Martha Argerich |

Marta Argerich ne adam wata

Jama'a da 'yan jaridu sun fara magana game da gwanintar 'yar wasan pianist na Argentina a cikin 1965, bayan nasarar da ta samu a gasar Chopin a Warsaw. Mutane kaɗan ne suka san cewa a wannan lokacin ba ta kasance “sabo ba ce”, amma akasin haka, ta sami damar shiga cikin wani yanayi mai ban mamaki kuma mai wuyar zama.

An fara nuna farkon wannan hanyar a cikin 1957 ta hanyar nasara a gasa biyu masu mahimmanci na kasa da kasa lokaci guda - sunan Busoni a Bolzano da Geneva. Ko da a lokacin, dan wasan pian mai shekaru 16 ya jawo hankalinta tare da fara'a, 'yanci na fasaha, kiɗa mai haske - a cikin kalma, tare da duk abin da matashin gwanin "wanda ake tsammani" ya samu. Bugu da ƙari, Argerich ta sami horo na ƙwararru a baya a ƙasarta a ƙarƙashin jagorancin mafi kyawun malamai na Argentine V. Scaramuzza da F. Amicarelli. Bayan ta fara halarta a Buenos Aires tare da wasan kwaikwayo na Mozart's concertos (C minor) da Beethoven's (C major), ta tafi Turai, ta yi karatu a Austria da Switzerland tare da manyan malamai da masu fasaha - F. Gulda, N. Magalov.

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

A halin yanzu, wasan kwaikwayo na farko na mai wasan pian bayan gasa a Bolzano da Geneva ya nuna cewa basirarta ba ta cika ba (kuma zai iya zama in ba haka ba tana da shekaru 16?); Tafsirinta ba koyaushe ba ne, kuma wasan yana fama da rashin daidaituwa. Wataƙila wannan shine dalilin da ya sa, kuma saboda malamai na matasa masu zane-zane ba su gaggauta yin amfani da basirarta ba, Argerich bai sami farin jini sosai ba a lokacin. Shekarun yarinya mai girman kai ya wuce, amma ta ci gaba da daukar darasi: ta tafi Austria zuwa Bruno Seidlhofer, zuwa Belgium zuwa Stefan Askinase, zuwa Italiya zuwa Arturo Benedetti Michelangeli, har ma zuwa Vladimir Horowitz a Amurka. Ko dai malamai sun yi yawa, ko lokacin furannin baiwa bai zo ba, amma tsarin samuwar ya ci gaba. Fayil na farko tare da rikodin ayyukan Brahms da Chopin bai yi daidai da tsammanin ba. Amma sai ya zo 1965 - shekarar gasar a Warsaw, inda ta samu ba kawai mafi girma award, amma kuma mafi yawan ƙarin kyaututtuka - domin mafi kyau yi na mazurkas, waltzes, da dai sauransu.

A wannan shekara ne ya zama wani ci gaba a cikin tarihin rayuwar ɗan wasan pian. Nan da nan ta tsaya a kan layi tare da shahararrun wakilan matasa masu fasaha, sun fara yawon shakatawa, rikodin rikodi. A cikin 1968, masu sauraron Soviet sun iya tabbatar da cewa shahararta ba ta haifar da wani abin mamaki ba kuma ba a yi karin gishiri ba, bisa ga fasaha mai ban mamaki wanda ya ba ta damar magance matsalolin fassara - ko a cikin kiɗa na Liszt, Chopin ko. Prokofiev. Mutane da yawa tuna cewa a shekarar 1963 Argerich ya riga ya zo Tarayyar Soviet, ba kawai a matsayin soloist, amma a matsayin abokin tarayya na Ruggiero Ricci da kuma nuna kanta a matsayin wani kyakkyawan gungu player. Amma yanzu muna da wani mai fasaha na gaske a gabanmu.

“Hakika Martha Argerich fitacciyar mawakiya ce. Tana da fasaha mai haske, virtuoso a cikin mafi girman ma'anar kalmar, cikakkiyar ƙwarewar pianistic, ma'anar tsari mai ban mamaki da zane-zane na wani yanki na kiɗa. Amma mafi mahimmanci, mai wasan pian yana da kyauta mai ban sha'awa don numfasawa mai raye-raye da kai tsaye a cikin aikin da take yi: waƙoƙinta suna da dumi da kwanciyar hankali, a cikin pathos babu taɓawa da ɗaukaka fiye da kima - haɓakar ruhi kawai. Farawa mai zafi, soyayya shine ɗayan fitattun fasalulluka na fasahar Argerich. Mawaƙin piano a fili yana jan hankali ga ayyuka masu cike da ban mamaki, sha'awar rairayi… Ƙwarewar sauti na matashin pian yana da ban mamaki. Sautin, kyawunsa na sha'awa, ba shi da ma'ana a gare ta. Don haka ya rubuta a wancan lokacin matashin Moscow mai sukar Nikolai Tanaev, bayan sauraron shirin da aka gudanar da ayyukan Schumann, Chopin, Liszt, Ravel da Prokofiev.

Yanzu Martha Argerich daidai an haɗa shi cikin “mafiɗaɗan” pianistic na zamaninmu. Sana'arta tana da mahimmanci kuma mai zurfi, amma a lokaci guda kyakkyawa kuma ƙarami, rubutun nata yana ci gaba da faɗaɗawa. Har yanzu yana dogara ne akan ayyukan mawaƙa na romantic, amma tare da su, Bach da Scarlatti, Beethoven da Tchaikovsky, Prokofiev da Bartok sun mamaye wani wuri mai mahimmanci a cikin shirye-shiryensa. Argerich ba ya yin rikodin da yawa, amma kowane rikodin ta aiki ne mai zurfin tunani, yana ba da shaida ga ci gaba da neman mai zane, haɓakar haɓakarta. Fassarar ta har yanzu suna da ban mamaki a cikin rashin tsammaninsu, da yawa a cikin fasaharta ba su "zama" ba har yau, amma irin wannan rashin tabbas yana ƙara sha'awar wasanta. Baturen mai sukar B. Morrison ya fayyace bayyanar mai zane a halin yanzu kamar haka: “Wani lokaci wasan kwaikwayon Argerich yakan zama abin burgewa, ana amfani da dabararta ta almara don cimma tasirin da ba ta da kyau, amma idan ta kasance mafi kyawunta, babu shakka cewa kuna sauraro. ga mai zane wanda hankalinsa ya yi fice sosai kamar yadda sanannen iyawarta da sauƙi.

Grigoriev L., Platek Ya., 1990