Mikhail Vasilievich Pletnev |

Mikhail Pletnev

Mikhail Vasilyevich Pletnev janyo hankalin kusa da hankali na biyu kwararru da kuma sauran jama'a. Ya shahara sosai; Ba zai zama wuce gona da iri ba idan a ce ta wannan bangaren ya dan bambanta a cikin jerin gwanon masu lashe gasar kasa da kasa a shekarun baya-bayan nan. Kusan ana sayar da wasannin pianist kuma babu wata alama da ke nuna cewa wannan yanayin na iya canzawa.

Pletnev - wani hadadden, m artist, tare da nasa hali, abin tunawa fuska. Kuna iya sha'awar shi ko a'a, ku shelanta shi shugaban fasahar pianistic na zamani ko gaba ɗaya, "daga cikin shuɗi", ƙin duk abin da yake yi (yana faruwa), a kowane hali, saninsa ba ya barin mutane ba su damu ba. Kuma shi ke da muhimmanci, a ƙarshe.

… An haife shi a Afrilu 14, 1957 a Arkhangelsk, a cikin iyali na mawaƙa. Daga baya ya koma tare da iyayensa zuwa Kazan. Mahaifiyarsa, 'yar wasan pian ta ilimi, ta yi aiki a lokaci ɗaya a matsayin mai rakiya da malami. Mahaifina ƙwararren ɗan wasa ne, yana koyarwa a makarantun ilimi dabam-dabam, kuma ya yi shekaru da yawa yana mataimakin farfesa a Makarantar Conservatory ta Kazan.

Misha Pletnev ya gano ikonsa na kiɗa da wuri - tun yana ɗan shekara uku ya kai ga piano. Kira Alexandrovna Shashkina, malami a Kazan Special Music School, ya fara koya masa. A yau yana tunawa da Shashkina kawai da wata kalma mai kyau: "Mawaƙin kirki ... Bugu da ƙari, Kira Alexandrovna ya ƙarfafa ƙoƙarina na tsara kiɗa, kuma zan iya cewa babbar godiya gare ta saboda wannan."

A shekaru 13, Misha Pletnev koma Moscow, inda ya zama dalibi na Central Music School a cikin aji na EM Timakin. Wani mashahurin malami, wanda ya bude hanyar zuwa mataki ga mutane da yawa daga baya shahararrun concertgoers, EM Timakin taimaka Pletnev a hanyoyi da yawa. "Iya, iya, sosai. Kuma kusan a farkon wuri - a cikin ƙungiyar na'urorin fasaha na mota. Malami wanda yayi tunani mai zurfi da ban sha'awa, Evgeny Mihaylovich yana da kyau a yin wannan. Pletnev zauna a Timakin ta ajin shekaru da yawa, sa'an nan, lokacin da yake dalibi, ya koma zuwa ga farfesa na Moscow Conservatory, Ya. V. Flier.

Pletnev ba shi da sauƙi darussa tare da Flier. Kuma ba kawai saboda manyan bukatun Yakov Vladimirovich. Kuma ba don suna wakiltar al'ummomi daban-daban a fasaha ba. Halayensu na kirkire-kirkire, haruffa, halayensu sun kasance masu ban sha'awa: mai himma, mai sha'awar, duk da shekarunsa, farfesa, da ɗalibin da ya yi kama da cikakken kishiyarsa, kusan antipode… Ba abu ne mai sauƙi ba saboda yanayinsa mai wuya, taurin kai, mai wuyar fahimta: yana da ra'ayi na kansa kuma mai zaman kanta akan kusan komai, bai bar tattaunawa ba, amma, akasin haka, a fili ya neme su - sun ɗauki kaɗan akan bangaskiya ba tare da shaida. Shaidun gani da ido sun ce Flier wani lokaci yakan huta na dogon lokaci bayan darussa da Pletnev. Sau ɗaya, kamar dai ya ce yana ciyar da kuzari sosai akan darasi ɗaya tare da shi kamar yadda yake ciyarwa akan kide kide kide kide da wake-wake guda biyu… Duk wannan, duk da haka, bai saɓa wa zurfin ƙaunar malami da ɗalibi ba. Wataƙila, akasin haka, ya ƙarfafa ta. Pletnev shine "waƙar swan" na Flier malami (abin takaici, ba dole ba ne ya rayu har zuwa babbar nasara na ɗalibinsa); farfesa ya yi magana game da shi da bege, sha'awa, ya gaskata da makomarsa: “Ka ga, idan ya yi wasa gwargwadon iyawarsa, da gaske za ku ji wani sabon abu. Wannan ba ya faruwa sau da yawa, yi imani da ni - Ina da isasshen gogewa… ” (Gornostaeva V. Rikici a kusa da sunan // al'adun Soviet. 1987. Maris 10.).

Kuma dole ne a ambaci wani mawaƙa, wanda ya lissafa waɗanda Pletnev bashi da shi, wanda ya kasance yana da dogon lokaci masu dangantaka. Wannan shi ne Lev Nikolaevich Vlasenko, wanda ajin ya sauke karatu daga Conservatory a shekarar 1979, sa'an nan mataimakin mai horar da. Yana da ban sha'awa a tuna cewa wannan gwaninta yana cikin bangarori da yawa daban-daban na ƙirar ƙirƙira fiye da na Pletnev: karimcinsa, buɗaɗɗen motsin rai, ikon yin fa'ida - duk wannan yana yaudarar shi wakilin nau'in fasaha daban-daban. Duk da haka, a cikin fasaha, kamar yadda a cikin rayuwa, sabawa sau da yawa suna haɗuwa, sun zama masu amfani da mahimmanci ga juna. Akwai misalan haka da yawa a cikin rayuwar yau da kullun na ilmantarwa, da al'adar hada kida, da sauransu, da sauransu.

… A baya a cikin shekarun makaranta, Pletnev ya shiga cikin gasar kiɗa ta duniya a Paris (1973) kuma ya ci Grand Prix. A 1977 ya lashe lambar yabo ta farko a gasar Piano All-Union a Leningrad. Kuma a sa'an nan daya daga cikin manyan, yanke shawara al'amurran da suka shafi rayuwarsa na fasaha ya biyo baya - nasara ta zinariya a gasar Tchaikovsky na shida (1978). Wannan shine inda hanyarsa zuwa babban fasaha ta fara.

Abin lura shi ne cewa ya shiga cikin wasan kide kide a matsayin wani kusan cikakken artist. Idan yawanci a irin waɗannan lokuta dole ne a ga yadda mai koyo ya girma a hankali a cikin masters, mai koyo a cikin balagagge, mai fasaha mai zaman kanta, tare da Pletnev ba zai yiwu a lura da wannan ba. Tsarin balagaggen ƙirƙira ya juya ya zama a nan, kamar yadda yake, an ƙera shi, ɓoye daga idanun prying. Nan da nan masu sauraro sun saba da ingantaccen ɗan wasan kide-kide - natsuwa da hankali a cikin ayyukansa, daidai yake da iko da kansa, da tabbaci. cewa yana so yace kuma as ya kamata a yi. Babu wani abu da bai balaga ba, rashin jituwa, rashin kwanciyar hankali, mai kama da ɗalibi da aka gani a wasansa - ko da yake yana ɗan shekara 20 ne kawai a lokacin ba shi da ɗan gogewa.

A cikin takwarorinsa, an san shi da mahimmanci, da tsantsar yin tafsiri, da tsaftataccen ɗabi'a na ruhaniya ga kida; na karshen, watakila, ya jefa masa mafi yawa… Shirye-shiryensa na waɗannan shekarun sun haɗa da shahararriyar Sonata ta talatin da biyu ta Beethoven - wani hadadden zane mai zurfin falsafa na zane-zane. Kuma shi ne halayyar cewa shi ne wannan abun da ke ciki ya faru ya zama daya daga cikin m ƙulla wani matashi artist. Masu sauraro na ƙarshen shekarun saba'in - farkon shekarun tamanin ba zai yiwu su manta da Arietta (ɓangare na biyu na sonata) wanda Pletnev ya yi - sa'an nan kuma a karon farko saurayin ya buge ta da hanyar furtawa, kamar yadda yake, a cikin murya. , mai nauyi da mahimmanci, rubutun kiɗan. Af, ya kiyaye wannan hanya har zuwa yau, ba tare da rasa tasirin sa na jin daɗi ga masu sauraro ba. (Akwai aphorism na barkwanci bisa ga abin da za a iya raba duk masu zane-zane na kide-kide zuwa manyan sassa biyu; wasu na iya taka leda da kyau kashi na farko na Sonata na Beethoven na talatin da biyu, wasu kuma na iya buga kashi na biyu na shi. Pletnev yana wasa da sassan biyu daidai. da kyau; wannan da gaske da wuya ya faru.).

Gabaɗaya, idan aka kalli wasan farko na Pletnev, ba za a iya kasawa ba don jaddada cewa ko da yake yana ɗan ƙarami, babu wani abu mai banƙyama, na zahiri a cikin wasansa, babu wani abu daga fanko na virtuoso. Tare da kyakkyawar dabararsa ta pianistic - kyakkyawa da hazaka - bai taɓa ba da wani dalili na zagin kansa ba saboda illar waje kawai.

Kusan daga wasan kwaikwayo na farko na mai wasan pianist, sukar ya yi magana game da tunani mai zurfi da hankali. Lallai, tunanin tunani koyaushe yana nan a sarari akan abin da yake yi akan madannai. “Ba girman motsin ruhaniya ba, amma daidaito bincike"- Wannan shi ne abin da ke ƙayyade, bisa ga V. Chinaev, babban sautin fasahar Pletnev. Mai sukar ya kara da cewa: "Pletnev yana bincika masana'anta mai sauti da gaske - kuma yana yin shi ba tare da lahani ba: komai yana haskakawa - zuwa mafi ƙanƙantar dalla-dalla - abubuwan da ke tattare da plexuses ɗin rubutu, dabaru na tsinke, ƙarfi, daidaitattun daidaito suna fitowa a cikin tunanin mai sauraro. Wasan tunani na nazari - m, sani, unmistakable " (Chinaev V. Calm of Clarity // Sov. music. 1985. No. 11. P. 56.).

Da zarar a cikin wata hira da aka buga a cikin 'yan jaridu, mai magana da Pletnev ya gaya masa: "Kai, Mikhail Vasilievich, ana daukar ku a matsayin mai zane na ɗakin ajiyar basira. Yi la'akari a wannan batun daban-daban ribobi da fursunoni. Abin sha'awa, menene ka fahimta ta hanyar hankali a cikin fasahar kiɗa, musamman, yin wasan kwaikwayo? Kuma ta yaya mai hankali da fahimta ke da alaƙa a cikin aikin ku? ”

"Na farko, idan za ku, game da ilhami," ya amsa. - Ga alama a gare ni cewa hankali a matsayin iyawa yana kusa da abin da muke nufi ta fasaha da fasaha. Godiya ga fahimta - bari mu kira shi, idan kuna so, kyautar samar da fasaha - mutum zai iya samun nasara a cikin fasaha fiye da hawan dutse kawai na ilimi da kwarewa na musamman. Akwai misalai da yawa don tallafawa ra'ayina. Musamman a cikin kiɗa.

Amma ina ganin ya kamata a sanya tambayar a ɗan bambanta. Me yasa or abu daya or sauran? (Amma, abin takaici, wannan shine yadda suke fuskantar matsalar da muke magana akai. da kyakkyawar fahimta, kyakkyawar fahimta? Me yasa ba ilhami tare da ikon fahimtar aikin ƙirƙira da hankali ba? Babu wani haɗin da ya fi wannan.

Wani lokaci za ka ji cewa nauyin ilimi zai iya yin nauyi ga mai kirkira, ya kau da fahimtar farkonsa a cikinsa… Ba na jin haka. Maimakon haka, akasin haka: ilimi da tunani na hankali suna ba da ƙarfi, kaifi. Dauke shi zuwa matsayi mafi girma. Idan mutum yana jin fasaha a hankali kuma a lokaci guda yana da ikon yin ayyukan bincike mai zurfi, zai ci gaba a cikin kerawa fiye da wanda ya dogara ga ilhami kawai.

Af, waɗancan masu fasaha waɗanda ni da kaina na fi so a cikin kiɗan kiɗa da wasan kwaikwayo ana bambanta su ta hanyar haɗin kai na ilhama - da ma'ana-ma'ana, waɗanda ba su sani ba - da masu hankali. Dukansu suna da ƙarfi a cikin hasashe na fasaha da hankali.

... Sun ce lokacin da fitaccen ɗan wasan piano na Italiya Benedetti-Michelangeli ya ziyarci Moscow (a tsakiyar shekarun sittin ne), an tambaye shi a ɗaya daga cikin tarurrukan da mawaƙan babban birnin kasar - menene, a ra'ayinsa, yana da mahimmanci ga mai wasan kwaikwayo. ? Ya amsa da cewa: ilimin kida-ka'idar. Abin mamaki, ko ba haka ba? Kuma mene ne ilimin ka'idar ke nufi ga mai yin aiki a cikin ma'anar kalmar? Wannan ƙwararriyar hankali ce. A kowane hali, ainihin abin da ya faru. ”… (Rayuwar Kiɗa. 1986. No. 11. P. 8.).

Magana game da basirar Pletnev ya kasance na dogon lokaci, kamar yadda aka gani. Za ka iya ji su duka a cikin da'irar na kwararru da kuma a cikin talakawa music masoya. Kamar yadda wani mashahurin marubuci ya taɓa lura, akwai tattaunawa waɗanda, da zarar sun fara, ba su daina… A zahiri, babu wani abin zargi a cikin waɗannan tattaunawar da kansu, sai dai idan kun manta: a wannan yanayin, bai kamata mu yi magana game da “sanyi” na farko na Pletnev ba. idan ya kasance kawai sanyi, rashin tausayi maras kyau, ba zai da wani abu da zai yi a kan wasan kwaikwayo) kuma ba game da wani irin "tunani" game da shi ba, amma game da halin musamman na mai zane. Nau'in gwaninta na musamman, "hanyar" ta musamman don ganewa da bayyana kida.

Amma game da kamun kai na Pletnev, game da abin da ake magana da yawa, tambaya ita ce, yana da daraja yin jayayya game da dandano? Ee, Pletnev rufaffiyar yanayi ne. Tsananin motsin rai na wasansa na iya kaiwa wani lokaci kusan asceticism - ko da lokacin da ya yi Tchaikovsky, ɗaya daga cikin marubutan da ya fi so. Ko ta yaya, bayan daya daga cikin wasan kwaikwayo na pianist, wani bita ya bayyana a cikin latsawa, wanda marubucin ya yi amfani da furcin: "kalmomin kai tsaye" - duka daidai ne kuma har zuwa ma'ana.

Irin wannan, muna maimaitawa, shine yanayin fasaha na mai zane. Kuma wanda kawai zai iya yin farin ciki cewa ba ya "wasa", baya amfani da kayan shafawa na mataki. A ƙarshe, a cikin waɗanda suke da gaske akwai abin da za ku ce, kadaici ba haka ba ne: duka a rayuwa da kuma a kan mataki.

Lokacin da Pletnev ya fara zama na farko a matsayin mai wasan kwaikwayo, wani wuri mai mahimmanci a cikin shirye-shiryensa ya shagaltar da ayyukan JS Bach (Partita a cikin B small, Suite a cikin ƙananan yara), Liszt (Rhapsodies XNUMX da XNUMX, Piano Concerto No. XNUMX), Tchaikovsky ( Bambance-bambance a cikin manyan F, wasan kwaikwayo na piano), Prokofiev (Sonata na bakwai). Daga baya, ya samu nasarar buga ayyuka da dama da Schubert, Brahms's na uku Sonata, taka daga shekarun Wanderings sake zagayowar da Liszt ta sha biyu Rhapsody, Balakirev's Islamey, Rachmaninov's Rhapsody a kan Jigo na Paganini, Grand Sonata, The Seasons da Tachaikovsky mutum opuses. .

Ba shi yiwuwa ba a ambaci monoographic maraice kishin sonatas na Mozart da Beethoven, ba a ma maganar na biyu Piano Concerto na Saint-Saens, preludes da fugues na Shostakovich. A cikin lokacin 1986/1987 Haydn's Concerto a cikin D Major, Debussy's Piano Suite, Rachmaninov's Preludes, Op. 23 da sauran guda.

Ci gaba, tare da tabbataccen manufa, Pletnev yana neman nasa salon salo mafi kusa da shi a cikin wasan piano na duniya. Ya gwada kansa a cikin fasaha na mawallafa daban-daban, eras, trends. A wasu hanyoyi ma yakan kasa, amma a mafi yawan lokuta yakan sami abin da yake bukata. Da farko, a cikin kiɗa na karni na XNUMX (JS Bach, D. Scarlatti), a cikin litattafan Viennese (Haydn, Mozart, Beethoven), a wasu yankuna masu ƙirƙira na romanticism (Liszt, Brahms). Kuma, ba shakka, a cikin rubuce-rubucen marubuta na makarantun Rasha da Soviet.

Mafi yawan muhawara shine Pletnev's Chopin (sonatas na biyu da na uku, polonaises, ballads, nocturnes, da dai sauransu). A nan ne, a cikin wannan waƙar, mutum ya fara jin cewa mai wasan pian ɗin ya rasa gaske a wasu lokuta gaggawa da buɗaɗɗen ji; haka ma, yana da siffa cewa a cikin wani repertoire daban-daban ba ya faruwa a yi magana game da shi. A nan ne, a cikin duniyar mawaƙa ta Chopin, ba zato ba tsammani za ku lura cewa Pletnev ba shi da sha'awar guguwa mai zurfi na zuciya, cewa shi, a cikin sharuddan zamani, ba shi da sadarwa sosai, kuma ko da yaushe akwai tazara tsakanin. shi da masu sauraro. Idan masu wasan kwaikwayo waɗanda, yayin da suke gudanar da "magana" na kiɗa tare da mai sauraro, suna da alama suna kan "ku" tare da shi; Pletnev koyaushe kuma kawai akan "ku".

Da kuma wani muhimmin batu. Kamar yadda kuka sani, a cikin Chopin, a cikin Schumann, a cikin ayyukan wasu romantics, ana buƙatar mai yin wasan don yin wasan kwaikwayo mai ban sha'awa na yanayi, sha'awa da rashin tabbas na ƙungiyoyin ruhaniya. sassauci na hankali nuance, a takaice, duk abin da ke faruwa ne kawai ga mutanen wani ɗakin ajiyar waƙa. Duk da haka, Pletnev, mai kida da kuma mutum, yana da wani abu kadan daban-daban ... Romantic improvisation ba kusa da shi ko dai - cewa musamman 'yanci da sako-sako da mataki hanya, a lõkacin da ga alama cewa aikin ba zato ba tsammani, kusan ba zato ba tsammani ya taso a karkashin yatsunsu. mai yin kida.

Af, daya daga cikin masu kida da ake girmamawa, da ya taba ziyartar wasan pianist, ya bayyana ra'ayin cewa "an haifi Pletnev a yanzu, wannan minti daya" (Tsareva E. Ƙirƙirar hoto na duniya // Sov. music. 1985. No. 11. P. 55.). Ko ba haka ba? Shin, ba zai zama mafi daidai ba a faɗi cewa akasin haka? A kowane hali, ya fi kowa jin cewa duk abin (ko kusan komai) a cikin aikin Pletnev an yi la'akari da hankali, tsarawa, da ginawa a gaba. Kuma a sa'an nan, tare da daidaitattun daidaito da daidaito, an haɗa shi "a cikin kayan". Haɗe da daidaiton maharbi, tare da kusan kashi ɗari da aka buga akan manufa. Wannan ita ce hanyar fasaha. Wannan shi ne salon, kuma salon, ka sani, mutum ne.

Yana da alama cewa Pletnev mai wasan kwaikwayo wani lokaci ana kwatanta shi da Karpov mai wasan chess: sun sami wani abu na kowa a cikin yanayi da tsarin ayyukansu, a cikin hanyoyin da za a magance ayyukan da suke fuskanta, har ma a cikin "hoton" na waje kawai. suna ƙirƙira - ɗaya a bayan piano na madannai, wasu a kan darasi. Ana kwatanta fassarori na Pletnev tare da ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun ƙayyadaddun tsarin Karpov; na ƙarshe, bi da bi, ana kwatanta su da gine-ginen sauti na Pletnev, wanda ba shi da kyau a cikin ma'anar tunani da fasaha na kisa. Ga dukkan al'adar irin waɗannan kwatankwacin, ga duk abin da suke da shi, a sarari suna ɗaukar wani abu da ke jan hankali…

Yana da kyau a ƙara da abin da aka faɗi cewa salon fasaha na Pletnev gabaɗaya ya saba da fasahar kiɗa da wasan kwaikwayo na zamaninmu. Musamman ma, cewa matakan haɓakawa na rashin haɓaka, wanda aka nuna kawai. Ana iya lura da wani abu makamancin haka a cikin ayyukan fitattun masu fasaha na yau. A cikin wannan, kamar yadda a cikin sauran abubuwa, Pletnev yana da zamani sosai. Wataƙila shi ya sa ake yin zazzafar muhawara a kusa da fasaharsa.

Yawancin lokaci yana ba da ra'ayi na mutumin da ke da gaba ɗaya gabaɗaya - a kan mataki da kuma a rayuwar yau da kullun, cikin sadarwa tare da wasu. Wasu mutane suna son sa, wasu kuma ba sa son sa… A cikin wannan tattaunawar da aka yi da shi, guntuwar da aka kawo a sama, an tabo wannan batu a kaikaice:

– Hakika, ka sani, Mikhail Vasilyevich, cewa akwai masu fasaha da suka ayan overestimate kansu zuwa daya mataki ko wani. Wasu, akasin haka, suna fama da rashin ƙima na nasu "I". Za ku iya yin sharhi game da wannan gaskiyar, kuma zai zama mai kyau daga wannan kusurwa: girman kai na ciki na mai fasaha da jin dadinsa. Daidai m...

– A ra’ayina, duk ya dogara ne akan wane mataki aikin mawaƙin yake. A wane mataki. Ka yi tunanin cewa wani ɗan wasan kwaikwayo yana koyon wani yanki ko shirin wasan kwaikwayo da ba shi da kyau. Don haka, abu ɗaya ne ka yi shakka a farkon aiki ko ma a tsakiyarsa, lokacin da kake ɗaya tare da kiɗa da kanka. Kuma wani abu - a kan mataki ...

Duk da yake mai zane yana cikin kaɗaici, yayin da yake ci gaba da aiki, yana da kyau a gare shi ya ƙi yarda da kansa, ya raina abin da ya yi. Duk wannan don alheri ne kawai. Amma idan kun sami kanku a cikin jama'a, yanayin ya canza, kuma a asali. A nan, kowane irin tunani, raina kansa yana cike da matsaloli masu tsanani. Wani lokaci ba a iya gyarawa.

Akwai mawakan da a kullum suke azabtar da kansu da tunanin cewa ba za su iya yin wani abu ba, sai su yi kuskure a cikin wani abu, su gaza wani wuri; da dai sauransu Kuma a gaba ɗaya, sun ce, abin da ya kamata su yi a kan mataki lokacin da akwai, ka ce, Benedetti Michelangeli a cikin duniya ... Yana da kyau kada a bayyana a kan mataki tare da irin wannan tunani. Idan mai sauraro a cikin zauren bai amince da mai zane ba, ba da gangan ya rasa girmamawa gare shi ba. Don haka (wannan shine mafi sharrin duka) da kuma fasaharsa. Babu tabbas na ciki - babu lallashi. Mai wasan kwaikwayo ya yi shakka, mai yin ya yi shakka, masu sauraro kuma suna shakka.

Gabaɗaya, zan taƙaita shi kamar haka: shakku, rashin la'akari da ƙoƙarin ku a cikin aiwatar da aikin gida - kuma wataƙila ƙarin amincewa da kai akan mataki.

– Amincewa da kai, ka ce… Yana da kyau idan wannan halin ya kasance cikin mutum bisa manufa. Idan tana cikin dabi'arsa. Idan kuma ba haka ba?

“To ban sani ba. Amma na san wani abu dabam: duk aikin farko na shirin da kuke shiryawa don baje kolin jama'a dole ne a yi shi da cikakken bayani. Lamiri na mai yin, kamar yadda suke faɗa, dole ne ya kasance da tsafta. Sai amincewa. Akalla haka abin yake gareni (Rayuwar Kiɗa. 1986. No. 11. P. 9.).

… A cikin wasan Pletnev, ana jan hankali koyaushe zuwa cikakkiyar gamawar waje. Kayan ado na neman cikakkun bayanai, daidaitattun layukan da ba za a iya kwatanta su ba, tsayuwar juzu'in sauti, da tsantsar daidaitawa suna da ban sha'awa. A zahiri, Pletnev ba zai zama Pletnev ba idan ba don wannan cikakkiyar cikar duk abin da yake aikin hannunsa ba - idan ba don wannan fasaha mai ban sha'awa ba. "A cikin fasaha, nau'i mai kyau abu ne mai girma, musamman ma inda wahayi ba ya shiga cikin raƙuman ruwa ..." (Akan wasan kwaikwayo na kiɗa. - M., 1954. P. 29.)- da zarar VG Belinsky ya rubuta. Ya kasance a cikin tunanin ɗan wasan kwaikwayo na zamani VA Karatygin, amma ya bayyana dokar duniya, wanda ke da alaƙa ba kawai ga wasan kwaikwayo na wasan kwaikwayo ba, har ma da wasan kwaikwayo. Kuma babu wanin Pletnev wanda ya tabbatar da wannan doka. Yana iya zama ko žasa mai sha'awar tsarin yin kiɗa, yana iya yin nasara ko žasa - abin da kawai ba zai iya zama ba shine maras kyau ...

"Akwai 'yan wasan kide kide da wake-wake," in ji Mikhail Vasilyevich, wanda wasa wani lokacin yana jin wani nau'i na kima, zane-zane. Yanzu, kun ga, suna “shafawa” wani wuri mai wuyar fasaha tare da feda, sannan suka jefa hannayensu cikin fasaha da fasaha, suna jujjuya idanunsu zuwa rufi, suna karkatar da hankalin mai sauraro daga babban abu, daga maballin… da kaina, wannan shine baƙo gare ni. Ina sake maimaitawa: Na ci gaba daga ra'ayi cewa a cikin aikin da aka yi a cikin jama'a, duk abin da ya kamata a kawo shi zuwa cikakkiyar 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 ƙwararru , da kuma ƙwararrun ƙwararru a cikin aikin gida. A rayuwa, a rayuwar yau da kullum, muna mutunta masu gaskiya kawai, ko ba haka ba? - kuma ba ma girmama waɗanda suke batar da mu. Haka abin yake a mataki.”

A cikin shekaru, Pletnev ya kasance mai tsauri da kansa. Ka'idojin da ake bi da shi a cikin aikinsa suna ƙara tsauri. Sharuɗɗan koyon sababbin ayyuka sun daɗe.

“Ka ga, lokacin da nake ɗalibi kuma na fara wasa, buƙatuna na yin wasa sun dogara ba kawai ga abubuwan da nake so ba, ra’ayi, hanyoyin ƙwararru, har ma da abin da na ji daga malamaina. Har zuwa wani lokaci, na ga kaina ta hanyar tsinkayar fahimtarsu, na yi wa kaina hukunci bisa ga umarninsu, kimantawa, da buri. Kuma ya kasance gaba daya na halitta. Yakan faru da kowa idan yayi karatu. Yanzu ni da kaina, daga farko har ƙarshe, na ƙaddara halina ga abin da aka yi. Ya fi ban sha'awa, amma kuma ya fi wahala, ya fi alhaki."

* * * *

Pletnev a yau yana a hankali, yana ci gaba da ci gaba. Wannan abin lura ne ga kowane mai lura da rashin son zuciya, duk wanda ya san yadda gani. Kuma yana so gani, ba shakka. A lokaci guda kuma, ba daidai ba ne a yi tunani, ba shakka, cewa tafarkinsa ko da yaushe daidai ne kuma madaidaiciya, ba tare da kowane zigzags na ciki ba.

“Ba zan iya cewa ta kowace hanya ba cewa yanzu na zo ga wani abu mara girgiza, na ƙarshe, tabbatacce. Ba zan iya cewa: a da, sun ce, na yi irin wannan kuskure ko irin wannan, amma yanzu na san komai, na fahimta kuma ba zan sake maimaita kuskuren ba. Tabbas, wasu kura-kurai da rashin fahimta na baya-bayan nan sun kara bayyana a gare ni tsawon shekaru. Duk da haka, na yi nisa da tunanin cewa a yau ban fada cikin wasu rudu da za su ji kansu daga baya ba.

Wataƙila shi ne rashin tabbas na ci gaban Pletnev a matsayin mai zane-zane - abubuwan ban mamaki da ban mamaki, matsaloli da rikice-rikice, irin nasarori da asarar da wannan ci gaba ya ƙunshi - kuma yana haifar da ƙarin sha'awar fasaharsa. Sha'awar da ta tabbatar da karfi da kwanciyar hankali a cikin kasarmu da waje.

Hakika, ba kowa yana son Pletnev daidai ba. Babu wani abu da ya fi na halitta da fahimta. Fitaccen marubucin larabci na Soviet Y. Trifonov ya taɓa cewa: “A ganina, marubuci ba zai iya ba kuma bai kamata kowa ya so shi ba.” (Trifonov Yu. Ta yaya kalmarmu za ta amsa… – M., 1985. S. 286.). Mawaƙin kuma. Amma kusan kowa da kowa ya mutunta Mikhail Vasilyevich, ba tare da cikakken mafi yawan abokan aiki a kan mataki. Wataƙila babu wata alama da ta fi dogaro da gaskiya, idan muka yi magana game da ainihin, kuma ba fa'idodin da ya dace na mai yin ba.

Girmamawa da Pletnev ke morewa yana samun sauƙaƙa sosai ta wurin rikodin gramophone ɗinsa. Af, yana ɗaya daga cikin mawaƙa waɗanda ba kawai ba sa yin hasarar rikodin rikodi ba, amma wani lokacin har ma da nasara. Kyakkyawan tabbaci na wannan shine fayafai da ke nuna wasan pianist na Mozart sonata da yawa (“Melody”, 1985), ƙaramin sonata B, “Mephisto-Waltz” da sauran guda Liszt (“Melody”, 1986), da Na farko Piano Concerto da "Rhapsody a kan Jigo Paganini" na Rachmaninov ("Melody", 1987). "Lokaci" na Tchaikovsky ("Melody", 1988). Ana iya ci gaba da wannan jeri idan ana so…

Bugu da ƙari, babban abin da ke cikin rayuwarsa - wasa da piano, Pletnev kuma ya tsara, gudanarwa, koyarwa, da kuma yin wasu ayyuka; A cikin kalma, yana ɗauka da yawa. Yanzu, duk da haka, yana ƙara tunani game da gaskiyar cewa ba shi yiwuwa a ci gaba da yin aiki kawai don "bestowal". Cewa wajibi ne a rage gudu daga lokaci zuwa lokaci, duba ko'ina, gane, assimilate ...

"Muna buƙatar wasu tanadi na ciki. Sai kawai lokacin da suke, akwai sha'awar saduwa da masu sauraro, don raba abin da kuke da shi. Ga mawaƙi mai yin kida, da mawallafi, marubuci, mai zane, wannan yana da matuƙar mahimmanci - sha'awar rabawa… Don gaya wa mutane abin da kuka sani da abin da kuka ji, don isar da jin daɗin ku na ƙirƙira, sha'awar kiɗan, fahimtar ku. Idan babu irin wannan sha'awar, kai ba mai zane ba ne. Kuma fasahar ku ba fasaha ba ce. Na lura fiye da sau ɗaya, lokacin ganawa da manyan mawaƙa, cewa wannan shine dalilin da ya sa suke tafiya a kan mataki, cewa suna buƙatar bayyana ra'ayoyinsu na ƙirƙira a fili, don gaya game da halin su ga wannan ko wannan aikin, marubucin. Na tabbata cewa wannan ita ce kawai hanyar da za ku bi da kasuwancin ku. "

G. Tsipin, 1990

A 1980 Pletnev ya fara halarta a karon a matsayin madugu. Ba da babban sojojin na pianistic aiki, ya sau da yawa ya bayyana a consoles na manyan makada na kasar mu. Amma Yunƙurin na gudanar da aiki ya zo a cikin 90s, lokacin da Mikhail Pletnev kafa Rasha National Orchestra (1990). A karkashin jagorancinsa, ƙungiyar makaɗa, ta taru daga cikin mafi kyawun mawaƙa da masu ra'ayi iri ɗaya, cikin sauri ta sami suna a matsayin ɗaya daga cikin mafi kyawun makaɗa a duniya.

Gudanar da ayyukan Mikhail Pletnev yana da wadata kuma ya bambanta. A cikin lokutan da suka gabata, Maestro da RNO sun gabatar da shirye-shiryen da yawa na adabi waɗanda aka sadaukar don JS Bach, Schubert, Schumann, Mendelssohn, Brahms, Liszt, Wagner, Mahler, Tchaikovsky, Rimsky-Korsakov, Scriabin, Prokofiev, Shostakovich, Stravinsky… Ƙara hankali ga mai gudanarwa yana mai da hankali kan nau'in opera: a cikin Oktoba 2007, Mikhail Pletnev ya fara halarta a karon a matsayin mai gudanarwa na opera a Bolshoi Theater tare da wasan opera na Tchaikovsky The Queen of Spades. A cikin shekaru masu zuwa, jagoran ya yi wasan kwaikwayo na Rachmaninov's Aleko da Francesca da Rimini, Bizet's Carmen (PI Tchaikovsky Concert Hall), da Rimsky-Korsakov's May Night (Arkhangelskoye Estate Museum).

Baya ga kyakkyawar haɗin gwiwa tare da ƙungiyar mawaƙa ta ƙasar Rasha, Mikhail Pletnev yana aiki a matsayin jagorar baƙo tare da manyan ƙungiyoyin kiɗa kamar Mahler Chamber Orchestra, Concertgebouw Orchestra, Philharmonia Orchestra, Mawakan Symphony na London, Birmingham Symphony Orchestra, Los Angeles Philharmonic Orchestra, Tokyo Philharmonic Orchestra. …

A shekara ta 2006, Mikhail Pletnev ya kirkiro gidauniyar Mikhail Pletnev don Tallafawa Al'adun Kasa, ƙungiyar da burinta, tare da samar da babban ɗabi'ar Pletnev, ƙungiyar mawaƙa ta Rasha, shine tsarawa da tallafawa ayyukan al'adu mafi girma, kamar Volga. Tours, wani taron tunawa da tunawa da wadanda abin ya shafa na mummunan bala'i a Beslan, shirin kiɗa da ilimi "Magic of Music", wanda aka tsara musamman don ɗaliban gidajen marayu da makarantun kwana ga yara masu nakasa ta jiki da ta hankali, shirin biyan kuɗi a cikin Zauren kide-kide "Orchestron", inda ake gudanar da kide kide da wake-wake tare da MGAF, gami da ga jama'ar da ba su da kariyar jama'a, fa'ida mai yawa da kuma Babban RNO Festival.

Wani muhimmin wuri a cikin ayyukan kirkiro na M. Pletnev yana shagaltar da abun da ke ciki. Daga cikin ayyukansa akwai Triptych for Symphony Orchestra, Fantasy for Violin da Orchestra, Capriccio na Piano da Orchestra, shirye-shiryen piano na suites daga kiɗan ballets The Nutcracker da The Sleeping Beauty ta Tchaikovsky, tsararren daga kiɗan ballet Anna Karenina ta hanyar. Shchedrin, Viola Concerto, tsari don clarinet na Beethoven's Violin Concerto.

Ayyukan Mikhail Pletnev suna ci gaba da yin alama da manyan lambobin yabo - shi ne lambar yabo ta kasa da kasa, ciki har da kyautar Grammy da Triumph. Sai kawai a shekara ta 2007, mawaƙin ya sami lambar yabo na Shugaban Tarayyar Rasha, Order of Merit for the Fatherland, III digiri, Order of Daniel na Moscow, bayar da Mai Tsarki Patriarch Alexy II na Moscow da All Rasha.