Rodolphe Kreutzer |
Rodolphe Kreutzer ne adam wata
Hanyoyi biyu na 'yan adam, kowanne a cikin hanyarsa, sun dawwama sunan Rodolphe Kreutzer - Beethoven da Tolstoy. Na farko ya sadaukar da ɗayan mafi kyawun violin sonatas gare shi, na biyu, wanda wannan sonata ya yi wahayi, ya haifar da sanannen labari. A lokacin rayuwarsa, Kreuzer ya ji daɗin shahara a duniya a matsayin babban wakilin makarantar violin na gargajiya na Faransa.
Dan wani mawaƙi mai ladabi wanda ya yi aiki a Kotun Chapel na Marie Antoinette, Rodolphe Kreuzer an haife shi a Versailles a ranar 16 ga Nuwamba, 1766. Ya sami ilimin firamare a ƙarƙashin jagorancin mahaifinsa, wanda ya wuce yaron, lokacin da ya fara yin sana'a. saurin ci gaba, zuwa Antonin Stamits. Wannan mashahurin malami, wanda ya tashi daga Mannheim zuwa Paris a 1772, abokin aikin Uba Rodolphe ne a cikin Marie Antoinette Chapel.
Duk abubuwan da suka faru na rikice-rikice na lokacin da Kreuzer ya rayu sun wuce abin mamaki ga makomarsa. Yana da shekaru goma sha shida an lura da shi kuma ana girmama shi a matsayin mawaki; Marie Antoinette ta gayyace shi zuwa Trianon don yin kide-kide a cikin ɗakinta kuma ya kasance yana sha'awar wasansa. Ba da daɗewa ba, Kreutzer ya sha wahala mai girma - a cikin kwanaki biyu ya rasa mahaifinsa da mahaifiyarsa kuma an bar shi da 'yan'uwa maza da mata hudu, wanda shi ne babba. An tilasta wa saurayi ya dauke su cikin cikakkiyar kulawa kuma Marie Antoinette ta zo don taimakonsa, ta ba da matsayin mahaifinsa a cikin Kotun Chapel.
Yayinda yake yaro, yana da shekaru 13, Kreutzer ya fara rubutawa, a gaskiya, ba tare da horo na musamman ba. Lokacin da yake dan shekara 19, ya rubuta Concerto na Farko na Violin da operas guda biyu, wadanda suka shahara sosai a kotu har Marie Antoinette ta sanya shi mawaƙin ɗakin gida da kuma ƙwararren solo na kotu. Kwanaki masu rikice-rikice na juyin juya halin bourgeois na Faransa Kreutzer ya shafe ba tare da hutu ba a Paris kuma ya sami farin jini sosai a matsayin marubucin ayyukan opera da yawa, wanda ya kasance babban nasara. A tarihi, Kreutzer na cikin wannan galaxy na mawakan Faransa waɗanda aikinsu ke da alaƙa da ƙirƙirar abin da ake kira "opera of ceto". A cikin wasan operas na wannan nau'in, an haɓaka dalilai na zalunci, jigogi na yaƙi da tashin hankali, jarumtaka, da zama ɗan ƙasa. Siffar “wasan operas na ceto” ita ce, ƙwaƙƙwaran son ’yanci galibi suna iyakance ga tsarin wasan kwaikwayo na iyali. Kreutzer kuma ya rubuta operas irin wannan.
Na farko daga cikin waɗannan shine kiɗan don wasan kwaikwayo na tarihi na Deforge Joan na Arc. Kreuzer ya sadu da Desforges a cikin 1790 lokacin da ya jagoranci rukunin farko na violin a cikin orc stra na gidan wasan kwaikwayo na Italiya. A wannan shekarar ne aka shirya wasan kwaikwayo kuma an yi nasara. Amma opera “Paul da Virginia” ta kawo masa farin jini na musamman; farkonsa ya faru a ranar 15 ga Janairu, 1791. Bayan ɗan lokaci, ya rubuta wasan opera na Cherubini akan wannan shirin. Ta iyawa, Kreutzer ba za a iya kwatanta shi da Cherubini ba, amma masu sauraro sun ji daɗin wasan opera tare da waƙar waƙa.
opera mafi zaluncin Kreutzer shine Lodoiska (1792). Ayyukanta a Opera Comic sun yi nasara. Kuma wannan abin fahimta ne. Makircin wasan opera ya yi daidai da mafi girman matsayi tare da yanayin jama'ar Paris na juyin juya hali. Taken yaki da zalunci a Lodoisk ya sami ingantaccen tsarin wasan kwaikwayo… [ko da yake] a cikin kiɗan Kreutzer, farkon waƙar ya kasance mafi ƙarfi."
Fetis ya ba da rahoton wani abu mai ban sha'awa game da hanyar ƙirƙirar Kreutzer. Ya rubuta cewa ta hanyar ƙirƙirar ayyukan operatic. Kreutzer ya bi hanyar kirkire-kirkire, tunda bai saba da ka'idar abun ciki ba. "Hanyar da ya rubuta duk sassan maki shine ya zagaya da manyan matakai a cikin dakin, yana rera waƙoƙin waƙa kuma yana tare da kansa a kan violin." Fetis ya kara da cewa, “Bayan da dadewa ne, lokacin da aka riga aka yarda da Kreutzer a matsayin farfesa a dakin ajiyar kayayyakin tarihi, da gaske ya koyi tushen hadawa.”
Yana da wuya, duk da haka, a yarda cewa Kreutzer zai iya tsara dukkan operas kamar yadda Fetis ya bayyana, kuma da alama akwai wani abu na ƙari a cikin wannan asusun. Haka ne, kuma violin concertos sun tabbatar da cewa Kreuzer ba shi da komai a cikin fasaha na abun da ke ciki.
A lokacin juyin juya halin, Kreutzer ya shiga cikin ƙirƙirar wani wasan kwaikwayo na zalunci mai suna "Majalisar Sarakuna". An rubuta wannan aikin tare da Gretry, Megule, Solier, Devienne, Daleyrac, Burton, Jadin, Blasius da Cherubini.
Amma Kreutzer ya mayar da martani ga yanayin juyin juya hali ba kawai tare da kerawa ba. Lokacin, a cikin 1794, bisa ga odar Yarjejeniyar, an fara gudanar da manyan bukukuwan jama'a, ya ba da gudummawa sosai a cikinsu. A ranar 20 Prairial (Yuni 8) an gudanar da babban biki a Paris don girmama "Mafi Girma". Shahararren mai zane da wuta na juyin juya hali David ne ya jagoranci kungiyarta. Don shirya apotheosis, ya jawo hankalin manyan mawaƙa - Megule, Lesueur, Daleyrac, Cherubini, Catel, Kreutzer da sauransu. An raba dukan birnin Paris zuwa gundumomi 48 da kuma tsofaffi 10, matasa, uwayen iyalai, 'yan mata, yara daga kowace. Ƙungiyar mawaƙa ta ƙunshi muryoyi 2400. A baya mawakan sun ziyarci wuraren da suke shirye-shiryen gudanar da bukukuwan. Ga waƙar Marseillaise, masu sana'a, 'yan kasuwa, ma'aikata, da kuma mutane daban-daban na kewayen birnin Paris sun koyi Waƙar Yabo ga Mai Girma. Kreutzer ya sami yankin Peak. A ranar 20 ga watan Prairial, ƙungiyar mawaƙa ta haɗa kai ta rera wannan waƙar, suna ɗaukaka juyin juya hali da ita. Shekara ta 1796 ta zo. Ƙarshen nasara na yaƙin neman zaɓe na Italiya na Bonaparte ya mayar da matashin janar ɗin ya zama gwarzo na ƙasa na Faransa mai juyi. Kreuzer, yana bin sojojin, ya tafi Italiya. Yana ba da kide-kide a Milan, Florence, Venice, Genoa. Kreutzer ya isa Genoa a watan Nuwamba 1796 don shiga cikin makarantar da aka shirya don girmama Josephine de la Pagerie, matar babban kwamandan, kuma a nan a cikin salon Di Negro ya ji wasan Paganini. An buge shi da fasaharsa, ya annabta kyakkyawar makoma ga yaron.
A Italiya, Kreutzer ya sami kansa cikin wani labari mai ban mamaki da rudani. Ɗaya daga cikin mawallafin tarihinsa, Michaud, ya yi iƙirarin cewa Bonaparte ya umurci Kreutzer da ya bincika ɗakunan karatu da gano rubuce-rubucen da ba a buga ba na mashawartan gidan wasan kwaikwayo na Italiyanci. A cewar wasu majiyoyin, irin wannan manufa an damƙa wa sanannen Geometer na Faransa Monge. An san da gaske cewa Monge ya shiga Kreutzer a cikin lamarin. Bayan saduwa a Milan, ya sanar da violinist game da umarnin Bonaparte. Daga baya, a Venice, Monge ya mika wa Kreutzer akwati mai dauke da kwafi na tsoffin rubuce-rubucen malaman Cathedral na St. Mark kuma ya nemi a raka shi zuwa Paris. Cike da shagaltuwa da kide-kide, Kreutzer ya jinkirta aika akwatin gawar, inda ya yanke shawarar cewa a karshe shi da kansa zai kai wadannan kayayyaki masu daraja zuwa babban birnin Faransa. Nan da nan sai rikici ya sake barkewa. A Italiya, wani yanayi mai wahala ya taso. Ba a san ainihin abin da ya faru ba, amma kawai kirjin da ke da dukiyar da Monge ya tattara ya ɓace.
Daga Italiya mai fama da yaki, Kreutzer ya tsallaka zuwa Jamus, kuma ya ziyarci Hamburg a kan hanya, ya koma Paris ta Holland. Ya isa wurin bude dakin ajiyar kaya. Ko da yake dokar da ta kafa ta ta bi ta cikin Yarjejeniyar tun a ranar 3 ga Agusta, 1795, ba ta buɗe ba sai a shekara ta 1796. Sarret, wanda aka naɗa shi darekta, nan da nan ya gayyaci Kreutzer. Tare da tsoho Pierre Gavinier, ardent Rode da kuma mai shari'a Pierre Baio, Kreutzer ya zama daya daga cikin manyan furofesoshi na Conservatory.
A wannan lokacin, ana ƙara samun kusanci tsakanin ƙungiyoyin Kreutzer da Bonapartist. A shekara ta 1798, lokacin da aka tilasta wa Ostiriya yin zaman lafiya da Faransa, Kreuzer ya raka Janar Bernadotte, wanda aka nada a can a matsayin jakada, zuwa Vienna.
Masanin kiɗan Soviet A. Alschwang ya yi iƙirarin cewa Beethoven ya zama babban baƙo na Bernadotte a Vienna. "Bernadotte, ɗan lauyan Faransa na lardin, wanda al'amuran juyin juya hali suka ɗaukaka zuwa wani babban matsayi, ya kasance zuriya na gaske na juyin juya halin bourgeois kuma don haka ya burge mawakin demokradiyya," in ji shi. "Taron da aka yi da Bernadotte akai-akai ya haifar da abokantaka na mawaƙin mai shekaru ashirin da bakwai tare da jakadan da kuma shahararren dan wasan violin na Paris Rodolphe Kreuzer wanda ya raka shi."
Koyaya, kusancin tsakanin Bernadotte da Beethoven yana jayayya da Édouard Herriot a cikin Rayuwar Beethoven. Herriot yayi jayayya cewa a tsawon watanni biyu na Bernadotte a Vienna, yana da wuya a sami kusancin kusanci tsakanin jakadan da matasa sannan kuma har yanzu ba a san mawaƙin ba a cikin ɗan gajeren lokaci. Bernadotte ya kasance a zahiri ƙaya ne a gefen ƙwararrun 'yan Viennese; bai boye ra'ayinsa na jamhuriya ba kuma ya zauna a keɓe. Bugu da kari, Beethoven a wancan lokacin yana cikin kusanci da jakadan Rasha, Count Razumovsky, wanda kuma ba zai iya taimakawa wajen kafa abokantaka tsakanin mawaki da Bernadotte ba.
Yana da wuya a faɗi wanda ya fi daidai - Alschwang ko Herriot. Amma daga wasiƙar Beethoven an san cewa ya sadu da Kreutzer kuma ya gana a Vienna fiye da sau ɗaya. Wasiƙar tana da alaƙa da sadaukarwa ga Kreutzer na sanannen sonata da aka rubuta a cikin 1803. Da farko, Beethoven ya yi niyya don keɓe shi ga virtuoso violinist mulatto Bredgtower, wanda ya shahara sosai a Vienna a farkon karni na XNUMX. Amma kawai virtuoso fasaha na mulatto, a fili, bai gamsar da mawaki, kuma ya sadaukar da aikin ga Kreutzer. "Kreutzer mutum ne mai kyau, mai dadi," in ji Beethoven, "wanda ya ba ni farin ciki sosai yayin zamansa a Vienna. Halin yanayinsa da rashin ɓatanci sun fi soyuwa a gare ni fiye da ƙyalli na waje na mafi yawan virtuosos, ba tare da abun ciki na ciki ba. “Abin takaici,” A. Alschwang ya ƙara da cewa, yana faɗin waɗannan sharuɗɗan Beethoven, “Kreuzer daga baya ya shahara saboda rashin fahimtar ayyukan Beethoven!”
Tabbas, Kreutzer bai fahimci Beethoven ba har zuwa ƙarshen rayuwarsa. Da yawa daga baya, da ya zama madugu, ya gudanar da wasan kwaikwayo na Beethoven fiye da sau ɗaya. Berlioz ya rubuta cikin fushi cewa Kreuzer ya ba kansa damar yin takardun banki a cikinsu. Gaskiya ne, a cikin irin wannan kyauta na sarrafa rubutun na ban mamaki, Kreutzer bai togiya ba. Berlioz ya ƙara da cewa an lura da irin wannan gaskiyar tare da wani babban ɗan wasan Faransa (kuma ɗan wasan violin) Gabeneck, wanda "ya soke wasu kayan kida a cikin wani wasan kwaikwayo ta wannan mawaki."
В 1802 году Крейцер стал первым скрипачом инструментальной капеллы Бонапарта, в то время консула республики, а после провозглашения Наполеона императором — его личным камер-музыкантом. Wannan nau'in nau'in nau'in nau'in nau'in nau'in nau'in nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i nau'i) .
A cikin layi daya tare da sabis na kotu, Kreutzer kuma yana yin ayyukan "farar hula". Bayan tafiya Rode zuwa Rasha a 1803, ya gaji matsayinsa na soloist a cikin ƙungiyar makaɗa a Grand Opera; a 1816, ayyuka na biyu concertmaster da aka kara da wadannan ayyuka, da kuma a cikin 1817, darektan na Orchestra. Ana kuma kara masa girma a matsayin madugu. Yaya girman girman Kreutzer ya kasance ana iya yanke hukunci aƙalla ta hanyar cewa shi ne, tare da Salieri da Clementi, waɗanda suka gudanar da oratorio na J. Haydn "Creation of the World" a 1808 a Vienna, a gaban wani tsohon mawaki. wanda a wannan maraicen Beethoven da sauran manyan mawakan babban birnin kasar Ostiriya sun sunkuyar da kansu cikin girmamawa.
Rushewar daular Napoleon da kuma zuwan mulkin Bourbons bai yi tasiri sosai kan matsayin Kreutzer ba. An nada shi shugabar kungiyar kade-kade ta Royal Orchestra kuma darektan Cibiyar Kida. Yana koyarwa, wasa, gudanarwa, da himma da himma wajen gudanar da ayyukan jama'a.
Don ƙwararrun ayyuka na haɓaka al'adun kiɗa na ƙasar Faransa, Rodolphe Kreutzer ya sami lambar yabo ta Legion of Honor a cikin 1824. A cikin wannan shekarar, ya bar aikin darektan ƙungiyar mawaƙa ta Opera na ɗan lokaci, amma ya koma wurinsu a 1826. Karaya mai tsanani da ya yi a hannu gaba daya ya kawar da shi daga yin ayyuka. Ya rabu da ɗakin ajiyar kuma ya sadaukar da kansa gaba ɗaya don gudanarwa da tsarawa. Amma lokuta ba iri daya bane. Shekaru 30 suna gabatowa - zamanin mafi girma flowering na romanticism. Fasaha mai haske da zafin wuta na romantics ta yi nasara a kan rarrabuwar kawuna. Sha'awar kiɗan Kreutzer na raguwa. Mawaƙin da kansa ya fara ji. Yana so ya yi ritaya, amma kafin wannan ya sanya opera Matilda, yana son yin bankwana da jama'ar Paris tare da shi. Gwajin zalunci ya jira shi - cikakkiyar gazawar opera a farkon.
Burin ya yi yawa sosai har Kreutzer ya shanye. An kai mawaƙin mara lafiya da wahala zuwa Switzerland da fatan yanayin yanayi mai daɗi zai dawo da lafiyarsa. Duk abin ya zama a banza - Kreuzer ya mutu ranar 6 ga Janairu, 1831 a birnin Geneva na Switzerland. An ce masu kula da birnin sun ki binne Kreutzer saboda ya rubuta ayyukan gidan wasan kwaikwayo.
Ayyukan Kreutzer sun kasance masu fadi kuma sun bambanta. An girmama shi sosai a matsayin mawakin opera. An kwashe shekaru da dama ana gudanar da wasannin operas dinsa a Faransa da sauran kasashen Turai. “Pavel da Virginia” da “Lodoisk” sun zagaya manyan matakai na duniya; An gudanar da su tare da babban nasara a St. Petersburg da Moscow. Da yake tunawa da ƙuruciyarsa, MI Glinka ya rubuta a cikin Bayanan kula cewa bayan waƙoƙin Rasha ya fi son wuce gona da iri kuma a cikin abubuwan da ya fi so ya sanya sunan Lodoisk na Kreutser.
Concertos na violin ba su da ƙarancin shahara. Tare da raye-rayen tafiya da sautin fanfare, suna tunawa da kide kide da wake-wake na Viotti, wanda suma suke da alaƙa mai salo. Duk da haka, akwai riga da yawa da ya raba su. A cikin kide kide kide kide da wake-wake na Kreutzer, ba wanda ya ji irin jaruntakar zamanin juyin juya hali (kamar yadda yake a Viotti), amma daukakar “Empire”. A cikin 20-30s na karni na XNUMX an so su, an yi su a duk matakan wasan kwaikwayo. Joachim ya yaba wa wasan kwaikwayo na sha tara sosai; Auer kullum yana ba wa ɗalibansa su yi wasa.
Bayani game da Kreutzer a matsayin mutum yana da sabani. G. Berlioz, wanda ya yi mu'amala da shi fiye da sau ɗaya, ya yi masa fenti ba ta wata hanya ba. A cikin Memoirs na Berlioz mun karanta: “Babban madugun waƙa na Opera shi ne Rodolphe Kreuzer; a cikin wannan gidan wasan kwaikwayo na ruhaniya kide-kide na Mai Tsarki Week kasance da za a faru nan da nan; ya rage ga Kreutzer ya haɗa mataki na a cikin shirin su, kuma na je wurinsa tare da buƙata. Dole ne a ƙara da cewa ziyarar ta Kreuzer ta kasance ta wata wasiƙa daga Monsieur de La Rochefoucauld, babban sufeto na fasaha… A takaice dai, akwai bege. Duk da haka, tunanina bai daɗe ba. Kreuzer, wannan babban mai fasaha, marubucin Mutuwar Habila (aiki mai ban mamaki, wanda 'yan watanni da suka wuce, cike da sha'awa, na rubuta masa yabo na gaske). Kreuzer, wanda ya zama kamar mai kirki a gare ni, wanda nake girmama shi a matsayin malami na saboda ina sha'awar shi, ya karbe ni cikin rashin kunya, a cikin hanyar da ba ta dace ba. Da kyar ya mayar da bakana; Ba tare da ya kalle ni ba, ya jefi kafadarsa wadannan kalmomi:
— Abokina masoyi (shi baƙo ne a gare ni), - ba za mu iya yin sabon kade-kade a cikin kide-kide na ruhaniya ba. Ba mu da lokacin koyan su; Lesueur ya san wannan da kyau.
Na tafi da zuciya mai nauyi. A ranar Lahadi mai zuwa, an yi bayani a tsakanin Lesueur da Kreutzer a cikin ɗakin sujada na sarauta, inda na ƙarshe ya kasance mai violin mai sauƙi. Cikin matsi daga malamina ya amsa ba tare da ya boye bacin ransa ba.
— Oh, tsine! Menene zai faru da mu idan muka taimaka wa matasa irin wannan? ..
Dole ne mu ba shi daraja, ya kasance mai gaskiya).
Kuma ƴan shafuka daga baya Berlioz ya ƙara da cewa: “Kreuzer na iya hana ni samun nasara, wanda a lokacin yana da mahimmanci a gare ni.
Yawancin labarai suna da alaƙa da sunan Kreutzer, waɗanda aka nuna a cikin latsawa na waɗannan shekarun. Don haka, a cikin nau'o'i daban-daban, an ba da labarin labari mai ban dariya game da shi, wanda a fili ya faru na gaskiya. Wannan labarin ya faru ne a lokacin shirye-shiryen Kreutzer na farko na wasan opera Aristippus, wanda aka yi a kan mataki na Grand Opera. A cikin maimaitawa, mawaƙin Lance ba zai iya rera cavatina na Dokar I daidai ba.
"Ɗaya daga cikin gyare-gyare, mai kama da tsarin babban Aria daga Act II, ya jagoranci mawaƙin zuwa wannan dalili. Kreuzer ya kasance cikin yanke kauna. A maimaitawa na ƙarshe, ya tuntuɓi Lance: “Ina roƙonka da gaske, Lancena mai kyau, ka kiyaye kada ka kunyata ni, ba zan taɓa gafarta maka wannan ba.” A ranar wasan kwaikwayon, lokacin da aka yi waƙa don rera Lance, Kreutzer, yana shaƙewa da jin daɗi, ya kama sandarsa a hannunsa… Oh, tsoro! Mawakin, da ya manta gargaɗin da marubucin ya yi, da ƙarfin hali ya ƙara ƙarfafa manufar aiki na biyu. Kuma a sa'an nan Kreutzer ya kasa jurewa. Ya cire gashin wig ɗinsa, ya jefa wa mawaƙin mantuwa: “Ban yi maka gargaɗi ba, mai zaman banza! Kina so ki gama dani, mugu!”
Ganin gashin kansa na maestro da fuskarsa mai ban tausayi, Lance, maimakon nadama, ya kasa jurewa sai ya fashe da dariya mai karfi. Lamarin mai ban sha'awa ya kawar da masu sauraro gaba daya kuma shine dalilin nasarar wasan. A wasan kwaikwayo na gaba, gidan wasan kwaikwayo ya fashe da mutanen da suke son shiga, amma opera ta wuce ba tare da wuce gona da iri ba. Bayan wasan farko a Paris, sun yi raha: "Idan nasarar Kreutzer ta rataye da zare, to ya ci nasara da duka wig."
A cikin Tablets of Polyhymnia, 1810, mujallar da ta ba da rahoton duk labaran kiɗa, an ba da rahoton cewa an ba da wani kide-kide a cikin lambun Botanical don giwa, don yin nazarin tambayar ko wannan dabba ta kasance mai karɓa ga kiɗa kamar yadda yake. M. Buffon yayi ikirarin. "Don wannan, wani ɗan sauraren da ba a saba gani ba ana yin shi azaman ariyas mai sauƙi tare da tsayayyen layin waƙoƙi da sonatas tare da ingantaccen jituwa. Dabbar ta nuna alamun jin daɗi lokacin sauraron aria "O ma tendre Musette" wanda Mr. Kreutzer ya buga a kan violin. "Bambance-bambancen" da mashahurin mai zane ya yi a kan wannan aria bai yi wani tasiri ba ... Giwa ta bude bakinsa, kamar yana so ya yi hamma a kan ma'auni na uku ko na hudu na shahararren Boccherini Quartet a D babba. Bravura aria … Monsigny kuma bai sami amsa daga dabba ba; amma tare da sauti na aria "Charmante Gabrielle" ya bayyana jin daɗinsa sosai. “Kowa ya yi matukar mamakin ganin yadda giwa ta ke kula da gangar jikinta, cikin godiya, sanannen virtuoso Duvernoy. Kusan duet ne, tunda Duvernoy ya buga kaho."
Kreutzer ya kasance babban dan wasan violin. Lavoie ya rubuta: "Bai mallaki ladabi, fara'a da tsabtar salon Rode ba, kamalar tsarin da zurfin Bayo, amma yana da halin rayuwa da sha'awar ji, tare da mafi kyawun fahimta," in ji Lavoie. Gerber ya ba da ƙarin takamaiman ma'anar: “Salon wasan Kreutzer ya shahara sosai. Yana aiwatar da hanyoyin Allegro mafi wahala a sarari, a tsafta, tare da lafazin ƙarfi da babban bugun jini. Har ila yau, ƙwararren gwani ne na sana'arsa a cikin Adagio. N. Kirillov ya buga waɗannan layi na gaba daga Jaridar Musical Gazette ta Jamus don 1800 game da wasan kwaikwayo na Kreutzer da Rode na wasan kwaikwayo na wasan kwaikwayo na violin biyu: "Kreutzer ya shiga gasar tare da Rode, kuma duka mawaƙa sun ba wa masoya damar ganin yaki mai ban sha'awa a cikin wasan kwaikwayo tare da solos solos na violin biyu, wanda Kreutzer ya tsara don wannan taron. Anan zan iya ganin cewa basirar Kreutzer ita ce 'ya'yan itace na dogon nazari da kuma aiki marar iyaka; Sana'ar Rode ya zama kamar na asali a gare shi. A taƙaice, a cikin duk violin virtuosos da aka ji a wannan shekara a Paris, Kreuzer ne kaɗai za a iya sanya shi tare da Rode.
Fetis ya kwatanta salon wasan Kreutzer dalla-dalla: “A matsayinsa na ɗan wasan violin, Kreutzer ya mallaki wuri na musamman a makarantar Faransanci, inda ya haskaka tare da Rode da Baio, kuma ba don ya kasance ƙasa da fara'a da tsabta ba (na salo. LR) zuwa na farko daga cikin wadannan artists, ko a cikin zurfin ji da ban mamaki motsi na dabara zuwa na biyu, amma saboda, kamar yadda a cikin qagaggun, a cikin basira a matsayin instrumentalist, ya bi ilhami fiye da makaranta. Wannan fahimta, mai wadata da kuma cike da raye-raye, ya ba wasan kwaikwayon nasa asali na magana kuma ya haifar da tasiri mai ban sha'awa ga masu sauraro wanda babu wani daga cikin masu sauraro da zai iya guje wa. Yana da sauti mai ƙarfi, mafi tsantsar zance, kuma yanayin lafuzzansa ya ɗauke shi da ƙamshi.
Kreutzer ya kasance babban malami a matsayin malami. A cikin wannan girmamawa, ya yi fice har ma a cikin abokan aikinsa masu hazaka a Conservatory na Paris. Ya more iko marar iyaka a tsakanin ɗalibansa kuma ya san yadda zai motsa su su kasance da ƙwazo game da batun. Babban shaida na ƙwararren ilimin koyarwa na Kreutzer shine 42 etudes na violin, sananne ga kowane ɗalibi na kowace makarantar violin a duniya. Tare da wannan aikin, Rodolphe Kreutzer ya mutu sunansa.
L. Rabin
