Naum Lvovich Shtarkman |

Naum Shtarkman

Makarantar Igumnovskaya ta ba da al'adun mu na pianistic masu fasaha da yawa. Jerin daliban fitaccen malami, a zahiri, ya rufe Naum Shtarkman. Bayan mutuwar KN Igumnov, ya daina zuwa wani aji da kuma a 1949 ya sauke karatu daga Moscow Conservatory, kamar yadda al'ada ce a irin wannan yanayi, "a kan kansa". Don haka malamin ba dole ba ne, da rashin alheri, ya yi farin ciki da nasarar da ya samu na dabba. Kuma ba da jimawa ba suka isa…

Ana iya cewa Shtarkman (ba kamar yawancin abokan aikinsa ba) ya shiga hanyar gasa ta wajibi a yanzu a matsayin mawaƙin da aka kafa. Bayan lambar yabo ta biyar a gasar Chopin a Warsaw (1955), a cikin 1957 ya sami lambar yabo mafi girma a gasar kasa da kasa a Lisbon kuma, a ƙarshe, ya zama mai nasara na uku a gasar Tchaikovsky (1958). Duk waɗannan nasarorin sun tabbatar da sunansa na fasaha.

Wannan shi ne, da farko, sunan mawallafin mawaƙa, har ma da mai ladabi mai ladabi, wanda ya mallaki sautin piano mai ma'ana, babban malami wanda zai iya gane tsarin gine-ginen aiki a fili da kuma daidai, mai kyau da kuma ma'ana ya gina layi mai ban mamaki. “Yanayinsa,” in ji G. Tsypin, “musamman yana kusa da yanayi mai natsuwa da natsuwa, mai daɗaɗɗen kyan gani, wanda wani sirara mai ɗanɗano da hazo mai laushi ya ruɗe. A cikin canja wurin irin waɗannan yanayi na tunani da tunani, yana da gaske mai gaskiya da gaskiya. Kuma, akasin haka, mai wasan pianist ya zama ɗan wasan kwaikwayo na zahiri kuma saboda haka ba mai gamsarwa ba inda sha'awar, magana mai ƙarfi ta shiga cikin kiɗan.

Lalle ne, Shtarkman ta fadi repertoire (fiye da talatin piano concertos kadai) arziki wakiltar, ka ce, ayyukan Liszt, Chopin, Schumann, Rachmaninov. Duk da haka, a cikin waƙarsu ba ya jawo hankalinsa ta hanyar rikice-rikice masu kaifi, wasan kwaikwayo ko halin kirki, amma ta hanyar waƙa mai laushi, mafarki. Kusan haka za a iya dangana ga fassararsa na kiɗan Tchaikovsky, wanda musamman ya yi nasara a cikin zane-zane na The Four Seasons. "Ra'ayoyin aiki na Shtarkman," V. Delson ya jaddada, "ana aiwatar da su har zuwa ƙarshe, an haɗa su cikin zane-zane da kuma virtuoso. Irin wasan pianist - tattara, tattara hankali, daidai cikin sauti da jimla - sakamako ne na dabi'a na jan hankalinsa zuwa kamalar siffa, gyare-gyaren filastik gabaɗaya da cikakkun bayanai. Ba abin tunawa ba ne, ba kyawun gine-ginen ba, ba kuma nuna sha'awar bravura ba ne ke lalata Shtarkman, duk da kasancewar fasaha mai ƙarfi na virtuoso. Tunani, ikhlasi na motsin rai, babban hali na ciki - wannan shine abin da ya bambanta bayyanar fasaha na wannan mawaki.

Idan muka yi magana game da fassarar Shtarkman na ayyukan Bach, Mozart, Haydn, Beethoven, yana da kyau a tuna da halayen da aka ba da lambar yabo ta gasar Moscow ta EG Gilels: "An bambanta wasansa da cikakkiyar cikakkiyar fasaha da tunani. ” Shtarkman sau da yawa yana taka rawar Faransanci. Mawaƙin pian yana yin "Suite Bergamasco" na Claude Debussy musamman cikin nasara da shiga ciki.

Repertoire na artist ya hada da, ba shakka, Soviet music. Tare da shahararrun guda S. Prokofiev da D. Kabalevsky, Shtarkman kuma ya buga Concerto a kan jigogi na Larabci na F. Amirov da E. Nazirova, kide kide na piano na G. Gasanov, E. Golubev (No. 2).

Shtarkman ya dade da samun suna a matsayin dan chopinist ajin farko. Ba don komai ba ne abin da maraice na mawaƙin ya keɓe don aikin gwanin Poland yana jan hankalin masu sauraro koyaushe tare da zurfin shiga cikin niyyar mawaki.

Binciken da N. Sokolov ya yi a ɗaya daga cikin waɗannan maraice ya ce: “Wannan ɗan wasan pian yana ɗaya daga cikin mafi kyaun wakilan wannan al’adar fasaha ta wasan kwaikwayo, wadda za a iya kiranta da ilimin kimiyyar soyayya. Shtarkman ya haɗu da damuwa mai kishi don tsabtar fasaha na fasaha tare da sha'awar da ba za a iya kashewa ba don yanayin yanayi da rai na hoton kiɗa. A wannan lokacin, mai hazaka ya nuna ɗanɗano mai ɗanɗano amma kyakkyawar taɓawa, ƙwarewar piano gradations, haske mai ban mamaki da sauri a cikin hanyoyin legato, a cikin carpal staccato, a cikin kashi uku, cikin bayanin kula biyu na tsaka-tsakin tsaka-tsaki da sauran nau'ikan fasaha mai kyau. Duk a cikin Ballad da kuma a cikin sauran guda Chopin da Chopin ya yi a wannan maraice, Shtarkman ya rage kewayon kuzari zuwa matsakaicin, godiya ga babban waƙar Chopin ya bayyana a cikin tsarkinsa na asali, ya kuɓuta daga duk wani abu mai ban mamaki da banza. Halin fasaha na mawaƙin, girman fahimta a cikin wannan yanayin gabaɗaya ya kasance ƙarƙashin babban ɗawainiya ɗaya - don nuna zurfin, ƙarfin maganganun mawaƙi tare da matsakaicin ƙima na hanyoyin bayyanawa. Mai yin wasan ya yi hazaka da wannan aiki mafi wahala.

Shtarkman yayi a kan wasan kide kide fiye da shekaru arba'in. Lokaci yana yin wasu gyare-gyare ga abubuwan da yake so na ƙirƙira, da kuma haƙiƙa ga kamannin aikinsa. Mai zane yana da shirye-shirye masu yawa na monographic a hannunsa - Beethoven, Liszt, Chopin, Schumann, Tchaikovsky. A cikin wannan jerin za mu iya ƙara sunan Schubert, wanda kalmominsa suka sami fassarar dabara a fuskar mawallafin pianist. Sha'awar Shtarkman ga hada-hadar kida ta karu har ma da yawa. A baya ya yi tare da vocalists, violinists, tare da quartets mai suna bayan Borodin, Taneyev, Prokofiev. A cikin 'yan shekarun nan, haɗin gwiwarsa tare da mawaƙa K. Lisovsky ya kasance mai ban sha'awa (shirye-shiryen daga ayyukan Beethoven, Schumann, Tchaikovsky). Amma game da sauye-sauyen fassarar, yana da kyau a faɗi kalmomi daga nazarin A. Lyubtsky game da wasan kwaikwayon, wanda Shtarkman ya yi bikin cika shekaru 30 na ayyukan fasaha: "Wasan kwaikwayo na pianist ya bambanta ta hanyar jin dadi, yanayin ciki. Ka'idar lyrical, wadda ta yi nasara a fili a cikin fasahar matashin Shtarkman, ta riƙe mahimmancinta a yau, amma ya zama daban-daban. Babu hankali, jajircewa, laushi a ciki. Farin ciki, wasan kwaikwayo an haɗa su da kwanciyar hankali. Shtarkman yanzu yana ba da muhimmiyar mahimmanci ga jimla, bayyanawa na ƙasa, da kammala cikakkun bayanai a hankali.

Farfesa (tun 1990) na Moscow Conservatory. Tun 1992 ya kasance malami a Kwalejin Yahudawa mai suna Maimonides.

L. Grigoriev, J. Platek, 1990