Sergey Leonidovich Dorensky |

Sergey Dorensky

Sergei Leonidovich Dorensky ya ce an cusa shi da son kiɗa tun yana ƙarami. Dukansu mahaifinsa, sanannen ɗan jarida mai daukar hoto a zamaninsa, da mahaifiyarsa, duk suna ƙaunar fasaha ba tare da son kai ba; a gida sukan yi kida, yaron ya tafi wasan opera, wurin kide-kide. Lokacin da yake da shekaru tara, an kawo shi zuwa Central Music School a Moscow Conservatory. Hukuncin iyaye daidai ne, a nan gaba an tabbatar da hakan.

Malaminsa na farko shine Lydia Vladimirovna Krasenskaya. Duk da haka, daga aji na hudu Sergei Dorensky yana da wani malami, Grigory Romanovich Ginzburg ya zama mashawarta. Duk ci gaba da tarihin dalibi na Dorensky yana da alaƙa da Ginzburg: shekaru shida a ƙarƙashin kulawar sa a Makarantar Tsakiya, biyar a cikin Conservatory, uku a makarantar digiri. "Lokaci ne da ba za a manta da shi ba," in ji Dorensky. "An tuna Ginsburg a matsayin ƙwararren ɗan wasan kide-kide; ba kowa ya san wane irin malami ne ba. Yadda ya nuna a cikin ajin ayyukan da ake koyo, yadda ya yi magana game da su! Kusa da shi, ba zai yiwu ba a ƙaunaci pianism, tare da palette mai sauti na piano, tare da abubuwan ban mamaki na fasaha na piano ... Wani lokaci ya yi aiki da sauƙi - ya zauna a kan kayan aiki yana wasa. Mu almajiransa, mun lura da komai kusa, daga nesa kadan. Suna ganin komai kamar daga bayan fage. Ba a buƙatar wani abu kuma.

… Grigory Romanovich mutum ne mai tausasawa, mai laushi, - Dorensky ya ci gaba. – Amma idan wani abu bai dace da shi a matsayin mawaƙi, ya iya flare sama, mai tsanani sukar dalibi. Fiye da kowane abu, ya ji tsoron pathos na ƙarya, pomposity na wasan kwaikwayo. Ya koya mana (tare da ni a Ginzburg irin ƙwararrun pianists kamar Igor Chernyshev, Gleb Akselrod, Alexei Skavronsky ya yi karatu) girman kai na ɗabi'a a kan mataki, sauƙi da bayyananniyar magana. Zan ƙara da cewa Grigory Romanovich ya kasance mai rashin haƙuri ga ƙananan kurakurai a cikin kayan ado na waje na ayyukan da aka yi a cikin aji - mun kasance da wuya a sami irin wannan zunubai. Ba ya son ko dai saurin wuce gona da iri ko jita-jita. Bai gane wuce gona da iri ba… Misali, har yanzu ina jin daɗin kunna piano da mezzo-forte - Na sami wannan tun lokacin ƙuruciyata.

Dorensky yana ƙaunar a makaranta. Tausasawa ta yanayi, nan da nan ya ƙaunaci kansa ga waɗanda ke kewaye da shi. Ya kasance mai sauƙi da sauƙi tare da shi: babu alamar swagger a cikinsa, ba alamar girman kai ba, wanda ke faruwa a tsakanin matasa masu fasaha masu nasara. Lokaci zai zo, kuma Dorensky, bayan da ya wuce lokacin matasa, zai ɗauki mukamin shugaban makarantar piano na Moscow Conservatory. Matsayin yana da alhakin, a cikin bangarori da yawa da wahala sosai. Dole ne a faɗi kai tsaye cewa halayen ɗan adam - nasiha, sauƙi, jin daɗin sabon limamin - waɗanda za su taimaka masa ya kafa kansa a cikin wannan rawar, samun goyon baya da tausayin abokan aikinsa. Tausayin da ya zabgawa 'yan makarantarsa.

A 1955, Dorensky ya fara gwada hannunsa a gasar kasa da kasa na yin mawaƙa. A Warsaw, a Bikin Matasa da Dalibai na Duniya na Biyar, ya shiga gasar piano kuma ya sami lambar yabo ta farko. An fara farawa. An ci gaba da ci gaba a Brazil, a gasar kayan aiki a cikin 1957. Dorensky ya sami shahara sosai a nan. Ya kamata a lura da cewa gasar ta Brazil ta matasa masu wasan kwaikwayo, wadda aka gayyace shi, ita ce ta farko a cikin Latin Amurka; A zahiri, wannan ya jawo hankalin jama'a, 'yan jaridu, da da'irar kwararru. Dorensky ya yi nasara. An ba shi lambar yabo ta biyu (dan wasan pianist na Austria Alexander Enner ya sami lambar yabo ta farko, lambar yabo ta uku ta tafi Mikhail Voskresensky); tun daga nan, ya sami karɓuwa mai ƙarfi tare da masu sauraron Kudancin Amurka. Zai koma Brazil fiye da sau ɗaya - duka a matsayin ɗan wasan kide-kide da kuma matsayin malami wanda ke jin daɗin iko a tsakanin matasan ƴan pian na gida; anan za'a dinga maraba dashi. Alamun alamomi, alal misali, layin ɗaya daga cikin jaridun Brazil: “… Daga cikin ƴan wasan pian… waɗanda suka yi wasa tare da mu, babu wanda ya jajanta wa jama’a sosai, kamar wannan mawaƙin. Sergey Dorensky yana da zurfin fahimta da yanayin kiɗa, wanda ya ba da waƙoƙin waƙa na musamman. (Don fahimtar juna // al'adun Soviet. 1978. Jan. 24).

Nasarar da aka samu a Rio de Janeiro ta bude hanya ga Dorensky zuwa matakai na kasashe da dama na duniya. An fara rangadi: Poland, GDR, Bulgaria, Ingila, Amurka, Italiya, Japan, Bolivia, Kolombiya, Ecuador… A lokaci guda kuma, ayyukan da yake yi a ƙasarsa suna haɓaka. A waje, hanyar fasaha ta Dorensky tana da kyau: sunan mai wasan pian yana ƙara samun karɓuwa, ba shi da wani rikici ko ɓarna a bayyane, 'yan jaridu sun fi son shi. Duk da haka, shi da kansa yayi la'akari da ƙarshen shekarun hamsin - farkon shekarun sittin mafi wuya a rayuwarsa.

"Na uku, na ƙarshe a rayuwata kuma, watakila, "gasa" mafi wuya ya fara - don 'yancin yin rayuwa mai zaman kanta. Na farko sun kasance masu sauki; wannan "gasar" - dogon lokaci, ci gaba, a wasu lokuta masu gajiyawa ... - yanke shawarar ko zan zama mai wasan kwaikwayo ko a'a. Nan take na fuskanci matsaloli da dama. Da farko - cewa wasa? Repertoire ya zama ƙarami; ba a ɗauka da yawa a cikin shekarun karatu ba. Ya zama dole don sake cika shi da gaggawa, kuma a cikin yanayin babban aikin philharmonic, wannan ba shi da sauƙi. Ga wani bangare na lamarin. Wani as wasa. A cikin tsohuwar hanya, yana da alama ba zai yiwu ba - Ni ba dalibi ba ne, amma mai zane-zane. To, me ake nufi da wasa ta wata sabuwar hanya, dabanBan yi tunanin kaina da kyau ba. Kamar sauran mutane da yawa, na fara da wani abu ba daidai ba - tare da neman wasu "hanyoyi masu bayyanawa" na musamman, mafi ban sha'awa, sabon abu, haske, ko wani abu ... Ba da daɗewa ba na lura cewa ina tafiya ta hanyar da ba daidai ba. Ka ga, wannan furcin an kawo shi cikin wasa na, a ce, daga waje, amma yana buƙatar fitowa daga ciki. Na tuna kalmomin daraktan mu mai ban mamaki B. Zakhava:

“... Yanke shawarar nau'in wasan kwaikwayon koyaushe yana zurfi a ƙasan abun ciki. Don nemo shi, kuna buƙatar nutsewa zuwa ƙasa - yin iyo a saman, ba za ku sami komai ba. (Zakhava BE Ƙwararriyar ɗan wasan kwaikwayo kuma darakta. - M., 1973. P. 182.). Haka mu mawaka. Bayan lokaci, na fahimci wannan da kyau.

Dole ne ya sami kansa a kan mataki, ya sami "I" nasa na halitta. Kuma ya yi nasarar yin hakan. Da farko, godiya ga basira. Amma ba kawai. Ya kamata a lura cewa da dukan sauƙi na zuciyarsa da faɗin rai, bai daina zama madaidaicin yanayi, mai kuzari, daidaito, ɗabi'a mai aiki tuƙuru ba. Wannan ya kawo masa nasara a karshe.

Da farko, ya yanke shawara a cikin da'irar ayyukan kiɗa mafi kusa da shi. "Malamin na, Grigory Romanovich Ginzburg, ya yi imanin cewa kusan kowane dan wasan pian yana da nasa matakin "rawar". Ina riƙe, a gaba ɗaya, ra'ayoyi iri ɗaya. Ina tsammanin cewa a lokacin karatunmu, mu, masu yin wasan kwaikwayo, ya kamata mu yi ƙoƙari mu rufe yawan kiɗan da zai yiwu, yi ƙoƙari mu sake kunna duk abin da zai yiwu ... tare da abin da ya fi nasara. Ya tabbata a wasan kwaikwayonsa na farko cewa ya yi nasara mafi yawa a cikin Beethoven's shida, takwas, talatin da ɗaya Sonatas, Schumann's Carnival da Fantastic Fragments, mazurkas, nocturnes, etudes da wasu sauran guda ta Chopin, Liszt's Campanella da daidaitawar waƙoƙin Liszbert's Schu , Tchaikovsky's G Major Sonata da Hudu Seasons, Rachmaninov's Rhapsody a kan Jigo na Paganini da Barber's Piano Concerto. Abu ne mai sauki ka ga cewa Dorensky ba gravitates zuwa daya ko wani repertoire da salon yadudduka (ce, classics - romance - zamani ...), amma ga wasu. kungiyoyin yana aiki a cikin abin da keɓaɓɓen mutum ya bayyana kansa sosai. "Grigory Romanovich ya koyar da cewa ya kamata mutum ya yi wasa kawai abin da ke ba wa mai yin wasan kwaikwayon jin dadi na ciki, "daidaitawa", kamar yadda ya ce, wato, cikakkiyar haɗuwa tare da aikin, kayan aiki. Abin da nake ƙoƙarin yi ke nan..."

Sannan ya sami salon wasansa. Wanda ya fi furtawa a cikinsa shi ne farkon waka. (Dan wasan pian sau da yawa ana iya yanke hukunci ta hanyar tausayinsa na fasaha. Dorensky sunaye a cikin mawakan da ya fi so, bayan GR Ginzburg, KN Igumnov, LN Oborin, Art. Rubinstein, daga ƙaramin M. Argerich, M. Pollini, wannan jeri yana nuni da kansa. ). Ba kamar sauran wakilai na zamani na pianistic ba, Dorensky baya nuna sha'awa ta musamman ga yanayin piano toccato; A matsayinsa na mai yin kide-kide, ba ya son ko dai ginin sautin “ƙarfe”, ko tsawa mai tsawa na fortissimo, ko bushe-bushe da kaifi na ƙwarewar injin yatsa. Mutanen da suke yawan halartar kide-kide nasa suna tabbatar da cewa bai taba daukar rubutu mai tsauri ba a rayuwarsa…

Amma tun da farko ya nuna kansa a matsayin haifaffen gwanin cantilena. Ya nuna cewa yana iya fara'a tare da tsarin sauti na filastik. Na gano ɗanɗano don a hankali shuɗe, launukan pianistic masu launin siliki. Anan ya zama magaji ga ainihin al'adar wasan piano na Rasha. "Dorensky yana da kyawawan piano tare da inuwa daban-daban, wanda ya yi amfani da shi da fasaha" ('yan pianists na zamani. - M., 1977. P. 198.), Masu dubawa sun rubuta. Haka abin yake a lokacin kuruciyarsa a yanzu haka. Har ila yau, an bambanta shi da wayo, zagayowar zagayowar jimla: wasansa, kamar yadda ake yi, an ƙawata shi da kyawawan sautin sauti, lanƙwasawa mai santsi. (A cikin irin wannan ma'anar, kuma, yana wasa a yau.) Wataƙila, a cikin kome Dorensky bai nuna kansa ba a matsayin dalibi na Ginzburg, kamar yadda a cikin wannan ƙwararren ƙwararren gyare-gyaren sauti na sauti. Kuma ba abin mamaki ba ne, idan muka tuna da abin da ya ce a baya: "Grigory Romanovich kasance m na 'yar alamar flaws a waje ado na ayyukan yi a cikin aji."

Waɗannan su ne wasu daga cikin bugun jini na hoton fasaha na Dorensky. Me ya fi burge ku game da shi? A wani lokaci, LN Tolstoy yana so ya sake maimaitawa: don aikin fasaha ya cancanci girmamawa da kuma son mutane, dole ne ya kasance. mai kyau, ya tafi kai tsaye daga zuciyar mai zane. Ba daidai ba ne a yi tunanin cewa wannan ya shafi adabi ne kawai ko, a ce, wasan kwaikwayo. Wannan yana da alaƙa iri ɗaya da fasahar wasan kwaikwayo kamar ta kowane ɗayan.

Tare da sauran yara da yawa na Moscow Conservatory Dorensky ya zaɓi kansa, a cikin layi daya tare da wasan kwaikwayon, wata hanya - koyarwa. Kamar sauran mutane da yawa, cikin shekaru da yawa yana ƙara masa wuya ya amsa tambayar: wanne daga cikin waɗannan hanyoyi biyu ne ya zama babba a rayuwarsa?

Yana karantar da matasa tun 1957. A yau yana da koyarwa fiye da shekaru 30 a bayansa, yana daya daga cikin fitattun malaman jami'o'i, da ake girmamawa a makarantar Conservatory. Ta yaya yake magance matsalar tsohuwar: mai zane malami ne?

“Gaskiya, da wahala sosai. Gaskiyar ita ce, duka sana'o'in suna buƙatar "yanayin" na musamman na musamman. Tare da shekaru, ba shakka, yana zuwa kwarewa. Matsaloli da yawa suna da sauƙin warwarewa. Ko da yake ba duka ba… Wani lokaci nakan yi mamaki: menene babbar wahala ga waɗanda ƙwarewarsu ke koyar da kiɗa? A bayyane yake, bayan duk - don yin daidaitaccen ilimin koyarwa "maganin ganewa". A wasu kalmomi, "tunanin" ɗalibin: halayensa, halayensa, iyawar sana'a. Kuma bisa ga gina duk ƙarin aiki tare da shi. Mawakan kamar FM Blumenfeld, KN Igumnov, AB Goldenweiser, GG Neuhaus, SE Feinberg, LN Oborin, Ya. I. Zak, Ya. V. Flier…”

Gabaɗaya, Dorensky yana ba da muhimmiyar mahimmanci ga ƙwarewar ƙwarewar manyan mashahuran da suka gabata. Yakan fara magana game da wannan sau da yawa - duka a matsayin malami a cikin da'irar ɗalibai, kuma a matsayin shugaban sashen piano na ɗakin ajiyar. Amma ga matsayi na ƙarshe, Dorensky yana riƙe da shi na dogon lokaci, tun daga 1978. Ya zo ga ƙarshe a wannan lokacin cewa aikin, a gaba ɗaya, yana so. “Duk lokacin da kuke cikin rayuwar mazan jiya, kuna tattaunawa da mutane masu rai, kuma ina son shi, ba zan ɓoye shi ba. Damuwa da damuwa, ba shakka, ba su da adadi. Idan na ji in mun gwada da kwarin gwiwa, shi ne kawai saboda na yi kokarin dogara da fasaha majalisa na piano baiwa a cikin komai: mafi iko na mu malaman suna da hadin kai a nan, tare da taimakon da mafi tsanani kungiyoyin da m al'amurran da suka shafi an warware.

Dorensky yayi magana game da ilmantarwa tare da sha'awar. Ya haɗu da abubuwa da yawa a wannan yanki, ya san abubuwa da yawa, yana tunani, damuwa…

"Na damu da ra'ayin cewa mu malamai, muna sake horar da matasan yau. Ba zan so in yi amfani da kalmar banal “horo” ba, amma, a gaskiya, ina za ku je daga gare ta?

Duk da haka, muna kuma bukatar mu fahimta. Dalibai a yau suna yin yawa kuma sau da yawa - a gasa, jam'iyyun aji, kide-kide, jarrabawa, da sauransu. Kuma mu, mu ne, da kanmu ke da alhakin ayyukansu. Bari wani ya yi ƙoƙari ya sanya kansu a hankali a wurin mutumin da dalibinsa, ya ce, mai shiga cikin gasar Tchaikovsky, ya fito don yin wasa a kan mataki na Babban Hall na Conservatory! Ina jin tsoron cewa daga waje, ba tare da samun irin wannan jin daɗi da kaina ba, ba za ku fahimci wannan ba… Ga mu, malamai, kuma muna ƙoƙarin yin aikinmu sosai, a hankali, da kuma sosai yadda ya kamata. Kuma sakamakon haka… A sakamakon haka, muna ƙetare wasu iyakoki. Muna hana matasa da yawa ayyukan kirkire-kirkire da 'yancin kai. Wannan yana faruwa, ba shakka, ba da gangan ba, ba tare da inuwar niyya ba, amma ainihin ya kasance.

Matsalar ita ce dabbobinmu suna cike da iyaka tare da kowane irin umarni, shawarwari, da umarni. Su duka sani kuma ku fahimta: sun san abin da suke buƙatar yi a cikin ayyukan da suke yi, da abin da bai kamata su yi ba, ba a ba da shawarar ba. Sun mallaki komai, duk sun san yadda, sai dai abu ɗaya - don 'yantar da kansu a ciki, don ba da kyauta ga hankali, fantasy, haɓaka mataki, da kerawa.

Ga matsalar. Kuma mu, a Moscow Conservatory, sau da yawa tattauna shi. Amma ba komai ya dogara da mu ba. Babban abu shine daidaitattun ɗalibin kansa. Yaya haske, ƙarfi, asali ita ce. Babu malami da zai iya ƙirƙirar ɗaiɗaikun mutum ɗaya. Zai iya taimaka mata kawai ta buɗe, nuna kanta daga mafi kyawun gefen.

A ci gaba da batun, Sergei Leonidovich ya zauna a kan wata tambaya. Ya jaddada cewa halin ciki na mawaƙin, wanda ya shiga mataki, yana da mahimmanci: yana da mahimmanci. wane matsayi yake da shi dangane da masu sauraro. Ko girman kai na matashin ɗan wasan kwaikwayo ya haɓaka, in ji Dorensky, ko wannan ɗan wasan yana da ikon nuna 'yancin kai, wadatar kai, duk wannan yana shafar ingancin wasan kai tsaye.

“A nan, alal misali, akwai taron gasa…Ya isa mu kalli yawancin mahalarta taron don ganin yadda suke ƙoƙarin farantawa, don burge waɗanda suke halarta. Yadda suke ƙoƙarin samun jin daɗin jama'a da kuma, ba shakka, membobin juri. A zahiri, ba wanda ke ɓoye wannan… Allah ya hana “yin laifi” na wani abu, yin wani abu ba daidai ba, ba cin maki ba! Irin wannan fuskantarwa - ba don Kiɗa ba, kuma ba ga Gaskiyar Fasaha ba, kamar yadda mai yin wasan yake ji kuma ya fahimce shi, amma ga fahimtar waɗanda suke sauraronsa, kimantawa, kwatanta, rarraba maki - koyaushe yana cike da mummunan sakamako. A fili ta zame cikin wasan! Don haka guguwar rashin gamsuwa a cikin mutanen da ke kula da gaskiya.

Shi ya sa na kan ce wa ɗalibai: Kada ku yi tunani game da wasu lokacin da kuke kan mataki. Ƙananan azaba: "Oh, me za su ce game da ni ..." Kuna buƙatar yin wasa don jin daɗin ku, tare da farin ciki. Na sani daga gwaninta: lokacin da kuka yi wani abu da son rai, wannan "wani abu" kusan koyaushe yana aiki kuma yana yin nasara. A kan mataki, kuna tabbatar da wannan tare da tsabta ta musamman. Idan kun yi shirin kide-kide na ku ba tare da jin daɗin tsarin yin kiɗa ba, wasan kwaikwayon gaba ɗaya ya zama bai yi nasara ba. Kuma akasin haka. Don haka, koyaushe ina ƙoƙarin tada ɗalibin jin daɗin ciki daga abin da yake yi da kayan aikin.

Kowane mai yin wasan kwaikwayo na iya samun wasu matsaloli da kurakuran fasaha yayin aikin. Ba masu halarta ba ko ƙwararrun masters ba su da kariya daga gare su. Amma idan na ƙarshe yakan san yadda za a amsa ga mummunan haɗari da rashin tausayi, to, tsohon, a matsayin mai mulkin, ya ɓace kuma ya fara firgita. Saboda haka, Dorensky ya yi imanin cewa wajibi ne don shirya ɗalibi na musamman a gaba don kowane abin mamaki a kan mataki. "Ya zama dole a shawo kan cewa babu wani abu, in ji su, mummuna, idan wannan ya faru ba zato ba tsammani. Ko da tare da mashahuran masu fasaha, wannan ya faru - tare da Neuhaus da Sofronitsky, kuma tare da Igumnov, da Arthur Rubinstein ... Wani wuri wani lokaci ƙwaƙwalwar ajiyar su ta kasa su, suna iya rikitar da wani abu. Wannan bai hana su zama masu son jama'a ba. Bugu da ƙari, babu wani bala'i da zai faru idan ɗalibi ya "yi tuntuɓe" a kan mataki ba da gangan ba.

Babban abu shine cewa wannan baya lalata yanayin ɗan wasan kuma don haka ba zai shafi sauran shirin ba. Ba kuskure ba ne wanda yake da muni, amma mai yuwuwar rauni na tunani da zai haifar da shi. Wannan shi ne ainihin abin da za mu bayyana wa matasa.

Af, game da "rauni". Wannan lamari ne mai mahimmanci, don haka zan ƙara wasu kalmomi kaɗan. Dole ne a ji tsoron "rauni" ba kawai a kan mataki ba, a lokacin wasan kwaikwayo, amma har ma a cikin al'amuran yau da kullum, ayyukan yau da kullum. Anan, alal misali, dalibi a karon farko ya kawo wa darasin wasan kwaikwayo da ya koya da kansa. Ko da akwai gazawa da yawa a wasansa, bai kamata ku ba shi sutura ba, ku kushe shi da tsauri. Wannan na iya samun ƙarin sakamako mara kyau. Musamman idan wannan ɗalibin ya kasance daga cikin masu rauni, masu juyayi, sauƙi mai rauni. Sanya wani rauni na ruhaniya a kan irin wannan mutum yana da sauƙi kamar harbin pear; magance shi daga baya ya fi wahala. An kafa wasu shingen tunani na tunani, wanda ya zama mai matukar wahala a shawo kan su nan gaba. Kuma malami ba shi da ikon yin watsi da wannan. A kowane hali, kada ya gaya wa ɗalibi: ba za ku yi nasara ba, ba a ba ku ba, ba zai yi aiki ba, da dai sauransu. "

Har yaushe za ku yi aiki a kan piano kowace rana? – matasa mawaƙa sukan tambaya. Sanin cewa yana da wuya a ba da amsa guda ɗaya da cikakkiyar amsa ga wannan tambayar, Dorensky a lokaci guda ya bayyana, yaya a cikin me hanya ya kamata a nemi amsarta. Bincika, ba shakka, ga kowa da kansa:

"Yin aiki kasa da bukatun abin da ake bukata ba shi da kyau. Ƙari kuma ba shi da kyau, wanda, ta hanyar, manyan magabata - Igumnov, Neuhaus da sauransu - sun yi magana game da fiye da sau ɗaya.

A zahiri, kowane ɗayan waɗannan firam ɗin lokaci za su zama nasu, ɗaya ne kawai. Ba shi da ma'ana a daidaita da wani a nan. Svyatoslav Teofilovich Richter, alal misali, yayi karatu a shekarun baya na sa'o'i 9-10 a rana. Amma shi Richter! Shi ne na musamman ta kowace hanya kuma ƙoƙarin yin kwafin hanyoyinsa ba kawai rashin ma'ana ba ne har ma da haɗari. Amma malamina, Grigory Romanovich Ginzburg, bai ɓata lokaci mai yawa a kayan aikin ba. A kowane hali, "na sani". Amma ya kasance kullum yana aiki "a cikin zuciyarsa"; ta wannan fuska ya kasance ubangidan da ba ya iyawa. Tunani yana da taimako sosai!

Na tabbata cewa matashin mawaki dole ne a koya masa aiki na musamman. Don gabatar da fasaha na ingantaccen tsarin aikin gida. Mu malamai sukan manta game da wannan, suna mai da hankali kawai kan matsalolin aiki - akan yadda za a yi wasa wani rubutu, yadda ake fassara wani marubuci ko wani, da sauransu. Amma wannan shi ne daya bangaren batun.”

Amma ta yaya mutum zai iya gano cewa ɓarna, wanda ba a iya bambanta shi ba, layin da ba ya da iyaka a cikin fassarorinsa, wanda ya raba "kasa da bukatun shari'ar da ake bukata" da "ƙari"?

"Akwai ma'auni ɗaya kawai a nan: tsabtar sanin abin da kuke yi a madannai. Bayyanar ayyukan tunani, idan kuna so. Muddin kai yana aiki da kyau, azuzuwan na iya kuma yakamata a ci gaba. Amma ba bayan haka ba!

Bari in gaya muku, alal misali, yadda tsarin aikin ya yi kama da nawa. Da farko, lokacin da na fara azuzuwan, su ne irin dumama. Har yanzu ingancin aikin bai yi yawa ba; Ina wasa, kamar yadda suke faɗa, ba da cikakken ƙarfi ba. Ba shi da daraja ɗaukar ayyuka masu wahala a nan. Zai fi kyau a gamsu da wani abu mai sauƙi, mai sauƙi.

Sa'an nan kuma a hankali dumi. Kuna jin cewa ingancin aikin yana inganta. Bayan wani lokaci - Ina tsammanin bayan minti 30-40 - kun isa kololuwar iyawar ku. Kuna zama a wannan matakin na kimanin sa'o'i 2-3 (shan, ba shakka, ƙananan hutu a cikin wasan). Da alama a harshen kimiyya ana kiran wannan mataki na aiki “Plateau”, ko ba haka ba? Sannan alamun gajiya na farko sun bayyana. Suna girma, sun zama mafi mahimmanci, mafi mahimmanci, mafi tsayi - sannan dole ne ku rufe murfin piano. Ƙarin aiki ba shi da ma'ana.

Yana faruwa, ba shakka, cewa kawai ba ku son yin shi, kasala, rashin maida hankali ya ci nasara. Sannan ana bukatar kokarin wasiyya; ba zai iya yi ba tare da shi ma. Amma wannan wani yanayi ne na daban kuma tattaunawar ba ta kasance a yanzu ba.

Af, ba kasafai nake haduwa a yau a cikin dalibanmu mutanen da ba su da kasala, masu rauni, masu rauni. Matasa a yanzu suna aiki tuƙuru da himma, ba lallai ba ne a sa su. Kowane mutum ya fahimta: gaba yana cikin hannunsa kuma yana yin duk abin da ke cikin ikonsa - zuwa iyaka, zuwa iyakar.

A nan, maimakon haka, matsala ta daban ta taso. Saboda gaskiyar cewa wasu lokuta suna yin yawa - saboda yawan sake horar da ayyukan mutum ɗaya da shirye-shiryen gabaɗayan - sabo da saurin shiga cikin wasan sun ɓace. Launukan motsin rai suna shuɗewa. Anan yana da kyau a bar guntun da ake koyo na ɗan lokaci. Canja zuwa wani repertoire…”

Kwarewar koyarwa ta Dorensky ba ta iyakance ga Conservatory na Moscow ba. Sau da yawa ana gayyatar shi don gudanar da tarurrukan tarurrukan koyarwa a ƙasashen waje (ya kira shi “ilimin yawon shakatawa”); don haka, ya yi tafiya a cikin shekaru daban-daban zuwa Brazil, Italiya, Australia. A lokacin bazara na 1988, ya fara aiki a matsayin malami mai ba da shawara a darussan bazara na manyan wasannin fasaha a Salzburg, a sanannen Mozarteum. Tafiya ta ba shi sha'awa sosai - akwai matasa da yawa masu ban sha'awa daga Amurka, Japan, da kuma daga wasu ƙasashen yammacin Turai.

Da zarar Sergei Leonidovich ya lissafta cewa a lokacin rayuwarsa ya sami damar sauraron fiye da dubu biyu matasa pianists zaune a juri tebur a daban-daban gasa, kazalika a pedagogical karawa juna sani. A cikin wata kalma, yana da kyakkyawan ra'ayi na halin da ake ciki a cikin ilimin piano na duniya, duka Soviet da kasashen waje. “Har yanzu, a irin wannan matakin da muke da shi, tare da duk matsalolinmu, matsalolin da ba a warware su ba, har ma da ƙima, ba sa koyarwa a ko’ina a duniya. A matsayinka na mai mulki, mafi kyawun sojojin fasaha suna mayar da hankali a cikin ɗakunan ajiyar mu; ba a ko'ina a Yamma ba. Yawancin manyan ƴan wasan kwaikwayo ko dai su guje wa nauyin koyarwa a can gaba ɗaya, ko kuma su keɓe kansu ga darussa na sirri. A takaice, matasanmu suna da mafi kyawun yanayin girma. Ko da yake, ba zan iya yin komai ba sai dai maimaitawa, waɗanda suke aiki da ita a wasu lokuta suna fuskantar wahala sosai.”

Dorensky kansa, alal misali, yanzu zai iya ba da kansa gabaɗaya ga piano kawai a lokacin rani. Bai isa ba, ba shakka, yana sane da wannan. “Ilimin koyarwa babban abin farin ciki ne, amma sau da yawa, wannan farin cikin, yana cin gajiyar wasu. Babu wani abu da za a yi a nan."

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Duk da haka, Dorensky bai daina aikinsa na kide-kide ba. Kamar yadda zai yiwu, yana ƙoƙari ya ajiye shi a cikin ƙarar guda ɗaya. Yana wasa inda ya shahara kuma ana yaba shi (a cikin ƙasashen Kudancin Amurka, a Japan, a yawancin biranen Yammacin Turai da USSR), ya gano sabbin al'amuran kansa. A cikin lokacin 1987/88, a zahiri ya kawo Ballades na biyu na Chopin na biyu da na uku zuwa mataki na farko; Kusan lokaci guda, ya koya kuma ya yi - kuma a karon farko - Shchedrin's Preludes and Fugues, nasa piano suite daga ballet The Little Humpbacked Horse. A lokaci guda, ya yi rikodin waƙoƙin Bach da yawa akan rediyo, wanda S. Feinberg ya shirya. Dorensky sabon rikodin gramophone an buga; Daga cikin waɗanda aka saki a cikin XNUMXs akwai CD na sonatas na Beethoven, Chopin's mazurkas, Rachmaninov's Rhapsody akan Jigo na Paganini da Gershwin's Rhapsody a Blue.

Kamar yadda kullum yake faruwa, Dorensky ya ci nasara a wasu abubuwa fiye da haka, wani abu kaɗan. Idan aka yi la'akari da shirye-shiryensa na 'yan shekarun nan daga kusurwa mai mahimmanci, mutum zai iya yin wasu da'awar game da motsi na farko na Beethoven's "Pathetique" sonata, karshen "Lunar". Ba game da wasu matsalolin aiki da hatsarori da za su iya zama ko a'a ba. Maganar ƙasa ita ce, a cikin pathos, a cikin hotunan jarumtaka na repertoire na piano, a cikin kiɗan daɗaɗɗen ban mamaki, Dorensky ɗan wasan pian gabaɗaya yana jin kunya. Ba haka yake ba ya duniyar tunani-psychological; ya santa kuma ya yarda da ita. Don haka, a cikin "Pathetic" sonata (kashi na farko), a cikin "Hasken wata" (sashe na uku) Dorensky, tare da duk fa'idodin sauti da fassarori, wani lokacin ba shi da ma'auni na gaske, wasan kwaikwayo, ƙarfin son rai, ra'ayi. A gefe guda, yawancin ayyukan Chopin suna ba shi sha'awa mai ban sha'awa - mazurkas iri ɗaya, alal misali. (Rubutun mazurkas watakila ɗaya daga cikin mafi kyawun Dorensky.) Bari shi, a matsayin mai fassara, yayi magana a nan game da wani abu da aka sani, wanda mai sauraro ya riga ya sani; yana yin haka da irin yanayin halitta, buɗaɗɗen ruhi da ɗumi ta yadda ba zai yiwu ba kawai a ci gaba da ko in kula da fasaharsa.

Duk da haka, zai zama ba daidai ba a yi magana game da Dorensky a yau, balle yin hukunci da ayyukansa, da ciwon kawai wasan kwaikwayo mataki a gani. A malami, shugaban babban ilimi da m tawagar, concert artist, ya yi aiki na uku da kuma dole ne a gane lokaci guda a duk guises. Ta wannan hanyar ne kawai mutum zai iya samun ainihin ra'ayi game da iyakokin aikinsa, na ainihin gudunmawarsa ga al'adun wasan piano na Soviet.

G. Tsipin, 1990