Myron Polyakin (Miron Polyakin) |

Miron Polyakin

Miron Polyakin da Jascha Heifetz sune manyan wakilan makarantar fitacciyar makarantar violin ta duniya ta Leopold Auer kuma, ta hanyoyi da yawa, biyu daga cikin magungunanta. Tsananin gargajiya, mai tsanani har ma a cikin pathos, jaruntaka da girman wasan Heifetz sun bambanta sosai da sha'awar wasan Polyakin. Kuma yana da ban mamaki cewa su biyun an sassaka su da fasaha ta hannun ubangiji ɗaya.

An haifi Miron Borisovich Polyakin a ranar 12 ga Fabrairu, 1895 a birnin Cherkasy, yankin Vinnitsa, a cikin dangin mawaƙa. Uban, hazikin jagora, violinist kuma malami, ya fara koya wa ɗansa kiɗa da wuri. Uwa tana da kyawawan iyawar kida. Ta da kanta, ba tare da taimakon malamai ba, ta koyi yin wasan violin kuma, kusan ba tare da sanin bayanin kula ba, ta buga kide-kide a gida ta kunne, ta sake maimaita labarin mijinta. Yaron tun yana karami ya taso cikin yanayi na kida.

Mahaifinsa yakan kai shi wasan opera tare da sa shi a cikin makada kusa da shi. Sau da yawa jaririn, ya gaji da duk abin da ya gani da kuma abin da ya ji, nan da nan ya yi barci, kuma yana barci, an kai shi gida. Ba zai iya yi ba tare da curiosities, daya daga cikin abin da, shaida ga na kwarai m iyawa na yaron, Polyakin kansa daga baya son gaya. Mawakan ƙungiyar mawaƙa sun lura da yadda ya ƙware a waɗancan wasannin opera, waɗanda ya sha ziyarta. Sai wata rana dan wasan timpani, mugun mashayi, kishin shaye-shaye ya mamaye shi, ya sanya karamin Polyakin a timpani maimakon kansa, ya nemi ya taka rawarsa. Matashin mawaki ya yi kyakkyawan aiki. Ya kasance karami sosai cewa ba a ganin fuskarsa a bayan na'urar wasan bidiyo, kuma mahaifinsa ya gano "mai yin" bayan wasan kwaikwayo. Polyakin a wancan lokacin ya dan wuce shekaru 5. Don haka, wasan farko a fagen kiɗa a rayuwarsa ya faru.

Iyalin Polyakin an bambanta su ta hanyar babban matakin al'adu na mawakan lardi. Mahaifiyarsa tana da alaƙa da mashahurin marubuci Bayahude Sholom Aleichem, wanda ya ziyarci Polyakins akai-akai a gida. Sholom Aleichem ya san kuma yana son danginsu da kyau. A cikin hali na Miron akwai ma siffofi na kamance tare da sanannen dangi - mai ban sha'awa don jin dadi, kallo mai kyau, wanda ya sa ya yiwu a lura da siffofi na al'ada a cikin yanayin mutanen da ya sadu da su. Abokin dangi na mahaifinsa shine sanannen bass na opera Medvedev.

Miron ya buga violin ba tare da son rai ba da farko, kuma mahaifiyarsa ta damu sosai game da wannan. Amma tun daga shekara ta biyu na karatu, ya ƙaunaci violin, ya zama mai sha'awar azuzuwan, yana buga buguwa duk rana. Violin ya zama abin sha'awarsa, wanda aka yi wa rayuwa.

Lokacin da Miron yana ɗan shekara 7, mahaifiyarsa ta rasu. Uban ya yanke shawarar aika yaron zuwa Kyiv. Iyalin suna da yawa, kuma an bar Miron ba tare da kula da su ba. Ƙari ga haka, uban ya damu da ilimin kiɗan ɗansa. Ba zai iya sake jagorantar karatunsa da nauyin da kyautar yaro ta bukata ba. An kai Myron zuwa Kyiv kuma aka aika zuwa makarantar kiɗa, wanda darektan wanda ya kasance fitaccen mawaki, wani classic na Ukrainian music NV Lysenko.

Halayen ban mamaki na yaron ya yi tasiri sosai akan Lysenko. Ya danƙa Polyakin ga kula da Elena Nikolaevna Vonsovskaya, wani sananne malami a Kyiv a cikin waɗancan shekarun, wanda ya jagoranci ajin violin. Vonsovskaya yana da kyauta mai ban sha'awa na koyarwa. A kowane hali, Auer ya yi magana da ita cikin girmamawa. Bisa ga shaidar ɗan Vonsovskaya, farfesa na Leningrad Conservatory AK Butsky, a lokacin ziyarar da ya kai Kyiv, Auer ya nuna godiyarsa koyaushe a gare ta, yana mai tabbatar mata cewa ɗalibinta Polyakin ya zo wurinsa a cikin kyakkyawan yanayi kuma ba lallai ne ya gyara komai ba. wasansa.

Vonsovskaya karatu a Moscow Conservatory tare da Ferdinand Laub, wanda ya aza harsashin ginin Moscow makaranta na violinists. Abin baƙin ciki shine, mutuwa ta katse aikinsa na koyarwa da wuri, duk da haka, ɗaliban da ya sami damar karantar da su sun shaida halayensa na ban mamaki a matsayinsa na malami.

Hanyoyi na farko suna da haske sosai, musamman idan ya zo ga irin wannan yanayi mai ban tsoro da ban sha'awa kamar na Polyakin. Saboda haka, ana iya ɗauka cewa matashin Polyakin zuwa digiri ɗaya ko wani ya koyi ka'idodin makarantar Laubov. Kuma zamansa a cikin aji Vonsovskaya ba shi da ɗan gajeren lokaci: ya yi karatu tare da ita kimanin shekaru 4 kuma ya shiga cikin wani labari mai tsanani da wuyar gaske, har zuwa wasan kwaikwayo na Mendelssohn, Beethoven, Tchaikovsky. Dan Vonsovskaya Butskaya ya kasance sau da yawa a darussan. Ya tabbatar da cewa, yin karatu tare da Auer, Polyakin, a cikin fassarar Mendelssohn's Concerto, yana riƙe da yawa daga bugun Laub. Har zuwa wani lokaci, saboda haka, Polyakin ya haɗu a cikin abubuwan fasaharsa na makarantar Laub tare da makarantar Auer, ba shakka, tare da fifikon ƙarshen.

Bayan shekaru 4 na karatu tare da Vonsovskaya, a nacewar NV Lysenko, Polyakin ya tafi St. Petersburg don kammala karatunsa a cikin aji na Auer, inda ya shiga cikin 1908.

A cikin 1900s, Auer ya kasance a kololuwar shaharar iliminsa. Dalibai sun yi ta tururuwa zuwa gare shi a zahiri daga ko'ina cikin duniya, kuma ajinsa a St. Petersburg Conservatory ya kasance ƙungiyar taurari masu hazaka. Har ila yau, Polyakin ya sami Efraim Zimbalist da Kathleen Parlow a gidan ajiyar kayayyaki; A lokacin, Mikhail Piastre, Richard Burgin, Cecilia Ganzen, da Jascha Heifetz sun yi karatu a ƙarƙashin Auer. Kuma ko da a cikin irin wannan m violinists Polyakin dauki daya daga cikin na farko wurare.

A cikin ɗakunan ajiya na Conservatory na St. Petersburg, an adana littattafan jarrabawa tare da bayanan Auer da Glazunov game da nasarar dalibai. Wasan ɗalibin nasa ya yaba da shi, bayan jarrabawar 1910, Auer ya yi ɗan gajeren rubutu amma mai ma'ana sosai akan sunansa - alamomi uku (!!!), ba tare da ƙara musu kalma ɗaya ba. Glazunov ya ba da wannan bayanin: "Kisa yana da fasaha sosai. Kyakkyawan fasaha. Sautin ban sha'awa. Kalmomin da hankali. Hali da yanayi a cikin watsawa. Mawaƙin Shirye.

Domin duk aikinsa na koyarwa a St. Petersburg Conservatory, Auer ya yi alama sau biyu fiye da haka - maki uku: a cikin 1910 kusa da sunan Cecilia Hansen da kuma a 1914 - kusa da sunan Jascha Heifetz.

Bayan jarrabawar 1911, Auer ya rubuta: "Mafi kyau!" A cikin Glazunov, mun karanta: "Ajin farko, basirar virtuoso. Kyawawan fasaha mai ban mamaki. Sautin yanayi mai ɗaukar hankali. Nunin yana cike da zaburarwa. Abin mamaki yana da ban mamaki. "

A St. Petersburg, Polyakin ya zauna shi kaɗai, nesa da danginsa, kuma mahaifinsa ya tambayi danginsa David Vladimirovich Yampolsky (kawun V. Yampolsky, ɗan rakiya na dogon lokaci D. Oistrakh) ya kula da shi. Auer da kansa ya taka rawa sosai a cikin makomar yaron. Polyakin da sauri ya zama ɗaya daga cikin ɗaliban da ya fi so, kuma yawanci mai tsanani ga ɗalibansa, Auer yana kula da shi gwargwadon iyawarsa. Sa’ad da wata rana Yampolsky ya kai ƙara ga Auer cewa, sakamakon nazarin da ya yi sosai, Miron ya fara aiki fiye da kima, Auer ya aike shi wurin likita kuma ya bukaci Yampolsky ya bi ka’idar da aka ba majinyacin: “Ka amsa mini da kanka. !”

A cikin da'irar dangi, Polyakin yakan tuna yadda Auer ya yanke shawarar bincika ko yana yin violin daidai a gida, kuma, bayan ya bayyana a asirce, ya daɗe yana tsaye a waje da ƙofofin, yana sauraron wasan ɗalibinsa. "Ee, za ku yi kyau!" Ya fada yana shiga dakin. Auer bai yarda da malalaci ba, komai gwanintarsu. Mai aiki tuƙuru da kansa, ya yi gaskiya cewa ba za a iya samun ƙwazo na gaske ba tare da aiki ba. Bautar son kai na Polyakin ga violin, babban ƙwazo da ikon yin aiki duk rana ya ci Auer.

Bi da bi, Polyakin mayar da martani ga Auer da kwarjini so. A gare shi, Auer ya kasance duk abin da ke cikin duniya - malami, malami, aboki, uba na biyu, mai tsanani, mai buƙata kuma a lokaci guda ƙauna da kulawa.

Hazakar Polyakin ta girma da sauri. Ranar 24 ga Janairu, 1909, wasan farko na solo na matasa violin ya faru a cikin Ƙananan Hall na Conservatory. Polyakin ya buga Handel's Sonata (Es-dur), Concerto na Venyavsky (d-moli), Beethoven's Romance, Paganini's Caprice, Melody na Tchaikovsky da Sarasate's Gypsy Melodies. A watan Disamba na wannan shekarar, a wani maraice na ɗalibi a ɗakin karatu, ya yi wasa tare da Cecilia Ganzen, suna yin Concerto na violin biyu na J.-S. Bach. Ranar 12 ga Maris, 1910, ya buga sassan II da na III na Concerto na Tchaikovsky, kuma a ranar 22 ga Nuwamba, tare da ƙungiyar makaɗa, Concerto in g-moll na M. Bruch.

An zaɓi Polyakin daga ajin Auer don halartar bikin cika shekaru 50 na kafuwar Conservatory na St. ƙwararren ɗalibi na Auer,” ya rubuta mai sukar kiɗan V. Karatygin a cikin taƙaitaccen rahoto game da bikin.

Bayan wasan kwaikwayo na farko na solo, 'yan kasuwa da yawa sun ba da tayin riba ga Polyakin don shirya wasan kwaikwayonsa a babban birnin kasar da sauran biranen Rasha. Duk da haka, Auer ya nuna rashin amincewarsa, yana mai imani cewa ya yi da wuri don dabbar nasa ya hau hanyar fasaha. Amma duk da haka, bayan wasan kwaikwayo na biyu, Auer ya yanke shawarar ɗaukar damar kuma ya yarda Polyakin yin tafiya zuwa Riga, Warsaw da Kyiv. A cikin ma'ajiyar tarihin Polyakin, an adana bita na manema labarai na birni da larduna game da wa] annan wasannin kide-kide, wanda ke nuni da cewa sun yi babban nasara.

Polyakin ya zauna a Conservatory har zuwa farkon 1918 kuma, tun da bai samu takardar shaidar kammala karatu, ya tafi kasashen waje. An adana fayil ɗinsa na sirri a cikin ma'ajiyar tarihin Conservatory na Petrograd, na ƙarshe daga cikin takaddun takaddun shaida ne mai kwanan watan Janairu 19, 1918, wanda aka ba "dalibi na Conservatory, Miron Polyakin, cewa an kore shi daga hutu ga kowa da kowa. biranen Rasha har zuwa Fabrairu 10, 1918."

Jim kadan kafin wannan, ya sami gayyatar zuwa yawon shakatawa a Norway, Denmark da Sweden. Yarjejeniyar da aka sanya wa hannu ya jinkirta komawa kasarsa, sannan a hankali ayyukan kide-kide ya ci gaba da jan hankali, kuma ya ci gaba da yin rangadi a kasashen Scandinavia da Jamus tsawon shekaru 4.

Wasannin kide-kide sun ba Polyakin shaharar Turai. Yawancin bita na wasan kwaikwayonsa suna cike da jin daɗin sha'awa. "Miron Polyakin ya bayyana a gaban jama'ar Berlin a matsayin cikakken dan wasan violin kuma maigida. Matukar gamsu da irin wannan daraja da m yi, irin wannan cikakken musicality, daidaito na intonation da kuma gama na cantilena, mun mika wuya ga ikon (a zahiri: tsira. - LR) na shirin, manta game da kanmu da kuma matasa master ... "

A farkon 1922, Polyakin ya haye teku kuma ya sauka a New York. Ya zo Amurka a lokacin da aka tattara manyan sojojin fasaha a can: Fritz Kreisler, Leopold Auer, Jasha Heifetz, Efrem Zimbalist, Mikhail Elman, Tosha Seidel, Kathleen Larlow, da sauransu. Gasar ta kasance mai mahimmanci, kuma wasan kwaikwayon da aka yi a gaban lalacewar New York jama'a sun kasance masu alhakin musamman. Duk da haka, Polyakin brilliantly ya ci gwajin. Nasa na farko, wanda ya faru a ranar 27 ga Fabrairu, 1922 a zauren taro, manyan jaridun Amurka da dama ne suka buga shi. Yawancin bita da aka yi sun lura da hazaka na ajin farko, fasaha na ban mamaki da kuma dabarar salon salon da aka yi.

Wakokin Polyakin a Mexico, inda ya tafi bayan New York, sun yi nasara. Daga nan ya sake tafiya zuwa Amurka, inda a cikin 1925 ya sami lambar yabo ta farko a gasar "Violin World Competition" don wasan kwaikwayo na Tchaikovsky Concerto. Duk da haka, duk da nasarar, Polyakin kusantar zuwa mahaifarsa. A 1926 ya koma Tarayyar Soviet.

Soviet lokaci na rayuwar Polyakin ya fara a Leningrad, inda aka ba shi farfesa a Conservatory. Matasa, cike da makamashi da ƙonawa mai ban sha'awa, fitaccen ɗan wasan kwaikwayo da ɗan wasan kwaikwayo nan da nan ya jawo hankalin al'ummar Soviet na kiɗa kuma ya sami karbuwa da sauri. Kowane kide kide da wake-wake ya zama wani gagarumin taron a cikin music rayuwa a Moscow, Leningrad, ko a cikin biranen "iyakar", kamar yadda yankunan na Tarayyar Soviet, m daga cibiyar, aka kira a cikin 20s. Polyakin ya nutse kan gaba a cikin wani taron kide-kide na guguwa, yana yin wasan kwaikwayo a zauren philharmonic da kulake na ma'aikata. Kuma duk inda, a gaban wanda ya taka, yakan sami masu sauraro masu godiya. Sana'arsa mai zafin gaske ta burge wanda bai ƙware a cikin masu sauraron kiɗan kide-kide na kulob da baƙi masu ilimi mai zurfi zuwa Philharmonic ba. Yana da wata baiwar da ba kasafai ba don nemo hanyar zuwa zukatan mutane.

Lokacin da ya isa Tarayyar Soviet, Polyakin ya sami kansa a gaban sababbin masu sauraro, sabon abu kuma wanda ba a sani ba a gare shi ko dai daga kide-kide a Rasha kafin juyin juya hali ko kuma daga wasan kwaikwayo na kasashen waje. A yanzu dai an ziyarci wuraren shagali ba kawai masu hankali ba, har ma da ma'aikata. Wasannin kide-kide da yawa na ma'aikata da ma'aikata sun gabatar da faffadan jama'a ga kida. Duk da haka, ba kawai abun da ke ciki na masu sauraron philharmonic ya canza ba. A ƙarƙashin rinjayar sabuwar rayuwa, yanayin mutanen Soviet, ra'ayinsu na duniya, dandano da bukatun fasaha kuma sun canza. Duk abin da aka gyara da kyau, lalata ko salon baƙo ne ga jama'a masu aiki, kuma a hankali ya zama baƙo ga wakilan tsohuwar masu hankali.

Ya kamata salon wasan kwaikwayon Polyakin ya canza a irin wannan yanayi? Ana iya amsa wannan tambayar a cikin labarin da masanin kimiyyar Soviet Farfesa BA Struve ya rubuta, nan da nan bayan mutuwar mai zane. Da yake nuni ga gaskiya da ikhlasi na Polyakin a matsayin mai zane, Struve ya rubuta: “Kuma dole ne a jaddada cewa Polyakin ya kai kololuwar wannan gaskiyar da ikhlasi daidai a cikin yanayin haɓakar ƙirƙira a cikin shekaru goma sha biyar na ƙarshe na rayuwarsa, shine mamaye na ƙarshe na Polyakin, ɗan wasan violin na Soviet. Ba daidaituwa ba ne cewa mawakan Soviet a farkon wasan kwaikwayo na masters a Moscow da Leningrad sau da yawa sun lura a cikin wasansa wani abu da za a iya kira tabawa " iri-iri ", wani nau'i na "salon", wanda ya dace da yawancin yammacin Turai da Amurka. 'yan wasan violin. Waɗannan halayen sun kasance baƙo ga dabi'ar fasaha ta Polyakin, sun yi tsayayya da ainihin halayensa na fasaha, kasancewar wani abu na zahiri. A cikin yanayin al'adun kiɗa na Soviet, Polyakin da sauri ya shawo kan wannan gazawar nasa.

Irin wannan bambance-bambancen masu wasan Soviet tare da na kasashen waje yanzu yana da wuyar gaske, kodayake a wani bangare ana iya la'akari da shi daidai. Lalle ne, a cikin 'yan jari-hujja a cikin shekarun da Polyakin ya rayu a can, akwai quite 'yan wasan kwaikwayo da suka karkata zuwa ga mai ladabi salo, aestheticism, waje iri-iri da salonism. Har ila yau, akwai mawaƙa da yawa a ƙasashen waje waɗanda suka kasance ba tare da irin waɗannan abubuwan ba. Polyakin a lokacin zamansa a ƙasashen waje zai iya samun tasiri daban-daban. Amma sanin Polyakin, za mu iya cewa ko da a can ya kasance daga cikin masu wasan kwaikwayo da suka yi nisa da aestheticism.

Har ila yau, Polyakin ya kasance mai ban mamaki da tsayin daka na zane-zane na zane-zane, zurfin sadaukarwa ga ka'idodin fasaha da aka kawo a cikinsa tun yana matashi. Saboda haka, siffofin "iri-iri" da "salonness" a cikin salon wasan kwaikwayo na Polyakin, idan sun bayyana, ana iya magana da su (kamar Struve) kawai a matsayin wani abu na sama kuma ya ɓace daga gare shi lokacin da ya shiga cikin hulɗar Soviet gaskiyar.

Gaskiyar kiɗan Soviet ta ƙarfafa a Polyakin tushen dimokuradiyya na salon wasan sa. Polyakin ya tafi ga kowane masu sauraro tare da ayyuka iri ɗaya, ba tare da tsoron cewa ba za su fahimce shi ba. Bai raba labarinsa zuwa "sauki" da "rikitarwa", "philharmonic" da "taro" kuma ya yi wasan cikin nutsuwa a cikin kulob din ma'aikata tare da Bach's Chaconne.

A shekara ta 1928, Polyakin ya sake yin balaguro zuwa ƙasashen waje, ya ziyarci Estonia, kuma daga baya ya iyakance kansa zuwa yawon shakatawa na kide-kide a cikin biranen Tarayyar Soviet. A farkon 30s, Polyakin kai Heights na fasaha balaga. Halin hali da halayensa a baya sun sami daraja ta musamman ta soyayya. Bayan ya koma mahaifarsa, Polyakin ta rayuwa daga waje wuce ba tare da wani m events. Shi ne na yau da kullum aiki rayuwa na Soviet artist.

A 1935 ya auri Vera Emmanuilovna Lurie. a 1936 iyali koma Moscow, inda Polyakin zama farfesa da kuma shugaban violin aji a School of Excellence (Meister shule) a Moscow Conservatory. Komawa cikin 1933, Polyakin ya taka rawar gani a cikin bikin cika shekaru 70 na Conservatory na Leningrad, kuma a farkon 1938 - a bikin cika shekaru 75. Polyakin ya buga wasan kwaikwayo na Glazunov kuma wannan maraice ya kasance a tsayin da ba a iya kaiwa ba. Tare da sculptural convexity, m, manyan bugun jini, ya sake haifar da sublimely kyau hotuna a gaban sihiri masu sauraro, da kuma romance na wannan abun da ke ciki abin mamaki jitu da soyayya na artist na fasaha yanayi.

A ranar 16 ga Afrilu, 1939, an yi bikin cika shekaru 25 na ayyukan fasaha na Polyakin a Moscow. An gudanar da maraice a babban dakin taro na Conservatory tare da halartar kungiyar kade-kade ta jihar da A. Gauk ke gudanarwa. Heinrich Neuhaus ya amsa da wani labari mai dadi game da ranar tunawa. Neuhaus ya rubuta cewa: "Daya daga cikin mafi kyawun ɗaliban ƙwararrun ƙwararrun ƙwararrun ƙwararrun violin, sanannen Auer," in ji Neuhaus. Abin da musamman captivates mu a cikin m bayyanar Polyakin? Da farko, sha'awarsa a matsayin mai zane-zane-violin. Yana da wuya a yi tunanin mutumin da zai yi aikinsa da ƙauna da sadaukarwa, kuma wannan ba ƙaramin abu ba ne: yana da kyau a kunna kiɗa mai kyau akan violin mai kyau. Yana iya ze m, amma gaskiyar cewa Polyakin ba ko da yaushe wasa smoothly, cewa yana da kwanaki nasara da kasawa (kwatanta, ba shakka), a gare ni sake jaddada ainihin artistry na yanayinsa. Duk wanda ya kula da fasaharsa da sha'awa, da kishi, ba zai taɓa koyon samar da daidaitattun samfuran ba - ayyukansa na jama'a tare da daidaiton masana'anta. Yana da ban sha'awa cewa a ranar tunawa da ranar tunawa, Polyakin ya yi wasan kwaikwayo na Tchaikovsky (abu na farko a cikin shirin), wanda ya riga ya buga dubban dubban sau da yawa (ya buga wannan kide-kide da ban mamaki tun yana saurayi - na tuna musamman daya. na wasan kwaikwayo, a lokacin rani a Pavlovsk a 1915), amma ya buga shi da irin wannan farin ciki da tsoro, kamar dai ba kawai ya yi shi a karon farko ba, amma kamar dai yana yin shi a karon farko kafin babban girma. masu sauraro. Kuma idan wasu "masu tsattsauran ra'ayi" za su iya gano cewa a wuraren da Concerto ya yi sauti kadan, to, dole ne a ce wannan juyayi shine nama da jinin fasaha na ainihi, kuma Concerto, wanda aka yi masa yawa kuma ya buge, ya sake sake sauti, matasa. , ilham da kyau. .

Ƙarshen labarin Neuhaus yana da ban sha'awa, inda ya lura da gwagwarmayar ra'ayoyin da ke kewaye da Polyakin da Oistrakh, wanda ya riga ya sami shahara a lokacin. Neuhaus ya rubuta: "A ƙarshe, Ina so in faɗi kalmomi biyu: a cikin jama'a akwai "Polyakins" da "Oistrakhists", kamar yadda akwai "Hilelists" da "Flierists", da dai sauransu Game da jayayya (yawanci marasa amfani) da kuma wani bangare guda na tsinkayar su, mutum ya tuna da kalmomin da Goethe ya taɓa bayyana a cikin tattaunawa da Eckermann: “Yanzu jama'a sun yi ta jayayya shekaru ashirin game da wanene mafi girma: Schiller ko ni? Za su yi kyau idan sun yi farin ciki cewa akwai wasu ’yan’uwa nagari da ya dace a yi jayayya akai. Kalmomi masu wayo! Mu yi farin ciki da gaske, ƴan uwa, cewa muna da ƴan uwa sama da ɗaya da ya cancanci jayayya akai.

Kash! Ba da da ewa ba babu wani buƙatar "hujja" game da Polyakin - bayan shekaru biyu ya tafi! Polyakin ya mutu a farkon rayuwarsa ta kere-kere. Dawowa a ranar 21 ga Mayu, 1941 daga yawon shakatawa, ya ji rashin lafiya a cikin jirgin. Ƙarshen ya zo da sauri - zuciya ta ƙi yin aiki, ta yanke rayuwarsa a zenith na haɓakar haɓakarsa.

Kowa ya ƙaunaci Polyakin, tafiyarsa ta kasance abin baƙin ciki. Domin dukan ƙarni na Soviet violinists, shi ne babban manufa na wani artist, artist da kuma wasan kwaikwayo, wanda suka kasance daidai, wanda suka sunkuyar da kuma koyi daga.

A cikin makoki na bakin ciki, daya daga cikin makusantan marigayin, Heinrich Neuhaus, ya rubuta: “… Miron Polyakin ya tafi. Ko ta yaya ba ka yarda da kwantar da hankulan mutumin da ko da yaushe ba shi da natsuwa a cikin mafi girman ma'anar kalmar. Mu a Polyakino muna jin daɗin ƙuruciyarsa ta ƙuruciyarsa ga aikinsa, aikin sa na yau da kullun, wanda ya ƙayyadad da matakin da ba a saba gani ba na ƙwarewar wasan kwaikwayonsa, da kuma ɗabi'a mai haske, wanda ba za a manta da shi na babban mai fasaha ba. Daga cikin mawakan violin akwai fitattun mawaka irin su Heifetz, waɗanda a koyaushe suke yin hakan cikin ruhin ƙirƙirar mawaƙa wanda, a ƙarshe, ka daina lura da halayen ɗan adam na ɗan wasan kwaikwayo. Wannan shine nau'in "Mai wasan Parnassian", "Olympian". Amma ko da wane irin aiki da Polyakin ya yi, wasansa koyaushe yana jin daɗin mutuntaka, wani nau'in sha'awar fasaharsa, wanda ba zai iya zama wani abu ba face kansa. Siffofin halayen aikin Polyakin sun kasance: fasaha mai haske, kyawun sauti, jin daɗi da zurfin aiki. Amma mafi ban mamaki ingancin Polyakin a matsayin artist da mutum shi ne ya sa gaskiya. Ayyukansa na kide-kide ba koyaushe daidai suke ba saboda mai zane ya kawo tunaninsa, ji, abubuwan da ya faru tare da shi zuwa mataki, kuma matakin wasansa ya dogara da su…”.

Duk waɗanda suka yi rubutu game da Polyakin a koyaushe suna nuna asalin fasahar wasan kwaikwayonsa. Polyakin “mai fasaha ne na ƙwararren mutum, babban al'adu da fasaha. Salon wasansa na asali ne wanda dole ne mutum ya yi magana game da wasansa kamar wasa a salo na musamman – salon Polyakin. Mutum ɗaya ya bayyana a cikin komai - a cikin tsari na musamman, na musamman ga ayyukan da aka yi. Duk abin da ya buga, koyaushe yana karanta ayyukan "a cikin hanyar Yaren mutanen Poland." A cikin kowane aiki, ya sanya, da farko, kansa, ruhu mai farin ciki na mai zane. Reviews game da Polyakin kullum magana game da m tashin hankali, zafi da motsin zuciyarmu na wasansa, game da m sha'awar, game da hankula Polyakin "jijiya", m kona. Duk wanda ya taɓa jin wannan violin ɗin ya yi mamakin sahihanci da kuma saurin sanin waƙarsa. Mutum na iya faɗi da gaske game da shi cewa shi ɗan wasan kwaikwayo ne na wahayi, manyan hanyoyin soyayya.

A gare shi, babu waƙa na yau da kullun, kuma da ba zai koma irin wannan waƙar ba. Ya san yadda za a inganta kowane hoto na kiɗa a hanya ta musamman, sanya shi mai girma, kyakkyawa mai ban sha'awa. Fasahar Polyakin tana da kyau, amma ba ta kyawun ƙayyadaddun sauti ba, amma ta kyawawan abubuwan abubuwan ɗan adam.

Yana da yanayin kyawun da ba a saba gani ba, kuma ga dukkan sha'awarsa da sha'awarsa, bai taɓa ƙetare iyakokin kyawunsa ba. Ƙwaƙwalwar ɗanɗano da manyan buƙatu a kan kansa koyaushe suna kare shi daga wuce gona da iri waɗanda za su iya karkata ko ta wata hanya ta keta jituwar hotuna, ƙa'idodin faɗar fasaha. Duk abin da Polyakin ya taɓa, kyakkyawar ma'anar kyakkyawa ba ta bar shi ba na ɗan lokaci ɗaya. Ko da ma'aunin Polyakin ya buga kida, yana samun daidaito mai ban mamaki, zurfin da kyawun sauti. Amma ba kawai kyawun surutu da daidaiton sautinsu ba ne. A cewar MI Fikhtengolts, wanda ya yi karatu tare da Polyakin, Polyakin ya buga ma'auni a fili, a alamance, kuma an gane su kamar wani ɓangare na aikin fasaha ne, ba kayan fasaha ba. Da alama Polyakin ya fitar da su daga wasan kwaikwayo ko wasan kwaikwayo kuma ya ba su takamaiman alama. Abu mafi mahimmanci shi ne cewa hotunan ba su ba da ra'ayi na zama wucin gadi ba, wanda wani lokaci yakan faru lokacin da masu yin wasan kwaikwayo suka yi ƙoƙari su "zuba" hoto a cikin ma'auni, da gangan ƙirƙira "abun ciki" ga kansu. An halicci ji na alama, a fili, ta hanyar gaskiyar cewa fasahar Polyakin ta yanayi ne.

Polyakin ya nutsu sosai kan al'adun makarantar Auerian kuma, watakila, shine mafi kyawun Auerian na duk ɗaliban wannan ubangidan. Da yake tuna abubuwan da Polyakin ya yi sa’ad da yake kuruciya, abokin karatunsa, wani fitaccen mawaƙin Soviet LM Zeitlin, ya rubuta: “Wasan fasaha da fasaha na yaron ya yi kama da wasan kwaikwayon sanannen malaminsa. A wasu lokuta yana da wuya a yarda cewa yaro yana tsaye a kan mataki, kuma ba balagagge mai fasaha ba.

Abubuwan daɗaɗɗen kayan ado na Polyakin ana iya tabbatar da su sosai ta hanyar repertoire. Bach, Beethoven, Brahms, Mendelssohn, da na mawakan Rasha Tchaikovsky da Glazunov su ne gumakansa. An biya haraji ga wallafe-wallafen virtuoso, amma ga wanda Auer ya gane kuma ya ƙaunace shi - wasan kwaikwayo na Paganini, Ernst's Otello da Hungarian Melodies, Sarasate ta Mutanen Espanya raye-raye, wanda Polyakin ya yi ba tare da misaltawa ba, Lalo's Spanish Symphony. Ya kuma kasance kusa da fasaha na Impressionists. Da son rai ya buga kwafin wasan violin na wasan kwaikwayo na Debussy - "Yarinyar da Gashi Flaxen", da sauransu.

Ɗaya daga cikin manyan ayyukan repertoire shine Chausson's Poem. Ya kuma son Shimanovsky ta plays - "Myths", "The Song of Roxana". Polyakin ya kasance ba ruwansa da sabon wallafe-wallafe na 20s da 30s kuma bai yi wasan kwaikwayo na Darius Miio, Alban Berg, Paul Hindemith, Bela Bartok ba, ba tare da ma'anar aikin ƙananan mawaƙa ba.

Akwai 'yan ayyuka da Soviet composers har zuwa karshen 30s (Polyakin mutu a lokacin da heyday na Soviet violin kerawa ya fara). Daga cikin ayyukan da ake da su, ba duka sun dace da abubuwan da yake so ba. Saboda haka, ya wuce Prokofiev ta violin concertos. Duk da haka, a cikin 'yan shekarun nan, ya fara tada sha'awar Soviet music. A cewar Fikhtengoltz, a lokacin rani na 1940 Polyakin yi aiki tare da babbar sha'awa a kan Myaskovsky Concerto.

Shin labarin nasa, salon wasansa, wanda ya kasance mai aminci ga al'adun makarantar Auer, ya shaida cewa ya "jiki a baya" motsin fasaha na gaba, cewa ya kamata a gane shi a matsayin mai wasan kwaikwayo "wanda ya wuce", wanda bai dace ba. tare da zamaninsa, baƙo ga bidi'a? Irin wannan zato dangane da wannan fitaccen mai zane zai zama rashin adalci. Kuna iya ci gaba ta hanyoyi daban-daban - ƙaryatawa, karya al'ada, ko sabunta ta. Polyakin ya kasance mai mahimmanci a cikin ƙarshen. Daga al'adun fasahar violin na karni na XNUMX, Polyakin, tare da halayen halayensa, ya zaɓi abin da ke da alaƙa da sabon ra'ayi na duniya.

A cikin wasan kwaikwayo na Polyakin, babu ko da alamar ingantacciyar ra'ayi ko salo, na hankali da tunani, wanda ya sa kansu su ji daɗi sosai a cikin wasan kwaikwayon karni na XNUMX. Ta hanyarsa, ya yi ƙoƙari don samun ƙarfin hali da salon wasan kwaikwayo, don nuna bambanci. Duk masu bita sun jaddada wasan kwaikwayon, “jijiya” na aikin Polyakin; Abubuwan Salon a hankali sun ɓace daga wasan Polyakin.

A cewar Farfesa na Leningrad Conservatory N. Perelman, wanda shekaru da yawa ya kasance abokin tarayya na Polyakin a cikin wasan kwaikwayo na wasan kwaikwayo, Polyakin ya buga Kreutzer Sonata na Beethoven a cikin nau'in violin na karni na XNUMX - ya yi kashi na farko da sauri, tare da tashin hankali da wasan kwaikwayo da ke fitowa daga virtuoso matsa lamba, kuma ba daga cikin ban mamaki abun ciki na kowane bayanin kula. Amma, ta yin amfani da irin waɗannan fasahohin, Polyakin ya saka hannun jari a cikin aikinsa irin wannan ƙarfin da tsanani wanda ya kawo wasansa kusa da bayyananniyar salon wasan kwaikwayo na zamani.

Siffar ta musamman ta Polyakin a matsayin ɗan wasan kwaikwayo ita ce wasan kwaikwayo, har ma ya buga wuraren waƙoƙi da ƙarfin hali, tsantsa. Ba abin mamaki ba ya kasance mafi kyau a ayyukan da ke buƙatar sauti mai ban mamaki - Bach's Chaconne, wasan kwaikwayo na Tchaikovsky, Brahms. Duk da haka, sau da yawa yakan yi Concerto Mendelssohn, duk da haka, ya kuma gabatar da inuwar ƙarfin hali a cikin waƙoƙinsa. Ba'amurke mai bita ya lura da irin ƙarfin hali a cikin fassarar Poliakin na wasan kwaikwayo na Mendelssohn bayan wasan violin na biyu a New York a 1922.

Polyakin ya kasance babban mai fassara na wasan violin na Tchaikovsky, musamman ma wasan violin. Bisa ga abubuwan tunawa na mutanen zamaninsa da kuma tunanin marubucin waɗannan layin, Polyakin ya nuna wasan kwaikwayo na Concerto sosai. Ya ƙarfafa bambance-bambance ta kowace hanya a cikin Sashe na I, yana wasa babban jigon sa tare da hanyoyin soyayya; Taken na biyu na sonata allegro ya cika da farin ciki na ciki, rawar jiki, kuma Canzonetta ya cika da roƙon sha'awa. A karshe, nagarta ta Polyakin ta sake sanya kanta a ji, tana yin hidima ga manufar ƙirƙirar aiki mai ban mamaki. Tare da sha'awar soyayya, Polyakin kuma ya yi ayyuka irin su Bach's Chaconne da Brahms Concerto. Ya tunkari waɗannan ayyukan a matsayin mutum mai arziki, zurfi da ɗimbin yawa na gogewa da ji, kuma ya burge masu sauraro da sha'awar isar da kiɗan da ya yi.

Kusan duk sake dubawa na Polyakin yana lura da wasu nau'ikan rashin daidaituwa a cikin wasansa, amma galibi ana cewa ya buga ƙananan guda ba tare da lahani ba.

Polyakin yana ƙare ayyukan ƙaramin tsari koyaushe tare da tsayayyen tsari. Ya buga kowane ƙarami tare da alhakin kowane aiki na babban tsari. Ya san yadda za a samu a cikin ƙaramin ƙaƙƙarfan ƙaƙƙarfan salon salo, wanda ya sanya shi alaƙa da Heifetz kuma, a fili, Auer ne ya haɓaka su duka. Waƙoƙin Polyakin na Beethoven sun yi sauti da kyau da majestically, wasan kwaikwayon wanda yakamata a kimanta shi azaman babban misali na fassarar salon gargajiya. Kamar hoton da aka zana a cikin manyan bugun jini, Tchaikovsky's Melancholic Serenade ya bayyana a gaban masu sauraro. Polyakin ya buga shi tare da kamun kai da girman kai, ba tare da nuna damuwa ko melodrama ba.

A cikin ƙaramin nau'in, fasahar Polyakin ta burge tare da bambance-bambancenta na ban mamaki - kyawun halin kirki, alheri da ladabi, wani lokacin haɓakawa mai ban sha'awa. A cikin Waltz-Scherzo na Tchaikovsky, ɗaya daga cikin abubuwan da suka fi dacewa a cikin repertoire na kide-kide na Polyakin, masu sauraro sun burge su da haske mai haske na farkon, daɗaɗɗen fassarori masu ban sha'awa, daɗaɗɗen raye-raye, da kuma tausasawa na jimlolin waƙoƙi. Polyakin ya yi aikin tare da virtuoso haske da ɗaukar 'yanci. Ba shi yiwuwa a tuna da zafi cantilena na artist a cikin Hungarian raye-raye na Brahms-Joachim da colorfulness na sauti palette a cikin Mutanen Espanya raye-raye na Sarasate. Kuma a cikin wasan kwaikwayo na ƙananan nau'i, ya zaɓi waɗanda ke da alaƙa da tashin hankali, babban motsin rai. Sha'awar Polyakin zuwa irin waɗannan ayyukan kamar "Poem" na Chausson, "Song of Roxanne" na Szymanowski, kusa da shi a cikin romanticism, abu ne mai fahimta.

Yana da wuya a manta da siffar Polyakin a kan mataki tare da violin nasa yana da girma da kuma motsin da yake da kyau. Shagunan sa ya yi girma, kowane sauti ko ta yaya ya bambanta, a fili saboda tasirin aiki da kuma cire yatsu daga cikin kirtani. Fuskarsa ta ƙone tare da wutar ilhama - shi ne fuskar mutum wanda kalmar Art ko da yaushe ta fara da babban wasiƙa.

Polyakin ya kasance mai matuƙar buƙatar kansa. Zai iya gama magana ɗaya na kiɗan na sa'o'i, yana samun cikakkiyar sauti. Abin da ya sa ya yi taka tsantsan, da irin wannan wahala, ya yanke shawarar buga masa sabon aiki a cikin buɗaɗɗen kide kide. Matsayin kamalar da ya gamsar da shi ya zo gare shi ne kawai a sakamakon shekaru masu yawa na aikin ƙwazo. Saboda tsananin da ya yi wa kansa, ya kuma yanke hukunci ga sauran masu fasaha da kaifi da rashin tausayi, wanda sau da yawa yakan juya su gaba da shi.

Polyakin tun yana ƙuruciya ya bambanta ta hanyar hali mai zaman kanta, ƙarfin hali a cikin maganganunsa da ayyukansa. Dan shekaru goma sha uku, yana magana a fadar Winter, alal misali, bai yi jinkirin daina wasa ba lokacin da daya daga cikin manyan mutane ya shiga a makare ya fara motsi kujeru a hankali. Auer ya aika da yawa daga cikin ɗalibansa don aiwatar da mummunan aiki ga mataimakinsa, Farfesa IR Nalbandian. Ajin Nalbandyan wani lokaci Polyakin yana halarta. Wata rana, sa’ad da Nalbandian ya yi magana da wani ɗan piano game da wani abu a cikin aji, Miron ya daina wasa kuma ya bar darasi, duk da ƙoƙarin hana shi.

Yana da kaifi tunani da kuma rare ikon lura. Har ya zuwa yanzu, wayowin komai da ruwan Polyakin, da tsattsauran ra'ayi, wanda ya yi yaƙi da abokan hamayyarsa, sun zama ruwan dare a tsakanin mawaƙa. Hukunce-hukuncensa game da fasaha sun kasance masu ma'ana da ban sha'awa.

Daga Auer Polyakin ya gaji babban ƙwazo. Ya yi ta violin a gida na akalla sa'o'i 5 a rana. Ya kasance mai matukar bukatar ’yan rakiya kuma ya yi bita da yawa tare da kowane dan wasan pian kafin ya hau kan dandamali tare da shi.

Daga 1928 har zuwa mutuwarsa, Polyakin ya koyar da farko a Leningrad, sa'an nan a Moscow Conservatories. Ilimin koyarwa gabaɗaya ya mamaye wani wuri mai mahimmanci a rayuwarsa. Duk da haka, yana da wuya a kira Polyakin malami a ma'anar da aka saba fahimta. Ya kasance mai zane-zane, mai zane-zane, kuma a fannin ilmantarwa kuma ya ci gaba daga nasa basirar wasan kwaikwayo. Bai taɓa tunanin matsalolin yanayi ba. Saboda haka, a matsayin malami, Polyakin ya kasance mafi amfani ga ƙwararrun ɗalibai waɗanda suka riga sun mallaki ƙwarewar sana'a da suka dace.

Nunawa shine tushen koyarwarsa. Ya fi son yin wasa ga ɗalibansa maimakon “baya” game da su. Sau da yawa, yana nunawa, an ɗauke shi har ya yi aikin daga farko zuwa ƙarshe kuma darussan sun juya zuwa wani nau'i na "Polyakin's concerts". Wasansa ya bambanta da nau'in inganci guda ɗaya - da alama yana buɗe fa'ida ga ɗalibai don ƙirƙira nasu, ya haifar da sabbin tunani, tada tunani da fantasy. Dalibin, wanda aikin Polyakin ya zama "mafarin farawa" a cikin aikin a kan aikin, koyaushe yana barin darussansa masu wadata. Irin wannan zanga-zanga ɗaya ko biyu sun isa su bayyana wa ɗalibin yadda yake bukatar yin aiki, a wace hanya zai bi.

Polyakin ya bukaci dukkan daliban ajinsa su kasance a wurin darussa, ba tare da la'akari da ko suna wasa da kansu ba ko kuma kawai suna sauraron wasan 'yan uwansu. Akan fara darussa da rana (daga karfe 3).

Ya yi wasa da allahntaka a cikin aji. Da kyar a fagen kide-kide, fasaharsa ta kai tsayin daka, zurfin da cikar magana. A ranar darasi na Polyakin, an yi farin ciki a ɗakin ajiyar. “Jama’a” sun yi cunkoso a cikin aji; ban da dalibansa, daliban wasu malamai, daliban wasu kwararru, malamai, furofesoshi da “baki” daga duniyar fasaha suma sun yi kokarin isa wurin. Waɗanda suka kasa shiga ajin sun saurara daga bayan ƙofofin da ke rufe rabin. Gabaɗaya, yanayi iri ɗaya ya yi rinjaye kamar sau ɗaya a cikin ajin Auer. Polyakin da son rai ya ƙyale baƙi su shiga cikin ajinsa, kamar yadda ya yi imani cewa wannan ya ƙara nauyin ɗalibai, ya haifar da yanayi na fasaha wanda ya taimaka masa ya ji kamar mai zane da kansa.

Polyakin ya ba da muhimmiyar mahimmanci ga aikin ɗalibai a kan ma'auni da etudes (Kreutzer, Dont, Paganini) kuma ya bukaci dalibi ya yi masa wasan kwaikwayo da ma'auni a cikin aji. Bai tsunduma cikin aikin fasaha na musamman ba. Dole ne dalibi ya zo ajin da kayan da aka shirya a gida. Polyakin, a gefe guda, kawai "a kan hanya" ya ba da kowane umurni idan ɗalibin bai yi nasara a wuri ɗaya ko wani wuri ba.

Ba tare da yin amfani da fasaha na musamman ba, Polyakin ya bi 'yancin yin wasa sosai, yana ba da kulawa ta musamman ga 'yancin dukan kafaɗar kafada, hannun dama da faɗuwar yatsu a kan igiyoyi a hagu. A cikin fasaha na hannun dama, Polyakin ya fi son manyan ƙungiyoyi "daga kafada" kuma, ta yin amfani da irin waɗannan fasahohin, ya sami kyakkyawar jin daɗin "nauyinta", kisa na kyauta da bugun jini.

Polyakin ya kasance mai rowa da yabo. Bai yi la'akari da "hukunce-hukuncen" kwata-kwata ba kuma bai yi watsi da maganganun ba'a da maganganun da aka yi wa wadanda suka cancanta ba, idan bai gamsu da ayyukansu ba. A daya bangaren kuma, idan ya ga irin ci gaban da ya samu, yana iya yaba wa mafi raunin dalibai.

Menene, a gaba ɗaya, za a iya faɗi game da malamin Polyakin? Tabbas yana da abubuwa da yawa da zai koya. Ta ƙarfin gwanintar fasaharsa na ban mamaki, ya yi tasiri na musamman ga ɗalibansa. Babban darajarsa, madaidaicin fasaha ya tilasta wa matasan da suka zo ajinsa su sadaukar da kansu ga aiki, sun haifar da babban fasaha a cikinsu, sun tada son kiɗa. Har yanzu ana tunawa da darussan Polyakin daga waɗanda suka yi sa'a don yin magana da shi a matsayin wani abu mai ban sha'awa a rayuwarsu. Laureates na kasa da kasa gasa M. Fikhtengolts, E. Gilels, M. Kozolupova, B. Feliciant, concertmaster na kade-kade na kade-kade na Leningrad Philharmonic I. Shpilberg da sauransu sun yi karatu tare da shi.

Polyakin ya bar alamar da ba za a iya mantawa da shi ba a al’adun kiɗan Soviet, kuma zan so in maimaita bayan Neuhaus: “Mawakan mawaƙa da Polyakin ya rene, masu sauraron da ya yi farin ciki sosai, za su ci gaba da tunawa da shi har abada.”

L. Rabin