Sergei Vasilyevich Rachmaninoff |

Sergei Rachmaninoff

Kuma ina da ƙasar haihuwa; Yana da ban mamaki! A. Pleshcheev (daga G. Heine)

An halicci Rachmaninov daga karfe da zinariya; Karfe a hannunsa, zinariya a cikin zuciyarsa. I. Hoffman

"Ni mawaƙin Rasha ne, kuma ƙasara ta asali ta bar alamarta a halina da ra'ayi na." Waɗannan kalmomi na S. Rachmaninov, babban mawaki, ƙwararren pianist da madugu. Dukkan muhimman abubuwan da suka faru na zamantakewar zamantakewa da zamantakewa na Rasha sun nuna a cikin rayuwarsa ta kirkira, yana barin alamar da ba za a iya mantawa ba. Samuwar da bunƙasa aikin Rachmaninov ya faɗo a cikin shekarun 1890-1900, lokacin da mafi rikitarwar matakai suka faru a cikin al'adun Rasha, bugun jini na ruhaniya yana bugun zazzaɓi da tsoro. Jin daɗaɗɗen raɗaɗi na zamanin da ke cikin Rachmaninov koyaushe yana da alaƙa da siffar ƙaunatacciyar ƙasarsa, tare da ƙarancin faɗuwar fa'ida, ƙarfi da ƙarfin tashin hankali na sojojinsa na farko, ƙarancin ƙarancin furen yanayin bazara.

Rachmaninov basira ya bayyana kansa da wuri da haske, ko da yake har zuwa shekaru goma sha biyu bai nuna himma sosai ga darussan kiɗa na yau da kullun ba. Ya fara koyon wasan piano yana da shekaru 4, a 1882 aka shigar da shi a Conservatory na St. Anan Rachmaninoff yayi karatun piano tare da N. Zverev, sannan A. Siloti; a cikin batutuwa masu mahimmanci da abun da ke ciki - tare da S. Taneyev da A. Arensky. Rayuwa a cikin wani gidan kwana tare da Zverev (1885-1885), ya shiga cikin wani m, amma sosai m makaranta horo horo, wanda ya mayar da shi daga wani matsananciyar kasala da kuma m mutum a cikin wani musamman tattara da kuma karfi-shiri mutum. "Mafi kyawun abin da ke cikina, na bashi," - don haka Rachmaninov daga baya ya ce game da Zverev. A Conservatory, Rachmaninoff ya rinjayi karfi da hali na P. Tchaikovsky, wanda, bi da bi, ya bi ci gaban da ya fi so Seryozha kuma, bayan kammala karatunsa daga Conservatory, ya taimaka wajen aiwatar da opera Aleko a Bolshoi Theater, sanin daga gare shi. Abin bakin ciki naka yadda yake da wahala ga mawaƙin novice ya tsara hanyarka.

Rachmaninov sauke karatu daga Conservatory a piano (1891) da kuma abun da ke ciki (1892) tare da Grand Gold Medal. A wannan lokacin, ya riga ya kasance marubucin abubuwan da aka tsara, ciki har da sanannen Prelude a cikin ƙananan ƙananan C, da romance "A cikin Silence of the Secret Night", na farko Piano Concerto, opera "Aleko", wanda aka rubuta a matsayin aikin digiri. cikin kwanaki 17 kacal! Abubuwan Fantasy da suka biyo baya, op. 3 (1892), Elegiac Trio "A cikin Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwararren Ƙwaƙwalwa na Ƙadda ) (1893 ) ya yi don Pianos guda biyu (1893), Moments of Music op. 16 (1896), romances, symphonic ayyuka - "The Cliff" (1893), Capriccio on Gypsy Jigogi (1894) - tabbatar da ra'ayi na Rachmaninov a matsayin mai karfi, zurfi, asali iyawa. Hotuna da halayen halayen Rachmaninoff sun bayyana a cikin waɗannan ayyukan a cikin kewayon - daga mummunan baƙin ciki na "Lokacin Kiɗa" a cikin ƙananan B zuwa ƙaƙƙarfan ra'ayi na soyayya "Spring Waters", daga matsanancin matsananciyar son rai na son rai. "Lokacin Kiɗa" a cikin E ƙananan zuwa mafi kyawun launi na romance "Tsibirin".

Rayuwa a cikin waɗannan shekarun ta kasance mai wahala. Mai yanke hukunci da ƙarfi a cikin aiki da ƙirƙira, Rachmaninoff ta yanayi mutum ne mai rauni, sau da yawa yana fuskantar shakkar kai. Tsangwama tare da matsalolin abin duniya, rikicewar duniya, yawo a sasanninta masu ban mamaki. Kuma ko da yake yana samun goyon bayan mutane na kusa da shi, musamman dangin Satin, ya ji kadaici. Ƙarfin girgiza da ya haifar da rashin nasarar Symphony na Farko, wanda aka yi a St. Petersburg a cikin Maris 1897, ya haifar da rikici mai zurfi. Shekaru da yawa Rachmaninoff bai rubuta kome ba, amma ayyukansa na pianist ya tsananta, kuma ya fara halarta a karon a matsayin shugaba a Moscow Private Opera (1897). A cikin wadannan shekaru, ya sadu da L. Tolstoy, A. Chekhov, masu fasaha na Art Theater, ya fara abota da Fyodor Chaliapin, wanda Rachmaninov ya dauki daya daga cikin "mafi iko, zurfi da kuma dabara na fasaha kwarewa." A 1899, Rachmaninoff ya yi wasa a kasashen waje a karon farko (a London), kuma a 1900 ya ziyarci Italiya, inda sketches na nan gaba opera Francesca da Rimini ya bayyana. Wani abin farin ciki shi ne shirya wasan opera Aleko a St. Petersburg a kan bikin cika shekaru 100 na A. Pushkin tare da Chaliapin a matsayin Aleko. Don haka, an shirya wani juyi na ciki a hankali, kuma a farkon shekarun 1900. akwai komawa ga kerawa. Sabuwar karni ya fara ne da wasan kwaikwayo na Piano na biyu, wanda yayi kama da ƙararrawa mai girma. Masu zamani sun ji muryar Lokaci a cikinsa tare da tashin hankali, fashewa, da tunanin canje-canje masu zuwa. Yanzu nau'in wasan kwaikwayo yana zama jagora, a cikinsa ne manyan ra'ayoyin ke kunshe da mafi girman cikawa da haɗin kai. Wani sabon mataki fara a cikin rayuwar Rachmaninov.

Gabaɗaya fitarwa a cikin Rasha da kuma ƙasashen waje yana karɓar ayyukan pianistic da jagora. 2 shekaru (1904-06) Rachmaninov yi aiki a matsayin shugaba a Bolshoi Theater, barin a cikin tarihi memory na ban mamaki productions na Rasha operas. A shekara ta 1907 ya shiga cikin wasan kwaikwayo na Tarihi na Rasha wanda S. Diaghilev ya shirya a birnin Paris, a shekara ta 1909 ya yi wasa a karon farko a Amurka, inda ya buga kade-kade na Piano na Uku wanda G. Mahler ya jagoranta. m concert ayyuka a cikin biranen Rasha da kuma kasashen waje da aka hade tare da ba kasa m kerawa, da kuma a cikin music na wannan shekaru goma (a cikin cantata "Spring" - 1902, a preludes op. 23, a cikin finales na biyu Symphony da Concerto na Uku) akwai tsananin sha'awa da sha'awa. Kuma a cikin irin waɗannan abubuwan kamar romances "Lilac", "Yana da kyau a nan", a cikin preludes a cikin D major da G manyan "kungiyoyin mawaƙa na yanayi" sun yi sauti tare da shiga cikin ban mamaki.

Amma a cikin shekarun nan, ana jin wasu yanayi. Abin baƙin ciki game da ƙasar uwa da makomarta ta gaba, tunanin falsafa game da rayuwa da mutuwa ya haifar da mummunan hotuna na Piano Sonata na Farko, wanda Goethe's Faust ya yi wahayi, waƙar waƙar "Tsibirin Matattu" bisa zanen da ɗan wasan Swiss ya yi. A. Böcklin (1909), shafuka masu yawa na Concerto na Uku, romances op. 26. Ciki canje-canje ya zama musamman m bayan 1910. Idan a cikin na uku Concerto da bala'i da aka ƙarshe shawo kan da concerto ƙare da jubilant apotheosis, sa'an nan a cikin ayyukan da suka bi shi ci gaba zurfafa zurfafa, kawo rayuwa m, maƙiya images, gloomy. tawayar yanayi. Harshen kiɗa ya zama mafi rikitarwa, numfashi mai faɗi don haka halayen Rachmaninov ya ɓace. Irin waɗannan su ne waƙar murya-simphonic "The Bells" (a kan st. E. Poe, wanda K. Balmont ya fassara - 1913); soyayya op. 34 (1912) da kuma op. 38 (1916); Etudes-zanen op. 39 (1917). Duk da haka, a wannan lokacin ne Rachmaninoff ya halicci ayyukan da ke cike da ma'anar ɗabi'a, wanda ya zama mutum mai jurewa na kyakkyawa na ruhaniya, ƙarshen waƙar Rachmaninov - "Vocalise" da "All-Night Vigil" don mawaƙa cappella (1915). “Tun ina karama, kade-kaden Oktoikh na burge ni. A koyaushe ina jin cewa ana buƙatar salo na musamman, na musamman don sarrafa waƙoƙin su, kuma, a gare ni, na same shi a cikin Vespers. Ba zan iya ba sai dai in furta. cewa wasan farko na ƙungiyar mawaƙa ta Moscow ya ba ni sa'a guda na farin ciki mafi farin ciki," in ji Rachmaninov.

Disamba 24, 1917, Rachmaninov da iyalinsa bar Rasha, kamar yadda ya juya, har abada. Fiye da kwata na karni yana zaune a wata ƙasa, a cikin Amurka, kuma wannan lokacin ya kasance mafi yawan cike da ayyukan kide-kide masu ban sha'awa, bisa ga muggan dokokin kasuwancin kiɗa. Rachmaninov ya yi amfani da wani muhimmin bangare na kudadensa don ba da tallafin kayan aiki ga 'yan uwansa a kasashen waje da kuma a Rasha. Saboda haka, da dukan tarin ga wasan kwaikwayon a watan Afrilu 1922 aka canjawa wuri zuwa ga amfani da yunwa a Rasha, da kuma a cikin fall na 1941 Rakhmaninov aika fiye da dala dubu hudu zuwa ga Red Army taimako asusun.

A waje, Rachmaninoff ya zauna a keɓe, yana iyakance abokansa ga baƙi daga Rasha. An banbanta ne kawai ga dangin F. Steinway, shugaban kamfanin piano, wanda Rachmaninov ke da alaƙar abokantaka.

A farkon shekaru na zamansa a kasashen waje, Rachmaninov bai bar tunanin asarar m wahayi. “Bayan barin Rasha, na rasa sha’awar yin waƙa. Da na rasa kasara, na rasa kaina." Bayan shekaru 8 kawai bayan barin kasashen waje, Rachmaninov ya dawo zuwa kerawa, ya haifar da Concerto na hudu na Piano (1926), waƙoƙin Rasha guda uku don mawaƙa da ƙungiyar mawaƙa (1926), Bambance-bambance akan Jigo na Corelli don piano (1931), Rhapsody akan Jigo na Paganini (1934), Symphony na uku (1936), "Symphonic Dances" (1940). Waɗannan ayyukan sune na ƙarshe, mafi girman hawan Rachmaninoff. Bakin ciki na asara mara misaltuwa, ƙona kishin Rasha ya haifar da fasaha mai girma mai ban tausayi, ta kai kololuwar raye-rayen Symphonic. Kuma a cikin Symphony na uku mai haske, Rachmaninoff ya ƙunshi babban jigon aikinsa na ƙarshe - siffar Motherland. Babban tunani mai zurfi na mai zane yana tayar da shi daga zurfin ƙarni, ya tashi a matsayin ƙwaƙwalwar ƙauna marar iyaka. A cikin hadadden saƙa na jigogi iri-iri, ɓangarori, faffadan hangen nesa ya bayyana, an sake ƙirƙira wani almara mai ban mamaki na makomar ƙasar Uba, yana ƙarewa tare da tabbatar da rayuwa mai nasara. Don haka ta hanyar duk ayyukan Rachmaninoff yana ɗaukar ka'idodin ka'idodinsa na ɗabi'a, babban ruhi, aminci da ƙauna da ba za a iya tserewa ba ga ƙasar Motherland, wanda ke nuna kasancewarsa fasaha ce.

O. Averyanova

• Gidan kayan tarihi na Rachmaninov a cikin Ivanovka →
• Piano yana aiki ta Rachmaninoff →
• Ayyukan Symphonic na Rachmaninoff →
• Rachmaninov's chamber-instrumental art →
• Opera yana aiki ta Rachmaninoff →
• Ayyukan Choral Rachmaninoff →
• Rachmaninoff →
• Rachmaninov-shugaban →

Halayen kerawa

Sergei Vasilyevich Rachmaninoff, tare da Scriabin, ɗaya ne daga cikin manyan mawakan Rasha na shekarun 1900. Ayyukan waɗannan mawaƙa guda biyu sun ja hankalin mutanen zamanin musamman, sun yi zazzafar muhawara game da shi, an fara tattaunawa mai kaifi a kusa da ayyukansu na ɗaya. Duk da dissimilarity na mutum bayyanar da siffa tsarin na music na Rachmaninov da Scriabin, sau da yawa sunayensu bayyana gefe da gefe a cikin wadannan rigingimu da aka kwatanta da juna. Akwai kawai dalilai na waje don irin wannan kwatance: dukansu biyu dalibai ne na Moscow Conservatory, wanda ya sauke karatu daga gare ta kusan lokaci guda kuma yayi karatu tare da malamai iri ɗaya, dukansu nan da nan suka tsaya a cikin takwarorinsu ta hanyar ƙarfi da haske na basirarsu, ba tare da samun amincewa ba. kawai a matsayin ƙwararrun mawaƙa, amma kuma a matsayin fitattun ƴan pian.

Amma kuma akwai abubuwa da yawa da ke raba su kuma wani lokaci suna sanya su a bangarori daban-daban na rayuwar kiɗa. Mawallafin mai ƙididdigewa Scriabin, wanda ya buɗe sababbin duniyoyi na kiɗa, ya yi adawa da Rachmaninov a matsayin mai tunani na al'ada wanda ya dogara da aikinsa a kan tushe mai tushe na al'adun gargajiya na kasa. “G. Rachmaninoff, ya rubuta daya daga cikin masu sukar, shi ne ginshiƙi a kusa da abin da dukan zakarun na real shugabanci suna rukuni, duk waɗanda suke kula da tushe da aka kafa ta Mussorgsky, Borodin, Rimsky-Korsakov da Tchaikovsky.

Duk da haka, saboda duk bambance-bambance a cikin matsayi na Rachmaninov da Scriabin a cikin ainihin kida na zamani, an tattara su ba kawai ta hanyar yanayin gabaɗaya don haɓakawa da haɓaka halayen kirkira a cikin ƙuruciyarsu ba, har ma da wasu zurfafan fasali na gama gari. . "Mai tawaye, basira mai ban tsoro" - wannan shine yadda Rakhmaninov ya kasance a cikin jarida. Wannan rashin kwanciyar hankali ne, jin daɗin sautin motsin rai, halayyar aikin mawaƙa biyu, wanda ya sa ya zama ƙaunatacce kuma kusa da manyan da'irar al'ummar Rasha a farkon karni na XNUMX, tare da tsammanin damuwa, buri da bege. .

"Scriabin da Rachmaninoff sune 'mahukunta na tunanin kiɗa' na duniyar kiɗan Rasha ta zamani <...> Yanzu suna raba girman kai a cikin duniyar kiɗan," in ji LL Sabaneev, ɗaya daga cikin masu neman afuwa masu himma na farko da abokin gaba mai taurin kai daidai kuma mai cin mutuncin na biyu. Wani mai sukar, mafi matsakaici a cikin hukunce-hukuncensa, ya rubuta a cikin wata kasida da aka keɓe ga kwatancen kwatancin uku mafi mashahuri wakilai na makarantar kiɗa na Moscow, Taneyev, Rachmaninov da Scriabin: sautin zamani, rayuwa mai tsananin zafi. Dukansu su ne kyakkyawan fata na Rasha na zamani. "

Na dogon lokaci ra'ayi na Rachmaninoff a matsayin daya daga cikin mafi kusa magada da magajin Tchaikovsky rinjaye. Tasirin marubucin Sarauniyar Spades babu shakka taka muhimmiyar rawa a cikin samuwar da kuma ci gaban aikinsa, wanda shi ne quite na halitta ga wani digiri na biyu na Moscow Conservatory, dalibi AS Arensky da SI Taneyev. A lokaci guda, ya kuma gane wasu daga cikin fasalulluka na "Petersburg" makaranta na composers: m lyricism na Tchaikovsky a cikin Rachmaninov tare da matsananci almara girma Borodin, Mussorgsky zurfin shigar a cikin tsarin na zamanin d Rasha m tunani da kuma m. fahimtar mawaƙa game da yanayin asalin Rimsky-Korsakov. Duk da haka, duk abin da aka koya daga malamai da magabata, marubucin ya sake tunani sosai, yana yin biyayya ga ƙaƙƙarfan nufinsa, da kuma samun sabon hali na mutum ɗaya. Salon asali mai zurfi na Rachmaninov yana da babban mutunci na ciki da kwayoyin halitta.

Idan muka nemi makamancinsa a cikin al'adun fasaha na Rasha na karni na karni, wannan shine, da farko, layin Chekhov-Bunin a cikin wallafe-wallafen, shimfidar wurare na lyrical na Levitan, Nesterov, Ostroukhov a zanen. Marubuta dabam-dabam sun yi la'akari da waɗannan daidaito akai-akai kuma sun zama kusan ruɗi. An sani da abin da m soyayya da girmamawa Rakhmaninov bi da aiki da kuma hali na Chekhov. Tuni a cikin shekarun rayuwarsa, yana karanta wasiƙun marubucin, ya yi nadama cewa bai sadu da shi sosai a lokacinsa. Mawaƙin ya kasance yana da alaƙa da Bunin shekaru da yawa ta hanyar tausayawa juna da ra'ayoyin fasaha na gama gari. An haɗu da su tare da alaƙa da ƙauna mai ƙauna ga yanayin ƙasarsu na Rasha, don alamun rayuwa mai sauƙi wanda ya riga ya bar a cikin kusancin mutum zuwa duniyar da ke kewaye da shi, halin mawaƙa na duniya, mai launi mai zurfi. shiga cikin wakoki, ƙishirwar 'yanci na ruhaniya da kuɓuta daga sarƙoƙi waɗanda ke tauye 'yancin ɗan adam.

Tushen wahayi ga Rachmaninov ya kasance nau'ikan abubuwan da suka fito daga rayuwa ta ainihi, kyawawan dabi'u, hotuna na wallafe-wallafe da zane-zane. "... Na gano," in ji shi, "cewa an haifi ra'ayoyin kiɗa a cikina da sauƙi mafi girma a ƙarƙashin rinjayar wasu abubuwan ban sha'awa na kiɗa." Amma a lokaci guda, Rachmaninov ya yi ƙoƙari ba don yin la'akari da wasu abubuwan da suka faru na gaskiya ta hanyar kiɗa ba, don "zane-zane a cikin sauti", amma don bayyanar da halayen halayensa, ji da abubuwan da suka faru a ƙarƙashin rinjayar daban-daban. abubuwan da aka samu a waje. A cikin wannan ma'ana, za mu iya magana game da shi a matsayin daya daga cikin mafi daukan hankali da kuma hankula wakilan da m gaskiya na 900s, babban Trend wanda aka samu nasarar tsara VG Korolenko: "Ba mu kawai nuna mamaki kamar yadda suke da kuma yi. kar a haifar da ruɗi daga son duniya da babu shi. Muna ƙirƙira ko bayyana sabuwar alaƙar ruhun ɗan adam da kewayen duniya da aka haifa a cikinmu.

Daya daga cikin mafi yawan halayen kida na Rachmaninov, wanda ke jan hankali da farko lokacin da aka saba da shi, shine karin waƙa mai bayyanawa. Daga cikin mutanen zamaninsa, ya yi fice saboda iyawarsa na ƙirƙirar waƙoƙin waƙa da yawa kuma masu tsayi na babban numfashi, yana haɗa kyau da filastik na zane tare da bayyananniyar haske da tsananin ƙarfi. Melodism, melodiousness shi ne babban ingancin salon Rachmaninov, wanda ya fi mayar da kayyade yanayin mawaƙa ta harmonic tunani da kuma rubutun ayyukansa, cikakken, a matsayin mai mulkin, tare da m muryoyin, ko dai motsi zuwa gaba, ko bace a cikin wani m m. masana'anta sauti.

Rachmaninoff ya ƙirƙiri nau'in waƙoƙin waƙar nasa na musamman, dangane da haɗaɗɗun dabarun halayen Tchaikovsky - haɓakar haɓakar melodic mai ƙarfi tare da hanyar sauye-sauye daban-daban, an aiwatar da su cikin sauƙi da kwanciyar hankali. Bayan an tashi da sauri ko kuma tsayin tsayin tsayin daka zuwa saman, waƙar, kamar dai, tana daskarewa a matakin da aka samu, ba tare da ɓata lokaci ba tana komawa zuwa sauti guda ɗaya na dogon waƙa, ko kuma a hankali, tare da tudu masu tasowa, yana komawa zuwa tsayinsa na asali. Juya dangantakar kuma yana yiwuwa, lokacin da tsayi ko žasa mai tsawo a cikin wani yanki mai iyaka mai tsayi ya karye ba zato ba tsammani ta hanyar waƙar na tsawon lokaci mai faɗi, yana gabatar da inuwar magana mai kaifi.

A cikin irin wannan tsaka-tsaki na kuzari da ƙididdiga, LA Mazel yana ganin ɗayan mafi kyawun halayen waƙar Rachmaninov. Wani mai bincike ya danganta ma'ana gabaɗaya ga rabon waɗannan ƙa'idodin a cikin aikin Rachmaninov, yana mai nuni ga sauye-sauyen lokutan "braking" da "nasara" waɗanda ke ƙarƙashin yawancin ayyukansa. (VP Bobrovsky ya bayyana irin wannan ra'ayi, yana mai lura da cewa "mu'ujiza na mutumtakar Rachmaninoff ya ta'allaka ne a cikin haɗin kai na musamman na dabi'un dabi'u guda biyu da haɗin gwiwar su kawai a cikinsa" - wani buri mai aiki da kuma halin "tsayawa a kan abin da ya kasance. samu."). Mai son raira waƙoƙi, tsawaita nutsewa a cikin wani yanayi guda ɗaya, kamar mawaƙin yana son dakatar da ɗan gajeren lokaci, ya haɗu da ƙaƙƙarfan kuzarin waje, ƙishirwa ta tabbatar da kai. Don haka ƙarfi da kaifin bambance-bambance a cikin kiɗan sa. Ya nemi ya kawo kowane ji, kowane yanayi na tunani zuwa matsananciyar matakin magana.

A cikin waƙoƙin waƙoƙin rairayi na Rachmaninov, tare da dogon lokaci, numfashin da ba a katsewa ba, sau da yawa sau da yawa suna jin wani abu mai kama da “ba za a iya tserewa” faɗin waƙoƙin jama'a na Rasha. A lokaci guda, duk da haka, dangantakar da ke tsakanin kerawa Rachmaninov da rubuce-rubucen jama'a ya kasance wani yanayi na kai tsaye. Sai dai a lokuta da ba kasafai, keɓantacce ba, mawakin ya koma yin amfani da waƙoƙin jama'a na gaske; bai yi kokarin kamanta wakokinsa kai tsaye da na jama'a ba. "A Rachmaninov," marubucin wani aiki na musamman a kan melodics daidai bayanin kula, "da wuya ya bayyana kai tsaye dangane da wasu nau'o'in fasaha na jama'a. Musamman, nau'in nau'in sau da yawa yana da alama ya narke a cikin "ji" na jama'a kuma ba haka ba ne, kamar yadda yake tare da magabata, farkon ciminti na dukan tsari na tsarawa da zama hoton kiɗa. akai-akai, da hankali da aka kõma zuwa ga irin wannan halayyar fasali na Rachmaninov ta karin waƙa, wanda ya kawo shi kusa da Rasha jama'a song, kamar smoothness na motsi tare da predominance na stepwise motsa, diatonicism, mai yawa Phrygian juya, da dai sauransu. Mai zurfi da organically assimilated. Mawaƙin ya ce, waɗannan fasalulluka sun zama abin da ba za a iya raba shi da shi ba na salon marubucinsa, suna samun launi na musamman na musamman a gare shi.

Wani bangare na wannan salon, wanda ba shi da ban sha'awa kamar wadatar kiɗan Rachmaninov, wani kuzari ne wanda ba a saba gani ba, wanda ba shi da nasara kuma a lokaci guda kuma mai sassauƙa, wani lokacin raye-raye. Duk mutanen zamanin mawaƙin da kuma daga baya masu bincike sun yi rubuce-rubuce da yawa game da wannan musamman Rachmaninoff rhythm, wanda ba da son rai ya ja hankalin mai sauraro ba. Sau da yawa rhythm ne ke ƙayyade ainihin sautin kiɗan. AV Ossovsky ya lura a cikin 1904 game da motsi na ƙarshe na Suite na Biyu na Pianos guda biyu cewa Rachmaninov a cikinsa "bai ji tsoron zurfafa sha'awar Tarantella ba zuwa rai marar natsuwa da duhu, ba baki ga hare-hare na wasu nau'ikan aljanu ba sau."

Rhythm ya bayyana a cikin Rachmaninov a matsayin mai ɗaukar ingantacciyar ka'ida ta son rai wacce ke haɓaka masana'antar kiɗan kuma ta gabatar da waƙar " ambaliyar ji " a cikin babban tsarin gine-gine mai jituwa. BV Asafiev, kwatanta rawar da rhythmic manufa a cikin ayyukan Rachmaninov da Tchaikovsky, ya rubuta: "Duk da haka, a karshen, da asali yanayin da ya" m "symphony bayyana kanta tare da musamman karfi a cikin ban mamaki karo na jigogi kansu. A cikin kiɗan Rachmaninov, mai matukar sha'awar ingantacciyar ƙirƙira, ƙungiyar ma'auni na lyric-contemplative sito na ji tare da ƙaƙƙarfan sha'awar ƙungiyoyin mawaƙa-mai yin "I" ya zama cewa "yanayin mutum" na tunanin mutum. wanda aka sarrafa ta hanyar rhythm a cikin ma'anar abubuwan son rai… “. Tsarin rhythmic a cikin Rachmaninov koyaushe ana fayyace shi sosai, ba tare da la’akari da ko rhythm ɗin yana da sauƙi ba, har ma, kamar nauyi, auna bugun babban kararrawa, ko hadaddun, fure mai ban sha'awa. Wanda ya fi so da mawaki, musamman a cikin ayyukan 1910s, rhythmic ostinato yana ba da kari ba kawai tsari ba, amma a wasu lokuta ma mahimmancin jigo.

A fagen jituwa, Rachmaninoff bai wuce tsarin manyan ƙananan ƙananan tsarin ba a cikin hanyar da ya samu a cikin aikin mawaƙa na romantic na Turai, Tchaikovsky da wakilan Mabuɗin Hannu. Waƙarsa koyaushe tana da ma'anar tonal kuma tana da ƙarfi, amma a cikin amfani da hanyoyin jituwa-romantic tonal jituwa, yana da wasu halaye na musamman waɗanda ba shi da wahala a kafa marubucin ɗaya ko wani abun. Daga cikin irin waɗannan siffofi na musamman na harshen Rachmaninov na harshen jituwa sun haɗa da, alal misali, sanannun jinkirin motsi na aiki, yanayin zama a cikin maɓalli ɗaya na dogon lokaci, da kuma wani lokacin rauni na nauyi. An jawo hankali ga ɗimbin hadaddun tsarin tert da yawa, layuka marasa ƙima da ƙima, galibi suna da launuka masu launi, phonic fiye da mahimmancin aiki. Haɗin irin wannan hadaddun jituwa ana aiwatar da shi galibi tare da taimakon haɗin ɗanɗano. Matsakaicin nau'in waƙar melodic-waƙar a cikin kiɗan Rachmaninov yana ƙayyade babban matakin jikewar polyphonic na masana'anta na sauti: rukunan jituwa koyaushe suna tasowa sakamakon motsi na 'yanci na muryoyin "waƙa" ko žasa.

Akwai daya fi so jituwa juya Rachmaninoff, wanda ya yi amfani da sau da yawa, musamman a cikin abubuwan da aka tsara na farkon zamani, har ma ya sami sunan "Jirgin Rachmaninov". Wannan jujjuyawar ta dogara ne akan raguwar gabatarwa ta bakwai na ƙaramar jituwa, yawanci ana amfani da su ta hanyar terzkvartakkord tare da maye gurbin digiri na II na III da ƙuduri a cikin triad tonic a cikin matsayi na uku na melodic.

Yunkurin zuwa raguwar kwata-kwata wanda ya taso a cikin wannan yanayin a cikin sautin murya yana haifar da baƙin ciki mai raɗaɗi.

A matsayin daya daga cikin abubuwan ban mamaki na kiɗan Rachmaninov, yawancin masu bincike da masu lura sun lura da ƙananan launin launi. Dukkan wasannin kide-kide na piano guda hudu, kade-kaden kade-kade guda uku, duka piano sonatas, galibin hotuna-hotuna da sauran abubuwan da aka rubuta da yawa an rubuta su da qanana. Ko babba sau da yawa yana samun ɗan ƙaramin launi saboda raguwar sauye-sauye, karkatar da tonal da kuma yawaitar amfani da ƙananan matakai na gefe. Amma mawaƙa kaɗan ne suka sami irin wannan nau'ikan nuances da matakan maida hankali a cikin amfani da ƙaramin maɓalli. Bayanin LE Gakkel cewa a cikin zane-zanen op. 39 "idan aka ba da mafi girman kewayon ƙananan launuka na kasancewa, ƙananan inuwar rayuwa" za a iya ƙarawa zuwa wani muhimmin sashi na duk aikin Rachmaninoff. Masu suka kamar Sabaneev, wanda ya ƙiyayya ga Rachmaninov, sun kira shi "mai hayaniya mai hankali," wanda waƙarsa ke nuna "mummunan rashin taimako na mutumin da ba shi da iko." A halin yanzu, ƙananan "duhu" na Rachmaninov sau da yawa yana jin ƙarfin hali, rashin amincewa da kuma cike da tashin hankali na son rai. Kuma idan kunnen kunne ya kama bayanan makoki, to wannan shine "bakin ciki mai girma" na ɗan wasan kishin ƙasa, wanda "na yi nishi game da ƙasar haihuwa", wanda M. Gorky ya ji a wasu ayyukan Bunin. Kamar wannan marubucin da ke kusa da shi a cikin ruhu, Rachmaninov, a cikin kalmomin Gorky, "tunanin Rasha gaba ɗaya", nadamar asarar da ta yi da damuwa game da makomar gaba.

Hoton kirkire-kirkire na Rachmaninov a cikin manyan fasalulluka ya kasance mai inganci kuma ya tsaya tsayin daka a cikin tafiyar rabin karni na mawaki, ba tare da fuskantar karaya da canje-canje ba. Ka'idoji masu kyau da salo, waɗanda aka koya a lokacin ƙuruciyarsa, ya kasance da aminci ga shekarun ƙarshe na rayuwarsa. Duk da haka, za mu iya lura da wani juyin halitta a cikin aikinsa, wanda bayyana kanta ba kawai a cikin ci gaban fasaha, wadãtar da sauti palette, amma kuma partially rinjayar da alama da kuma m tsarin na music. A kan wannan tafarki, manyan uku, ko da yake ba su daidaita duka a tsawon lokaci da kuma yanayin aikinsu, an bayyana lokuta a fili. An keɓe su ta hanyar caesuras na wucin gadi fiye ko žasa, da shakku, tunani da shakku, lokacin da ba a kammala aikin guda ɗaya da ya fito daga alƙalamin marubucin ba. Lokaci na farko, wanda ya fadi a cikin 90s na karni na XNUMX, ana iya kiransa lokacin haɓakar haɓakawa da haɓaka ƙwarewa, wanda ya tafi tabbatar da hanyarsa ta hanyar shawo kan tasirin yanayi tun yana ƙarami. Ayyukan wannan lokacin sau da yawa ba su kasance masu zaman kansu ba tukuna, marasa kyau a cikin tsari da rubutu. (Wasu daga cikinsu (First Piano Concerto, Elegiac Trio, piano guda: Melody, Serenade, Humoresque) daga baya mawaƙi ya sake bitar su kuma an inganta su da haɓaka.), ko da yake a cikin da dama daga cikin shafukan su (mafi kyawun lokacin wasan opera na matasa "Aleko", da Elegiac Trio a cikin ƙwaƙwalwar ajiyar PI Tchaikovsky, sanannen prelude a cikin ƙananan ƙananan C-kaifi, wasu lokuta na kiɗa da kuma romances), mawallafin mawallafin mutum. An riga an saukar da isasshen yaƙĩni.

An dakatar da ba zato ba tsammani ya zo a cikin 1897, bayan rashin nasarar wasan kwaikwayo na farko na Symphony na Rachmaninov, wani aikin da mawallafin ya ba da gudummawa mai yawa na aiki da makamashi na ruhaniya, wanda yawancin mawaƙa ba su fahimta ba kuma kusan an yanke hukunci a kan shafukan jarida, har ma da ba'a. da wasu daga cikin masu suka. Rashin gazawar wasan kwaikwayo ya haifar da raunin tunani mai zurfi a cikin Rachmaninoff; bisa ga nasa ikirari, daga baya, ya “kamar mutum ne da ya yi bugun jini kuma wanda ya daɗe ya rasa kansa da hannuwansa duka.” Shekaru uku masu zuwa sun kasance shekaru kusan cikakkiyar shiru na kere-kere, amma a lokaci guda an tattara tunani mai mahimmanci, sake tantance duk abin da aka yi a baya. Sakamakon wannan aikin na cikin gida na mawaƙi a kan kansa ya kasance wani sabon abu mai tsanani da haske mai ban mamaki a farkon sabon karni.

A cikin shekaru uku ko hudu na farko na karni na 23, Rakhmaninov ya kirkiro ayyuka da dama na nau'o'in nau'o'in daban-daban, masu ban sha'awa ga zurfin shayari, sabo da saurin wahayi, wanda wadatar tunanin kirkire-kirkire da asalin "rubutun hannu" na marubucin. ana haɗe su tare da babban ƙãre sana'a. Daga cikinsu akwai Concerto na biyu na Piano, Suite na biyu don pianos biyu, sonata don cello da piano, cantata “Spring”, Ten Preludes op. XNUMX, wasan opera "Francesca da Rimini", wasu daga cikin mafi kyawun misalan waƙoƙin muryar Rachmaninov ("Lilac", "Tsarin daga A. Musset"), Wannan jerin ayyukan sun kafa matsayi na Rachmaninoff a matsayin daya daga cikin mafi girma kuma mafi ban sha'awa na Rasha. na zamaninmu, ya ba shi babban karbuwa a cikin da'irar masu fasaha da kuma a cikin ɗimbin masu sauraro.

A in mun gwada da ɗan gajeren lokaci daga 1901 zuwa 1917 shi ne mafi 'ya'ya a cikin aikinsa: a cikin wannan shekaru goma da rabi da aka rubuta mafi yawan balagagge, masu zaman kansu a cikin style na Rachmaninov ayyukan, wanda ya zama wani muhimmin ɓangare na kasa m classics. Kusan kowace shekara ya kawo sabon opuses, bayyanar wanda ya zama sanannen taron a cikin rayuwar kiɗa. Tare da m m aiki na Rachmaninoff, aikinsa bai canza ba a wannan lokacin: a cikin farkon shekaru 32 na farko bayyanar cututtuka na Brewing motsi ne m. Ba tare da rasa halayensa na gabaɗaya ba, ya zama mai ƙarfi a cikin sautin, yanayin damuwa yana ƙaruwa, yayin da fitowar kai tsaye na ji na lyrical yana da alama yana raguwa, launuka masu haske suna bayyana ƙasa sau da yawa akan palette na mawaƙa, launi na kiɗan gabaɗaya. yayi duhu da kauri. Ana iya lura da waɗannan canje-canje a cikin jeri na biyu na piano preludes, op. XNUMX, zagayowar biyu na etudes-zane-zane, kuma musamman irin waɗannan manyan abubuwan ƙira kamar "Karrarawa" da "Dukkanin dare Vigil", waɗanda suka gabatar da zurfi, mahimman tambayoyi na kasancewar ɗan adam da manufar rayuwa ta mutum.

Juyin halitta da Rachmaninov ya samu bai kubuta daga hankalin mutanen zamaninsa ba. Daya daga cikin masu suka ya rubuta game da The Bells: “Da alama Rakhmaninov ya fara neman sabon yanayi, sabon salon bayyana tunaninsa… Kuna jin a nan sabon salon Rachmaninov ya sake haifuwa, wanda ba shi da alaƙa da salon Tchaikovsky. ”

Bayan 1917, wani sabon hutu a cikin aikin Rachmaninov fara, wannan lokaci fiye da baya daya. Sai dai bayan tsawon shekaru goma mawaƙin ya koma yin waƙa, bayan da ya shirya waƙoƙin gargajiya na Rasha guda uku don ƙungiyar mawaƙa da makaɗa kuma ya kammala wasan kwaikwayo na Piano na huɗu, wanda aka fara a jajibirin yakin duniya na farko. A cikin 30s ya rubuta (sai dai 'yan kide-kide na kide-kide don piano) hudu kawai, duk da haka, mahimmanci dangane da ra'ayin manyan ayyuka.

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A cikin wani yanayi na hadaddun, sau da yawa bincike masu sabani, kaifi, gwagwarmayar kwatance, rugujewar nau'ikan ilimin fasaha na yau da kullun waɗanda ke nuna haɓakar fasahar kiɗan a farkon rabin karni na XNUMX, Rachmaninoff ya kasance da aminci ga babban al'ada. al'adun kiɗa na Rasha daga Glinka zuwa Borodin, Mussorgsky, Tchaikovsky, Rimsky-Korsakov da kuma mafi kusa, kai tsaye dalibai da mabiya Taneyev, Glazunov. Amma bai iyakance kansa ga matsayin mai kula da waɗannan hadisai ba, amma a rayayye, da kirkira ya gane su, yana tabbatar da rayuwa, ikon da ba zai ƙare ba, ikon ci gaba da ci gaba da wadata. A m, m artist Rachmaninov, duk da bin ka'idodin litattafan, bai kasance kurma ga kira na zamani. A cikin halayensa ga sababbin salon salo na karni na XNUMX, akwai wani lokaci ba kawai na adawa ba, har ma da wani ma'amala.

A cikin tsawon rabin karni, aikin Rachmaninov ya sami gagarumin juyin halitta, kuma ayyukan ba kawai a cikin 1930s ba, har ma da shekarun 1910 sun bambanta sosai a cikin tsarin su na alama da kuma cikin harshe, ma'anar maganganun kiɗa daga farkon, ba tukuna ba. gaba daya masu zaman kansu opuses na karshen na baya daya. ƙarni. A wasu daga cikinsu, mawaki ya zo cikin hulɗa tare da impressionism, symbolism, neoclassicism, ko da yake a cikin wata hanya mai zurfi, ya fahimci abubuwan da ke cikin waɗannan abubuwan. Tare da duk canje-canje da jujjuyawar, hoton kirkirar Rachmaninov ya kasance mai mahimmanci a cikin gida, yana riƙe waɗannan asali, fasalin fasalin da kiɗan sa ya shahara ga mafi yawan masu sauraro: m, ƙwararrun lyricism, gaskiya da gaskiyar magana, hangen nesa na duniya. .

Yu. Ku zo

Rachmaninoff madugu

Rachmaninov ya sauka a cikin tarihi ba kawai a matsayin mawaki da pianist, amma kuma a matsayin fitaccen shugaba na zamaninmu, ko da yake wannan gefen aikinsa ba haka ba ne mai tsawo da tsanani.

Rachmaninov ya fara halarta a karon a matsayin madugu a cikin kaka na 1897 a Mamontov Private Opera a Moscow. Kafin haka, ba dole ba ne ya jagoranci ƙungiyar makaɗa da nazarin gudanarwa, amma ƙwararren mawaƙin mawaƙa ya taimaka Rachmaninoff ya koyi asirin gwaninta da sauri. Ya isa in tuna cewa da kyar ya sami damar kammala karatun farko: bai san cewa mawaƙa suna buƙatar nuna gabatarwar ba; Kuma bayan 'yan kwanaki Rachmaninov ya riga ya yi aikinsa daidai, yana gudanar da wasan opera na Saint-Saens Samson da Delila.

"Shekarar da na zauna a wasan opera na Mamontov na da matukar muhimmanci a gare ni," ya rubuta. "A can na sami dabarar madugu ta gaske, wadda daga baya ta yi mini hidima sosai." A lokacin kakar aiki a matsayin na biyu madugu na gidan wasan kwaikwayo Rachmaninov gudanar ashirin da biyar wasanni na tara operas: "Samson da Delila", "Mermaid", "Carmen", "Orpheus" na Gluck, "Rogneda" by Serov. Mignon" na Tom, "Askold's Grave", "Ƙarfin Maƙiyi", "Mayu dare". Nan da nan 'yan jarida sun lura da tsabtar salon jagoransa, dabi'ar dabi'a, rashin posting, jin dadi na ƙarfe da ake watsawa ga masu wasan kwaikwayo, dandano mai laushi da kuma ban mamaki na launi na orchestral. Tare da samun kwarewa, waɗannan fasalulluka na Rachmaninoff a matsayin mawaƙa sun fara bayyana kansu sosai, suna cike da amincewa da ikon yin aiki tare da mawaƙa, mawaƙa da mawaƙa.

A cikin 'yan shekarun nan, Rachmaninoff, shagaltar da abun da ke ciki da kuma pianistic aiki, gudanar kawai lokaci-lokaci. Halin da ya yi na gwanintar aikinsa ya faɗi a lokacin 1904-1915. Shekaru biyu yana aiki a gidan wasan kwaikwayo na Bolshoi, inda fassarar wasan operas na Rasha ke samun nasara ta musamman. Abubuwan da suka faru na tarihi a cikin rayuwar gidan wasan kwaikwayon suna kiran masu sukar ranar tunawa da wasan kwaikwayon Ivan Susanin, wanda ya gudanar don girmama shekaru ɗari na haihuwar Glinka, da Makon Tchaikovsky, wanda Rachmaninov ya gudanar da Sarauniyar Spades, Eugene Onegin, Oprichnik. da ballets.

Daga baya, Rachmaninov ya jagoranci wasan kwaikwayon Sarauniyar Spades a St. Petersburg; masu bita sun yarda cewa shi ne ya fara fahimta tare da isar wa masu sauraro dukkan ma'anar opera mai ban tausayi. Daga cikin nasarorin kirkire-kirkire da Rachmaninov ya samu a gidan wasan kwaikwayo na Bolshoi har ila yau, akwai samar da nasa na Pan Voevoda na Rimsky-Korsakov da nasa operas The Miserly Knight da Francesca da Rimini.

A kan wasan kwaikwayo na wasan kwaikwayo, Rachmaninov daga wasan kwaikwayo na farko ya tabbatar da kansa a matsayin cikakken jagora na babban sikelin. Alamar “haƙiƙa” tabbas tana tare da sake duba ayyukansa a matsayin jagora. Mafi sau da yawa, Rachmaninoff ya bayyana a tsayawar madugu a cikin kide kide da wake-wake na Moscow Philharmonic Society, kazalika da Siloti da Koussevitzky Orchestras. A 1907-1913, ya gudanar da yawa kasashen waje - a cikin biranen Faransa, Holland, Amurka, Ingila, Jamus.

Repertoire na Rachmaninov a matsayin madugu ya kasance da ban mamaki da yawa a cikin waɗannan shekarun. Ya sami damar shiga cikin mafi bambancin salo da halayen aikin. A zahiri, kiɗan Rasha ya kasance kusa da shi. Ya farfaɗo a kan mataki Borodin's Bogatyr Symphony, kusan manta da wannan lokacin, ya ba da gudummawa ga shaharar Lyadov's miniatures, wanda ya yi da na kwarai haske. Fassarar da ya yi na kiɗan Tchaikovsky (musamman na 4th da 5th symphonies) an yi masa alama da mahimmanci da zurfin gaske; A cikin ayyukan Rimsky-Korsakov, ya sami damar buɗe gamut mafi haske ga masu sauraro, kuma a cikin kade-kade na Borodin da Glazunov, ya burge masu sauraro da faɗin almara da fa'ida mai ban mamaki.

Ɗaya daga cikin manyan abubuwan da Rachmaninov ke gudanarwa shine fassarar Mozart's G-minor symphony. Mawallafin Wolfing ya rubuta: “Menene ma’anar rubutattu da bugu da yawa kafin Rachmaninov ya yi na Mozart’s g-moll symphony! … Mai hazaka mai fasaha na Rasha a karo na biyu ya canza kuma ya nuna yanayin fasahar marubucin wannan waƙa. Za mu iya magana ba kawai game da Pushkin's Mozart, amma kuma game da Rachmaninov's Mozart ... "

Tare da wannan, mun sami yawancin kiɗa na soyayya a cikin shirye-shiryen Rachmaninov - alal misali, Berlioz's Fantastic Symphony, karimcin Mendelssohn da Franck, Weber's Oberon overture da gutsuttsura daga operas Wagner, waƙar Liszt da Grieg's Lyric Suite… Kuma kusa da shi - Mawallafa na zamani mai ban sha'awa - waqoqin waqoqin R. Strauss, ayyukan masu Impressionists: Debussy, Ravel, Roger-Ducasse ... Shahararren masanin kide-kide na Soviet V. Yakovlev, wanda ya ji Rachmaninov fiye da sau ɗaya, ya tuna: “Ba kawai jama’a da masu sukar ba, ƙwararrun membobin ƙungiyar makaɗa, furofesoshi, masu fasaha sun fahimci jagorancinsa a matsayin mafi girman matsayi a wannan fasaha… ba wai kawai ya rage zuwa wasan kwaikwayo ba, amma don raba maganganu, ma'anar bayani, sau da yawa ya rera waƙa ko ta wata hanya ko wata ya bayyana abin da ya yi la'akari a baya. Duk wanda ya kasance a wurin kide-kide nasa yana tunawa da waɗancan fa'ida, halayen halayen hannu duka, ba kawai daga goga ba; wasu lokutan ma’abota makada suna ganin irin wadannan abubuwan nasa sun wuce gona da iri, amma sun saba da shi kuma sun fahimce su. Babu wucin gadi a cikin ƙungiyoyi, matsayi, babu tasiri, babu zanen hannu. Akwai sha'awar da ba ta da iyaka, kafin tunani, nazari, fahimta da fahimtar salon wasan kwaikwayo.

Bari mu ƙara da cewa Rachmaninoff madugun kuma ɗan wasa ne wanda ba a iya misaltuwa ba; Soloists a cikin kide-kide nasa sun kasance masu fasaha irin su Taneyev, Scriabin, Siloti, Hoffmann, Casals, da kuma wasan opera Chaliapin, Nezhdanova, Sobinov…

Bayan 1913, Rachmaninoff ya ƙi yin ayyukan da wasu mawallafa suka gudanar kuma kawai ya gudanar da nasa abubuwan. Sai kawai a cikin 1915 ya kauce wa wannan doka ta hanyar gudanar da wani kide-kide don tunawa da Scriabin. Duk da haka, ko daga baya sunansa na madugu sun yi yawa a duk faɗin duniya. Ya isa a ce nan da nan bayan ya isa Amurka a shekara ta 1918, an ba shi shugabancin manyan makada a kasar - a Boston da Cincinnati. Amma a lokacin ba zai iya ba da lokaci don gudanarwa ba, dole ne ya gudanar da ayyukan kide-kide a matsayin mai wasan piano.

Sai kawai a cikin kaka na 1939, a lokacin da wani sake zagayowar na kide kide da wake-wake daga ayyukan Rachmaninov a New York, da mawaki yarda da gudanar da daya daga cikinsu. Kungiyar Orchestra ta Philadelphia ta yi wasan kwaikwayo na uku da kuma karrarawa. Ya maimaita wannan shirin a 1941 a Chicago, kuma bayan shekara guda ya jagoranci wasan kwaikwayon "Isle of the Dead" da "Symphonic Dances" a Egan Arbor. Critic O. Daune ya rubuta: “Rakhmaninov ya tabbatar da cewa yana da fasaha iri ɗaya da iko akan wasan kwaikwayo, kiɗa da kuma ikon kirkire-kirkire, wanda ke jagorantar ƙungiyar makaɗa, wanda yake nunawa lokacin kunna piano. Hali da salon wasansa, da kuma yadda yake tafiyar da shi, suna ba da nutsuwa da kwarin gwiwa. Haka ne cikakken rashi na izgili, ma'anar mutunci iri ɗaya da kamun kai, irin ƙarfin da ba a so. Rikodin na tsibirin Matattu, Vocalise da Symphony na Uku da aka yi a wancan lokacin sun adana mana shaidar fasahar gudanar da ƙwararrun mawaƙin Rasha.

L. Grigoriev, J. Platek