Maurizio Pollini (Maurizio Pollini) |

Maurizio Pollini

A tsakiyar shekarun 70s, 'yan jaridu sun yada sakon game da sakamakon binciken da aka gudanar a tsakanin manyan masu sukar kiɗa na duniya. An yi zargin cewa an yi musu tambaya guda ɗaya: Wanene suke ɗaukar mafi kyawun pianist a zamaninmu? Kuma da gagarumin rinjaye (kuri'u takwas cikin goma), an bai wa Maurizio Pollini dabino. Sa'an nan, duk da haka, sun fara cewa ba game da mafi kyau ba, amma kawai game da pianist mafi nasara duk (kuma wannan yana canza lamarin); amma wata hanya ko wata, sunan matashin dan wasan Italiya ya fara shiga jerin sunayen, wanda ya hada da kawai masu haskaka fasahar pianistic na duniya, kuma shekaru da kwarewa sun wuce shi. Kuma ko da yake rashin ma'anar irin waɗannan tambayoyin da kuma kafa "tebur na daraja" a cikin fasaha a bayyane yake, wannan gaskiyar tana magana sosai. A yau ya bayyana a fili cewa Mauritsno Pollini ya shiga cikin jerin zaɓaɓɓu ... Kuma ya shiga cikin dogon lokaci da suka wuce - a farkon shekarun 70s.

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

Duk da haka, ma'aunin fasaha da fasaha na Pollini ya bayyana ga mutane da yawa tun da farko. An ce a shekara ta 1960, sa’ad da ƙaramin ɗan Italiya, wanda ke gaban abokan hamayya kusan 80, ya zama wanda ya yi nasara a gasar Chopin a Warsaw, Arthur Rubinstein (daya daga cikin waɗanda sunayensu ke cikin jerin sunayen) ya ce: “Ya riga ya yi wasa fiye da yadda ya kamata. kowane ɗayanmu - membobin juri! Watakila ba a taba yin irinsa ba a tarihin wannan gasa – ba kafin ko bayanta – ba a taba haduwa da masu sauraro da alkalai a kan yadda suka mayar da martani ga wasan wanda ya yi nasara ba.

Mutum daya kawai, kamar yadda ya juya, bai raba irin wannan sha'awar ba - shi ne Pollini kansa. A kowane hali, bai yi kama da zai "haɓaka nasara" kuma ya yi amfani da damar da ya fi dacewa da nasara ba ta buɗe masa. Bayan ya buga kide-kide da yawa a birane daban-daban na Turai kuma ya nadi fayafai daya (Chopin's E-minor Concerto), ya ki amincewa da kwangilar da za a samu da kuma manyan yawon bude ido, sannan ya daina yin wasan gaba daya, a fili ya bayyana cewa bai ji shirin yin wasan kwaikwayo ba.

Wannan juyowar al'amura ya haifar da rudani da takaici. Bayan haka, tashin Warsaw na artist ba ko da yaushe ba zato ba tsammani - da alama cewa duk da matasa, ya riga ya sami duka biyu isa horo da kuma wasu kwarewa.

Dan masanin gine-ginen daga Milan ba dan wasan kwaikwayo ba ne, amma da farko ya nuna wakar da ba kasafai ba, kuma tun yana dan shekara 11 ya yi karatu a dakin ajiyar kayayyakin tarihi a karkashin jagorancin fitattun malamai C. Lonati da C. Vidusso, ya samu kyaututtuka na biyu na biyu a makarantar. Gasar kasa da kasa a Geneva (1957 da 1958) da na farko - a gasar mai suna bayan E. Pozzoli a Seregno (1959). ’Yan uwa, wadanda suka ga wanda zai gaji Benedetti Michelangeli a tare da shi, yanzu sun ji takaici. Duk da haka, a cikin wannan mataki, mafi mahimmancin ingancin Pollini, ikon yin tunani mai zurfi, ƙima mai mahimmanci na ƙarfin mutum, kuma ya shafi. Ya fahimci cewa ya zama mawaƙin gaske, har yanzu yana da sauran tafiya.

A farkon wannan tafiya, Pollini ya tafi "don horo" ga Benedetti Michelangeli da kansa. Amma cigaban ya kasance ɗan gajeren lokaci: a cikin watanni shida akwai darussa shida kawai, bayan haka Pollini, ba tare da bayyana dalilan ba, ya dakatar da azuzuwan. Daga baya, sa’ad da aka tambaye shi abin da waɗannan darussa suka ba shi, ya amsa a takaice: “Michelangeli ya nuna mini wasu abubuwa masu amfani.” Kuma ko da yake a zahiri, da farko kallo, a cikin m hanya (amma ba a cikin yanayi na m individuality) duka artists ze zama kusa sosai, da tasiri na dattijo a kan matasa da gaske ba muhimmanci.

Shekaru da yawa, Pollini bai bayyana a kan mataki ba, bai rubuta ba; baya ga zurfafa yin aiki a kansa, dalilin hakan shi ne rashin lafiya mai tsanani da ke buƙatar watanni masu yawa na magani. A hankali, masoya piano sun fara mantawa da shi. Amma lokacin da a cikin tsakiyar 60s, mai zane ya sake saduwa da masu sauraro, ya bayyana ga kowa da kowa cewa gangancinsa (ko da yake an tilasta shi) rashi ya baratar da kansa. Wani balagagge mai fasaha ya bayyana a gaban masu sauraro, ba wai kawai ya kware a sana'ar ba, amma kuma ya san abin da kuma yadda zai ce ga masu sauraro.

Menene yake kama - wannan sabon Pollini, wanda ƙarfinsa da asalinsa ba su da shakku, wanda fasaha a yau ba shine batun zargi ba kamar karatu? Ba shi da sauƙi don amsa wannan tambayar. Watakila abu na farko da ke zuwa a zuciya yayin da ake kokarin tantance mafi kyawun siffofi na bayyanarsa, su ne al’amura guda biyu: gamayya da kamala; haka ma, wadannan halaye ne inextricably hade, bayyana a cikin kowane abu - a cikin repertoire bukatun, a cikin rashin iyaka na fasaha yiwuwa, a unmistakable stylistic flair cewa damar daya don daidai dogara fassara mafi iyakacin duniya ayyuka a cikin hali.

Tuni da yake magana game da rikodi na farko (wanda aka yi bayan dakatarwa), I. Harden ya lura cewa suna nuna wani sabon mataki a cikin ci gaban halayen fasaha na mai fasaha. "Na sirri, mutum yana nunawa a nan ba a cikin cikakkun bayanai da almubazzaranci ba, amma a cikin halittar gabaɗaya, sassaucin ra'ayi na sauti, a cikin ci gaba da bayyanar ka'idodin ruhaniya wanda ke jagorantar kowane aiki. Pollini yana nuna wasa mai hankali sosai, rashin kunya bai taɓa shi ba. Stravinsky's "Petrushka" zai iya zama da wuya a yi wasa da ƙarfi, mai ƙarfi, mafi ƙarfe; Chopin's etudes sun fi son soyayya, mafi launi, da gangan sun fi mahimmanci, amma yana da wuya a yi tunanin waɗannan ayyukan an yi su da rai. Tafsiri a cikin wannan yanayin yana bayyana azaman aikin sake halittar ruhaniya…”

Yana cikin ikon kutsawa cikin duniyar mawaƙiya, don sake ƙirƙirar tunaninsa da jin daɗinsa na musamman na Pollini ya ta'allaka ne. Ba daidaituwa ba ne cewa mutane da yawa, ko kuma a maimakon haka, kusan dukkanin rikodin nasa ana kiran su gaba ɗaya ta hanyar masu sukar, ana ganin su a matsayin misalan karatun kiɗa, a matsayin abin dogara "bugu na sauti". Wannan ya dace daidai da bayanansa da fassarori na kide-kide - bambanci a nan ba shi da kyau sosai, saboda tsabtar ra'ayi da cikar aiwatar da su kusan kusan daidai ne a cikin ɗakin taro mai yawa da kuma a cikin ɗakin da ba kowa. Wannan kuma ya shafi ayyuka daban-daban, salo, zamani - daga Bach zuwa Boulez. Abin lura shi ne cewa Pollini ba shi da marubutan da aka fi so, duk wani aikin “na musamman”, ko da ambatonsa, baƙo ne a gare shi.

Daidai jerin fitar da bayanansa yayi magana sosai. Shirin Chopin (1968) ya biyo bayan Prokofiev's Seventh Sonata, gutsuttsura daga Stravinsky's Petrushka, Chopin sake (duk etudes), sa'an nan cikakken Schoenberg, Beethoven concertos, sa'an nan Mozart, Brahms, sa'an nan Webern ... Amma game da shirye-shiryen kide kide, sa'an nan a nan, ta halitta. , har ma fiye da iri-iri. Sonatas na Beethoven da Schubert, mafi yawan abubuwan da Schumann da Chopin suka yi, wasan kwaikwayo na Mozart da Brahms, kiɗa na makarantar "New Viennese", har ma da K. Stockhausen da L. Nono - irin wannan kewayon sa. Kuma wanda ya fi kowa kame-kame bai taba fadin cewa ya yi nasara a wani abu fiye da wani ba, cewa wannan ko wancan fanni ya fi karfin mai wasan piano.

Ya yi la'akari da haɗin lokuta a cikin kiɗa, a cikin yin zane-zane yana da matukar muhimmanci ga kansa, a cikin bangarori da yawa yana ƙayyade ba kawai yanayin repertoire da gina shirye-shirye ba, amma har ma da salon wasan kwaikwayon. Manufarsa ita ce kamar haka: “Mu masu fassara, dole ne mu kawo ayyukan fitattun mutane da na soyayya kusa da sanin mutumin zamani. Dole ne mu fahimci abin da kiɗa na gargajiya ke nufi don lokacinsa. Za ku iya, a ce, sami ƙwaƙƙwaran ƙiyayya a cikin kiɗan Beethoven ko Chopin: a yau ba sauti mai ban mamaki ba ne, amma a wancan lokacin daidai yake! Muna buƙatar nemo hanyar da za mu kunna kiɗan cikin jin daɗi kamar yadda aka yi ta a lokacin. Dole ne mu 'fassara' shi." Irin wannan tsari na tambayar a cikin kansa ya keɓe kowane irin gidan kayan gargajiya, fassarar ma'ana; a, Pollini yana ganin kansa a matsayin mai shiga tsakani tsakanin mawaki da mai sauraro, amma ba a matsayin tsaka-tsakin tsaka-tsaki ba, amma a matsayin mai sha'awar.

Halin Pollini ga kiɗan zamani ya cancanci tattaunawa ta musamman. A artist ba kawai juya zuwa qagaggun halitta a yau, amma fundamentally la'akari da kansa wajabta yin wannan, da kuma zabar abin da aka dauke da wuya, sabon abu ga mai sauraro, wani lokacin rigima, da kuma kokarin bayyana gaskiya isa yabo, m ji cewa kayyade darajar. kowane kida. Dangane da wannan, fassararsa na kiɗan Schoenberg, wanda masu sauraron Soviet suka hadu, yana da nuni. "A gare ni, Schoenberg ba shi da alaƙa da yadda ake yawan fentinsa," in ji mai zane (a cikin fassarar ɗan ƙanƙara, wannan yana nufin "shaidan ba shi da muni kamar yadda ake fentin shi"). Lallai, "makamin gwagwarmaya" na Pollini na adawa da rashin fahimta na zahiri ya zama babban katako na Pollini da bambance-bambancen palette na Pollinian, wanda ke ba da damar gano kyawawan kyawun motsin rai a cikin wannan kiɗan. Irin wannan wadatar sauti, rashin bushewar inji, wanda ake la'akari da kusan sifa mai mahimmanci na wasan kwaikwayo na kiɗan zamani, ikon kutsawa cikin tsari mai rikitarwa, don bayyana maƙasudin rubutun da ke bayan rubutun, ma'anar tunani kuma ana siffanta su. ta sauran tafsirinsa.

Bari mu yi ajiyar wuri: wasu masu karatu na iya tunanin cewa Maurizio Pollini shine ainihin mawallafin pianist, tun da yake ba shi da lahani, ba shi da rauni, kuma ya bayyana cewa masu sukar sun kasance daidai, suna sanya shi a wuri na farko a cikin sanannen tambayoyin, kuma wannan. Tambayoyi kanta tabbaci ne kawai na halin da ake ciki. Tabbas ba haka bane. Pollini dan wasan pian ne mai ban sha'awa, kuma watakila ma ya fi ko da a cikin ƴan wasan pian masu ban mamaki, amma wannan ba ya nufin ko kaɗan cewa shi ne mafi kyau. Bayan haka, a wasu lokuta rashin iyawar gani, raunin ɗan adam kawai na iya juyewa zuwa hasara. Dauki, misali, rikodinsa na kwanan nan na Brahms' First Concerto da Beethoven's Fourth.

Da yake yaba su sosai, masanin kida na Ingila B. Morrison da gaske ya ce: “Akwai masu sauraro da yawa da ba sa son kai da son kai a wasan Pollini; kuma gaskiya ne, yana da hali na kiyaye mai sauraro da tsayin daka”… Masu suka, alal misali, waɗanda suka saba da fassarar “manufa” na Concerto na Schumann gaba ɗaya sun fi son Emil Gilels ya fi zafi, fassarori masu wadatar zuci. Yana da na sirri, mai wuyar nasara wanda wani lokaci ba a rasa a cikin wasansa mai tsanani, mai zurfi, gogewa da daidaito. "Ma'auni na Pollini, ba shakka, ya zama almara," in ji ɗaya daga cikin masana a tsakiyar 70s, "amma yana ƙara bayyana cewa yanzu ya fara biyan farashi mai yawa don wannan amincewa. Ƙwararren Ƙwararru na rubutun yana da 'yan kaɗan, sautin sautinsa na azurfa, legato mai ban sha'awa da kyawawan kalmomi tabbas suna da ban sha'awa, amma, kamar kogin Leta, wani lokacin suna iya mantawa da mantawa ... "

A cikin kalma, Pollini, kamar sauran, ba shi da zunubi ko kaɗan. Amma kamar kowane mai fasaha mai girma, yana jin "raunan maki", fasaharsa ta canza tare da lokaci. Har ila yau, jagorancin wannan ci gaba yana nuna ta hanyar nazarin da aka ambata B. Morrison zuwa ɗaya daga cikin kide-kide na zane-zane na London, inda aka buga sonatas na Schubert: Ina farin cikin bayar da rahoto, saboda haka, wannan maraice duk abubuwan da aka ajiye sun ɓace kamar ta hanyar sihiri. kuma masu sauraro sun kwashe da kiɗan da aka yi kamar dai an halicce ta ne ta taron allolin da ke Dutsen Olympus.

Ko shakka babu yunƙurin ƙirƙirar Maurizio Pollini bai ƙare ba. Makullin wannan ba kawai zargi kansa ba ne, amma, watakila, har ma da girma, matsayinsa na rayuwa. Ba kamar yawancin abokan aikinsa ba, ba ya ɓoye ra'ayinsa na siyasa, yana shiga cikin rayuwar jama'a, yana ganin a cikin fasaha ɗaya daga cikin sifofin wannan rayuwa, ɗaya daga cikin hanyoyin canza al'umma. Pollini a kai a kai yana yin ba kawai a manyan dakunan duniya ba, har ma a masana'antu da masana'antu a Italiya, inda ma'aikata na yau da kullun ke sauraronsa. Tare da su, yana yaki da rashin adalci na zamantakewa da ta'addanci, farkisanci da soja, yayin da yake amfani da damar da matsayin mai zane-zane mai suna a duniya ya buɗe masa. A cikin farkon 70s, ya haifar da mummunar fushi a cikin masu amsawa lokacin da, a lokacin wasan kwaikwayo, ya yi kira ga masu sauraro tare da roko don yaki da zalunci na Amurka a Vietnam. "Wannan taron," kamar yadda mai sukar L. Pestalozza ya lura, "ya juya ra'ayin da aka daɗe na rawar kiɗa da waɗanda suka yi shi." Sun yi ƙoƙari su hana shi, sun hana shi yin wasa a Milan, sun zuba masa laka a cikin jarida. Amma gaskiya ta yi nasara.

Maurizio Pollini yana neman wahayi akan hanyar zuwa masu sauraro; yana ganin ma’ana da abin da ke cikin ayyukansa a dimokuradiyya. Kuma wannan yana takin fasaharsa da sabbin ruwan 'ya'yan itace. "A gare ni, babban kiɗan koyaushe yana kawo sauyi," in ji shi. Kuma fasaharsa ita ce dimokuradiyya a cikin ainihinsa - ba don komai ba ne ba ya jin tsoron ba wa masu sauraron aiki shirin da ya ƙunshi sonata na ƙarshe na Beethoven, kuma yana wasa da su ta yadda masu sauraron da ba su da kwarewa suna sauraron wannan kiɗan da numfashi. "A gare ni yana da matukar muhimmanci in fadada masu sauraron kide-kide, don jawo hankalin mutane da yawa zuwa kiɗa. Kuma ina tsammanin mai zane zai iya tallafawa wannan yanayin… Da yake jawabi ga sabon da'irar masu sauraro, Ina so in kunna shirye-shiryen da kiɗan zamani ya fara zuwa, ko aƙalla an gabatar da shi cikakke kamar; da kiɗa na ƙarni na XNUMX da na XNUMX. Na san abin ba'a ne lokacin da ɗan wasan pian ɗin da ya sadaukar da kansa musamman ga manyan kiɗan gargajiya da na soyayya ya faɗi wani abu makamancin haka. Amma na yi imanin cewa hanyarmu tana kan wannan hanya. "

Grigoriev L., Platek Ya., 1990