Mircea Basarab |
Mircea Basarab
A karon farko, masu sauraron Soviet sun gana da Mircea Basarab a ƙarshen 1950s, a lokacin wani rangadin Tarayyar Soviet ta Bucharest Symphony Orchestra mai suna J. Enescu. Sa'an nan jagoran ya kasance matashi kuma yana da ɗan gogewa - ya tsaya a filin wasa kawai a cikin 1947. Gaskiya, a bayansa ba kawai shekarun karatu a Bucharest Conservatory ba ne, har ma da kaya mai yawa na mawaki har ma da aikin ilmantarwa a cikin "alma mater". ”, inda yake koyarwa ajin ƙungiyar makaɗa tun 1954, kuma, a ƙarshe, ƙasidar nan “Kayayyakin Ƙwallon Ƙwallon Ƙwallon Ƙwallon Ƙaƙa” da ya rubuta “.
Amma wata hanya ko wata, baiwar ɗan wasan kwaikwayo ya bayyana a fili har ma da bangon irin wannan mashahurin mashahurin kamar shugaban ƙungiyar makaɗa da Bucharest, J. Georgescu a lokacin. Basarab ya gudanar da wani gagarumin shirin a Moscow, wanda ya hada da daban-daban ayyuka kamar Symphony na Franck, da Pine na Roma ta O. Respighi da kuma qagaggun na 'yan uwansa - da farko Suite na G. Enescu, Concerto for Orchestra ta P. Constantinescu, "Dance" T. Rogalsky. Masu suka sun lura cewa Basarab “mawaƙi ne mai hazaka mai hazaka, wanda aka ba shi zafin zafin rai, da ikon sadaukar da kansa ga fasaharsa.”
Tun daga wannan lokacin Basarab ya yi nisa da fasaha, basirarsa ta ƙara ƙarfi, balagagge, wadatar da sabbin launuka. A cikin shekarun da suka gabata, Basarab ya zagaya kusan dukkanin kasashen Turai, ya halarci manyan bukukuwan kide-kide, tare da hada kai da kwararrun mawakan solo. Ya yi akai-akai a kasar mu, tare da Soviet Orchestras da kuma sake tare da Bucharest Philharmonic Orchestra, wanda ya zama babban shugaba a 1964. "Ayyukansa," kamar yadda mai sukar ya lura shekaru goma bayan haka, "har yanzu yana da zafi, ya samu sikelin. zurfin zurfi."
Basarab, da yake da tarin waka mai tarin yawa, kamar yadda yake a da, yana mai da hankali sosai kan inganta abubuwan da suka hada da 'yan uwansa. Lokaci-lokaci, yana kuma yin abubuwan nasa - Rhapsody, Symphonic Variations, Triptych, Divertimento, Sinfonietta.
L. Grigoriev, J. Platek, 1969
