Mikhail Izrailevich Vaiman |

Mikhail Vaiman

A cikin kasidun kan Oistrakh da Kogan, manyan wakilan makarantar violin na Soviet, mun ƙara wani muƙala akan Mikhail Vayman. A cikin aikin Vaiman, an bayyana wani muhimmin layi na aikin Soviet, wanda ke da mahimmancin akida da kyan gani.

Vayman - digiri na biyu na Leningrad School of violin, wanda ya samar da irin wannan manyan masu wasan kwaikwayo kamar Boris Gutnikov, Mark Komissarov, Dina Shneiderman, Bulgarian Emil Kamillarov, da sauransu. Dangane da manufofinsa na ƙirƙira, Vayman shine adadi mafi ban sha'awa ga mai bincike. Wannan ɗan wasan violin ne yana tafiya cikin fasahar kyawawan kyawawan halaye. Yana neman shiga cikin zurfin ma'anar waƙar da yake yi, musamman don samun rubutu mai daɗi a cikinta. A Wyman, mai tunani a fagen kiɗa ya haɗu tare da "mai zane na zuciya"; fasaharsa tana da motsin rai, waƙa, tana cike da waƙoƙin wayo, ƙaƙƙarfan falsafar tsari na ɗabi'a na ɗan adam. Ba daidaituwa ba ne cewa juyin halittar Wymann a matsayin mai wasan kwaikwayo ya tashi daga Bach zuwa Frank da Beethoven, da Beethoven na ƙarshen zamani. Wannan shi ne tunaninsa na hankali, ya yi aiki kuma ya samu ta hanyar wahala sakamakon dogon tunani a kan manufofi da manufofin fasaha. Ya yi jayayya cewa fasaha na buƙatar "zuciya mai tsabta" kuma tsaftar tunani yanayi ne da ba makawa ga fasaha mai ƙwaƙƙwaran gaske. Yanayin Mundane, - in ji Wyman, lokacin da yake magana da shi game da kiɗa, - suna iya ƙirƙirar hotuna na yau da kullun. Halin mai zane ya bar alamar da ba za a iya gogewa ba akan duk abin da yake yi.

Duk da haka, "tsarki", "ɗauka" na iya bambanta. Suna iya nufin, alal misali, nau'in ƙayatarwa fiye da rayuwa. Ga Wyman, waɗannan ra'ayoyin suna da alaƙa gaba ɗaya tare da kyakkyawar ra'ayi na nagarta da gaskiya, tare da ɗan adam, wanda ba tare da abin da fasaha ya mutu ba. Wyman yayi la'akari da fasaha daga yanayin ɗabi'a kuma yana ganin wannan a matsayin babban aikin mai zane. Ko kaɗan, Wyman yana sha'awar "violinism", ba a ji daɗin zuciya da ruhi ba.

A cikin burinsa, Vayman yana ta fuskoki da yawa kusa da Oistrakh na 'yan shekarun nan, da na violin na waje - zuwa Menuhin. Ya yi imani sosai da ikon ilimi na fasaha kuma yana da juriya ga ayyukan da ke ɗaukar tunani mai sanyi, shakku, baƙin ciki, lalata, fanko. Ya ma fi baƙo ga rationalism, constructivist abstractions. A gare shi, fasaha hanya ce ta ilimin falsafa na gaskiya ta hanyar bayyanar da ilimin halin ɗan adam na wannan zamani. Hankali, fahimtar abin da ya faru na fasaha a tsanake yana ƙarƙashin hanyar ƙirƙirarsa.

Haɓaka ƙirƙira na Wyman yana haifar da gaskiyar cewa, yana da kyakkyawan umarni na manyan nau'ikan kide-kide, yana ƙara karkata zuwa ga kusanci, wanda shine a gare shi hanya don haskaka mafi ƙarancin ji na ji, ƙaramin inuwar motsin rai. Don haka sha'awar yanayin wasa, nau'in "magana" ta hanyar fasaha dalla-dalla.

Zuwa wane nau'in salo za a iya rarraba Wyman? Wanene shi, "na gargajiya", bisa ga fassarar Bach da Beethoven, ko "na soyayya"? Tabbas, soyayya ta fuskar wani matsanancin ra'ayi na soyayya game da kida da halayensa. Romantic shine bincikensa don kyakkyawan manufa, hidimarsa mai ban sha'awa ga kiɗa.

An haifi Mikhail Vayman a ranar 3 ga Disamba, 1926 a birnin Novy Bug na Ukrainian. Lokacin da yake da shekaru bakwai da haihuwa, iyali koma Odessa, inda nan gaba violinist ciyar da yaro. Mahaifinsa na cikin ƙwararrun mawaƙa, waɗanda a lokacin akwai da yawa a larduna; ya gudanar, kunna violin, ya ba da darussan violin, kuma ya koyar da darussa na ka'idar a Odessa Music School. Mahaifiyar ba ta da ilimin kiɗa, amma, tana da alaƙa da yanayin kiɗa ta hannun mijinta, tana sha'awar cewa danta ma ya zama mawaki.

Lambobin farko na matashi Mikhail tare da kiɗa sun faru a cikin New Bug, inda mahaifinsa ya jagoranci ƙungiyar makaɗa na kayan aikin iska a cikin Gidan Al'adu na birni. Yaron ya kasance yana tare da mahaifinsa, ya kamu da buga ƙaho kuma ya shiga shagali da yawa. Amma mahaifiyar ta nuna rashin amincewa, ta yi imanin cewa yana da illa ga yaro ya buga kayan aikin iska. Motsawa zuwa Odessa ya kawo ƙarshen wannan sha'awar.

Lokacin da Misha ya kasance shekaru 8, an kawo shi P. Stolyarsky; sanin ya ƙare tare da shigar Wyman a makarantar kiɗa na babban malamin yara. Mataimakin Stolyarsky L. Lembergsky ne ya koyar da makarantar Vaiman, amma a ƙarƙashin kulawar farfesa da kansa, wanda a kai a kai yana bincika yadda ɗalibin ƙwararren ke tasowa. Wannan ya ci gaba har zuwa 1941.

Ranar 22 ga Yuli, 1941, mahaifin Vayman ya shiga aikin soja, kuma a 1942 ya mutu a gaba. An bar mahaifiyar ita kaɗai da ɗanta ɗan shekara 15. Sun sami labarin mutuwar mahaifinsu lokacin da suke da nisa daga Odessa - a Tashkent.

Wata ƙungiyar masu ra'ayin mazan jiya da aka kwashe daga Leningrad ta zauna a Tashkent, kuma Vayman ya shiga makarantar shekara goma da ke ƙarƙashinta, a ajin Farfesa Y. Eidlin. Shiga nan da nan a cikin 8th grade, a 1944 Wyman ya sauke karatu daga makarantar sakandare kuma nan da nan ya ci jarrabawa ga Conservatory. A makarantar renon yara, ya kuma yi karatu tare da Eidlin, malami mai zurfi, hazaka, mai tsananin gaske. Canjin sa shine samuwar Wyman na halayen mai tunani.

Ko da a lokacin karatun makaranta, sun fara magana game da Wyman a matsayin ɗan wasan violin mai ban sha'awa wanda ke da duk bayanan da za a haɓaka zuwa babban mawaƙin soloist. A 1943, ya aka aika zuwa wani review na talented dalibai na music makarantu a Moscow. Wani gagarumin aiki ne da aka yi a daidai lokacin da ake yakin.

A 1944, Leningrad Conservatory ya koma birninsa na asali. Ga Wyman, Leningrad lokacin rayuwa ya fara. Ya zama shaida ga saurin farfaɗo da al'adun daɗaɗɗen birni, al'adunsa, yana sha'awar ɗaukar duk abin da wannan al'ada ta ɗauka a cikin kanta - tsananinsa na musamman, mai cike da kyawun ciki, maɗaukakin ilimi mai girma, mai son jituwa da cikar ɗabi'a. siffofin, babban hankali. Wadannan halaye a fili suna jin kansu a cikin aikinsa.

Wani muhimmin ci gaba a rayuwar Wyman shine 1945. An aika wani matashin dalibi na Leningrad Conservatory zuwa Moscow zuwa gasa na farko bayan yakin All-Union na wasan kwaikwayo na mawaƙa kuma ya sami difloma tare da girmamawa a can. A wannan shekarar, wasan kwaikwayonsa na farko ya faru a cikin Babban Hall na Leningrad Philharmonic tare da ƙungiyar makaɗa. Ya yi wasan kwaikwayo na Steinberg's Concerto. Bayan karshen wasan kwaikwayo, Yury Yuriev, Artist na Tarayyar Soviet, ya zo dakin tufafi. “Saurayi. Yace, tabawa. - yau shine farkon ku - ku tuna har zuwa ƙarshen kwanakinku, saboda wannan shine shafin taken rayuwar ku na fasaha. "Na tuna," in ji Wyman. - Har yanzu ina tunawa da waɗannan kalmomi a matsayin kalmomin rabuwa na babban ɗan wasan kwaikwayo, wanda ko da yaushe yana sadaukar da fasaha. Zai zama abin ban al’ajabi da a ce dukanmu muka ɗauki aƙalla guntun ƙonawarsa cikin zukatanmu!”

A gwajin cancantar shiga gasar J. Kubelik ta kasa da kasa a Prague, da aka gudanar a birnin Moscow, masu sauraro masu ɗorewa ba su bar Vayman ya daɗe ba. Nasara ce ta gaske. Duk da haka, a gasar Wyman ya taka leda a kasa nasara kuma bai lashe wurin da zai iya dogara a kan bayan wasan kwaikwayo na Moscow. Wani kyakkyawan sakamako mara misaltuwa - kyauta ta biyu - Weimann ya samu a Leipzig, inda aka aika shi a cikin 1950 zuwa J.-S. Bach. Alkalin kotun ya yaba da fassarar ayyukan Bach da ya yi fice a cikin tunani da salo.

Wyman a hankali ya kiyaye lambar zinare da aka karɓa a gasar Sarauniya Elisabeth ta Belgium a Brussels a 1951. Wannan shine wasansa na ƙarshe kuma mafi haske. Mawallafin kiɗa na duniya sun yi magana game da shi da Kogan, wanda ya sami kyautar farko. Bugu da kari, kamar yadda a cikin 1937, nasarar da mu violinists aka kiyasta a matsayin nasarar dukan Soviet violin makaranta.

Bayan gasar, rayuwar Wyman ta zama al'ada ga mai zane-zane. Sau da yawa yakan zagaya Hungary, Poland, Czechoslovakia, Romania, Tarayyar Jamus da Jamhuriyar Demokaradiyyar Jamus (ya kasance a Jamhuriyar Demokaradiyyar Jamus sau 19!); Concert a Finland. Norway, Denmark, Austria, Belgium, Isra'ila, Japan, Ingila. A ko'ina babban nasara, abin sha'awar da ya dace da fasaha mai basira da daraja. Ba da daɗewa ba za a gane Wyman a Amurka, wanda aka riga aka sanya hannu kan kwangilar yawon shakatawa.

A shekarar 1966, da fice Soviet artist aka bayar da lakabi na girmama Artist na RSFSR.

Duk inda Wyman ya yi, ana kimanta wasansa da jin daɗi na musamman. Ta taɓa zukata, tana jin daɗin halayenta na bayyanawa, kodayake ƙwarewar fasaharsa koyaushe tana nunawa a cikin sake dubawa. "Wasannin da Mikhail Vayman ya yi tun daga ma'aunin farko na Bach Concerto har zuwa bugun baka na karshe a cikin aikin bravura na Tchaikovsky ya kasance mai na roba, mai juriya, da hazaka, godiya ga wanda ya kasance a sahun gaba cikin shahararrun 'yan wasan violin a duniya. An ji wani abu mai daraja a cikin ingantaccen al'adar aikinsa. Dan wasan violin na Soviet ba kawai ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwararren ƙwaƙƙwal ne ba, har ma mai hankali ne, mawaƙi mai hankali. ”…

"Tabbas, abu mafi mahimmanci a wasan Wyman shine dumi, kyakkyawa, ƙauna. Ɗaya daga cikin motsi na baka yana nuna nau'i-nau'i masu yawa," in ji jaridar "Kansan Uutiset" (Finland).

A Berlin, a cikin 1961, Wymann ya yi kide-kide na Bach, Beethoven da Tchaikovsky tare da Kurt Sanderling a tashar madugu. "Wannan wasan kwaikwayo, wanda ya zama abin da ya faru na gaske, ya tabbatar da cewa abokantakar madugu mai daraja Kurt Sanderling tare da mai zanen Soviet mai shekaru 33 ya dogara ne akan ka'idodin ɗan adam da fasaha."

A cikin mahaifar Sibelius a cikin Afrilu 1965, Vayman ya yi wasan kwaikwayo ta babban mawaki na Finnish kuma ya ji daɗin ko da phlegmatic Finns tare da wasansa. "Mikhail Vayman ya nuna kansa a matsayin gwani a cikin wasan kwaikwayo na Sibelius Concerto. Ya fara kamar daga nesa, cikin tunani, a hankali yana bin sauye-sauye. Kalmomin Adadio sun yi kama da daraja a ƙarƙashin bakansa. A ƙarshe, a cikin tsarin matsakaicin taki, ya yi wasa da wahalhalu “fon aben” (cikin girman kai. — LR), kamar yadda Sibelius ya kwatanta ra'ayinsa game da yadda ya kamata a yi wannan bangare. Don shafuka na ƙarshe, Wyman yana da albarkatun ruhaniya da fasaha na babban nagarta. Ya jefa su a cikin wuta, ya bar wani tazara (bayanin kula, a wannan yanayin, abin da ya rage a ajiye) a matsayin ajiya. Ba ya ketare layin karshe. Yana da kyau ga bugun jini na ƙarshe,” Eric Tavasstschera ya rubuta a cikin jaridar Helsingen Sanomat a ranar 2 ga Afrilu, 1965.

Kuma sauran sake dubawa na Finnish masu sukar suna kama: "Daya daga cikin na farko virtuosos na zamaninsa", "Great Master", "Tsarki da impeccability na fasaha", "Asali da balaga na fassarar" - wadannan su ne kimomi na wasan kwaikwayon na Sibelius. da Tchaikovsky concertos, wanda Vayman da Leningradskaya Orchestra philharmonics karkashin jagorancin A. Jansons rangadin kasar Finland a 1965.

Wyman mawaƙin-mai tunani ne. Shekaru da yawa ya shagaltu da matsalar fassarar zamani na ayyukan Bach. Bayan 'yan shekarun da suka gabata, tare da irin wannan naci, ya canza zuwa warware matsalar gadon Beethoven.

Da kyar, ya tashi daga salon soyayya na yin abubuwan da Bach ya yi. Komawa ga asalin sonatas, ya nemo ma'anar farko a cikin su, ya kawar da su daga patina na tsofaffin al'adun da suka bar alamar fahimtar wannan kiɗa. Kuma waƙar Bach a ƙarƙashin baka na Weimann ya yi magana a wata sabuwar hanya. Ya yi magana, saboda an yi watsi da wasannin da ba dole ba, kuma an bayyana takamaiman salon Bach. "Karatun Melodic" - wannan shine yadda Wyman yayi sonatas da partitas na Bach. Ƙirƙirar dabaru daban-daban na fasaha na karantawa-bayani, ya nuna sautin waɗannan ayyukan.

Da yawan tunanin Wyman ya shagaltu da matsalar ethos a cikin kiɗa, gwargwadon ƙarfinsa ya ji a cikin kansa yana buƙatar zuwa ga kiɗan Beethoven. An fara aiki akan wasan wasan violin da zagayowar sonatas. A cikin nau'ikan nau'ikan biyu, Wyman da farko ya nemi bayyana ƙa'idar ɗa'a. Ba shi da sha'awar jarumtaka da wasan kwaikwayo kamar a cikin maɗaukakin buri na ruhun Beethoven. Wyman ya ce: "A cikin zamaninmu na shakku da izgili, ban dariya da ba'a, daga abin da ɗan adam ya daɗe ya gaji," in ji Wyman, "mawaƙin dole ne ya kira tare da fasaharsa zuwa wani abu dabam - don imani da tsayin tunanin ɗan adam, a cikin yiwuwar nagarta, a cikin amincewa da bukatar da'a wajibi, kuma a kan duk wannan shi ne mafi m amsar a cikin music na Beethoven, da kuma na karshe lokaci na kerawa.

A cikin sake zagayowar sonatas, ya tafi daga ƙarshe, na goma, kuma kamar dai "yaɗa" yanayinsa ga duk sonatas. Haka yake a cikin wasan kwaikwayo, inda jigo na biyu na kashi na farko da na biyu ya zama cibiyar, ɗaukaka da tsarkakewa, wanda aka gabatar a matsayin nau'i na ruhaniya mai kyau.

A cikin zurfin ilimin falsafa da da'a mafita na sake zagayowar Beethoven's sonatas, da gaske m mafita, Wyman ya sami taimako sosai ta hanyar haɗin gwiwarsa tare da ƙwararrun ƴan wasan pian Maria Karandasheva. A cikin sonatas, ƙwararrun masu zane-zane guda biyu sun haɗu don aikin haɗin gwiwa, kuma nufin Karandasheva, tsananin da tsananin, haɗuwa tare da ruhi mai ban mamaki na aikin Wyman, ya ba da sakamako mai kyau. Dare uku a ranar 23 ga Oktoba, 28 da 3 ga Nuwamba, 1965, a Majami’ar Glinka da ke Leningrad, wannan “labari game da Mutum” ya bayyana a gaban masu sauraro.

Na biyu kuma ba karamin mahimmancin sha'awar Waiman ba shine zamani, kuma da farko Soviet. Ko da a lokacin ƙuruciyarsa, ya ba da makamashi mai yawa don yin sabbin ayyukan da mawakan Soviet suka yi. Tare da Concert na M. Steinberg a 1945, hanyarsa ta fasaha ta fara. Wannan ya biyo bayan wasan kwaikwayo na Lobkowski, wanda aka yi a cikin 1946; a farkon rabin 50s, Vaiman ya gyara kuma ya yi Concerto ta mawakin Jojiya A. Machavariani; a cikin rabin na biyu na 30s - B. Kluzner's Concert. Shi ne dan wasan farko na Shostakovich Concerto a tsakanin 'yan wasan violin na Soviet bayan Oistrakh. Vaiman ya sami girmamawa don yin wannan Concerto a maraice da aka sadaukar don bikin cika shekaru 50 na mawaki a 1956 a Moscow.

Vaiman yana kula da ayyukan mawaƙan Soviet tare da kulawa na musamman da kulawa. A cikin 'yan shekarun nan, kamar yadda a cikin Moscow zuwa Oistrakh da Kogan, don haka a Leningrad, kusan dukkanin mawaƙa waɗanda suka ƙirƙiri kiɗa don violin sun juya zuwa Vaiman. A cikin shekaru goma na fasaha na Leningrad a Moscow a watan Disamba 1965, Vaiman ya taka rawar gani a Concerto na B. Arapov, a "Leningrad Spring" a watan Afrilu 1966 - Concerto na V. Salmanov. Yanzu yana aiki a kan kide-kide na V. Basner da B. Tishchenko.

Wyman malami ne mai ban sha'awa kuma mai kirkira. Malamin fasaha ne. Wannan yawanci yana nufin yin watsi da bangaren fasaha na horo. A wannan yanayin, an cire irin wannan gefe ɗaya. Daga malaminsa Eidlin, ya gaji halin nazari kan fasaha. Yana da kyakkyawan tunani, ra'ayi na yau da kullun akan kowane nau'in fasaha na violin, abin mamaki yana gane ainihin abubuwan da ke haifar da matsalolin ɗalibi kuma ya san yadda ake kawar da kasawa. Amma duk wannan yana ƙarƙashin hanyar fasaha. Ya sa dalibai su zama "mawaƙa", yana jagorantar su daga aikin hannu zuwa mafi girma na fasaha. Kowane ɗalibansa, har ma waɗanda ke da matsakaicin iyawa, suna samun halayen ɗan zane.

“Yan ta’adda daga kasashe da dama sun yi karatu da nazari tare da shi: Sipika Leino da Kiiri daga Finland, Paole Heikelman daga Denmark, Teiko Maehashi da Matsuko Ushioda daga Japan (wanda ya lashe lambar yabo ta gasar Brussels a 1963 da Gasar Moscow Tchaikovsky a Rasha). 1966 d.), Stoyan Kalchev daga Bulgaria, Henrika Cszionek daga Poland, Vyacheslav Kuusik daga Czechoslovakia, Laszlo Kote da Androsh daga Hungary. Daliban Soviet na Wyman sune difloma na gasar All-Rasha Lev Oskotsky, wanda ya lashe gasar Paganini a Italiya (1965) Philip Hirshhorn, wanda ya lashe gasar Tchaikovsky ta kasa da kasa a 1966 Zinovy ​​​​Vinnikov.

Ba za a iya kallon babban aikin koyarwa na Weimann a wajen karatunsa a Weimar ba. Shekaru da yawa, a cikin tsohon wurin zama na Liszt, ana gudanar da tarukan karawa juna sani na kiɗa na kasa da kasa a can kowane Yuli. Gwamnatin GDR na gayyatar manyan mawaka-malamai daga kasashe daban-daban zuwa gare su. Mawakan violin, ƴan wasan ƙwallon ƙafa, ƴan pian da mawaƙa na wasu ƙwarewa sun zo nan. Shekaru bakwai a jere, Vayman, kawai ɗan wasan violin a cikin Tarayyar Soviet, an gayyace shi don jagorantar ajin violin.

Ana gudanar da darussa a cikin nau'i na darussan bude, a gaban masu sauraro na 70-80. Baya ga koyarwa, Wymann yana ba da kide kide da wake-wake kowace shekara a Weimar tare da nau'ikan shirye-shirye. Su, kamar dai, zane ne na fasaha don taron karawa juna sani. A lokacin rani na 1964, Wyman ya yi sonatas uku don solo violin ta Bach a nan, ya bayyana fahimtarsa ​​game da kiɗan wannan mawaki a kansu; a 1965 ya buga Beethoven Concertos.

Domin fitattun ayyuka da ayyukan koyarwa a cikin 1965, Wyman ya sami lambar girmamawa ta sanata na F. Liszt Higher Musical Academy. Vayman shine mawaƙa na huɗu da ya karɓi wannan taken: na farko shine Franz Liszt, kuma nan da nan kafin Vayman, Zoltan Kodály.

Tarihin halitta na Wyman bai ƙare ba ko kaɗan. Bukatunsa a kan kansa, ayyukan da ya tsara wa kansa, sun kasance a matsayin tabbacin cewa zai tabbatar da babban matsayi da aka ba shi a Weimar.

L. Rabin, 1967

A cikin hoto: madugu - E. Mravinsky, soloist - M. Vayman, 1967