Oleg Moiseevich Kagan (Oleg Kagan) |

Oleg Kagan

Oleg Moiseevich Kagan (Nuwamba 22, 1946, Yuzhno-Sakhalinsk - Yuli 15, 1990, Munich) - Soviet violinist, girmama Artist na RSFSR (1986).

Bayan da iyali suka koma Riga a 1953, ya yi karatun violin a makarantar kiɗa a ɗakin ajiya a ƙarƙashin Joachim Braun. Lokacin da yake da shekaru 13, sanannen dan wasan violin Boris Kuznetsov ya koma Kagan zuwa Moscow, ya kai shi ajinsa a makarantar kiɗa ta tsakiya, kuma tun 1964 - a ɗakin karatu. A shekarar 1964 ne Kagan ya samu matsayi na hudu a gasar Enescu da aka yi a Bucharest, bayan shekara guda ya ci gasar Sibelius International Violin Competition, bayan shekara guda ya ci lambar yabo ta biyu a gasar Tchaikovsky, daga karshe kuma a shekarar 1968 ya samu nasara mai gamsarwa. nasara a gasar Bach a Leipzig.

Bayan Kuznetsov mutuwar, Kagan koma zuwa ajin David Oistrakh, wanda ya taimake shi rikodin sake zagayowar na biyar Mozart violin concertos. Tun 1969 Kagan fara dogon lokaci m hadin gwiwa tare da Svyatoslav Richter. Ba da daɗewa ba duet ya zama sanannen duniya, kuma Kagan ya zama abokantaka tare da manyan mawaƙa na wancan lokacin - cellist Natalia Gutman (daga baya ya zama matarsa), violist Yuri Bashmet, pianists Vasily Lobanov, Alexei Lyubimov, Eliso Virsaladze. Tare da su, Kagan ya taka leda a cikin ɗakunan daki a wani biki a birnin Kuhmo (Finland) da kuma a nasa bikin bazara a Zvenigorod. A ƙarshen 1980s, Kagan ya shirya shirya wani biki a Kreut (Bavarian Alps), amma mutuwar da ba ta daɗe ba daga cutar kansa ta hana shi aiwatar da waɗannan tsare-tsaren. A yau, ana gudanar da bikin a Kreuth don tunawa da 'yan wasan violin.

Kagan ya sami suna a matsayin ƙwararren ɗan wasan kwaikwayo, kodayake ya kuma yi manyan ayyukan kide-kide. Alal misali, shi da matarsa ​​Natalia Gutman sun yi wasan kwaikwayo na Brahms don violin da cello tare da ƙungiyar makaɗa, misali, sun shahara sosai. Alfred Schnittke, Tigran Mansuryan, Anatole Vieru sun sadaukar da abubuwan da suka yi ga duet na Kagan da Gutman.

Repertoire na Kagan ya haɗa da ayyukan marubuta na zamani waɗanda ba a cika yin su ba a lokacin a cikin Tarayyar Soviet: Hindemith, Messiaen, mawaƙa na Makarantar Sabuwar Vienna. Ya zama dan wasan farko na ayyukan da Alfred Schnittke, Tigran Mansuryan, Sofia Gubaidulina ya sadaukar masa. Kagan ya kasance ƙwararren mai fassara waƙar Bach da Mozart. An fitar da faifai da dama na mawakin a CD.

A 1997, darektan Andrey Khrzhanovsky yi fim Oleg Kagan. Rayuwa bayan rayuwa."

An binne shi a Moscow a makabartar Vagankovsky.

Tarihin wasan kwaikwayo na karnin da ya gabata ya san da yawa fitattun mawakan da aka yanke ayyukansu a kololuwar ikon fasaharsu - Ginette Neve, Miron Polyakin, Jacqueline du Pré, Rosa Tamarkina, Yulian Sitkovetsky, Dino Chiani.

Amma zamanin ya shuɗe, kuma takaddun sun kasance daga gare ta, daga cikin abin da muka sami, a tsakanin sauran abubuwa, rikodin mawaƙa na matasa waɗanda suka mutu, da al'amuran astringent na lokaci sun haɗu da wasan su a cikin tunaninmu da lokacin da suka haihu kuma shagaltar da su.

Maganar gaskiya, zamanin Kagan ya tafi tare da shi. Ya mutu kwanaki biyu bayan wasan kwaikwayonsa na ƙarshe a matsayin wani ɓangare na bikin da ya shirya a Bavarian Kreuth, a daidai lokacin bazara na 1990, a sashin ciwon daji na asibitin Munich - kuma a halin yanzu, ƙwayar cuta ta ci gaba da sauri. lalata al'adu da kuma ƙasar da aka haife shi, ya ketare a cikin ƙuruciyarsa daga ƙarshe zuwa ƙarshe (an haife shi a Yuzhno-Sakhalinsk, ya fara karatu a Riga ...), kuma wanda ya tsira da shi na ɗan gajeren lokaci.

Zai yi kama da cewa komai a bayyane yake kuma na halitta, amma batun Oleg Kagan yana da na musamman. Ya kasance daya daga cikin masu zane-zanen da ake ganin sun fi zamaninsu, sama da zamaninsu, a lokaci guda nasu ne kuma suna kallo, a lokaci guda, a baya da kuma gaba. Kagan gudanar da hadawa a cikin art wani abu, da farko kallo, m: da perfectionism na tsohon makaranta, ya fito daga malaminsa, David Oistrakh, da rigor da haƙiƙa na fassarar, wanda ake bukata da trends na lokacinsa, kuma a lokaci guda - sha'awar rai mai sha'awar rai, mai sha'awar 'yanci daga kwazazzabo rubutun kiɗa (kawo shi kusa da Richter).

Kuma ya ci gaba da roko ga kidan na zamaninsa - Gubaidulina, Schnittke, Mansuryan, Vier, litattafan karni na ashirin - Berg, Webern, Schoenberg, ya ci amanar shi ba kawai mai bincike na sabon sautin sauti ba, amma a fili fahimtar cewa. ba tare da sabunta hanyoyin bayyanawa ba, kiɗa - kuma tare da shi, fasahar mai wasan kwaikwayo za ta zama kayan wasa mai tsada kawai zuwa ƙimar gidan kayan gargajiya (me zai yi tunani idan ya kalli fastocin philharmonic na yau, waɗanda suka rage salon kusan zuwa matakin. mafi kurma zamanin Soviet! ..)

Yanzu, bayan shekaru masu yawa, zamu iya cewa Kagan ya zama kamar ya wuce rikicin da Soviet wasan kwaikwayon ya fuskanta a ƙarshen wanzuwar Tarayyar Soviet - lokacin da rashin jin daɗin fassarori ya wuce a matsayin mahimmanci da daraja, lokacin neman nasara. wannan gajiyawar kayan aikin sun tsaga su gutsuttsura, ana son nuna zurfin tunanin tunani, har ma da ganin a cikin sa wani bangare na adawar siyasa.

Kagan ba ya buƙatar duk waɗannan "tallafi" - ya kasance irin wannan mawaƙin mai zaman kansa, mai zurfin tunani, damar yin wasansa ba su da iyaka. Ya yi gardama, don magana, tare da fitattun hukumomi - Oistrakh, Richter - a matakin nasu, yana mai gamsar da su cewa yana da gaskiya, a sakamakon haka aka haifi fitattun fitattun jaruman. Tabbas, mutum zai iya cewa Oistrakh ya cusa masa wani horo na musamman na ciki wanda ya ba shi damar motsawa cikin fasaharsa ta hanyar hawan layi, mahimmin tsarin kula da rubutun kiɗa - kuma a cikin wannan shi ne, ba shakka, shine ci gaba da aikinsa. al'ada. Duk da haka, a cikin fassarar Kagan na abubuwan da aka tsara iri ɗaya - sonatas da concertos na Mozart, Beethoven, alal misali - mutum ya gano cewa tsayin daka na tunani da jin dadi, nauyin nau'i na kowane sauti, wanda Oistrakh ba zai iya ba, kasancewarsa mawaki. na wani lokaci tare da wasu na asali a cikin shi dabi'u.

Yana da ban sha'awa cewa Oistrakh ba zato ba tsammani ya gano wannan gyare-gyare a hankali a cikin kansa, ya zama abokin Kagan a kan faifan bidiyo da aka buga na Mozart. Tare da canjin rawar, shi, kamar yadda yake, ya ci gaba da nasa layin a cikin tarin tare da ƙwararren dalibinsa.

Yana yiwuwa daga Svyatoslav Richter, wanda da farko ya lura da m matasa violinist, cewa Kagan rungumi wannan koli jin dadin da darajar kowane articulated sautin, watsa zuwa ga jama'a. Amma, ba kamar Richter ba, Kagan ya kasance mai tsauri sosai a cikin fassararsa, bai bar motsin zuciyarsa ya mamaye shi ba, kuma a cikin shahararrun rikodin Beethoven's da Mozart's sonatas yana da alama wani lokaci - musamman a cikin motsin hankali - yadda Richter ke kaiwa ga tsananin son matasa. mawaƙi, a ko'ina da amincewa yana tafiya daga wannan kololuwar ruhu zuwa wancan. Ba lallai ba ne a ce, irin tasirin da ya yi a kan takwarorinsa da suka yi aiki tare da shi - Natalia Gutman, Yuri Bashmet - da kuma dalibansa, kash, ba su da yawa saboda lokacin da aka ba shi ta hanyar kaddara!

Wataƙila Kagan an ƙaddara ya zama ɗaya daga cikin waɗancan mawakan waɗanda ba su da siffa ta zamanin, amma waɗanda suka ƙirƙira da kansu. Abin takaici, wannan hasashe ne kawai, wanda ba za a taɓa tabbatar da shi ba. Mafi mahimmanci a gare mu shine kowane tef ko faifan bidiyo wanda ke ɗaukar fasahar mawaƙi mai ban mamaki.

Amma wannan kimar ba ta wani tsari ba ne. Maimakon haka - yayin da har yanzu yana yiwuwa, yayin da 70s - 80s. na karni na karshe bai zama tarihi ba - waɗannan takardun za a iya la'akari da su a matsayin jagorar da ke haifar da farfadowa na babban ruhun aikin Rasha, mai magana mai haske wanda Oleg Moiseevich Kagan ya kasance.

Kamfanin "Melody"