankalin masu sauraro da yawa. Shi, duk da haka, ba wai kawai ana ba shi alamun kulawa a matsayin mawaƙi ba, ma'abucin laureate regalia mai daraja. Hankalinsa tun daga farko ya bambanta.

Akwai a kan mataki, kamar yadda a cikin rayuwa, yanayin da ke jin dadin tausayi na duniya - kai tsaye, budewa, gaskiya. Vlasenko a matsayin artist daga cikinsu. Kullum kuna gaskata shi: idan yana da sha'awar fassara wani aiki, yana da matukar sha'awar gaske, mai farin ciki - yana jin dadi; in ba haka ba, ba zai iya boyewa ba. Abin da ake kira fasahar wasan kwaikwayo ba yankinsa ba ne. Ba ya aiki kuma ba ya rarraba; takensa na iya zama: "Na faɗi abin da nake tunani, na bayyana yadda nake ji." Hemingway yana da kalmomi masu ban sha'awa waɗanda ya siffanta ɗaya daga cikin jaruntakarsa: "Ya kasance kyakkyawa, ɗan adam daga ciki: murmushinsa ya fito daga zuciya ɗaya ko kuma daga abin da ake kira ran mutum, sa'an nan kuma cikin fara'a da bayyane ya zo wurin. surface, wato ya haskaka fuska” (Hemingway E. Bayan kogi, a cikin inuwar bishiyoyi. – M., 1961. S. 47.). Sauraron Vlasenko a cikin mafi kyawun lokacinsa, yana faruwa cewa kun tuna da waɗannan kalmomi.

Kuma wani abu guda yana burge jama'a lokacin saduwa da mai wasan pian - matakinsa zaman jama'a. Shin akwai kaɗan daga cikin waɗanda suka rufe kansu a kan mataki, suna janye kansu daga tashin hankali? Wasu suna da sanyi, ƙuntatawa ta yanayi, wannan yana sa kansa ya ji a cikin fasahar su: su, bisa ga magana na yau da kullum, ba su da "mummunan jama'a", suna kiyaye mai sauraro kamar a nesa da kansu. Tare da Vlasenko, saboda peculiarities na gwaninta (ko m ko mutum), yana da sauki, kamar dai da kanta, don kafa lamba tare da masu sauraro. Mutanen da ke sauraren shi a karo na farko wani lokaci suna nuna mamaki - ra'ayi shine cewa sun dade kuma sun san shi a matsayin mai zane.

Wadanda suka san malamin Vlasenko, Farfesa Yakov Vladimirovich Flier, sun yi jayayya cewa suna da abubuwa da yawa - halin kirki mai haske, karimci na motsin rai, ƙarfin hali, yanayin wasa. Da gaske ya kasance. Ba daidai ba ne cewa, lokacin da ya isa Moscow, Vlasenko ya zama dalibi na Flier, kuma daya daga cikin dalibai mafi kusa; daga baya dangantakarsu ta zama abokantaka. Duk da haka, dangin halittar mawaƙan biyu ya bayyana ko da a cikin tatsuniyoyinsu.

Tsofaffin lokutan dakunan kide-kide suna tunawa da yadda Flier ya taɓa haskakawa a cikin shirye-shiryen Liszt; Akwai wani tsari a cikin gaskiyar cewa Vlasenko kuma ya fara halarta a karon tare da ayyukan Liszt (gasar a 1956 a Budapest).

"Ina son wannan marubucin," in ji Lev Nikolaevich, "zamansa na fasaha mai girman kai, kyawawan halayensa, ban mamaki na soyayya, salon magana. Ya faru da cewa a cikin kiɗa na Liszt koyaushe ina samun sauƙin samun kaina… Na tuna cewa tun ina ƙarami na kunna shi da jin daɗi na musamman.

Vlasenko, duk da haka, ba kawai fara daga Liszt hanyar ku zuwa babban matakin wasan kwaikwayo. Kuma a yau, shekaru da yawa bayan haka, ayyukan wannan mawaki suna tsakiyar shirye-shiryensa - daga etudes, rhapsodies, rubuce-rubucen, guda daga sake zagayowar "Shekaru na Wanderings" zuwa sonatas da sauran ayyukan manyan nau'ikan. Saboda haka, wani sananne taron a cikin philharmonic rayuwa na Moscow a cikin 1986/1987 kakar shi ne Vlasenko ta wasan kwaikwayo na biyu piano concertos, "Dance na Mutuwa" da "Fantasy a kan Hungarian Jigogi" by Liszt. tare da ƙungiyar makaɗa da M. Pletnev. (An sadaukar da wannan maraice don bikin cika shekaru 175 da haifuwar mawakin.) Nasarar da jama'a suka samu ya yi kyau kwarai da gaske. Kuma ba mamaki. Piano bravura mai kyalli, haɓakar sautin gabaɗaya, babban matakin “magana”, fresco, salon wasa mai ƙarfi - duk wannan shine ainihin ɓangaren Vlasenko. Anan mai wasan pianist ya bayyana daga mafi fa'ida ga kansa.

Akwai wani marubucin da ba shi da kusanci da Vlasenko, kamar yadda marubucin ya kasance kusa da malaminsa, Rachmaninov. A kan posters na Vlasenko za ka iya ganin piano concertos, preludes da sauran Rachmaninoff guda. Lokacin da dan wasan pianist ya kasance "a kan bugun", yana da kyau sosai a wannan repertoire: ya mamaye masu sauraro tare da yawan ambaliya, "ya mamaye", kamar yadda daya daga cikin masu sukar ya ce, tare da kaifi da karfi. Ya mallaki Vlasenko mai kauri da kauri, “cello” timbres waɗanda ke taka rawa sosai a cikin kiɗan piano na Rachmaninov. Yana da hannaye masu nauyi da taushi: zanen sauti tare da "man" yana kusa da yanayinsa fiye da sautin bushewa "zane-zane"; – wanda zai iya cewa, bin kwatankwacin da aka fara da zanen, cewa buroshi mai faɗi ya fi dacewa da shi fiye da fensir mai kaifi. Amma, tabbas, babban abu a cikin Vlasenko, tun lokacin da muka yi magana game da fassararsa na wasan kwaikwayo na Rachmaninov, shi ne ya iya rungumar sigar kiɗan gaba ɗaya. Runguma cikin 'yanci da dabi'a, ba tare da shagala ba, watakila, ta wasu ƙananan abubuwa; Wannan shi ne daidai yadda, ta hanyar, Rachmaninov da Flier suka yi.

A ƙarshe, akwai mawaki, wanda, a cewar Vlasenko, ya zama kusan mafi kusa da shi tsawon shekaru. Wannan shine Beethoven. Lalle ne, Beethoven ta sonatas, da farko Pathetique, Lunar, Na biyu, goma sha bakwai, Appassionata, Bagatelles, bambancin hawan keke, Fantasia (Op. 77), kafa tushen Vlasenko ta repertoire na seventies da eighties. Wani daki-daki mai ban sha'awa: ba ya magana game da kansa a matsayin gwani a cikin dogon tattaunawa game da kiɗa - ga waɗanda suka san yadda kuma suna son fassara shi a cikin kalmomi, Vlasenko, duk da haka, ya yi magana sau da yawa tare da labaru game da Beethoven a tsakiyar Talabijin.

"Sa'ad da shekaru, na ga a cikin wannan mawakin yana ƙara burge ni," in ji mai wasan pian. "Na daɗe ina yin mafarki guda ɗaya - don buga zagaye na biyar na kide-kiden piano." Lev Nikolaevich ya cika wannan mafarki, kuma da kyau, a cikin ɗayan yanayi na ƙarshe.

Tabbas, Vlasenko, a matsayin ƙwararren ɗan wasan baƙo ya kamata, ya juya zuwa kiɗan iri-iri. Ayyukansa na arsenal sun hada da Scarlatti, Mozart, Schubert, Brahms, Debussy, Tchaikovsky, Scriabin, Prokofiev, Shostakovich ... Duk da haka, nasarar da ya samu a cikin wannan repertoire, inda wani abu ya fi kusa da shi, da kuma wani abu gaba, ba iri ɗaya ba ne, ba ko da yaushe tsayayye ba. ko da. Duk da haka, wanda bai kamata a yi mamaki ba: Vlasenko yana da cikakkiyar salon yin wasan kwaikwayo, wanda tushensa shine babban girman girman kai; yana wasa da gaske kamar mutum - mai ƙarfi, bayyananne kuma mai sauƙi. Wani wuri ya shawo kan, kuma gaba daya, wani wuri ba daidai ba. Ba daidaituwa ba ne cewa idan kuka yi la'akari da shirye-shiryen Vlasenko, zaku lura cewa ya kusanci Chopin da taka tsantsan…

Magana akan thо wanda mai zane ya yi, ba shi yiwuwa a lura da mafi nasara a cikin shirye-shiryensa na 'yan shekarun nan. Anan ga Liszt's B qananan sonata da Rachmaninov's etudes-painting, Scriabin's Third Sonata da Ginastera's Sonata, Debussy's Images da Island of Joy, Hummel's Rondo a E flat major da Albeniz's Cordova… Tun daga 1988, Vlasenko's ga Sonata na biyu posters. BA Arapov, kwanan nan ya koya daga wurinsa, haka kuma Bagatelles, Op. 126 Beethoven, Preludes, Op. 11 da 12 Scriabin (kuma sabbin ayyuka). A cikin fassarori na waɗannan da sauran ayyukan, watakila, siffofi na salon zamani na Vlasenko suna bayyane a fili: balaga da zurfin tunani na fasaha, haɗe tare da jin dadi da karfi na kiɗa wanda ba ya ɓacewa tare da lokaci.

Tun 1952, Lev Nikolaevich yana koyarwa. Da farko, a Moscow Choir School, daga baya a Gnessin School. Tun 1957 ya kasance daga cikin malamai na Moscow Conservatory; a cikin ajinsa, N. Suk, K. Oganyan, B. Petrov, T. Bikis, N. Vlasenko da sauran ’yan wasan pian sun sami tikitin yin wasan kwaikwayo. M. Pletnev yayi karatu tare da Vlasenko na shekaru da yawa - a cikin shekararsa ta ƙarshe a cikin ɗakin karatu kuma a matsayin mataimakin mai horarwa. Wataƙila waɗannan shafuka ne mafi haske da ban sha'awa na tarihin ilimin koyarwa na Lev Nikolaevich…

Koyarwa na nufin amsa wasu tambayoyi akai-akai, warware matsaloli masu yawa da ba zato ba tsammani waɗanda rayuwa, aikin ilimi, da samarin ɗalibai ke haifarwa. Me, alal misali, ya kamata a yi la’akari da shi lokacin zabar wasiƙar ilimi da koyarwa? Ta yaya kuke gina dangantaka da ɗalibai? yadda ake gudanar da darasi domin ya yi tasiri sosai? Amma watakila mafi girman damuwa ya taso ga kowane malamin ɗalibi dangane da wasan kwaikwayo na almajiransa. Kuma su kansu mawakan matasa suna ci gaba da neman amsa daga furofesoshi: menene ake buƙata don nasarar mataki? zai yiwu a ko ta yaya shirya, "samar" shi? A lokaci guda kuma, bayyananniyar gaskiya - irin su gaskiyar cewa, a cewarsu, dole ne a koyi shirin sosai, a zahiri "aikin", da kuma "komai dole ne ya yi aiki kuma ya fito" - mutane kaɗan ne za su iya gamsuwa. Vlasenko ya san cewa a irin waɗannan lokuta mutum zai iya faɗi wani abu mai amfani da gaske kuma ya zama dole kawai bisa ga kwarewar kansa. Sai kawai idan ka fara daga gogaggen da gogaggen da shi. Hakika, abin da waɗanda yake koyarwa suke bukata ke nan daga gare shi. "Art shine kwarewar rayuwa ta sirri, wanda aka fada a cikin hotuna, a cikin ji," AN Tolstoy ya rubuta, " gwaninta na sirri wanda ke ikirarin zama gama gari» (Tolstykh VI Art da ɗabi'a. - M., 1973. S. 265, 266.). Fasahar koyarwa, har ma fiye da haka. Saboda haka, Lev Nikolaevich da son rai yana nufin nasa aikin yi - duka a cikin aji, a cikin ɗalibai, da kuma a cikin tattaunawar jama'a da tambayoyi:

“Wasu abubuwan da ba a iya faɗi ba, waɗanda ba za a iya bayyana su ba koyaushe suna faruwa akan mataki. Alal misali, zan iya isa gidan wasan kwaikwayo da kyau a huta, shirya don wasan kwaikwayo, amincewa da kaina - kuma clavierabend zai wuce ba tare da sha'awar ba. Kuma akasin haka. Zan iya tafiya a kan mataki a cikin irin wannan yanayin da alama cewa ba zan iya cire rubutu ɗaya daga kayan aiki ba - kuma wasan zai fara "tafi". Kuma komai zai zama mai sauƙi, mai daɗi… Me ke faruwa a nan? Ban sani ba. Kuma tabbas babu wanda ya sani.

Ko da yake akwai wani abu da za a iya hangowa don sauƙaƙe minti na farko na zaman ku a kan mataki - kuma su ne mafi wuya, rashin hutawa, rashin amincewa ... - Ina tsammanin har yanzu yana yiwuwa. Abin da ke da mahimmanci, alal misali, shi ne ainihin gina shirin, tsarinsa. Kowane mai yin wasan kwaikwayo ya san muhimmancin wannan - kuma daidai dangane da matsalar jin daɗin rayuwa. A ka'ida, Ina son fara wasan kide kide da wani yanki wanda nake jin nutsuwa da kwarin gwiwa gwargwadon yiwuwa. Lokacin wasa, Ina ƙoƙarin sauraron sautin piano sosai kamar yadda zai yiwu; daidaita da acoustics na dakin. A takaice, Ina ƙoƙari in shiga gabaɗaya, nutse kaina cikin tsarin aiwatarwa, in zama mai sha'awar abin da nake yi. Wannan shine abu mafi mahimmanci - don samun sha'awar, ɗauka, cikakken mai da hankali kan wasan. Daga nan sai murna ta fara raguwa a hankali. Ko watakila ka daina lura da shi. Daga nan ya riga ya zama mataki zuwa yanayin ƙirƙira da ake buƙata.

Vlasenko yana ba da mahimmanci ga duk abin da hanya ɗaya ko wata ke gabaci jawabin jama'a. "Na tuna sau ɗaya ina magana game da wannan batu tare da ƙwararrun ƴan wasan pian ɗan ƙasar Hungary Annie Fischer. Tana da al'ada ta musamman a ranar wasan kwaikwayo. Bata ci kusan komai ba. Dafaffen kwai daya babu gishiri, shi ke nan. Wannan yana taimaka mata ta sami yanayin da ake buƙata na psycho-physiological a kan mataki - mai juyayi mai ban tsoro, farin ciki da farin ciki, watakila ma dan kadan ya ɗaukaka. Wannan dabara ta musamman da kaifin ji ya bayyana, wanda ya zama dole ga mai yin kide-kide.

Duk wannan, ta hanyar, an bayyana shi cikin sauƙi. Idan mutum ya cika, yawanci yakan fada cikin kwanciyar hankali, ko ba haka ba? A cikin kanta, yana iya zama duka mai daɗi da “daɗi”, amma bai dace sosai don yin a gaban masu sauraro ba. Ga wanda ke da wutar lantarki a cikin gida kaɗai, wanda ke da duk igiyoyinsa na ruhaniya suna rawar jiki, zai iya ba da amsa daga masu sauraro, tura ta zuwa tausayawa…

Don haka, a wasu lokuta irin wannan na faruwa, kamar yadda na ambata a sama. Zai yi kama da cewa duk abin da ke da kyau ga nasara mai nasara: mai zane yana jin dadi, yana cikin kwanciyar hankali, daidaitacce, kusan amincewa da damarsa. Kuma wasan kwaikwayo ba shi da launi. Babu motsin rai. Kuma ra'ayoyin masu sauraro, ba shakka, ma…

A takaice, ya zama dole don yin kuskure, tunani a kan aikin yau da kullum a kan jajibirin wasan kwaikwayon - musamman, abincin abinci - wajibi ne.

Amma, ba shakka, wannan bangare ɗaya ne kawai na lamarin. Maimakon waje. Da yake magana gabaɗaya, dukan rayuwar mai fasaha - daidai - ya kamata ya kasance kamar koyaushe, a kowane lokaci, a shirye ya amsa da ransa ga maɗaukaki, ruhi, kyakkyawa shayari. Wataƙila, ba a buƙatar tabbatar da cewa mutumin da ke sha'awar fasaha, mai sha'awar adabi, waƙa, zane-zane, wasan kwaikwayo, ya fi karkata ga maɗaukakiyar ji fiye da matsakaicin mutum, wanda duk abubuwan da ke tattare da su sun ta'allaka ne a fagen. na talakawa, abu, yau da kullum.

Matasa masu fasaha sukan ji kafin wasan kwaikwayonsu: “Kada ku yi tunani game da masu sauraro! Yana tsoma baki! Yi tunani akan mataki kawai game da abin da kuke yi da kanku…”. Vlasenko ya ce game da wannan: "Yana da sauƙin ba da shawara...". Yana da masaniya game da sarƙaƙƙiya, shubuha, duality na wannan yanayin:

"Shin akwai masu sauraro a gare ni da kaina yayin wasan kwaikwayo? Ina lura da ita? E kuma a'a. A gefe guda, lokacin da kuka shiga aikin gabaɗaya, kamar ba kuyi tunanin masu sauraro ba. Kuna manta da komai gaba ɗaya sai abin da kuke yi a madannai. Duk da haka… Kowane mawaƙin kide-kide yana da ma'ana ta shida - "hankalin masu sauraro", zan ce. Sabili da haka, halayen waɗanda suke cikin zauren, halayen mutane game da ku da wasan ku, kuna ji akai-akai.

Shin kun san abin da ya fi mahimmanci a gare ni yayin wasan kwaikwayo? Kuma mafi bayyanar? Shiru. Domin duk abin da za a iya shirya - duka tallace-tallace, da kuma zama na wuraren, da tafi, furanni, taya murna, da sauransu da sauransu, komai sai shiru. Idan zauren ya daskare, ya riƙe numfashinsa, yana nufin cewa wani abu yana faruwa da gaske a kan mataki - wani abu mai mahimmanci, mai ban sha'awa ...

Lokacin da na ji a lokacin wasan na dauki hankulan masu sauraro, yana ba ni kuzari sosai. Yana aiki azaman nau'in dope. Irin waɗannan lokuta babban farin ciki ne ga mai yin wasan kwaikwayon, ƙarshen mafarkinsa. Koyaya, kamar kowane babban farin ciki, wannan yana faruwa sau da yawa.

Ya faru cewa an tambayi Lev Nikolayevich: shin ya yi imani da wahayi zuwa mataki - shi, ƙwararren mai fasaha, wanda yin aiki a gaban jama'a shine ainihin aikin da aka yi akai-akai, a kan babban sikelin, shekaru da yawa ... "Na Hakika, kalmar "wahayi" kanta » sawa gaba ɗaya, hatimi, lalacewa daga amfani da yawa. Tare da wannan duka, yi imani da ni, kowane mai zane yana shirye don kusan yin addu'a don wahayi. Ji a nan wani nau'i ne: kamar kai ne marubucin waƙar da ake yi; kamar duk abin da ke cikinta ka halitta ne da kanka. Kuma nawa ne sabbin abubuwa, da ba zato ba tsammani, da gaske suke haifar da nasara a irin waɗannan lokutan akan mataki! Kuma a zahiri a cikin komai - a cikin canza launi na sauti, zance, a cikin rhythmic nuances, da sauransu.

Zan faɗi wannan: yana yiwuwa a ba da kyakyawan kide kide mai kyau, ƙwararrun ƙwararrun ƙwararrun ko da in babu wahayi. Akwai kowane adadin irin waɗannan lokuta. Amma idan wahayi ya zo ga mai zane, wasan kwaikwayo na iya zama wanda ba za a manta da shi ba… ”

Kamar yadda ka sani, babu wasu hanyoyin da za a dogara da su don tayar da hankali a kan mataki. Amma yana yiwuwa a haifar da yanayi wanda, a kowane hali, zai kasance mai kyau a gare shi, zai shirya ƙasa mai dacewa, Lev Nikolaevich ya yi imani.

"Da farko, yanayin tunani ɗaya yana da mahimmanci a nan. Kuna buƙatar sani kuma ku yi imani: abin da za ku iya yi a kan mataki, babu wanda zai yi. Kada ya kasance a ko'ina, amma kawai a cikin wani tazara, a cikin ayyukan marubuci ɗaya ko biyu ko uku - ba kome ba, wannan ba shine batun ba. Babban abu, na maimaita, shine jin kansa: yadda kake wasa, dayan ba zai yi wasa ba. Shi, wannan hasashe "sauran", na iya samun fasaha mai karfi, mafi kyawun labari, kwarewa mai yawa - wani abu. Amma shi, duk da haka, ba zai rera kalmar yadda kuke yi ba, ba zai sami irin wannan inuwar sauti mai ban sha'awa da dabara ba…

Jin da nake magana a kai yanzu dole ne ya saba da mawaƙin kide-kide. Yana ƙarfafawa, ɗagawa, yana taimakawa a lokuta masu wahala a kan mataki.

Sau da yawa ina tunanin malamina Yakov Vladimirovich Flier. Koyaushe ya yi ƙoƙari ya faranta wa ɗalibai rai - ya sa su yi imani da kansu. A cikin lokutan shakku, lokacin da ba komai ya tafi daidai da mu ba, ko ta yaya ya sa ruhohi masu kyau, fata, da yanayi mai kyau na kirkira. Kuma wannan ya kawo mu, ɗaliban ajinsa, fa'ida marar shakka.

Ina tsammanin cewa kusan kowane mai zanen da ya yi a kan babban wasan kide-kide yana da yakinin a cikin zurfafan ransa cewa ya yi wasa kadan fiye da sauran. Ko kuma, a kowane hali, watakila ya iya yin wasa mafi kyau ... Kuma babu buƙatar zargi kowa game da wannan - akwai dalili na wannan gyaran kai.

… A cikin 1988, wani babban bikin kiɗa na ƙasa da ƙasa ya faru a Santander (Spain). Ya ja hankalin jama'a na musamman - daga cikin mahalarta taron akwai I. Stern, M. Caballe, V. Ashkenazy, da sauran fitattun mawakan Turai da na ketare. An gudanar da kide-kide na Lev Nikolaevich Vlasenko tare da nasara na gaske a cikin tsarin wannan bikin kida. Masu sukar sun yi magana da ban sha'awa game da basirarsa, fasaha, ikonsa na farin ciki don "ɗauka da sha'awar ..." Ayyukan da aka yi a Spain, kamar sauran yawon shakatawa na Vlasenko a cikin rabin na biyu na shekaru tamanin, sun tabbatar da cewa sha'awar fasaharsa ba ta dushe ba. Har yanzu yana cikin wani wuri mai mahimmanci a rayuwar wasan kwaikwayo na zamani, Soviet da kasashen waje. Amma kiyaye wannan wuri ya fi wuya fiye da cin nasara.

G. Tsipin, 1990