Svyatoslav Teofilovych Richter (Sviatoslav Richter) |

Sviatoslav Richter

Malamin Richter, Heinrich Gustavovich Neuhaus, ya taɓa yin magana game da taron farko da ɗalibinsa na gaba: “Dalibai sun ce su saurari wani saurayi daga Odessa wanda zai so ya shiga ɗakin karatu a ajina. "Ya riga ya gama makarantar kiɗa?" Na tambaya. A'a, bai yi karatu a ko'ina ba. Na furta cewa wannan amsar ta ɗan ruɗani. Mutumin da bai sami ilimin kiɗa ba yana zuwa ɗakin ajiyar kayan tarihi! .. Yana da ban sha'awa don kallon abin tsoro. Da haka ya zo. Dogo, siririn saurayi, mai fara'a, mai launin shudi, mai armashi, fuska mai ban mamaki. Ya zauna a piano, ya sa manyan hannayensa masu laushi, masu juyayi a kan makullin, ya fara wasa. Ya taka leda sosai, zan iya cewa, ko da a sauƙaƙe kuma a tsanake. Ayyukansa nan da nan ya kama ni tare da wasu ban mamaki shiga cikin kiɗan. Na rada wa ɗalibina, “Ina tsammanin ƙwararren mawaki ne.” Bayan Sonata na Ashirin da Takwas na Beethoven, saurayin ya buga wasu abubuwan da ya rubuta daga takarda. Kuma duk wanda ya halarta yana so ya ƙara yin wasa… Tun daga wannan rana, Svyatoslav Richter ya zama ɗalibi na. (Neigauz GG Tunani, abubuwan tunawa, diaries // Labarai da aka zaɓa. Haruffa zuwa ga iyaye. S. 244-245.).

Saboda haka, a cikin babban art na daya daga cikin mafi girma a zamaninmu, Svyatoslav Teofilovich Richter, fara ba quite yawanci. Gabaɗaya, akwai abubuwa da yawa da ba a saba gani ba a cikin tarihin rayuwarsa na fasaha kuma ba a sami yawancin abin da ya saba wa yawancin abokan aikinsa ba. Kafin saduwa da Neuhaus, babu yau da kullum, kulawar kulawa da tausayi, wanda wasu ke ji tun daga yara. Babu wani tabbataccen hannun jagora da jagora, babu darussan da aka tsara akan kayan aikin. Babu wani motsa jiki na fasaha na yau da kullun, shirye-shiryen nazari mai raɗaɗi da tsayi, ci gaba na tsari daga mataki zuwa mataki, daga aji zuwa aji. Akwai sha'awar kide-kide, bincike na kwatsam, wanda ba a sarrafa shi ba don abin ban mamaki wanda ya koyar da kai a bayan madannai; akwai karatu mara iyaka daga takarda na ayyuka iri-iri (musamman opera claviers), yunƙurin rubutawa; tsawon lokaci - aikin mai rakiya a Odessa Philharmonic, sannan a Opera da Ballet Theater. Akwai mafarki mai ban sha'awa na zama jagora - da kuma rashin tsammani na duk tsare-tsaren, tafiya zuwa Moscow, zuwa ga Conservatory, zuwa Neuhaus.

A watan Nuwamba 1940, wasan farko na Richter mai shekaru 25 ya faru a gaban masu sauraro a babban birnin kasar. Ya kasance nasara mai nasara, kwararru da jama'a sun fara magana game da wani sabon abu, mai ban mamaki a cikin pianism. Wasan farko na Nuwamba ya biyo baya da ƙarin kide-kide, wanda ya fi ban mamaki kuma ya fi sauran nasara. (Alal misali, wasan kwaikwayon da Richter ya yi na Concerto na Farko na Tchaikovsky a ɗaya daga cikin maraice na ban dariya a cikin Babban Hall na Conservatory ya yi farin ciki sosai.) Shaharar dan wasan pian ya yaɗu, shahararsa ta ƙara ƙarfi. Amma ba zato ba tsammani, yaƙi ya shiga rayuwarsa, rayuwar ƙasar gaba ɗaya…

An kwashe Mosco Conservatory, Neuhaus ya bar. Richter ya kasance a babban birnin kasar - yunwa, rabin daskararre, da yawan jama'a. Ga duk wahalhalun da suka faɗo ga yawancin mutane a waɗannan shekarun, ya ƙara da nasa: babu matsuguni na dindindin, babu kayan aikin kansa. (Abokai sun zo don ceto: daya daga cikin na farko ya kamata a kira wani tsohon kuma mai sha'awar basirar Richter, artist AI Troyanovskaya). Kuma duk da haka a daidai wannan lokacin ne ya yi aiki sosai a piano, fiye da kowane lokaci.

A cikin da'irar mawaƙa, an yi la'akari da shi: motsa jiki na tsawon sa'o'i biyar, shida a kowace rana shine al'ada mai ban sha'awa. Richter yana aiki kusan sau biyu. Daga baya, zai ce ya "gaske" ya fara karatu daga farkon arba'in.

Tun daga watan Yulin 1942, taron Richter da sauran jama'a ya koma. Ɗaya daga cikin mawallafin tarihin rayuwar Richter ya kwatanta wannan lokaci kamar haka: “Rayuwar mai fasaha takan juya zuwa wasan kwaikwayo na ci gaba da gudana ba tare da hutu da jinkiri ba. Concert bayan wasan kwaikwayo. Birane, jiragen kasa, jiragen sama, mutane… Sabbin mawakan kade-kade da sabbin madugu. Da sake maimaitawa. Wasannin kide-kide. Cikakken zauren. Babban nasara…” (Delson V. Svyatoslav Richter. - M., 1961. S. 18.). Abin mamaki, duk da haka, ba kawai gaskiyar cewa mai wasan pian yana wasa ba yawa; mamakin yadda da yawa wanda ya kawo shi a cikin wannan lokaci. Zamanin Richter - idan ka waiwaya baya a farkon matakan tarihin rayuwar mai zane - hakika wanda ba zai ƙarewa ba, mai ban mamaki a cikin shirye-shiryen wasan wuta mai launi daban-daban. Wani matashin mawaƙi ne ya ƙware mafi wahala a cikin repertoire na piano a zahiri cikin kwanaki kaɗan. Saboda haka, a cikin Janairu 1943, ya yi Prokofiev ta Bakwai Sonata a bude concert. Yawancin abokan aikinsa sun dauki watanni suna shirya; wasu daga cikin mafi hazaƙa da gogaggun ƙila sun yi shi cikin makonni. Richter ya koyi sonata na Prokofiev a… kwana hudu.

A karshen shekarun 1945, Richter ya kasance daya daga cikin fitattun mutane a cikin kyakykyawan galaxy na gwanayen piano na Soviet. Bayansa akwai nasara a Gasar Mawaƙa ta Duk-Ƙungiyoyin (1950), ƙwararren digiri na digiri daga ɗakin karatu. (Wani lamari mai wuyar gaske a cikin al'adar jami'ar kade-kade ta birni: daya daga cikin kide-kide da yawa a cikin Babban Hall na Conservatory an kidaya shi azaman jarrabawar jiha ga Richter; a wannan yanayin, ''masu jarrabawa'' 'yan kallo ne na masu sauraro, wanda kima. An bayyana shi tare da cikakken bayani, tabbatattu da haɗin kai.) Biyan sanannun ƙungiyar Tarayyar Turai kuma ya zo: tun daga XNUMX, tafiye-tafiye na pianist a kasashen waje ya fara - zuwa Czechoslovakia, Poland, Hungary, Bulgaria, Romania, kuma daga bisani zuwa Finland, Amurka, Kanada. , Ingila, Faransa, Italiya, Japan da sauran ƙasashe. Sukar kiɗa yana ƙara kusantar fasahar mai zane. Akwai ƙoƙarce-ƙoƙarce da yawa don nazarin wannan fasaha, don fahimtar ƙirar ƙirar sa, ƙayyadaddun ƙayyadaddun abubuwa, manyan siffofi da halaye. Zai yi kama da cewa wani abu mafi sauƙi: adadi na Richter mai zane yana da girma, an tsara shi a cikin tsari, asali, ba kamar sauran ba ...

Akwai ma'anoni da yawa, hukunce-hukunce, maganganu, da sauransu, waɗanda za a iya yin su game da Richter a matsayin mawaƙin kide-kide; gaskiya a cikin kansu, kowannensu daban, su - idan aka haɗa su - su zama, komai mamaki, hoton da ba shi da wani hali. Hoton "gaba ɗaya", kimanin, m, maras fahimta. Ba za a iya samun sahihancin hoto (wannan shine Richter, kuma babu wani) da taimakonsu. Bari mu ɗauki wannan misalin: masu bita sun sha yin rubuce-rubuce game da ƙaton, da gaske mara iyaka na mai wasan piano. Lallai, Richter yana kunna kusan duk kiɗan piano, daga Bach zuwa Berg da kuma daga Haydn zuwa Hindemith. Duk da haka, shi kaɗai ne? Idan muka fara magana game da nisa da wadata na kudaden repertoire, to, Liszt, da Bülow, da Joseph Hoffmann, da kuma, ba shakka, babban malamin na karshen, Anton Rubinstein, wanda ya yi a cikin shahararrun "Tarihin Concert" daga sama. dubu dari uku (!) Ayyuka na saba'in da tara marubuta. Yana cikin ikon wasu masanan zamani don ci gaba da wannan silsilar. A'a, kawai cewa a kan fastocin mawaƙin za ku iya samun kusan duk abin da aka yi niyya don piano bai riga ya sa Richter ya zama Richter ba, ba ya ƙayyade ma'ajin aikin nasa kawai.

Ashe kyakkyawar dabarar mai yin wasan kwaikwayo, da ƙwararrun sana'arsa ta musamman, ba za ta tona asirinsa ba? Lallai, wani ɗan littafin da ba kasafai ba game da Richter ya yi ba tare da kalmomi masu ɗorewa ba game da fasaha na pian ɗinsa, cikakken ƙwarewar kayan aikinsa ba tare da wani sharadi ba, da sauransu. Amma, idan muka yi tunani da kyau, wasu ma suna ɗaukar irin wannan tsayin daka. A cikin shekarun Horowitz, Gilels, Michelangeli, Gould, zai yi wahala gabaɗaya a ware cikakken jagora a fasahar piano. Ko kuma, an faɗi a sama game da ƙwazo na ban mamaki na Richter, wanda ba ya ƙarewa, ya karya duk ra'ayoyin da aka saba amfani da su. Duk da haka, ko a nan ba shi kaɗai ne irinsa ba, akwai mutane a duniyar waƙa da za su iya jayayya da shi ta wannan fanni ma. (An ce game da matashi Horowitz cewa bai rasa damar yin aiki a maballin maɓalli ba ko da a wurin biki.) Sun ce Richter kusan bai gamsu da kansa ba; Sofronitsky, Neuhaus, da Yudina sun sha azaba ta har abada ta canjin ƙirƙira. (Kuma mene ne sanannun layi - ba shi yiwuwa a karanta su ba tare da jin daɗi ba - wanda ke cikin ɗaya daga cikin haruffan Rachmaninov: "Babu wani mai suka a duniya, Kara a cikina ina shakka fiye da kaina ...") Menene mabuɗin "phenotype" (A phenotype (phaino - Ni nau'i ne) haɗe ne na dukkan alamu da kaddarorin mutum wanda ya samo asali a cikin tsarin ci gabansa.), kamar yadda masanin ilimin halayyar dan adam zai ce, Richter the artist? A cikin abin da ke bambanta wani sabon abu a cikin wasan kwaikwayo na kiɗa da wani. A cikin fasali duniyar ruhaniya dan wasan piano. A stock shi hali. A cikin abin da ya shafi tunanin mutum da tunani na aikinsa.

Fasahar Richter ita ce fasaha mai ƙarfi, manyan sha'awa. Akwai 'yan wasan kide kide kide da wake-wake wadanda wasan ya faranta wa kunne, dadi da kyawun zanen zane, "dadin" launukan sauti. Ayyukan Richter ya girgiza, har ma yana ba mai sauraro mamaki, yana fitar da shi daga yanayin yadda ya saba, yana farantawa zurfafan ruhinsa. Don haka, alal misali, fassarar pianist na Beethoven's Appassionata ko Pathetique, Liszt's B small sonata ko Transcendental Etudes, Brahms's Second Piano Concerto ko Tchaikovsky's Farko, Hotunan Schubert's Wanderer ko Mussorgsky a Nunin sun kasance masu ban mamaki a lokacinsu. , da dama ayyuka da Bach, Schumann, Frank, Scriabin, Rachmaninov, Prokofiev, Szymanowski, Bartok… Daga na yau da kullum na Richter ta concerts wani lokaci za a iya ji cewa suna fuskantar wani m, ba quite saba jihar a pianist ta wasanni: music, tsawo kuma sananne, ana ganin kamar zai kasance cikin girma, karuwa, a canza ma'auni. Komai ya zama ko ta yaya ya fi girma, mafi mahimmanci, mafi mahimmanci… Andrei Belly ya taɓa cewa mutane, sauraron kiɗa, samun damar da za su fuskanci abin da kattai ke ji da kwarewa; Masu sauraren Richter suna da masaniya game da abubuwan da mawaƙin ya ɗauka a zuciyarsa.

Haka Richter yake tun yana karami, haka yake kallonsa a zamaninsa. Da zarar, a cikin 1945, ya taka leda a All-Union gasar "Wild Hunt" Liszt. Daya daga cikin mawakan Moscow da ke wurin a lokaci guda ya tuna: “… A gabanmu wani mai wasan kwaikwayo ne na titan, kamar dai an halicce shi ne don ya ƙunshi fresco na soyayya mai ƙarfi. Matsanancin saurin ɗan lokaci, haɓakar haɓaka mai ƙarfi, zafi mai zafi… Ina so in kama hannun kujera don yin tsayayya da harin diabolical na wannan kiɗan… ” (Adzhemov KX wanda ba a iya mantawa da shi. - M., 1972. S. 92.). Bayan 'yan shekarun da suka gabata, Richter ya taka leda a daya daga cikin yanayi da dama preludes da fugues na Shostakovich, Myaskovsky ta Uku Sonata, da kuma Prokofiev ta takwas. Har ila yau, kamar yadda yake a zamanin da, zai dace a rubuta a cikin wani rahoto mai mahimmanci: "Ina so in kama hannun kujerata ..." - mai karfi, fushi shine guguwa mai motsi wanda ya tashi a cikin kiɗa na Myaskovsky. Shostakovich, a ƙarshen zagayowar Prokofiev.

A lokaci guda, Richter koyaushe yana ƙauna, nan take kuma ya canza gaba ɗaya, don ɗaukar mai sauraro cikin duniyar shuru, tunanin sauti mai nisa, "nirvana" na kiɗa, da tunani mai zurfi. Zuwa wannan duniyar mai ban mamaki da wuyar isa, inda duk abin da ke cikin kayan aiki zalla - murfin rubutu, masana'anta, abu, harsashi - ya riga ya ɓace, ya narke ba tare da wata alama ba, yana ba da hanya kawai ga mafi ƙarfi, hasken ruhi na dubu-volt. Irin wannan duniyar ce ta Richter's da yawa preludes da fugues daga Bach's Good Tempered Clavier, Beethoven's karshe piano ayyukan (fiye da duka, m Arietta daga opus 111), da jinkirin sassa na Schubert's sonatas, falsafar waqoqin Brahms, da tunani mai ladabi zanen sauti. Debussy da Ravel. Fassarar waɗannan ayyukan sun ba da hujja ga ɗaya daga cikin masu bitar ƙasashen waje ya rubuta: “Richter ɗan pian ne na maida hankali a ciki mai ban mamaki. Wani lokaci yana da alama cewa gaba ɗaya tsarin aikin kiɗa yana faruwa a cikin kansa. (Delson V. Svyatoslav Richter. - M., 1961. S. 19.). Critic ya dauko kalmomi masu manufa da gaske.

Don haka, "fortissimo" mafi ƙarfi na abubuwan da suka faru na mataki da kuma sihiri "pianissimo" ... Tun da daɗewa an san cewa mai zane-zane, ya kasance mai pianist, violinist, madugu, da dai sauransu, yana da ban sha'awa kawai idan palette ya kasance. ban sha'awa - fadi, mai arziki, bambancin - ji. Da alama girman Richter a matsayin mai yin kide-kide ba wai kawai a cikin tsananin motsin zuciyarsa ba ne, wanda ya kasance sananne musamman a lokacin ƙuruciyarsa, da kuma a cikin shekarun 50s da 60s, amma kuma a cikin bambance-bambancen Shakespeare na gaske. gigantic sikelin na swings: m - zurfin falsafar, ecstatic motsa jiki - kwantar da hankula da rana mafarki, aiki aiki - tsanani da kuma hadaddun introspection.

Yana da ban sha'awa a lura a lokaci guda cewa akwai kuma irin waɗannan launuka a cikin nau'in motsin zuciyar ɗan adam wanda Richter, a matsayin mai zane, ya kasance yana gujewa kuma ya guje wa. Ɗaya daga cikin masu binciken da ya fi hazaka na aikinsa, Leningrader LE Gakkel ya taɓa yi wa kansa tambaya: menene a fasahar Richter. babu? (Tambayar, a kallo na farko, magana ce kuma baƙon abu, amma a gaskiya ya dace sosai, saboda babu Wani abu a wasu lokuta yana kwatanta halayen fasaha fiye da kasancewarta a cikin bayyanarta da irin waɗannan siffofi.) A cikin Richter, Gakkel ya rubuta, "... babu wani abin sha'awa na sha'awa, lalata; A cikin Richter babu soyayya, wayo, wasa, rhythm ɗin sa ba shi da fa'ida. ”… (Gakkel L. Don kiɗa da mutane // Labarun game da kiɗa da mawaƙa.—L .; M .; 1973. P. 147.). Mutum zai iya ci gaba: Richter ba shi da sha'awar wannan gaskiyar, kusancin sirri wanda wani mai yin wasan kwaikwayo ya buɗe ransa ga masu sauraro - bari mu tuna Cliburn, alal misali. A matsayin mai zane, Richter ba daya daga cikin "bude" yanayi, ba shi da wuce kima zamantakewa (Cortot, Arthur Rubinstein), babu wani musamman ingancin - bari mu kira shi ikirari - wanda alama da fasaha na Sofronitsky ko Yudina. Jikin mawaƙin yana da ɗaukaka, mai tsauri, ya ƙunshi duka mahimmanci da falsafa; wani abu dabam - ko ladabi, tausayi, jin daɗin tausayi… - wani lokacin sun rasa. Neuhaus ya taɓa rubuta cewa "wani lokaci, ko da yake da wuya" ba shi da "'yan Adam" a cikin Richter, "duk da girman ruhaniya na aiki" (Neigauz G. Tunani, memories, diaries. S. 109.). Ba daidaituwa ba ne, a fili, cewa a cikin nau'in piano akwai kuma waɗanda mai pianist, saboda kasancewarsa, ya fi wuya fiye da sauran. Akwai marubuta, hanyar da ta kasance ta kasance mai wahala a gare shi koyaushe; masu bita, alal misali, sun daɗe suna muhawara game da "matsalar Chopin" a cikin fasahar wasan kwaikwayo na Richter.

Wasu lokuta mutane suna tambaya: menene ya mamaye fasahar mai fasaha - ji? tunani? (A kan wannan " dutsen taɓawa " na al'ada, kamar yadda kuka sani, yawancin halayen da aka ba wa masu yin ta hanyar sukar kiɗa ana gwada su). Ba ɗaya ko ɗayan ba - kuma wannan ma abin mamaki ne ga Richter a cikin mafi kyawun abubuwan da ya halitta. Koyaushe ya kasance daidai da nisa daga sha'awar masu fasahar soyayya da kuma tunanin sanyi mai sanyi wanda masu wasan kwaikwayon "masu hankali" ke gina sautin su. Kuma ba wai kawai don daidaito da daidaituwa suna cikin yanayin Richter ba, a cikin duk abin da yake aikin hannunsa. Ga wani abu kuma.

Richter mai fasaha ne na samuwar zamani zalla. Kamar yawancin manyan mashahuran al'adun kiɗa na karni na XNUMX, tunaninsa na kirkire-kirkire shine ƙirar halitta ta ma'ana da tunani. Dalla-dalla mai mahimmanci guda ɗaya kawai. Ba haɗin al'ada na jin zafi da natsuwa, daidaitaccen tunani, kamar yadda aka saba gani a baya, amma, akasin haka, haɗin kai na fasaha mai zafi, farar zafi. tunani tare da wayo, ma'ana ji. ("Ji yana da hankali, kuma tunani yana zafi har ya zama gwaninta mai kaifi" (Mazel L. A kan salon Shostakovich // Features na salon Shostakovich. - M., 1962. P. 15.)- waɗannan kalmomi na L. Mazel, suna bayyana ɗaya daga cikin muhimman al'amurran da ke cikin duniyar zamani a cikin kiɗa, wani lokaci suna kama da kai tsaye game da Richter). Don fahimtar wannan kamanceceniya na nufin fahimtar wani abu mai matuƙar mahimmanci a cikin fassarori na pianist na ayyukan Bartók, Shostakovich, Hindemith, Berg.

Kuma wani abin da ya bambanta ayyukan Richter shine ƙungiya ta cikin gida bayyananne. An faɗi a baya cewa a cikin duk abin da mutane ke yi a cikin fasaha - marubuta, masu fasaha, 'yan wasan kwaikwayo, mawaƙa - "Ni" na mutum ne kawai yana haskakawa; Homo sapiens yana nuna kansa a cikin ayyuka, haskake ta. Richter, kamar yadda wasu suka san shi, ba ya jure wa duk wani bayyanar rashin kulawa, halin rashin hankali ga kasuwanci, a zahiri ba ya jure wa abin da za a iya danganta shi da "ta hanyar" da "ko ta yaya." Tabawa mai ban sha'awa. Bayansa akwai dubban jawabai na jama'a, kuma kowannensu ya yi la'akari da shi, an rubuta su a cikin littattafai na musamman: cewa wasa a ina da kuma lokacin. Halin dabi'a iri ɗaya na tsantsar tsari da tarbiyyar kai - a cikin fassarori na pianist. Duk abin da ke cikin su an tsara shi daki-daki, aunawa da rarrabawa, duk abin da yake a bayyane yake: a cikin niyya, fasaha da kuma hanyoyin aiwatar da mataki. Hankalin Richter na tsarin kayan abu ya shahara musamman a cikin ayyukan manyan nau'ikan da aka haɗa a cikin repertoire na mai zane. Irin su Tchaikovsky's First Piano Concerto (sanannen rikodi tare da Karajan), Concerto na biyar na Prokofiev tare da Maazel, Beethoven's First Concerto tare da Munsch; zagayen kide-kide da sonata na Mozart, Schumann, Liszt, Rachmaninoff, Bartok da sauran marubuta.

Mutanen da suka san Richter da kyau sun ce a lokacin tafiye-tafiye da yawa, da ziyartar birane da kasashe daban-daban, bai rasa damar kallon gidan wasan kwaikwayo ba; Opera tana kusa dashi. Shi mai sha'awar fina-finai ne, fim mai kyau a gare shi abin farin ciki ne na gaske. An san cewa Richter ya daɗe kuma mai son zane-zane: ya zana kansa (masana sun tabbatar da cewa yana da ban sha'awa da basira), ya shafe sa'o'i a gidajen tarihi a gaban zane-zane da yake so; gidansa yakan yi hidima ga vernissages, nune-nunen ayyuka ta wannan ko wannan mai zane. Kuma wani abu guda: tun yana matashi ba a bar shi da sha'awar wallafe-wallafe ba, yana jin tsoron Shakespeare, Goethe, Pushkin, Blok ... Kai tsaye da kusanci da fasaha daban-daban, babbar al'adun fasaha, hangen nesa na encyclopedic - duk. wannan yana haskaka aikin Richter tare da haske na musamman, ya sa shi sabon abu.

A lokaci guda—wani sabani a cikin fasahar ƴan pian!—Richter’s wanda aka bayyana “I” bai taɓa yin iƙirarin zama ɓarna a tsarin kere-kere ba. A cikin shekaru 10-15 na ƙarshe wannan ya kasance sananne musamman, wanda, duk da haka, za a tattauna daga baya. Mafi m, wani lokacin tunani a mawaƙa ta kide-kide, shi zai zama a kwatanta da mutum-na sirri a cikin fassarori da karkashin ruwa, ganuwa ɓangare na kankara: ya ƙunshi Multi-ton iko, shi ne tushen ga abin da yake a kan surface. ; daga prying idanu, duk da haka, yana boye – kuma gaba daya … Masu sukar sun rubuta fiye da sau ɗaya game da ikon mai zane na “narke” ba tare da wata alama a cikin abubuwan da aka yi ba, bayyane da siffar siffa ta bayyanar matakinsa. Da yake magana game da pianist, ɗaya daga cikin masu dubawa ya taɓa magana game da shahararrun kalmomi na Schiller: babban yabo ga mai zane shi ne cewa mun manta da shi a bayan abubuwan da ya halitta; Da alama ana magana da su ga Richter - wannan shine wanda ya sa ku manta da gaske kansa ga abin da yake aikatawa… A bayyane yake, wasu fasalulluka na basirar mawaƙin sun sa kansu su ji a nan - nau'in rubutu, ƙayyadaddun ƙayyadaddun abubuwa, da sauransu. Bugu da ƙari, a nan ne tushen tsarin ƙirƙira.

Wannan shi ne inda wani, watakila mafi ban mamaki ikon Richter a matsayin mai wasan kwaikwayo, ya samo asali - ikon sake reincarnate. Crystallized a cikinsa har zuwa mafi girman digiri na kamala da fasaha na ƙwararru, ta sanya shi a cikin wani wuri na musamman a cikin da'irar abokan aiki, har ma da fitattu; ta wannan fuska kusan ba shi da kishiyarsa. Neuhaus, wanda ya danganta sauye-sauye masu salo a wasan kwaikwayon Richter zuwa nau'in mafi girman cancantar mai zane, ya rubuta bayan daya daga cikin clavirabends nasa: "Lokacin da ya buga Schumann bayan Haydn, komai ya bambanta: piano ya bambanta, sautin ya bambanta. salon salon magana ya bambanta, yanayin magana ya bambanta; kuma a bayyane yake dalilin da ya sa - Haydn ne, kuma wannan shine Schumann, kuma S. Richter tare da cikakkiyar fahimta ya gudanar da aiki a cikin aikinsa ba kawai bayyanar kowane marubuci ba, har ma da zamaninsa " (Neigauz G. Svyatoslav Richter // Tunani, memories, diaries. P. 240.).

Ba a buƙatar magana game da nasarorin da Richter ya samu akai-akai, nasarorin sun fi girma (na gaba da na ƙarshe) saboda yawanci ba a yarda da jama'a su yi sha'awar maraice na Richter duk abin da ake amfani da shi don sha'awar maraice na mashahuran da yawa " aces" na pianism: ba a cikin kayan aikin kirki mai karimci tare da tasiri ba, ba sauti mai daɗi "adon", ko "kyakkyawan kide kide"…

Wannan ya kasance halayyar salon wasan kwaikwayon Richter - kin amincewa da komai na zahiri mai kama da kyan gani (shekaru saba'in da tamanin ne kawai suka kawo wannan yanayin zuwa iyakar yiwuwar). Duk abin da zai iya janye hankalin masu sauraro daga babban abu da babban abu a cikin kiɗa - mayar da hankali kan cancanta yiKuma ba aiwatarwa. Yin wasa kamar yadda Richter ke takawa tabbas bai isa ba don ƙwarewar mataki kaɗai, komai girmansa; al'adun fasaha ɗaya kawai - har ma na musamman a ma'auni; gwaninta na halitta - ko da gigantic daya… Anan ana buƙatar wani abu kuma. Wani hadadden halaye da halaye na mutum zalla. Mutanen da suka san Richter suna magana da murya ɗaya game da tawali'unsa, rashin sha'awarsa, halin kirki ga muhalli, rayuwa, da kiɗa.

Shekaru da dama, Richter yana ci gaba ba tare da tsayawa ba. Da alama yana tafiya cikin sauƙi da jin daɗi, amma a zahiri yana yin hanyarsa ta cikin ayyuka marasa iyaka, marasa tausayi, marasa tausayi. Yawancin sa'o'i na azuzuwan, waɗanda aka bayyana a sama, har yanzu sun kasance al'adar rayuwarsa. Kadan ya canza a nan tsawon shekaru. Sai dai idan an ba da ƙarin lokaci don aiki tare da kayan aiki. Don Richter ya yi imanin cewa tare da shekaru ba lallai ba ne don ragewa, amma don haɓaka haɓakar ƙirƙira - idan kun saita kanku makasudin ci gaba da “siffa”…

A cikin shekaru tamanin, abubuwa da yawa masu ban sha'awa da nasarori sun faru a cikin rayuwar mai zane. Da farko, mutum ba zai iya taimakawa ba sai dai ya tuna da Maraice na Disamba - wannan biki na fasaha na nau'i-nau'i (kiɗa, zane-zane, waƙa), wanda Richter ya ba da ƙarfi da ƙarfi. Maraice na Disamba, wanda aka gudanar tun 1981 a gidan kayan gargajiya na Pushkin State Museum of Fine Arts, yanzu ya zama al'ada; godiya ga rediyo da talabijin, sun sami mafi yawan masu sauraro. Batutuwan su sun bambanta: litattafai da zamani, fasahar Rasha da na waje. Richter, mai ƙaddamarwa da kuma mai ƙarfafawa na "Maraice", yana zurfafawa a zahiri duk abin da ke yayin shirye-shiryensu: daga shirye-shiryen shirye-shiryen da zaɓin mahalarta zuwa mafi ƙarancin ƙima, zai zama alama, cikakkun bayanai da ƙananan abubuwa. Duk da haka, a zahiri babu wani abu kaɗan a gare shi idan ya zo ga fasaha. "Ƙananan abubuwa suna haifar da kamala, kuma kamala ba ƙaramin abu ba ne" - waɗannan kalmomi na Michelangelo na iya zama kyakkyawan labari ga ayyukan Richter da dukan ayyukansa.

A maraice na Disamba, an bayyana wani bangare na basirar Richter: tare da darekta B. Pokrovsky, ya shiga cikin samar da wasan kwaikwayo na B. Britten Albert Herring da The Turn of the Screw. "Svyatoslav Teofilovich ya yi aiki tun daga safiya har zuwa dare," in ji darektan gidan kayan tarihi na Fine Arts I. Antonova. "An gudanar da gwaje-gwaje masu yawa tare da mawaƙa. Na yi aiki tare da masu haskakawa, ya duba ainihin kowane kwan fitila, komai dalla-dalla. Shi da kansa ya tafi tare da mai zane zuwa ɗakin karatu don zaɓar zane-zanen Ingilishi don ƙirar wasan kwaikwayon. Ba na son kayan ado - Na je gidan talabijin na yi ta yin tagumi a cikin ɗakin tufafi na sa'o'i da yawa har sai na sami abin da ya dace da shi. Gaba d'aya shirin da aka yi ya yi tunaninsa.

Har yanzu Richter yana yawon shakatawa da yawa a cikin USSR da kasashen waje. A cikin 1986, alal misali, ya ba da kide-kide kusan 150. Lambar tana da ban mamaki sosai. Kusan sau biyu kamar yadda aka saba, ƙa'idar kide kide da aka yarda gabaɗaya. Ya wuce, ta hanyar, "al'ada" Svyatoslav Teofilovich kansa - a baya, a matsayin mai mulkin, bai ba da fiye da 120 kide-kide a shekara ba. Hanyoyin yawon shakatawa na Richter da kansu a cikin 1986, wanda ya rufe kusan rabin duniya, ya kasance mai ban sha'awa sosai: duk ya fara ne da wasanni a Turai, sannan ya biyo bayan dogon rangadin biranen Tarayyar Soviet (yankin Turai na kasar). Siberiya, da Far East), sa'an nan - Japan, inda Svyatoslav Teofilovich yana da 11 solo clavirabends - da kuma sake kide kide a mahaifarsa, kawai yanzu a baya domin, daga gabas zuwa yamma. Richter ya sake maimaita wani abu irin wannan a cikin 1988 - jerin dogayen jerin manyan kuma ba manyan biranen ba, jerin jerin wasannin da ake ci gaba da yi, iri ɗaya mara iyaka daga wuri zuwa wuri. "Me yasa garuruwa da yawa da waɗannan na musamman?" An tambayi Svyatoslav Teofilovich sau ɗaya. "Saboda har yanzu ban buga su ba," in ji shi. “Ina so, ina matukar son ganin kasar. […] Kun san abin da ke jan hankalina? yankin sha'awa. Ba “wanderlust” ba, amma shi ke nan. Gabaɗaya, ba na son tsayawa tsayin daka a wuri ɗaya, babu inda ... Babu wani abin mamaki a cikin tafiyata, babu feat, sha'awa ce kawai.

Me ban sha'awa, wannan yana da motsi. Geography, sabon jituwa, sabon ra'ayi - wannan kuma wani nau'i ne na fasaha. Shi ya sa nake farin ciki idan na bar wani wuri kuma za a sami wani abu sabon. In ba haka ba rayuwa ba ta da ban sha'awa." (Rikhter Svyatoslav: "Babu wani abin mamaki a cikin tafiyata.": Daga bayanin tafiya na V. Chemberdzhi // Sov. Music. 1987. No. 4. P. 51.).

Ƙaramar rawa a cikin aikin matakin Richter kwanan nan ya kasance ta hanyar yin kaɗe-kaɗe. Ya kasance ƙwararren ƙwararren ɗan wasa ne, yana son yin wasa tare da mawaƙa da mawaƙa; a cikin shekaru saba'in da tamanin hakan ya zama sananne musamman. Svyatoslav Teofilovich sau da yawa yana wasa tare da O. Kagan, N. Gutman, Yu. Bashmet; daga cikin abokansa wanda zai iya ganin G. Pisarenko, V. Tretyakov, Borodin Quartet, kungiyoyin matasa a karkashin jagorancin Y. Nikolaevsky da sauransu. An kafa wani nau'in al'umma na masu yin sana'o'i daban-daban a kusa da shi; Masu suka sun fara magana, ba tare da wasu pathos ba, game da "Richter galaxy"… a zahiri, juyin halitta na mawaƙa waɗanda ke kusa da Richter yana ƙarƙashin tasirinsa kai tsaye da ƙarfi - kodayake yana iya yiwuwa ba ya yin wani yunƙuri ga wannan. . Duk da haka… kusancinsa ga aiki, haɓakar ƙirƙira, manufarsa ba zai iya cutar da shi ba, ya shaida dangin pianist. Sadarwa tare da shi, mutane sun fara yin abin da zai zama kamar, ya fi ƙarfinsu da iyawar su. "Ya ɓata layi tsakanin aiki, maimaitawa da kide-kide," in ji cellist N. Gutman. "Mafi yawan mawaƙa za su yi la'akari a wani mataki cewa aikin ya shirya. A yanzu haka Richter ya fara aiki da shi."

Abu mai ban mamaki a cikin "marigayi" Richter. Amma watakila mafi yawan duka - sha'awarsa marar ƙarewa don gano sababbin abubuwa a cikin kiɗa. Zai yi kama da cewa tare da tarin tarin tarin waƙoƙinsa - me yasa ake neman wani abu wanda bai yi ba a baya? Shin wajibi ne? Amma duk da haka a cikin shirye-shiryensa na shekaru saba'in da tamanin, ana iya samun sabbin ayyuka da dama waɗanda bai taɓa buga su a da ba - misali, Shostakovich, Hindemith, Stravinsky, da wasu mawallafa. Ko kuma wannan gaskiyar: sama da shekaru 20 a jere, Richter ya halarci bikin kiɗa a birnin Tours (Faransa). Kuma ba sau daya ba a wannan lokacin bai sake maimaita kansa a cikin shirye-shiryensa ba…

Shin salon wasan piano ya canza kwanan nan? Salon wasan kide-kide nasa? E kuma a'a. A'a, domin a cikin babban Richter ya kasance da kansa. Tushen fasaharsa sun yi tsayin daka kuma suna da ƙarfi don kowane gagarumin gyare-gyare. Hakazalika, wasu dabi'un halayen wasansa a cikin shekarun da suka gabata sun sami ci gaba da ci gaba a yau. Da farko - wannan "fassara" na Richter mai yin wasan kwaikwayo, wanda aka riga aka ambata. Wannan sifa, siffa ta musamman na yadda ya yi, godiya ga abin da masu sauraro ke jin cewa suna kai tsaye, fuska da fuska, saduwa da marubutan ayyukan da aka yi - ba tare da wani mai fassara ko tsaka-tsaki ba. Kuma yana yin tasiri mai ƙarfi kamar yadda ba a saba gani ba. Babu wanda zai iya kwatanta shi da Svyatoslav Teofilovich ...

A lokaci guda, ba zai yiwu ba a ga cewa an jaddada haƙiƙanin Richter a matsayin mai fassara - rashin rikitarwa na aikinsa tare da kowane ƙazanta na zahiri - yana da sakamako da tasiri. Gaskiyar ita ce gaskiya: a cikin wasu fassarori na pianist na shekaru saba'in da tamanin, wani lokaci wani lokaci yana jin wani "distillation" na motsin zuciyarmu, wani nau'i na "ƙarin hali" (watakila zai zama mafi daidai a ce "a kan" - mutuntaka") na maganganun kiɗa. Wani lokaci keɓancewar ciki daga masu sauraron da ke fahimtar yanayin yana sanya kansa ji. Wani lokaci, a cikin wasu shirye-shiryensa, Richter ya dubi ɗan ƙaramin abu a matsayin mai zane, bai ƙyale kansa wani abu ba - don haka, aƙalla, ya zama kamar daga waje - wanda zai wuce littafin rubutu daidai haifuwa na kayan. Mun tuna cewa GG Neuhaus ya taɓa rasa "yan Adam" a cikin mashahurin ɗalibinsa mai ban sha'awa a duniya - "duk da girman ruhaniya na aiki." Adalci ya buƙaci a lura: abin da Genrikh Gustavovich ya yi magana game da shi ba ya ɓace da lokaci. A maimakon haka…

(Ta yiwu duk abin da muke magana a kai a yanzu ya samo asali ne daga ayyukan dogon lokaci, ci gaba da aiki mai zurfi na Richter. Ko da wannan ba zai iya rinjayarsa ba.)

A gaskiya ma, wasu daga cikin masu sauraren sun yi ikirari da gaske a gabanin cewa sun ji a maraice na Richter suna jin cewa mai wasan pian yana wani wuri a nesa da su, a kan wani nau'i mai tsayi. Kuma a baya, Richter ya zama kamar ga mutane da yawa kamar girman kai da girman mutum mai fasaha-“samayi”, dan wasan Olympic, wanda ba zai iya isa ga mutane kawai… Tushen ya yi kama da ban sha'awa, girma kuma… mafi nisa.

Kuma gaba. A shafukan da suka gabata, an lura da dabi'ar Richter don ƙirƙirar zurfafa kai, zurfafa tunani, "falsafanci". ("Dukkan tsarin wasan kwaikwayo yana faruwa a cikin kansa"…) A cikin 'yan shekarun nan, yakan faru a cikin manyan matakan ruhi na ruhaniya wanda yana da wahala ga jama'a, aƙalla ga wani ɓangare na shi, kamawa. tuntuɓar su kai tsaye. Kuma yabo mai ban sha'awa bayan wasan kwaikwayo na mai zane ba ya canza wannan gaskiyar.

Duk abubuwan da ke sama ba zargi ba ne a cikin ma'anar kalmar da aka saba amfani da su. Svyatoslav Teofilovich Richter yana da ma'ana mai mahimmancin ƙirƙira, kuma gudummawar da ya bayar ga fasahar duniya tana da girma sosai don a kusance shi da daidaitattun ƙa'idodi. A lokaci guda kuma, babu ma'ana a kau da kai daga wasu na musamman, kawai abubuwan da suka dace na bayyanar da ake nunawa. Bugu da ƙari, sun bayyana wasu alamu na shekarunsa na juyin halitta a matsayin mai fasaha da kuma mutum.

A karshen tattaunawar game da Ruhun saba'in da takwas, ba shi yiwuwa ba za a lura cewa lissafin zane-zane na Piaist yanzu ya zama ya zama mafi daidai kuma an tabbatar dashi yanzu. Gefen gine-ginen sautin da ya gina da shi ya ƙara bayyana kuma ya ƙara kaimi. Tabbatar da wannan shine sabon shirye-shiryen kide kide da wake-wake na Svyatoslav Teofilovich, da rikodinsa, musamman guda daga Tchaikovsky's The Seasons, zane-zane na Rachmaninov, da Quintet Shostakovich tare da "Borodinians".

... 'Yan uwan ​​Richter sun ba da rahoton cewa kusan bai gamsu da abin da ya yi ba. Koyaushe yana jin ɗan tazara tsakanin abin da yake samu a zahiri a kan mataki da abin da yake son cimmawa. Lokacin da, bayan wasu kide-kide, an gaya masa - daga zuciyarsa kuma tare da cikakken alhakin sana'a - cewa ya kusan kai iyakar abin da zai yiwu a cikin wasan kwaikwayo na kiɗa, ya amsa - kamar yadda yake a gaskiya da kuma alhakin: a'a, a'a, Ni kadai na san yadda ya kamata…

Saboda haka, Richter ya kasance Richter.

G. Tsipin, 1990