Mikhail Sergeevich Voskresensky |

Mikhail Voskresensky

Fame yana zuwa ga mai fasaha ta hanyoyi daban-daban. Wani ya zama sananne kusan ba zato ba tsammani ga wasu (wani lokaci don kansa). Daukaka ta haska masa nan take da tsafi; wannan shine yadda Van Cliburn ya shiga tarihin wasan piano. Wasu kuma suna farawa a hankali. Da farko a cikin da'irar abokan aiki, suna samun karɓuwa a hankali a hankali a hankali - amma galibi ana kiran sunayensu da girmamawa sosai. Wannan hanya, kamar yadda gwaninta ya nuna, sau da yawa ya fi dogara da gaskiya. A gare su ne Mikhail Voskresensky ya tafi a cikin fasaha.

Ya yi sa'a: rabo ya kawo shi tare da Lev Nikolaevich Oborin. A Oborin a farkon shekarun hamsin - a lokacin da Voskresensky ya fara ketare kofa na ajinsa - ba a sami 'yan wasan pian da yawa a cikin ɗalibansa ba. Voskresensky gudanar ya lashe gubar, ya zama daya daga cikin na farko-haife a cikin laureates na kasa da kasa gasar shirya da farfesa. Haka kuma. Ƙuntatawa, a wasu lokuta, watakila dan kadan a cikin dangantakarsa da matasan dalibai, Oborin ya yi banbanci ga Voskresensky - ya keɓe shi a cikin sauran ɗalibansa, ya sanya shi mataimakinsa a ɗakin karatu. Shekaru da yawa, matashin mawaƙin ya yi aiki tare tare da mashahurin maigidan. Shi, ba kamar kowa ba, an fallasa shi ga ɓoyayyun asirin wasan kwaikwayon Oborinsky da fasaha na koyarwa. Sadarwa tare da Oborin ya ba Voskresensky na musamman da yawa, ya ƙaddara wasu mahimman abubuwan da suka dace na bayyanarsa na fasaha. Amma ƙari akan hakan daga baya.

Mikhail Sergeevich Voskresensky aka haife shi a birnin Berdyansk (Zaporozhye yankin). Ya rasa mahaifinsa da wuri, wanda ya mutu a lokacin Babban Yaƙin Kishin Ƙasa. Mahaifiyarsa ce ta rene shi; ta kasance malamin kiɗa kuma ta koya wa ɗanta kwas ɗin piano na farko. Shekaru na farko bayan karshen yakin Voskresensky ya shafe a Sevastopol. Ya yi karatu a makarantar sakandare, ya ci gaba da buga piano a karkashin kulawar mahaifiyarsa. Kuma a sa'an nan da yaron aka canjawa wuri zuwa Moscow.

Ya aka shigar da Ippolitov-Ivanov Musical College da kuma aika zuwa aji na Ilya Rubinovich Klyachko. "Zan iya faɗi mafi kyawun kalmomi game da wannan kyakkyawan mutum da gwani," Voskresensky ya ba da labarin abubuwan da suka gabata. “Na zo wurinsa tun ina matashi; Na yi bankwana da shi bayan shekaru hudu a matsayin babban mawaƙin, bayan ya koyi abubuwa da yawa, ya koyi abubuwa da yawa… Klyachko ya kawo ƙarshen ra'ayina na butulci game da wasan piano. Ya sanya ni fasaha mai mahimmanci da yin ayyuka, ya gabatar da hotunan kiɗa na gaske a cikin duniya… "

A makaranta, Voskresensky da sauri ya nuna iyawar halitta na ban mamaki. Ya sau da yawa kuma cikin nasara ya taka leda a budaddiyar liyafa da kide-kide. Ya yi aiki da himma akan fasaha: ya koyi, alal misali, duk karatun hamsin (op. 740) na Czerny; wannan ya ƙarfafa matsayinsa sosai a pianism. (“Cherny ya ba ni fa’ida ta musamman a matsayina na ɗan wasan kwaikwayo. Ba zan ba da shawarar kowane matashin ɗan wasan piano ya ƙetare wannan marubuci ba yayin karatunsu.”) A wata kalma, bai yi masa wuya ya shiga Makarantar Conservatory ta Moscow ba. An saka shi a matsayin dalibi na farko a 1953. Na ɗan lokaci, Ya. I. Milshtein shine malaminsa, amma ba da jimawa ba, ya koma Oborin.

Lokaci ne mai zafi, mai tsanani a cikin tarihin tarihin tsohuwar cibiyar kiɗan ƙasar. Lokacin gudanar da gasa ya fara ... Voskresensky, a matsayin daya daga cikin manyan kuma mafi "ƙarfi" pianists na Oborinsky class, cikakken biya haraji ga general babbar sha'awa. A cikin 1956 ya je gasar Schumann ta kasa da kasa a Berlin kuma ya dawo daga can tare da lambar yabo ta uku. Bayan shekara guda, yana da "tagulla" a gasar piano a Rio de Janeiro. 1958 - Bucharest, gasar Enescu, lambar yabo ta biyu. A ƙarshe, a cikin 1962, ya kammala gasa "marathon" a gasar Van Cliburn a Amurka (wuri na uku).

“Wataƙila, da gaske akwai gasa da yawa a kan tafarkin rayuwata. Amma ba koyaushe ba, kun ga, komai a nan ya dogara da ni. Wani lokaci yanayin ya kasance kamar yadda ba zai yiwu a ƙi shiga gasar ba ... Sannan, dole ne in yarda, gasa da aka kwashe, kama - matasa matasa ne. Sun ba da abubuwa da yawa a cikin ma'anar ƙwararru kawai, sun ba da gudummawa ga ci gaban pianistic, sun kawo ra'ayoyi da yawa: farin ciki da baƙin ciki, bege da rashin jin daɗi… Ee, a, da rashin jin daɗi, saboda a gasa - yanzu na san wannan sosai - Matsayin arziki, farin ciki, dama yana da girma… ”…

Tun daga farkon sittin, Voskresensky ya zama mafi shahara a cikin da'irar kiɗa na Moscow. Ya samu nasarar ba da kide-kide (GDR, Czechoslovakia, Bulgaria, Romania, Japan, Iceland, Poland, Brazil); yana nuna sha'awar koyarwa. Taimakon Oborin ya kare ne da cewa an ba shi amanar ajinsa (1963). Matashin mawakin ana magana da babbar murya a matsayin daya daga cikin masu bin layin Oborin kai tsaye a pianism.

Kuma da kyakkyawan dalili. Kamar malaminsa, Voskresensky tun yana karami ya kasance mai natsuwa, bayyananne da hankali kallon kiɗan da ya yi. Irin wannan, a daya bangaren, shi ne yanayinsa, a daya bangaren, sakamakon shekaru masu yawa na sadarwa na kere-kere tare da farfesa. Babu wani abu da ya wuce kima ko rashin daidaituwa a cikin wasan Voskresensky, a cikin ma'anar fassararsa. Kyakkyawan tsari a cikin duk abin da aka yi a keyboard; a ko'ina da ko'ina - a cikin sautin gradations, tempos, cikakkun bayanai na fasaha - tsananin kulawa. A cikin tafsirinsa, kusan babu wani sabani, na cikin gida; abin da ya fi mahimmanci don siffanta salonsa ba kome ba ne wuce gona da iri na sirri. Sauraron pianists kamar shi, wani lokacin yakan tuna da kalmomin Wagner, wanda ya ce kiɗan da aka yi a fili, tare da ma'anar fasaha na gaske kuma a babban matakin sana'a - "daidai", a cikin kalmomin babban mawaki - ya kawo wa " ji mai tsarki” gamsuwa mara sharadi (Wagner R. Game da gudanarwa // Gudanar da ayyuka. - M., 1975. P. 124.). Kuma Bruno Walter, kamar yadda kuka sani, ya ci gaba da gaba, yana gaskanta cewa daidaiton aikin "yana haskakawa." Voskresensky, muna maimaitawa, cikakken dan wasan piano ne…

Da kuma ƙarin fasalin fassarorinsa: a cikinsu, kamar sau ɗaya tare da Oborin, babu ƙaramin tashin hankali na motsin rai, ba inuwar sha'awa ba. Babu wani abu daga rashin daidaituwa a cikin bayyanar da ji. Ko'ina - daga litattafan kiɗa zuwa magana, daga Handel zuwa Honegger - jituwa ta ruhaniya, kyakkyawar ma'auni na rayuwa ta ciki. Art, kamar yadda masana falsafa suka saba fada, ya fi “Apollonian” maimakon rumbun “Dionysian”…

Da yake kwatanta wasan Voskresensky, ba za a iya yin shiru ba game da al'adar da aka dade da kuma gani a cikin kiɗa da wasan kwaikwayo. (A cikin pianism na waje, yawanci ana danganta shi da sunayen E. Petri da R. Casadesus, a cikin pianism na Soviet, kuma tare da sunan LN Oborin.) Wannan al'ada ta sanya tsarin wasan kwaikwayo a gaba. ra'ayin tsarin aiki. Ga masu fasaha waɗanda suka yi riko da ita, yin kiɗan ba tsarin motsin rai ba ne na kwatsam, amma daidaitaccen bayyana dabarun fasaha na kayan. Ba zance na son rai ba, amma "gini" mai kyau da kulawa da kyau. Su, waɗannan masu fasaha, ba koyaushe suna mai da hankali ga kyawawan halaye na nau'in kiɗan: zuwa daidaituwar tsarin sauti, ƙimar gabaɗaya da ƙayyadaddun bayanai, daidaita ma'auni. Ba daidaituwa ba ne cewa IR Klyachko, wanda ya fi kowa sanin tsarin kirkirar tsohon ɗalibinsa, ya rubuta a cikin ɗaya daga cikin sake dubawa cewa Voskresensky yana sarrafa don cimma "abu mafi wahala - bayyanar da nau'in gaba ɗaya". ; Ana iya jin irin wannan ra'ayi sau da yawa daga wasu kwararru. A cikin martani ga wasan kwaikwayo na Voskresensky, yawanci ana jaddada cewa ayyukan pianist suna da kyakkyawan tunani, tabbatar da su, da ƙididdige su. Wani lokaci, duk da haka, masu suka suna gaskata cewa, duk wannan yana ɗan dagula yanayin jin daɗinsa na waƙarsa: L. Zhivov ya ce: “Da waɗannan abubuwa masu kyau,” in ji L. Zhivov. yana yiwuwa sha'awar daidaito, sophistication na musamman na kowane daki-daki, wani lokacin yana zuwa ga lalacewar haɓakawa, saurin aiwatarwa " (Zhivov L. All Chopin nocturnes // Rayuwar kiɗa. 1970. No. 9. S.). To, watakila mai sukar ya yi daidai, kuma Voskresensky ba koyaushe ba ne, ba a kowane wasan kwaikwayo yana ɗaukar hankali da kunna wuta ba. Amma kusan ko da yaushe mai gamsarwa (A wani lokaci, B. Asafiev ya rubuta a cikin farkawa na wasanni a cikin USSR na fitaccen jagoran Jamus Hermann Abendroth: "Abendroth ya san yadda za a shawo kan, ba ko da yaushe yana iya kamawa, haɓakawa da sihiri ba" (B. Asafiev. Critical). labarai, kasidu da bita. – M .; L., 1967. S. 268). LN Oborin a ko da yaushe ya gamsar da masu sauraro na arba'in da hamsin kamar haka; irin wannan shine ainihin tasirin ga jama'ar almajirinsa.

Yawancin lokaci ana kiransa mawaƙi tare da kyakkyawan makaranta. A nan shi ne ainihin ɗan zamaninsa, zamaninsa, muhallinsa. Kuma ba tare da ƙari ba, ɗaya daga cikin mafi kyau… A kan mataki, ya kasance daidai koyaushe: mutane da yawa za su iya hassada irin wannan haɗin kai na makaranta, kwanciyar hankali na tunani, kamun kai. Oborin ya taɓa rubuta cewa: "Gaba ɗaya, na yi imani cewa, da farko, ba zai cutar da kowane mai yin wasan kwaikwayo ya sami dozin ko biyu dokoki na" kyakkyawan hali a cikin kiɗa ". Ya kamata waɗannan ƙa'idodin su shafi abun ciki da nau'in wasan kwaikwayon, kyawun sauti, feda, da sauransu." (Oborin L. Akan wasu ƙa'idodin fasaha na piano Tambayoyi na wasan piano. - M., 1968. Fitowa ta 2. P. 71.). Ba abin mamaki ba ne cewa Voskresensky, daya daga cikin masu kirkiro na Oborin da kuma na kusa da shi, ya ƙware da waɗannan dokoki a lokacin karatunsa; sun zama dabi'a ta biyu a gare shi. Duk abin da marubucin ya sanya a cikin shirye-shiryensa, a cikin wasansa mutum zai iya jin iyakokin da aka tsara ta hanyar tarbiya mara kyau, ladabi na mataki, da kyakkyawan dandano. A baya, ya faru, a'a, a'a, a, kuma ya wuce waɗannan iyakokin; wanda za a iya tunawa, alal misali, fassararsa na shekaru sittin - Schumann's Kreisleriana da Vienna Carnival, da wasu ayyukan. (Akwai rikodin gramophone na Voskresensky, yana tunawa da waɗannan fassarori.) A cikin yanayin ƙuruciyar ƙuruciya, a wasu lokuta yakan ƙyale kansa ya yi zunubi a wata hanya ga abin da ake nufi ta yin "comme il faut". Amma wannan ya kasance a da, yanzu, ba a taɓa yin ba.

A cikin XNUMXs da XNUMXs, Voskresensky ya yi ƙididdiga da yawa - B-flat manyan sonata, lokutan kiɗa da fantasy Schubert's "Wanderer", Beethoven's Fourth Piano Concerto, Schnittke's Concerto, da ƙari mai yawa. Kuma dole ne in faɗi cewa kowane shirye-shiryen masu wasan piano sun kawo mintuna masu daɗi da gaske ga jama'a: tarurruka tare da masu hankali, masu ilimi koyaushe suna faranta rai - zauren wasan kwaikwayo ba banda a wannan yanayin.

A lokaci guda, ba daidai ba ne a yi imani cewa cancantar Voskresensky kawai ya dace da wasu ƙa'idodi masu kyau - kuma kawai ... Daɗaɗansa da ma'anar kiɗan sa daga yanayi suke. A cikin ƙuruciyarsa, zai iya samun mashawarta mafi cancanta - kuma duk da haka abin da ya zama babba kuma mafi kusanci a cikin ayyukan mai zane, da ba za su koya ba. "Idan muka koyar da ɗanɗano da hazaka da taimakon dokoki," in ji sanannen mai zane D. Reynolds, "to da ba za a ƙara ɗanɗano ko hazaka ba" (Game da kiɗa da mawaƙa. – L., 1969. S. 148.).

A matsayin mai fassara, Voskresensky yana son ɗaukar kiɗa iri-iri. A cikin jawabai na baka da kuma bugu, ya yi magana fiye da sau ɗaya, kuma tare da duk abin da ya tabbata, don mafi girman yiwuwar repertoire na mai zane-zane. “Mai wasan piano,” in ji shi a cikin ɗaya daga cikin labaransa, “ba kamar mawaƙa ba, wanda tausayinsa ya dogara da alkiblar basirarsa, dole ne ya iya kunna kiɗan mawallafa daban-daban. Ba zai iya iyakance ɗanɗanonsa ga kowane salo na musamman ba. Dole ne mai wasan piano na zamani ya zama mai yawan aiki” (Voskresensky M. Oborin - artist da malami / / LN Oborin. Articles. Memoirs. - M., 1977. P. 154.). Ba shi da sauƙi Voskresensky da kansa ya ware abin da zai fi dacewa a gare shi a matsayin ɗan wasan kide-kide. A tsakiyar shekarun saba'in, ya buga dukkan sonatas na Beethoven a cikin zagaye na clavirabends da yawa. Shin hakan yana nufin cewa rawar da ya taka ta al'ada ce? Da kyar. Don shi, a wani lokaci, ya buga duk nocturnes, polonaises da sauran ayyukan da Chopin ya yi akan rikodin. Amma kuma, wannan bai ce da yawa ba. A kan posters na kide kide da wake-wake akwai preludes da fugues ta Shostakovich, Prokofiev's sonatas, Khachaturian's concerto, ayyukan Bartok, Hindemith, Milhaud, Berg, Rossellini, piano novelties na Shchedrin, Eshpai, Denisov ... Yana da mahimmanci, duk da haka, ba wai yana yin wasan ba. mai yawa. Alamun daban. A cikin yankuna masu salo iri-iri, yana jin kwanciyar hankali da kwanciyar hankali. Wannan shi ne dukan Voskresensky: a cikin ikon kiyaye m ma'auni a ko'ina, don kauce wa rashin daidaituwa, matsananci, karkata a daya hanya ko wata.

Masu zane-zane irinsa yawanci suna da kyau wajen bayyana yanayin salon kiɗan da suke yi, suna isar da "ruhu" da "wasika". Babu shakka wannan alama ce ta manyan al'adun sana'arsu. Duk da haka, akwai iya zama daya drawback a nan. An riga an faɗi a baya cewa wasan kwaikwayo na Voskresensky wani lokaci ba shi da ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun bayanai na mutum-mutumi. Lallai, Chopin nasa shine euphony, jituwa na layi, yin "sautin ƙona". Beethoven a cikinsa duka sautin ne na wajibi, da kuma buri mai ƙarfi, da ƙwaƙƙwaran gine-ginen gine-gine, waɗanda suka zama dole a cikin ayyukan wannan marubucin. Schubert a cikin watsa shirye-shiryensa yana nuna wasu halaye da siffofi da ke cikin Schubert; Brahms nasa ya kusan "kashi dari" Brahms, Liszt shine Liszt, da dai sauransu. Wani lokaci mutum zai so ya ji a cikin ayyukan da ke nasa, nasa "jinin halitta". Stanislavsky ya kira ayyukan fasaha na wasan kwaikwayo "masu rai", wanda ya dace da gadon halayen halayen "iyayensu" biyu: waɗannan ayyukan, in ji shi, ya kamata su wakilci "ruhu daga ruhu da nama daga jiki" na marubucin wasan kwaikwayo da fasaha. Wataƙila, iri ɗaya ya kamata ya kasance bisa ƙa'ida a cikin wasan kwaikwayo na kiɗa…

Koyaya, babu wani maigidan da ba zai yuwu a yi magana da “Ina so ba” na har abada. Tashin kiyama ba banda.

Kaddarorin dabi'ar Voskresensky, da aka jera a sama, sun sanya shi malamin da aka haifa. Yana ba da sassansa kusan duk abin da za a iya ba wa ɗalibai a cikin fasaha - ilimi mai zurfi da al'adun sana'a; fara su cikin sirrin sana'a; ya cusa al'adun makarantar da shi da kansa ya taso. EI Kuznetsova, ɗalibin Voskresensky kuma wanda ya lashe gasar piano a Belgrade, ya ce: “Mikhail Sergeevich ya san yadda zai sa ɗalibin ya fahimci kusan nan da nan a darasin ayyukan da yake fuskanta da kuma abin da ya kamata a ƙara yin aiki a kai. Wannan yana nuna babban baiwar ilimin koyarwa na Mikhail Sergeevich. Na kasance ina mamakin yadda yake saurin shiga zuciyar ɗalibi. Kuma ba wai kawai don shiga ba, ba shakka: kasancewa mai kyau pianist Mikhail Sergeevich ko da yaushe san yadda za a bayar da shawarar yadda da kuma inda za a sami m hanya daga cikin matsalolin da taso.

Siffar halayensa ita ce, - ya ci gaba da EI Kuznetsova, - cewa shi mawaƙi ne mai tunani da gaske. Yin tunani a sarari kuma ba tare da al'ada ba. Alal misali, ya kasance koyaushe yana shagaltar da matsalolin "fasaha" na wasan piano. Ya yi tunani da yawa, kuma bai daina tunanin samar da sauti, feda, saukowa a kan kayan aiki, sanya hannu, dabaru, da sauransu. Yana ba da karimci abubuwan lura da tunaninsa tare da matasa. Ganawa tare da shi yana kunna basirar kiɗa, haɓakawa da wadatar da shi…

Amma watakila mafi mahimmanci, yana cutar da ajin tare da sha'awar ƙirƙirar. Yana haifar da ƙauna ga ainihin fasaha mai girma. Yana sanya wa ɗalibansa 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 ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ’yan Adam waɗanda ke daɗa sanin gaskiya da sanin ya kamata. Zai iya, alal misali, zuwa ɗakin ajiyar nan da nan bayan yawon shakatawa mai ban sha'awa, kusan kai tsaye daga jirgin ƙasa, kuma, nan da nan ya fara azuzuwan, ya yi aiki ba tare da son kai ba, tare da cikakkiyar sadaukarwa, ba da kansa ko ɗalibin ba, ba tare da lura da gajiya ba, lokacin da aka kashe. … Ko ta yaya ya jefa irin wannan furci (Na tuna da shi da kyau): “Yawancin kuzarin da kuke kashewa a cikin al’amuran kirkire-kirkire, da sauri da kuma cikakku an dawo dasu.” Shi duka a cikin wadannan kalmomi.

Bugu da ƙari, Kuznetsova, ajin Voskresensky ya haɗa da sanannun matasa masu kida, masu halartar gasa na duniya: E. Krushevsky, M. Rubatskite, N. Trull, T. Siprashvili, L. Berlinskaya; Stanislav Igolinsky, Laureate na biyar Tchaikovsky Competition, kuma ya yi karatu a nan - girman kai na Voskresensky a matsayin malami, wani artist na gaske fice iyawa da kuma cancantar shahararsa. Sauran ɗaliban Voskresensky, ba tare da samun babbar shahara ba, duk da haka suna gudanar da rayuwa mai ban sha'awa da ƙirƙira mai cike da jini a cikin fasahar kiɗan - suna koyarwa, suna wasa a cikin ƙungiyoyi, kuma suna yin aikin rakiya. Voskresensky ya taɓa cewa malami ya kamata a yi masa hukunci da abin da ɗalibansa ke wakilta to, bayan kammala karatun karatun - a cikin filin mai zaman kansa. Makomar yawancin almajiransa suna magana game da shi a matsayin malami na babban aji.

"Ina son ziyartar biranen Siberiya," in ji Voskresensky. – Me yasa akwai? Domin mutanen Siberiya, ga alama a gare ni, sun riƙe ɗabi'a mai tsafta da kai tsaye ga kiɗa. Babu irin gamsuwa, irin wannan bacin rai na masu sauraro wanda a wasu lokuta kuke ji a cikin babban dakin taronmu. Kuma mai yin wasan kwaikwayo ya ga sha’awar jama’a, sha’awar fasaha ta gaske ita ce abu mafi muhimmanci.

Voskresensky sau da yawa yakan ziyarci cibiyoyin al'adu na Siberiya, babba kuma ba babba ba; sananne ne kuma ana yaba shi a nan. "Kamar kowane mai zane-zane na yawon shakatawa, Ina da "maki" na kide-kide da ke kusa da ni - biranen da koyaushe ina jin daɗin hulɗa da masu sauraro.

Kuma kin san me kuma na kamu da soyayya a baya-bayan nan, wato na fi so a da, har ma da yanzu? Yi a gaban yara. A matsayinka na mai mulki, a irin waɗannan tarurruka akwai yanayi na musamman da kuma dumi. Ban taba hana kaina wannan jin dadin ba.

… A cikin 1986-1988, Voskresensky ya yi tafiya zuwa Faransa don watanni na rani, zuwa Tours, inda ya shiga aikin Cibiyar Kiɗa ta Duniya. Da rana yana ba da darussa a bayyane, da yamma yana yin wasan kwaikwayo. Kuma, kamar yadda sau da yawa yakan faru tare da masu wasan kwaikwayo, ya kawo gida mai kyaun jarida - dukan tarin bita ("Mataki biyar sun isa su fahimci cewa wani abu da ba a sani ba yana faruwa a kan mataki," in ji jaridar Le Nouvelle Republique a watan Yuli 1988, bayan wasan kwaikwayon Voskresensky a Tours, inda ya buga Chopin Scriabin da Mussorgsky. "Shafukan da aka ji aƙalla ɗari lokuta sun canza ta ikon iyawar wannan fasaha mai ban mamaki."). "A ƙasashen waje, suna amsawa da sauri da sauri a cikin jaridu ga abubuwan da suka faru na rayuwar kiɗa. Ya rage kawai don nadama cewa mu, a matsayin mai mulkin, ba mu da wannan. Mu sau da yawa muna kokawa game da rashin halartar kide-kide na philharmonic. Amma wannan sau da yawa yakan faru saboda gaskiyar cewa jama'a, da ma'aikatan philharmonic al'umma, ba su san abin da ke da ban sha'awa a yau a cikin zane-zane. Mutane ba su da mahimman bayanai, suna ciyar da jita-jita - wani lokacin gaskiya, wani lokacin ba haka ba. Don haka, sai ya zamana cewa wasu hazikan ’yan wasan kwaikwayo – musamman matasa – ba sa faxawa a fagen kallon jama’a. Kuma suna jin dadi, kuma masu son kiɗa na gaske. Amma musamman ga matasa masu fasaha da kansu. Ba tare da adadin da ake buƙata na wasan kwaikwayo na jama'a ba, an hana su, sun rasa fam ɗin su.

Ina da, a takaice, - kuma ina da gaske? – Muhimman iƙirari ga kaɗe-kaɗen mu da yin latsa.

A 1985, Voskresensky ya cika shekaru 50 da haihuwa. Kuna jin wannan ci gaba? Na tambaye shi. "A'a," ya amsa. A gaskiya, ba na jin shekaru na, ko da yake lambobi suna girma a hankali. Ni mai fata ne, ka gani. Kuma na tabbata cewa pianism, idan kun kusanci shi gabaɗaya, lamari ne na rabin na biyu na rayuwar mutum. Kuna iya ci gaba na dogon lokaci, kusan duk lokacin da kuka tsunduma cikin sana'ar ku. Ba za ku taɓa sanin takamaiman misalai ba, ƙayyadaddun tarihin halitta masu tabbatar da hakan.

Matsalar ba shekaru ko daya ba. Tana cikin wani. A cikin ayyukanmu na yau da kullun, yawan aiki da cunkoso tare da abubuwa daban-daban. Kuma idan wani lokaci wani abu ba ya fitowa kan mataki kamar yadda muke so, galibi saboda wannan ne. Duk da haka, ba ni kaɗai ba a nan. Kusan duk abokan aikina na mazan jiya suna cikin irin wannan matsayi. Maganar ƙasa ita ce, har yanzu muna jin cewa mu ne ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrunmu don yin watsi da shi, ba don ba da lokaci mai yawa da ƙoƙarin yin hakan ba.

Wataƙila ni, kamar sauran furofesoshi da ke aiki tare da ni, ina da ɗalibai da yawa fiye da yadda ya kamata. Dalilan hakan sun bambanta. Sau da yawa ni kaina ba zan iya ƙin wani saurayi wanda ya shiga ɗakin ajiyar kaya ba, kuma na kai shi zuwa aji na, saboda na yi imani cewa yana da basira mai haske, mai karfi, wanda wani abu mai ban sha'awa zai iya tasowa a nan gaba.

… A tsakiyar shekarun tamanin, Voskresensky ya buga kidan Chopin da yawa. Ci gaba da aikin da aka fara a baya, ya yi duk ayyukan piano da Chopin ya rubuta. Har ila yau, na tuna daga wasan kwaikwayon na wannan lokacin da dama na wasan kwaikwayo na monograph da aka sadaukar don wasu romantics - Schumann, Brahms, Liszt. Sa'an nan kuma aka zana shi zuwa Rasha music. Ya koyi Hotunan Mussorgsky a wani nune-nunen, wanda bai taɓa yin irinsa ba; rubuta 7 sonatas ta Scriabin a rediyo. Wadanda suka kalli ayyukan pianist da aka ambata a sama (da wasu da suka shafi lokaci na ƙarshe) ba za su iya kasa lura da cewa Voskresensky ya fara wasa ko ta yaya a kan babban sikelin; cewa "maganganun" nasa na fasaha sun zama mafi ƙasƙanci, balagagge, nauyi. "Pianism shine aikin rabi na biyu na rayuwa," in ji shi. To, a wata ma'ana wannan na iya zama gaskiya - idan mai zane bai daina aiki mai zurfi ba, idan wasu canje-canje masu mahimmanci, matakai, metamorphoses sun ci gaba da faruwa a cikin duniyar ruhaniya.

Voskresensky ya ce: "Akwai wani bangare na ayyukan da ke jan hankalina a koyaushe, kuma yanzu ya kasance kusa sosai." - Ina nufin wasa gabobin. Da zarar na yi karatu da fitaccen masanin halittarmu LI Roizman. Ya yi wannan, kamar yadda suke faɗa, don kansa, don faɗaɗa hazakan kiɗa na gabaɗaya. Azuzuwan sun kai kusan shekaru uku, amma a cikin wannan ɗan gajeren lokaci na ɗauka daga mashawarta na, da alama a gare ni, da yawa - wanda har yanzu ina godiya gare shi da gaske. Ba zan yi da'awar cewa repertoire na a matsayin kwayoyin halitta yana da fadi haka ba. Koyaya, ba zan sake cika shi da rai ba; Duk da haka, ƙwarewa na kai tsaye yana wani wuri. Ina ba da kide kide da wake-wake da yawa a shekara kuma ina samun farin ciki na gaske daga gare ta. Bana bukata fiye da haka.”

... Voskresensky ya sami nasarar cimma abubuwa da yawa a kan wasan kide kide da wake-wake da kuma koyarwa. Kuma dama haka a ko'ina. Babu wani abu na bazata a cikin aikinsa. Duk abin da aka samu ta hanyar aiki, hazaka, juriya, so. Ƙarfin da ya ba harabar, sai ya ƙara ƙarfi; Yawan kashe kansa, da sauri ya murmure - a cikin misalinsa, wannan tsari yana bayyana tare da bayyananne. Kuma yana yin daidai abin da ya dace, wanda ke tunatar da matasa game da ita.

G. Tsipin, 1990