Pierre Gaviniès |

Pierre Gavinies

Daya daga cikin manyan violin na Faransa na karni na 1789 shine Pierre Gavignier. Fayol ya sanya shi daidai da Corelli, Tartini, Punyani da Viotti, yana ba shi wani zane na daban na tarihin rayuwa. Lionel de la Laurencie ya ba da cikakken babi ga Gavinier a cikin tarihin al'adun violin na Faransa. An rubuta tarihin rayuwa da yawa game da shi ta hanyar masu binciken Faransanci na ƙarni na XNUMX-XNUMXth. Babban sha'awar Gavigne ba haɗari bane. Shi mutum ne mai matukar girma a cikin motsin haskakawa wanda ke nuna tarihin al'adun Faransanci a cikin rabin na biyu na karni na XNUMX. Bayan ya fara aikinsa a lokacin da absolutism na Faransa ya zama kamar ba za a iya girgiza ba, Gavignier ya shaida rugujewarta a cikin XNUMX.

Abokin Jean-Jacques Rousseau kuma mai sha'awar bin falsafar masana ilmin lissafi, wanda koyarwarsa ta lalata tushen akidar manyan mutane kuma ya ba da gudummawa ga zuwan kasar zuwa juyin juya hali, Gavignier ya zama shaida kuma mai shiga cikin mummunan "yaki" a cikin juyin juya hali. filin fasaha, wanda ya samo asali a tsawon rayuwarsa tun daga babban rococo na aristocratic zuwa wasan kwaikwayo na ban mamaki Gluck da ƙari - zuwa jarumtakar farar hula na zamanin juyin juya hali. Shi da kansa ya bi tafarki guda, yana amsa duk wani abu mai ci gaba da ci gaba. Farawa da ayyukan salo mai ban sha'awa, ya kai ga mawaƙan wakoki na nau'in Rousseau, wasan kwaikwayo na Gluck da abubuwan jarumtaka na al'ada. Har ila yau, an siffanta shi da yanayin ra'ayi na 'yan gargajiya na Faransanci, wanda, a cewar Buquin, "yana ba da tambari na musamman ga kiɗa, a matsayin wani muhimmin ɓangare na babban sha'awar zamanin na tsufa."

An haifi Pierre Gavignier a ranar 11 ga Mayu, 1728 a Bordeaux. Mahaifinsa, Francois Gavinier, ƙwararren ƙwararren ƙwararren ƙwararren kayan aiki ne, kuma yaron ya girma a zahiri a cikin kayan kida. A 1734, iyalin suka koma Paris. Pierre yana da shekaru 6 a lokacin. Wanda ya yi karatun violin tare da shi ba a sani ba. Takardun kawai sun nuna cewa a cikin 1741, Gavignier mai shekaru 13 ya ba da kide-kide biyu (na biyu a ranar 8 ga Satumba) a cikin zauren Concert Spirituel. Lorancey, duk da haka, a hankali ya yi imanin cewa aikin kiɗan Gavigini ya fara aƙalla shekara ɗaya ko biyu a baya, saboda ba za a ƙyale matashin da ba a san shi ba ya yi a cikin sanannen ɗakin kide-kide. Bugu da ƙari, a cikin wasan kwaikwayo na biyu, Gavinier ya taka leda tare da shahararren ɗan wasan violin na Faransa L. Abbe (ɗa) Leclerc's Sonata don violin biyu, wanda shine wata shaida ta shaharar matashin mawaki. Haruffa na cartier sun ƙunshi nassoshi zuwa daki-daki ɗaya mai ban sha'awa: a cikin wasan kwaikwayo na farko, Gavignier ya fara halartan sa tare da capries na Locatelli da kide kide na F. Geminiani. Cartier ya yi iƙirarin cewa mawaƙin, wanda ke cikin Paris a wancan lokacin, ya so ya ba da gudummawar wannan wasan kwaikwayo ga Gavinier kawai, duk da ƙuruciyarsa.

Bayan wasan kwaikwayo na 1741, sunan Gavignier ya ɓace daga zane-zane na Concert Spirituel har zuwa bazara na 1748. Sa'an nan kuma ya ba da kide-kide tare da babban aiki har zuwa 1753. Daga 1753 har zuwa bazara na 1759, wani sabon hutu a cikin wasan kwaikwayo na wasan kwaikwayo na violinist. ya biyo baya. Da yawa daga cikin mawallafin tarihinsa sun yi iƙirarin cewa an tilasta masa barin Paris a asirce saboda wani irin labarin soyayya, amma, kafin ma ya tafi gasar 4, an kama shi kuma ya kwashe tsawon shekara guda a kurkuku. Nazarin Lorancey bai tabbatar da wannan labarin ba, amma kuma ba su karyata shi ba. Akasin haka, ɓoyayyen ɓoyayyen ɗan wasan violin daga Paris ya zama tabbaci na kai tsaye. A cewar Laurency, wannan zai iya faruwa a tsakanin 1753 da 1759. Lokaci na farko (1748-1759) ya kawo Gavinier babba a cikin kiɗa na Paris. Abokan aikinsa a cikin wasan kwaikwayon sune manyan ƴan wasan kwaikwayo irin su Pierre Guignon, L. Abbe (ɗa), Jean-Baptiste Dupont, Flutist Blavet, mawaƙa Mademoiselle Fell, tare da wanda ya sake yin Concerto na biyu na Mondonville don Violin da Voice tare da Orchestra. Ya yi nasarar yin takara da Gaetano Pugnani, wanda ya zo birnin Paris a shekara ta 1753. A lokaci guda kuma, har yanzu ana jin wasu muryoyi masu mahimmanci a kansa a lokacin. Saboda haka, a cikin daya daga cikin sake dubawa na 1752, an shawarce shi don "tafiya" don inganta basirarsa. Sabon fitowar Gavignier a kan wasan kide-kide a ranar 5 ga Afrilu, 1759 a ƙarshe ya tabbatar da babban matsayinsa a cikin masu son violin na Faransa da Turai. Daga yanzu, kawai mafi sha'awar sake dubawa sun bayyana game da shi; an kwatanta shi da Leclerc, Punyani, Ferrari; Viotti, bayan sauraron wasan Gavignier, ya kira shi "Faransa Tartini".

Hakanan ana kimanta ayyukansa da inganci. Shahararren mashahuri, wanda ya dade a cikin rabin na biyu na karni na 1759, Romance don Violin ya samo shi, wanda ya yi tare da shiga na musamman. An fara ambata Romance a cikin bita na XNUMX, amma riga a matsayin wasan kwaikwayo wanda ya sami ƙaunar masu sauraro: "Monsieur Gavignier ya yi wasan kwaikwayo na nasa abun da ke ciki. Gaba daya jama'a suka saurare shi gaba daya suka kara tafawa, suna neman a maimaita soyayya. A cikin aikin Gavignier na farkon lokacin har yanzu akwai abubuwa da yawa na salon gallant, amma a cikin Romance an sami juyowa zuwa salon salon waƙar da ya haifar da jin daɗi kuma ya tashi a matsayin antithesis na hankali na Rococo.

Daga 1760, Gavignier ya fara buga ayyukansa. Na farko daga cikinsu shine tarin "6 Sonatas don Violin Solo tare da Bass", wanda aka sadaukar da Baron Lyatan, jami'in Tsaron Faransa. A dabi'ance, maimakon maɗaukakiyar ɗabi'a da maɗaukakiyar ɗabi'a da aka saba ɗauka a cikin irin wannan ƙaddamarwa, Gavignier ya keɓe kansa ga tawali'u da cike da ɓoyewar mutunci a cikin kalmomin: "Wani abu a cikin wannan aikin yana ba ni damar yin tunani da gamsuwa cewa za ku yarda da shi a matsayin hujja ainihin abin da nake ji a gare ku”. Game da rubuce-rubucen Gavignier, masu suka sun lura da ikonsa na canza batun da aka zaɓa har abada, yana nuna duka cikin sabon salo.

Yana da mahimmanci cewa a cikin 60s dandano na masu ziyartar zauren shagali suna canzawa sosai. Tsohon sha'awar "arias" mai ban sha'awa na salon Rococo mai ban sha'awa yana wucewa, kuma an bayyana abin da ya fi girma ga waƙoƙin. A cikin Concert Spirituel, organist Balbair ya yi concertos da yawa shirye-shirye na lyric guda, yayin da mawaƙin Hochbrücker ya yi nasa rubutun ga garaya na lyric minuet Exode, da dai sauransu. Kuma a cikin wannan motsi daga Rococo zuwa sentimentalism na classicist irin, Gavignier shagaltar. nisa daga wurin karshe.

A cikin 1760, Gavinier yayi ƙoƙari ( sau ɗaya kawai) don shirya wasan kwaikwayo. Ya rubuta kida don wasan barkwanci na Riccoboni guda uku "Imaginary" ("Le Pretendu"). An rubuta game da waƙarsa cewa ko da yake ba sabon abu ba ne, an bambanta shi da ritornellos mai kuzari, zurfin ji a cikin trios da quartets, da piquant iri-iri a aria.

A farkon 60s, ƙwararrun mawaƙa Kaneran, Joliveau da Dovergne an nada su darektocin Concert Spirituel. Tare da zuwansu, ayyukan wannan cibiyar wasan kwaikwayo ya zama mafi tsanani. Wani sabon salo yana ci gaba a hankali, wanda aka ƙaddara don kyakkyawar makoma - wasan kwaikwayo. A shugaban kungiyar kade-kade akwai Gavignier, a matsayin mai kula da violin na farko, da dalibinsa Capron - na biyu. Ƙungiyar mawaƙa ta sami irin wannan sassaucin ra'ayi wanda, a cewar mujallar kiɗa na Parisian Mercury, ba lallai ba ne a nuna farkon kowane ma'auni tare da baka lokacin kunna wasan kwaikwayo.

Maganar da aka nakalto don mai karatu na zamani yana buƙatar bayani. Tun daga lokacin Lully a Faransa, kuma ba kawai a cikin opera ba, har ma a cikin Concert Spirituel, ƙungiyar makaɗa ta kasance da tsayin daka ta hanyar doke ta da ma'aikaci na musamman, wanda ake kira battuta. Ya rayu har zuwa 70s. Ana kiran mai gudanarwa a cikin wasan opera na Faransa "batteur de mesure" a cikin wasan opera na Faransa. Ƙauyen trampoline ɗin ya ruɗe a cikin zauren, kuma ƴan wasan opera na ƙasar Paris suka ba wa shugaban opera laƙabin "mai yankan katako." Wallahi, duka da battuta yayi sanadiyar mutuwar Lully, wanda ya raunata kafarsa da ita, wanda ya haifar da gubar jini. A zamanin Gavignier, wannan tsohon salon shugabancin ƙungiyar makaɗa ya fara dusashewa, musamman wajen gudanar da ayyukan jin daɗi. Ayyukan mai gudanarwa, a matsayin mai mulkin, sun fara farawa ta hanyar mai rakiya - dan wasan violin, wanda ya nuna farkon mashaya tare da baka. Kuma yanzu kalmar "Mercury" ta bayyana. Gavignier da Kapron sun horar da su, membobin ƙungiyar mawaƙa ba su buƙatar ba kawai don gudanar da battuta ba, har ma don nuna bugun da baka: ƙungiyar makaɗa ta zama cikakkiyar ƙungiya.

A cikin 60s, Gavinier a matsayin mai yin wasan kwaikwayo yana kan mafi girman shahara. Reviews lura da na kwarai halaye na sautinsa, da sauƙi na fasaha fasaha. Babu ƙarancin godiya ga Gavignier kuma a matsayin mawaki. Bugu da ƙari, a wannan lokacin, ya wakilci jagorancin mafi ci gaba, tare da matasa Gossec da Duport, suna ba da hanya don salon gargajiya a cikin kiɗa na Faransa.

Gossec, Capron, Duport, Gavignier, Boccherini, da Manfredi, waɗanda suka zauna a Paris a shekara ta 1768, sun haɗa da'irar kusa da sau da yawa a cikin salon Baron Ernest von Bagge. Siffar Baron Bagge tana da sha'awa sosai. Wannan wani nau'i ne na majiɓinci na gama gari a cikin ƙarni na XNUMX, wanda ya shirya salon waƙa a gidansa, sananne a duk faɗin Paris. Tare da babban tasiri a cikin al'umma da haɗin gwiwa, ya taimaka wa mawaƙa da yawa masu sha'awar samun kan ƙafafunsu. Salon baron wani nau'i ne na "matakin gwaji", inda masu yin wasan suka sami dama ga "Concert Spirituel". Duk da haka, fitattun mawakan Parisiya sun ja hankalinsa sosai ta hanyar iliminsa na encyclopedic. Ba abin mamaki bane cewa da'irar ta taru a cikin salon sa, suna haskakawa da sunayen fitattun mawakan Paris. Wani majiɓincin fasaha iri ɗaya shine ma'aikacin banki na Paris La Poupliniere. Gavignier kuma ya kasance cikin abokantaka da shi. “Malambayi ya ɗauki nasa mafi kyawun kide kide da aka sani a wancan lokacin; mawakan sun zauna tare da shi suka shirya tare da safe, abin mamaki cikin nishadi, wa] annan kade-kaden da za a yi da yamma. Duk ƙwararrun mawaƙa da suka zo daga ƙasar Italiya, ’yan wasan violin, mawaƙa da mawaƙa, an ajiye su a gidansa, inda ake ciyar da su, kuma kowa ya yi ƙoƙarin haskawa a shagalinsa.

A cikin 1763, Gavignier ya sadu da Leopold Mozart, wanda ya isa nan a birnin Paris, shahararren dan wasan violin, marubucin sanannen makaranta, wanda aka fassara a cikin harsunan Turai da yawa. Mozart ya yi magana game da shi a matsayin babban virtuoso. Shahararriyar Gavignier a matsayin mawaki za a iya yin la'akari da adadin ayyukan da ya yi. An haɗa su sau da yawa a cikin shirye-shirye ta Bert (Maris 29, 1765, Maris 11, Afrilu 4 da Satumba 24, 1766), makafin violin Flitzer, Alexander Dön, da sauransu. A cikin karni na XNUMX, irin wannan shaharar ba abu ne mai yawa ba.

Da yake kwatanta halin Gavinier, Lorancey ya rubuta cewa ya kasance mai daraja, mai gaskiya, mai kirki kuma ba shi da hankali. An bayyana na ƙarshe a fili dangane da wani labari mai ban sha'awa a Paris a ƙarshen 60s game da ayyukan agaji na Bachelier. A shekara ta 1766, Bachelier ya yanke shawarar kafa makarantar zane-zane, wanda matasa masu fasaha na Paris, waɗanda ba su da hanyoyi, zasu iya samun ilimi. Gavignier ya taka rawar gani wajen ƙirƙirar makarantar. Ya shirya kide-kide guda 5 wadanda ya jawo fitattun mawaka a cikinsu; Legros, Duran, Besozzi, da ƙari, babban ƙungiyar makaɗa. Kudaden da aka samu daga wasannin kide-kide sun tafi a asusun makaranta. Kamar yadda "Mercury" ya rubuta, "masu fasaha sun haɗa kai don wannan aikin na mutunci." Kuna buƙatar sanin dabi'un da suka kasance a cikin mawaƙa na karni na XVIII don fahimtar yadda yake da wuya ga Gavinier ya gudanar da irin wannan tarin. Bayan haka, Gavignier ya tilasta wa abokan aikinsa su shawo kan ra'ayin wariyar launin fata kuma su taimaka wa 'yan'uwansu a cikin wani nau'i na fasaha na gaba daya.

A cikin farkon 70s, manyan abubuwan sun faru a rayuwar Gavignier: asarar mahaifinsa, wanda ya mutu a ranar 27 ga Satumba, 1772, kuma ba da daɗewa ba - Maris 28, 1773 - da mahaifiyarsa. Kawai a wannan lokacin harkokin kudi na "Concert Spirituel" sun fadi cikin raguwa kuma Gavinier, tare da Le Duc da Gossec, an nada masu gudanarwa na cibiyar. Duk da baƙin ciki na sirri, Gavinier ya fara aiki sosai. Sabbin daraktocin sun sami yarjejeniya mai kyau daga gundumar Paris kuma sun ƙarfafa tsarin ƙungiyar makaɗa. Gavignier ya jagoranci violin na farko, Le Duc na biyu. Ranar 25 ga Maris, 1773, an gudanar da kide-kide na farko da sabon jagoranci na Concert Spirituel ya shirya.

Bayan ya gaji dukiyar iyayensa, Gavignier ya sake nuna halayensa na mai ɗaukar azurfa da kuma mutum mai kirki na ruhaniya. Mahaifinsa, mai yin kayan aiki, yana da babban abokin ciniki a Paris. Akwai makudan kudade da basu biya ba a cikin takardun marigayin. Gavinier ya jefa su cikin wuta. A cewar masu zamani, wannan aiki ne na rashin hankali, tun da yake a cikin masu bin bashi ba kawai matalauta ne kawai waɗanda ke da wuyar biyan kuɗi ba, har ma masu arziki aristocrats waɗanda kawai ba sa so su biya su.

A farkon 1777, bayan mutuwar Le Duc, Gavignier da Gossec sun bar darektan Concert Spirituel. Duk da haka, babbar matsalar kudi ta jira su: ta hanyar laifin mawaƙa Legros, adadin yarjejeniyar haya tare da ofishin birnin Paris ya karu zuwa 6000 livres, wanda aka danganta ga kasuwancin shekara-shekara na Concert. Gavignier, wanda ya dauki wannan hukunci a matsayin rashin adalci da cin mutunci da aka yi masa da kansa, ya biya membobin kungiyar duk abin da suka cancanta har zuwa karshen shugabancinsa, tare da kin amincewa da kudadensa na wasanni 5 na karshe. Sakamakon haka ya yi ritaya da kusan babu abin da zai ci. An cece shi daga talauci ta hanyar ba zato ba tsammani na rayuwa 1500, wanda wata Madame de la Tour, mai tsananin sha'awar iyawarsa ta yi masa wasiyya. Duk da haka, an ba da kuɗin shekara a 1789, kuma ba a san ko ya karɓi ta lokacin da aka fara juyin juya hali ba. Wataƙila ba haka bane, saboda ya yi aiki a ƙungiyar makaɗa na gidan wasan kwaikwayo na Rue Louvois akan kuɗin 800 livres a shekara - adadin da ya fi ɗan kankanin lokaci. Duk da haka, Gavignier bai fahimci matsayinsa a matsayin wulakanci ba kuma bai rasa zuciya ba.

Daga cikin mawaƙa na Paris, Gavinier ya ji daɗin girmamawa da ƙauna. A lokacin juyin juya halin Musulunci, dalibansa da abokansa sun yanke shawarar shirya wani kade-kade don girmama tsofaffin maestro da kuma gayyato masu fasahar wasan opera don haka. Babu wani mutum ɗaya da zai ƙi yin wasan kwaikwayo: mawaƙa, masu rawa, har zuwa Gardel da Vestris, sun ba da hidimarsu. Sun shirya wani gagarumin shiri na wasan kwaikwayo, bayan haka ya kamata a yi wasan kwaikwayo na ballet Telemak. Sanarwar ta nuna cewa za a buga shahararren "Romance" na Gavinier, wanda har yanzu yana kan bakin kowa. Shirin tsira na wasan kwaikwayo yana da yawa sosai. Ya haɗa da "sabon wasan kwaikwayo na Haydn", lambar murya da lambobin kayan aiki. "Yan'uwan Kreutzer" ne suka buga wasan kwaikwayo na kide kide da wake-wake na violin guda biyu - shahararren Rodolphe da ɗan'uwansa Jean-Nicolas, kuma ƙwararren ɗan wasan violin ne.

A cikin shekara ta uku na juyin juya halin Musulunci, Yarjejeniyar ta ware makudan kudade don kula da fitattun masana kimiyya da masu fasaha na jamhuriyar. Gavignier, tare da Monsigny, Puto, Martini, na daga cikin masu karbar fansho na matsayi na farko, wadanda aka biya 3000 livres a shekara.

A ranar 18 Brumaire na shekara ta 8 na jamhuriyar (Nuwamba 1793, 1784), an buɗe Cibiyar Kiɗa ta ƙasa (ma'ajiyar ra'ayi na gaba) a birnin Paris. Cibiyar, kamar yadda ta kasance, ta gaji Makarantar Sarauta ta Waƙa, wadda ta wanzu tun 1794. A farkon XNUMX Gavinier ya ba da matsayin farfesa na wasan violin. Ya kasance a cikin wannan matsayi har zuwa rasuwarsa. Gavinier ya sadaukar da kansa ga koyarwa da himma, kuma, duk da yawan shekarunsa, ya sami ƙarfin gudanar da aiki kuma ya kasance cikin alkalai don rarraba kyaututtuka a gasa masu rahusa.

A matsayin ɗan wasan violin, Gavignier ya riƙe motsin fasaha har zuwa kwanaki na ƙarshe. Shekara guda kafin mutuwarsa, ya hada da "24 matine" - sanannen etudes, wanda har yanzu ana karatu a conservatories a yau. Gavignier yana yin su yau da kullun, amma duk da haka suna da matuƙar wahala kuma suna iya samun dama ga masu violin kawai tare da ingantaccen fasaha.

Gavinier ya mutu a ranar 8 ga Satumba, 1800. Musical Paris ta yi baƙin ciki da wannan rashi. Taron jana’izar ya samu halartar Gossek, Megul, Cherubini, Martini, wadanda suka zo don karrama abokin nasu da ya rasu. Gossek ya ba da godiya. Ta haka ƙare rayuwar daya daga cikin mafi girma violinists na XVIII karni.

Gavignier yana mutuwa kewaye da abokai, masu sha'awa da ɗalibai a cikin gidansa fiye da ƙauyen Rue Saint-Thomas, kusa da Louvre. Ya zauna a bene na biyu a wani gida mai daki biyu. Kayayyakin da ke cikin falon sun ƙunshi tsohuwar akwati na balaguro (ba komai), wurin kiɗa, kujerun bambaro da yawa, ƙaramin ɗaki; A cikin ɗakin kwana akwai tebur ɗin tufaffiyar bututu, alkunun tagulla, ƙaramin tebur na itacen fir, sakatariya, kujera, kujeru huɗu da kujeru waɗanda aka liƙa a cikin Utrecht velvet, da wani gado na barace-barace: tsohuwar kujera mai bayanta biyu, an rufe. da mayafi. Duk kadarorin ba su da daraja 75 francs.

A gefen murhu, akwai kuma wani kabad mai tarin abubuwa daban-daban da aka taru a cikin tudu - kwala, safa, lambobin yabo guda biyu masu dauke da hotunan Rousseau da Voltaire, “Gwajin” Montaigne, da dai sauransu daya, zinari, mai siffar Henry. IV, ɗayan tare da hoton Jean-Jacques Rousseau. A cikin kabad ana amfani da abubuwan da aka ƙima su akan 49 francs. Mafi girman taska a cikin dukkan gadon Gavignier shine violin na Amati, violin 4 da viola na mahaifinsa.

Tarihin Gavinier ya nuna cewa yana da fasaha na musamman na jan hankalin mata. Ya yi kama da “ya rayu ta wurinsu kuma ya rayu dominsu.” Kuma baya ga haka, ya kasance koyaushe Bafaranshe na gaskiya a cikin halayensa na kishin mata. A cikin yanayi mai ban tsoro da lalata, don haka halayen al'ummar Faransa na shekarun da suka gabata kafin juyin juya hali, a cikin yanayi na nuna ladabi, Gavignier ya kasance banda. An bambanta shi da girman kai da hali mai zaman kansa. Ilimi mai zurfi da tunani mai haske ya kusantar da shi ga mutanen wannan zamani masu wayewa. Ana ganinsa sau da yawa a gidan Pupliner, Baron Bagge, tare da Jean-Jacques Rousseau, wanda suke da dangantaka ta kud da kud. Fayol ya fadi gaskiya mai ban dariya game da wannan.

Rousseau ya yaba da tattaunawa da mawakin. Wata rana ya ce: “Gavinier, na san cewa kuna son cutlets; Ina gayyatar ku ku ɗanɗana su.” Lokacin da ya isa Rousseau, Gavinier ya same shi yana soya cutlets ga baƙo da hannunsa. Laurency ya nanata cewa kowa ya san yadda yake da wahala ga Rousseau mafi yawan jama'a don mu'amala da mutane.

Matsanancin zafin Gavinier wani lokaci yakan sa shi rashin adalci, fushi, rashin hankali, amma duk wannan an lulluɓe shi da alheri mai ban mamaki, ɗaukaka, da kuma amsawa. Ya yi ƙoƙari ya taimaka wa kowane mabuƙaci kuma ya yi hakan ba tare da sha'awa ba. Amsar da ya yi ta kasance almara, kuma duk wanda ke kewaye da shi yana jin tausayinsa. Ya taimaki wasu da nasiha, wasu da kuɗi, wasu kuma tare da kammala kwangiloli masu yawa. Halinsa - mai fara'a, buɗaɗɗe, zamantakewa - ya kasance haka har ya tsufa. Kukan dattijon ba halinsa bane. Ya ba shi ainihin gamsuwa don yabo ga matasa masu fasaha, yana da ra'ayi na musamman, mafi kyawun lokaci da sabon abin da ya kawo wa ƙaunataccen fasaha.

Shi ne kowace safiya. mai da hankali ga ilmantarwa; yayi aiki tare da ɗalibai tare da haƙuri mai ban mamaki, juriya, himma. Dalibai sun girmama shi ba su rasa ko darasi ba. Ya tallafa musu ta kowace hanya, ya sa bangaskiya cikin kansa, cikin nasara, a cikin fasaha na gaba. Da yaga hazikin mawaki, sai ya dauke shi a matsayin almajiri, komai wahalarsa. Da zarar ya ji saurayi Alexander Bush, ya ce wa mahaifinsa: "Wannan yaro ne ainihin mu'ujiza, kuma zai zama daya daga cikin na farko artists na zamaninsa. Ka ba ni. Ina so in jagoranci karatunsa don taimakawa wajen haɓaka hazakarsa na farko, kuma aikina zai kasance da sauƙi da gaske, domin wuta mai tsarki tana ƙone shi.

Rashin ko in kula da kuɗi ya shafi ɗalibansa: “Bai taɓa yarda ya karɓi kuɗi daga waɗanda suka sadaukar da kansu ga waƙa ba. Bugu da kari, ya kan fifita dalibai matalauta fiye da masu kudi, wadanda wani lokaci yakan sanya su jira na sa'o'i har sai da shi da kansa ya gama karatu tare da wasu matasa masu fasaha da aka hana su kudi.

Ya kasance yana tunani game da ɗalibin da makomarsa, kuma idan ya ga cewa wani ba zai iya buga violin ba, ya yi ƙoƙari ya canza shi zuwa wani kayan aiki. Da yawa an ajiye su a kan kuɗin kansu kuma a kai a kai, kowane wata, ana ba su kuɗi. Ba abin mamaki ba cewa irin wannan malami ya zama wanda ya kafa dukan makarantar violin. Za mu suna kawai mafi m, wanda sunayen da aka yadu da aka sani a cikin XVIII karni. Waɗannan su ne Capron, Lemierre, Mauriat, Bertom, Pasible, Le Duc (babba), Abbé Robineau, Guerin, Baudron, Imbo.

Fitattun mawakan Faransa sun yaba wa mai zanen Gavinier. Sa’ad da yake ɗan shekara 24 kawai, L. Daken bai rubuta layukan dithyrambic game da shi ba: “Wane irin sauti kuke ji! Abin da baka! Abin da ƙarfi, alheri! Wannan shi kansa Baptiste. Ya kama dukan raina, na yi murna! Yana magana da zuciya; komai yana walƙiya a ƙarƙashin yatsunsa. Yana yin kiɗan Italiyanci da Faransanci tare da daidaitaccen kamala da amincewa. Abin da m cadences! Kuma fantasy, tabawa da taushi? Har yaushe aka yi ado da furannin laurel, ban da mafi kyawun mafi kyau, don yin ado da irin wannan matashin kai? Babu wani abu da ba shi yiwuwa a gare shi, yana iya yin koyi da komai (watau fahimtar duk salon - LR). Yana iya wuce kansa kawai. Duk Paris ta zo a guje don saurare shi kuma ba zai iya jin isa ba, yana da daɗi sosai. Game da shi, wanda kawai zai iya cewa basira ba ta jira inuwar shekaru ... "

Kuma ga wani bita, ba ƙasa da dithyrambic: “Gavinier daga haihuwa yana da duk halayen da ɗan wasan violin zai iya fata: ɗanɗano mara kyau, hannun hagu da dabarar baka; ya karanta da kyau daga takarda, tare da sauƙi mai ban mamaki yana fahimtar duk nau'ikan nau'ikan, kuma, haka ma, ba shi da komai don sanin dabarun da suka fi wahala, ci gaban da wasu ke ɗaukar dogon lokaci suna karatu. Wasan sa ya ƙunshi kowane salo, yana taɓa kyawun sautin, ya bugi tare da wasan kwaikwayo.

Game da ikon Gavinier na ban mamaki don aiwatar da ayyuka mafi wahala an ambata a cikin duk tarihin rayuwa. Wata rana, wani ɗan Italiyanci, ya isa Paris, ya yanke shawarar yin sulhu da violin. A cikin alƙawarin da ya yi, ya haɗa da kawun nasa, Marquis N. A gaban wani babban kamfani da ya taru a maraice a Pupliner mai kuɗi na Paris, wanda ya kula da ƙungiyar makaɗa mai ban sha'awa, Marquis ya ba da shawarar cewa Gavignier ya buga wasan kwaikwayo na musamman da aka ba da izini don wannan dalili. da wani mawaki, mai wuce yarda wuya, kuma baicin, a kan manufa mugun sake rubuta. Da yake kallon bayanin kula, Gavignier ya nemi a sake tsara aikin don rana mai zuwa. Sa'an nan marquis ya ce da ban mamaki cewa ya kimanta buƙatar violin "a matsayin ja da baya na waɗanda suka yi iƙirarin za su iya yin kowane irin kiɗan da suke bayarwa." Hurt Gavignier, ba tare da cewa uffan ba, ya ɗauki violin ya buga wasan kwaikwayo ba tare da jinkiri ba, ba tare da rasa ko da rubutu ba. Dole Marquis ya yarda cewa wasan kwaikwayon yayi kyau. Duk da haka, Gavignier bai natsu ba, ya juya ga mawakan da suka raka shi, ya ce: “Mawakan, Monsieur Marquis ya yi min godiya bisa yadda na yi masa waka, amma ina matukar sha’awar ra’ayin Monsieur Marquis lokacin da Ina wasa da wannan aikin don kaina. Fara farawa!" Kuma ya buga wasan kwaikwayo ta yadda wannan, gaba ɗaya, aikin tsaka-tsakin ya bayyana a cikin sabon sabon haske, mai canzawa. An yi tsawa da tafi, wanda ke nufin cikakkiyar nasarar mai zane.

Halayen aikin Gavinier sun jaddada kyakkyawa, bayyanawa da ikon sauti. Wani mai suka ya rubuta cewa 'yan wasan violin guda huɗu na Paris, waɗanda ke da sauti mafi ƙarfi, suna wasa tare, ba za su iya zarce Gavignier a cikin sautin sauti ba kuma ya mamaye ƙungiyar makaɗa na mawaƙa 50 cikin 'yanci. Amma ya ci nasara da abokan zamansa har ma da shiga, bayyana wasan, yana tilasta "kamar ya yi magana da nishi violin." Gavignier ya shahara musamman saboda wasan kwaikwayo na adagios, jinkirin da sassan melancholic, na mallakar, kamar yadda suka faɗa a lokacin, zuwa fagen "Kiɗa na zuciya".

Amma, rabin gaisuwa, mafi kyawun yanayin bayyanar Gavinier dole ne a gane shi a matsayin mafi kyawun tunaninsa na salo daban-daban. Ya kasance gaba da lokacinsa a wannan batun kuma ya yi kama da ya dubi tsakiyar karni na XNUMX, lokacin da "fasahar zane-zane" ya zama babban amfani na masu yin wasan kwaikwayo.

Gavignier, duk da haka, ya kasance ɗan gaskiya na karni na sha takwas; Kokarin da ya yi na yin kade-kade na zamani da al'ummomi daban-daban babu shakka yana da tushe na ilimi. Mai aminci ga ra'ayoyin Rousseau, raba falsafar Encyclopedists, Gavinier yayi ƙoƙari ya canza ka'idodinsa a cikin aikinsa, kuma basirar dabi'a ta ba da gudummawa ga kyakkyawar fahimtar waɗannan buri.

Irin wannan shi ne Gavignier - Bafaranshe na gaskiya, kyakkyawa, kyakkyawa, haziƙi da wayo, yana da madaidaicin ƙwaƙƙwaran ƙwaƙƙwa, mai banƙyama, kuma a lokaci guda mai tausayi, mai kirki, mai ladabi, mai sauƙi. Irin wannan shi ne babban Gavinier, wanda mawaƙin Paris ya sha'awar kuma yana alfahari da shi tsawon rabin karni.

L. Rabin