Rudolf Richardovich Kerer (Rudolf Kehrer) |

Rudolph Kehrer ne adam wata

Ƙaddara na fasaha a zamaninmu sau da yawa suna kama da juna - aƙalla da farko. Amma m biography Rudolf Richardovich Kerer yana da kadan kama da sauran. Ya isa a ce har ya kai shekara talatin da takwas (!) ya kasance a cikin duhun duhu a matsayin dan wasan kide-kide; sun san shi ne kawai a Tashkent Conservatory, inda yake koyarwa. Amma wata rana mai kyau - za mu yi magana game da shi gaba - sunansa ya zama sananne ga kusan duk masu sha'awar kiɗa a ƙasarmu. Ko irin wannan gaskiyar. An san kowane mai wasan kwaikwayo yana samun hutu a aikace lokacin da murfin kayan aikin ya kasance a rufe na ɗan lokaci. Kerer ma ya sami irin wannan hutu. Sai dai ya dade, bai wuce ko kasa da shekaru goma sha uku ba…

• Kiɗa na Piano a cikin shagon kan layi na Ozon →

Rudolf Richardovich Kerer aka haife shi a Tbilisi. Mahaifinsa ya kasance mai kunna piano ko kuma, kamar yadda ake kiransa, ƙwararren masani. Ya yi ƙoƙari ya ba da labari game da duk abubuwan ban sha'awa a cikin rayuwar wasan kwaikwayo na birni; gabatar da waka da dansa. Kerer ya tuna da wasan kwaikwayo na E. Petri, A. Borovsky, ya tuna da sauran mashahuran masu wasan kwaikwayo da suka zo Tbilisi a waɗannan shekarun.

Erna Karlovna Krause ya zama malamin piano na farko. "Kusan dukkan daliban Erna Karlovna an bambanta su ta hanyar fasaha mai kishi," in ji Kehrer. “An ƙarfafa wasan da sauri, mai ƙarfi da daidaito a cikin aji. Ba da daɗewa ba, duk da haka, na canza zuwa sabon malami, Anna Ivanovna Tulashvili, kuma duk abin da ke kewaye da ni ya canza nan da nan. Anna Ivanovna wani wahayi ne kuma mai zane-zane, an gudanar da darussa tare da ita a cikin yanayi na farin ciki ... "Kerer ya yi karatu tare da Tulashvili shekaru da yawa - na farko a cikin rukuni na yara masu hazaka "a Tbilisi Conservatory, sa'an nan kuma a Conservatory kanta. Sannan yakin ya karya komai. Kerer ya ci gaba da cewa: "Da nufin yanayi, na tsaya nesa da Tbilisi." “Iyalanmu, kamar sauran iyalai na Jamusawa a waɗannan shekarun, sun zauna a tsakiyar Asiya, ba da nisa da Tashkent. Babu mawaƙa kusa da ni, kuma yana da wahala da kayan aikin, don haka darussan piano sun tsaya da kansu. Na shiga Chimkent Pedagogical Institute a Faculty of Physics and Mathematics. Bayan kammala karatunsa, ya tafi aiki a makaranta - ya koyar da ilimin lissafi a makarantar sakandare. Wannan ya ci gaba har tsawon shekaru da yawa. Don zama daidai - har zuwa 1954. Sa'an nan kuma na yanke shawarar gwada sa'a na (bayan haka, "nostalgia" na kiɗa ba ta daina azabtar da ni ba) - don shiga jarrabawar shiga Tashkent Conservatory. Kuma aka karbe shi a shekara ta uku.

An saka shi a ajin piano na malami 3. Sh. Tamarkina, wanda Kerer ba ya daina tunawa da girmamawa da tausayawa ("mawaƙiyar mawaƙi ce ta musamman, ta kware a kan kayan aikin da kyau..."). Ya kuma koyi abubuwa da yawa daga tarurruka tare da VI Slonim ("wani malami mai ban mamaki… tare da shi na fahimci ka'idodin bayyana mawaƙa, a baya na yi hasashe ne kawai game da wanzuwar su").

Dukkan malaman biyu sun taimaka wa Kerer ya cike gibin da ke tattare da iliminsa na musamman; godiya ga Tamarkina da Slonim, ba wai kawai ya sami nasarar kammala karatunsa daga kwalejin ba, amma kuma an bar shi a can don koyarwa. Su, masu ba da shawara da abokan matashin pianist, sun ba shi shawarar da ya gwada ƙarfinsa a gasar All-Union Competition of Performing Musicians da aka sanar a 1961.

Kerer ya ce: “Da na yanke shawarar zuwa Moscow, ban yaudari kaina da bege na musamman ba. Wataƙila, wannan halin ɗabi'a, ba mai nauyi ba ko dai ta wuce gona da iri ko jin daɗin rai, ya taimake ni a lokacin. Bayan haka, sau da yawa na yi tunani game da gaskiyar cewa matasan mawaƙa da ke wasa a gasa wasu lokuta suna yin kasala ta hanyar farko da suka fi mayar da hankali kan kyauta ɗaya ko wata. Yana daurewa, yana sa mutum ya yi nauyi da nauyin nauyi, yana bautar da hankali: wasan ya rasa haske, dabi'a, sauƙi… A cikin 1961 ban yi tunanin kowace kyaututtuka ba - kuma na yi nasara. Da kyau, game da wuri na farko da lakabin lambar yabo, wannan abin mamaki ya kasance mafi farin ciki a gare ni… ”

Abin mamakin nasarar Kerer ba shi kaɗai ba ne. Mawakin mai shekaru 38, wanda kusan ba a sani ba ga kowa, wanda shiga gasar, ta hanyar, ya buƙaci izini na musamman (ƙayyadaddun shekarun masu takara ya iyakance, bisa ga ka'idoji, zuwa shekaru 32), tare da nasararsa mai ban sha'awa. kifar da duk hasashen da aka bayyana a baya, ya ketare duk zato da zato. "A cikin 'yan kwanaki kaɗan, Rudolf Kerer ya sami shaharar hayaniya," in ji mawallafin kiɗan. "An sayar da na farko na kide-kiden da ya yi a Moscow, a cikin wani yanayi na farin ciki. An watsa jawaban Kerer a gidajen rediyo da talabijin. Jaridu sun amsa cike da tausayawa a farkon fitowar sa. Ya zama batun tattaunawa mai zafi a tsakanin ƙwararru da ƙwararru waɗanda suka sami damar rarraba shi a cikin manyan ƴan pian Soviet… ” (Rabinovich D. Rudolf Kerer // Rayuwar Kiɗa. 1961. No. 6. P. 6.).

Ta yaya baƙo daga Tashkent ya burge ƙwararrun masu sauraron babban birni? 'Yanci da rashin son kai na maganganun matakinsa, ma'auni na ra'ayoyinsa, ainihin yanayin yin kiɗa. Bai wakilci ɗayan sanannun makarantun pianistic ba - ba Moscow ko Leningrad ba; bai “wakiltar” kowa ba kwata-kwata, amma kansa ne kawai. Nagartar sa kuma ta burge. Ta, ƙila, ba ta da kyalkyali na waje, amma ɗayan ya ji a cikin ƙarfinta na farko, da ƙarfin hali, da girman girmanta. Kerer ya yi farin ciki da aikinsa na ayyuka masu wuyar gaske kamar Liszt's "Mephisto Waltz" da F-minor ("Transcendental") Etude, Glazunov's "Theme and Variations" da kuma Concerto Farko na Prokofiev. Amma fiye da kowane abu - ƙaddamarwa zuwa "Tannhäuser" na Wagner - Liszt; Moscow zargi ya mayar da martani ga fassararsa na wannan abu a matsayin mu'ujiza na mu'ujiza.

Don haka, akwai isassun dalilai na ƙwararru don cin nasarar wuri na farko daga Kerer. Amma duk da haka ainihin dalilin nasararsa wani abu ne daban.

Kehrer yana da cikakkiyar masaniyar rayuwa, mafi arziƙi, mafi rikitarwa fiye da waɗanda suka fafata da shi, kuma wannan ya fito fili a wasansa. A shekaru na pianist, da kaifi karkatar da rabo ba kawai ya hana shi daga yin gasa tare da m matasa masu fasaha, amma, watakila, sun taimaka a wata hanya. "Music," in ji Bruno Walter, "Koyaushe shine "mai gudanarwa na daidaitattun mutum" na wanda ya yi ta: kamar yadda, ya zana kwatance, "yadda karfe ke zama jagoran zafi" (Yin fasaha na ƙasashen waje. - M., 1962. Batun IC 71.). Daga waƙar da ta yi sauti a cikin fassarar Kehrer, daga mutumtakarsa na fasaha, akwai numfashin wani abu da ba a saba da shi ba don matakin gasa. Masu sauraro, da kuma membobin juri, sun ga a gabansu ba wani ɗan wasa ba ne wanda ya bar baya da lokacin koyo marar gajimare, amma balagagge, mai fasaha. A cikin wasansa - mai tsanani, wani lokacin ana fentin su cikin tsattsauran ra'ayi da sautuna masu ban mamaki - wanda ya yi tsammani abin da ake kira rashin tausayi ... Wannan shi ne abin da ya ja hankalin duniya ga Kerer.

Lokaci ya wuce. Abubuwan ban sha'awa da abubuwan jin daɗi na gasar 1961 an bar su a baya. Bayan da ya ci gaba zuwa kan gaba na pianism na Soviet, Kerer ya dade yana zama wurin da ya dace a tsakanin 'yan uwansa masu zane-zane. Sun saba da aikinsa gabaɗaya kuma dalla-dalla - ba tare da haɓaka ba, wanda galibi yakan bi abubuwan mamaki. Mun sadu da duka a birane da yawa na Tarayyar Soviet da kuma kasashen waje - a cikin GDR, Poland, Czechoslovakia, Bulgaria, Romania, Japan. An kuma yi nazari fiye ko žasa ƙarfin yanayin matakinsa. Menene su? Menene mai fasaha a yau?

Da farko dai, ya kamata a ce game da shi a matsayinsa na kwararre a fagen wasan kwaikwayo; a matsayin mai zane wanda basirarsa ta bayyana kanta cikin kwarin gwiwa a cikin manyan gwanayen kida. Kerer yawanci yana buƙatar faffadan sauti masu faɗin wurare inda a hankali kuma a hankali zai iya haɓaka tashin hankali mai ƙarfi, ya nuna sassaucin ayyukan kiɗan tare da babban bugun jini, zayyana ƙarshen ƙarshe; Ayyukansa na mataki suna da kyau idan an duba su kamar yana motsawa daga gare su, daga wani nisa. Ba daidaituwa ba ne cewa daga cikin nasarorin fassararsa akwai irin waɗannan opuses kamar Brahms' First Piano Concerto, Beethoven's Fifth, Tchaikovsky's First, Shostakovich's First, Rachmaninov's Second, sonata cycles by Prokofiev, Khachaturian, Sviridov.

Ayyukan manyan nau'ikan sun haɗa da kusan duk ƴan wasan kide-kide a cikin repertoire. Su ne, duk da haka, ba ga kowa ba. Ga wani, yakan faru ne kawai rarrabuwa ta fito, wani kaleidoscope na lokuta ko žasa mai walƙiya mai haske… Wannan baya faruwa da Kerer. Kiɗa yana da alama an kama shi ta hanyar ƙarfe na ƙarfe daga gare shi: ko da menene ya buga - Bach's D-minor concerto ko Mozart's A-minor sonata, Schumann's "Symphonic etudes" ko Shostakovich's preludes da fugues - a ko'ina a cikin tsarin aikinsa, horo na ciki, m kungiyar nasara abu. Da zarar ya zama malamin lissafi, bai rasa ɗanɗanonsa na dabaru ba, tsarin tsari, da ingantaccen gini a cikin kiɗa. Irin wannan ɗakin ajiyar tunaninsa na kere-kere, irin waɗannan halayen fasaha ne.

A cewar mafi yawan masu sukar, Kehrer ya sami babban nasara a cikin fassarar Beethoven. Lallai, ayyukan wannan marubucin sun mamaye ɗaya daga cikin wurare na tsakiya akan fastocin pianist. Tsarin kiɗan Beethoven - ƙarfinsa da ƙarfin son zuciya, sautin mahimmanci, bambance-bambancen tunani mai ƙarfi - ya dace da halayen fasaha na Kerer; ya dade yana jin sana'ar wannan waka, ya sami rawar da ya taka ta gaske a cikinta. A cikin wasu lokuta masu farin ciki a cikin wasansa, mutum zai iya jin cikakkiyar haɗuwa da kwayoyin halitta tare da tunanin fasaha na Beethoven - cewa haɗin kai na ruhaniya tare da marubucin, cewa m "symbiosis" wanda KS Stanislavsky ya bayyana tare da sanannen "Ni": "Na kasance, I rayuwa , Ina ji da tunani iri ɗaya tare da rawar " (Stanislavsky KS Ayyukan ɗan wasan kwaikwayo a kansa // Ayyukan da aka tattara - M., 1954. T. 2. Sashe na 1. S. 203.). Daga cikin mafi ban sha'awa "matsayi" na Kehrer's Beethoven repertoire sune Sonata na sha bakwai da sha takwas, da Pathetique, Aurora, Concerto na biyar da kuma, ba shakka, Appassionata. (Kamar yadda ka sani, dan wasan pian ya taɓa yin tauraro a cikin fim ɗin Appassionata, yana ba da fassararsa na wannan aikin ga masu sauraron miliyoyin.) Abin lura ne cewa abubuwan da Beethoven ya yi sun dace ba kawai tare da halayen Kerer ba, mutum da wani mutum. artist, amma kuma tare da peculiarities na pianism. M kuma tabbatacce (ba tare da wani rabo na "tasiri") samar da sauti, fresco salon wasan kwaikwayon - duk wannan yana taimaka wa mai zane don cimma babban tasiri na fasaha a cikin "Pathetique", da kuma a cikin "Appassionata", da kuma a cikin sauran piano na Beethoven. opuses.

Akwai kuma wani mawaki wanda kusan ko da yaushe nasara tare da Kerer-Sergei Prokofiev. Mawaƙin da ke kusa da shi ta hanyoyi da yawa: tare da lyricism, ƙuntatawa da laconic, tare da penchant don kayan aiki toccato, don wani wuri mai bushe da haske. Bugu da ƙari, Prokofiev yana kusa da Kerer tare da kusan dukkanin kayan aikin sa na ma'anar ma'anar: "matsi na nau'i na ma'auni", "sauƙi da ƙwanƙwasa rhythm", "wani ra'ayi tare da m, hotuna na kiɗa na rectangular", "kayan abu" na rubutu , "Inertia na ci gaba da girma bayyanannun siffofi" (SE Feinberg) (Feinberg SE Sergei Prokofiev: Halayen Salon // Pianoism a matsayin Art. 2nd ed. – M., 1969. P. 134, 138, 550.). Ba daidaituwa ba ne cewa mutum zai iya ganin matashi Prokofiev a asalin nasarar fasaha na Kerer - Concerto na farko na Piano. Daga cikin nasarorin da ƴan wasan pian ɗin suka yarda sun haɗa da Sonata na Biyu, na Uku da Bakwai na Prokofiev, Delusions, prelude in C major, sanannen tafiya daga wasan opera The Love for Three Lemu.

Kerer yakan buga Chopin. Akwai ayyukan Scriabin da Debussy a cikin shirye-shiryensa. Watakila wadannan su ne sassan da suka fi jawo cece-kuce a cikin wakokinsa. Tare da nasarar da ɗan wasan pian ya samu a matsayin mai fassara - Chopin's Second Sonata, Scriabin's Sonata na Uku… - waɗannan marubutan ne suka bayyana wasu ɓangarori masu ban sha'awa a cikin fasahar sa. A nan ne, a cikin kyawawan waltzes da preludes na Chopin, a cikin ƙananan ƙananan Scriabin, a cikin kyawawan waƙoƙin Debussy, mutum ya lura cewa wasan Kerer wani lokaci ba shi da tsabta, cewa a wasu wurare yana da tsanani. Kuma cewa ba zai zama mummuna ba a gani a cikinsa ƙarin ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararru. Watakila, kowane mai wasan piano, har ma da fitattu, zai iya, idan ana so, ya ambaci wasu guntun da ba na piano na “sa” ba; Kerr ba banda.

Yakan faru cewa fassarori na pianist ba su da waƙa - a ma'anar cewa mawallafin soyayya sun fahimta kuma suna jin su. Mun kuskura mu yanke hukunci. Ƙirƙirar mawaƙa-masu wasan kwaikwayo, da watakila mawaƙa, kamar ƙirƙira na marubuta, sun san duka "mawakan" da "marubuta marubuta". (Shin zai faru ga wani a duniyar marubuta ya yi jayayya cewa wane nau'in waɗannan nau'ikan ne "mafi kyau" kuma wanne ne "mafi muni"? A'a, ba shakka.) Nau'in farko an san shi kuma an yi nazari sosai, muna tunani game da na biyu kasa. sau da yawa; kuma idan, alal misali, ra'ayin "mawaƙin piano" ya yi kama da al'ada, to wannan ba za a iya faɗi game da "marubuta na piano ba". A halin yanzu, a cikinsu akwai mashahurai masu ban sha'awa da yawa - mai tsanani, masu hankali, masu ma'ana na ruhaniya. Wani lokaci, duk da haka, wasu daga cikinsu suna son su so su ayyana iyakokin rubutun nasu daidai da tsauri, suna ba da fifiko ga wasu ayyuka, barin wasu…

Daga cikin abokan aiki, Kerer an san shi ba kawai a matsayin mai wasan kwaikwayo ba. Tun 1961 yana koyarwa a Moscow Conservatory. Daga cikin dalibansa akwai wanda ya lashe gasar IV Tchaikovsky, da shahararren mai zane dan kasar Brazil A. Moreira-Lima, dan wasan piano na kasar Czech Bozhena Steinerova, wanda ya lashe gasar Tchaikovsky ta VIII Irina Plotnikova, da kuma wasu matasa 'yan wasan Soviet da na kasashen waje. Kerer ya ce: “Na tabbata idan mawaƙin ya samu wani abu a cikin sana’arsa, yana bukatar a koya masa. "Kamar yadda ya wajaba mu haɓaka ƙwararrun masanan zane-zane, wasan kwaikwayo, sinima - duk waɗanda muke kira "masu fasaha" . Kuma ba wai kawai wani lamari ne na aikin da’a ba. Lokacin da kuka tsunduma cikin ilimin koyarwa, kuna jin yadda idanunku suka buɗe ga abubuwa da yawa…”

Haka kuma, wani abu ya tayar wa Kerer malam rai a yau. A cewarsa, hakan yana tayar da hankali a fili a aikace da kuma wayewar matasan zamani masu fasaha. Ƙwararren ƙwarewar kasuwanci. Kuma ba kawai a Moscow Conservatory, inda yake aiki, amma kuma a wasu music jami'o'i a kasar, inda ya ziyarci. “Kuna duban wasu matasa ’yan wasan pian za ku ga cewa ba wai kawai suna tunanin karatunsu ba ne kawai game da ayyukansu. Kuma suna neman ba kawai malamai ba, amma masu kulawa masu tasiri, majiɓincin da za su iya kula da ci gaban su, za su taimaka, kamar yadda suke faɗa, don samun ƙafafunsu.

Tabbas ya kamata matasa su damu da makomarsu. Wannan gaba daya dabi'a ce, na fahimci komai daidai. Amma duk da haka… A matsayina na mawaƙi, ba zan iya yin nadama ba ganin cewa lafuzzan ba su kasance inda nake ganin ya kamata su kasance ba. Ba zan iya taimakawa ba sai dai in bacin rai cewa abubuwan da suka fi fifiko a rayuwa da aiki sun koma baya. Wataƙila na yi kuskure…”

Yana da gaskiya, kuma ya san hakan sosai. Ba ya son, a fili, don wani ya zarge shi saboda irin wannan tsanar dattijo, don irin wannan gunaguni na yau da kullun a “yanzu” matasa.

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A cikin lokutan 1986/87 da 1987/88, sabbin lakabi da yawa sun bayyana a cikin shirye-shiryen Kerer - Bach's Partita in B flat major da Suite in A small, Liszt's Obermann Valley and Funeral Procession, Grieg's Piano Concerto, wasu daga cikin sassan Rachmaninoff. Bai ɓoye gaskiyar cewa a shekarunsa yana da wuya a koyi sababbin abubuwa, don kawo su ga jama'a. Amma - ya zama dole, a cewarsa. Wajibi ne kada a makale a wuri guda, kada a gaza ta hanyar kirkira; don jin haka yanzu mai yin kida. Ya zama dole, a takaice, duka na sana'a da kuma na tunani zalla. Kuma na biyu ba shi da mahimmanci fiye da na farko.

A lokaci guda kuma, Kerer yana cikin aikin "maidowa" - ya sake maimaita wani abu daga tarihin shekarun da suka gabata, ya sake gabatar da shi a cikin rayuwarsa ta wasan kwaikwayo. "Wani lokaci yana da ban sha'awa sosai don lura da yadda halaye game da fassarar da suka gabata ke canzawa. Sakamakon haka, yaya kuke canza kanku. Na gamsu cewa akwai ayyuka a cikin adabin kiɗan duniya waɗanda kawai ke buƙatar a mayar da su lokaci zuwa lokaci, ayyukan da ake buƙatar sabuntawa lokaci-lokaci da sake tunani. Suna da wadata sosai a cikin abubuwan ciki, don haka abubuwa da yawacewa a kowane mataki na tafiyar rayuwar mutum tabbas za a sami wani abu a cikin su wani abu da ba a sani ba a baya, wanda ba a gano ba, wanda aka rasa…” A cikin 1987, Kerer ya sake komawa Liszt's B small sonata a cikin repertoire, yana wasa sama da shekaru ashirin.

A lokaci guda kuma, Kerer yanzu yana ƙoƙarin kada ya daɗe na dogon lokaci a kan abu ɗaya - ka ce, a kan ayyukan marubucin daya da guda ɗaya, komai kusanci da ƙaunataccensa. Ya ce: “Na lura cewa canza salon kiɗa, salon tsara waƙoƙi dabam-dabam, suna taimaka wa aikin da ya dace. Kuma wannan yana da mahimmanci. Lokacin da bayan shekaru masu yawa na aiki mai wuyar gaske, wasan kwaikwayo da yawa, abu mafi mahimmanci shine kada ku rasa dandano don kunna piano. Kuma a nan sauye-sauye na bambance-bambance, abubuwan ban sha'awa na kiɗa da kaina na taimaka mini da yawa - yana ba da wani nau'i na sabuntawa na ciki, yana wartsake ji, yana sauke gajiya.

Ga kowane mai fasaha, akwai lokaci ya zo, in ji Rudolf Rikhardovich, lokacin da ya fara fahimtar cewa akwai ayyuka da yawa waɗanda ba zai taɓa koyo ba kuma suna wasa akan mataki. Ba a cikin lokaci ba… Abin baƙin ciki ne, ba shakka, amma babu abin da za a yi. Ina tunani tare da nadama, misali, nawaBan yi wasa ba a cikin rayuwarsa ayyukan Schubert, Brahms, Scriabin, da sauran manyan mawaƙa. Mafi kyawun abin da kuke so ku yi abin da kuke yi a yau.

Sun ce masana (musamman abokan aiki) na iya yin kuskure a wasu lokuta wajen tantancewa da ra'ayoyinsu; jama'a a cikin kyakkyawan taba kuskure. Vladimir Horowitz ya ce: “Kowane mai sauraron wani lokaci ba ya iya fahimtar komai, amma idan suka taru, sai su fahimta!” Kimanin shekaru XNUMX da suka wuce, fasahar Kerer tana jin daɗin hankalin masu sauraron da suke kallonsa a matsayin babban mawaƙi, mai gaskiya, mara misaltuwa. Kuma su ba kuskure ba...

G. Tsipin, 1990