Tatiana Petrovna Nikolaeva |

Tatiana Nikolayeva

Tatyana Nikolaeva - wakilin makarantar AB Goldenweiser. Makarantar da ta ba da fasahar Soviet da dama sunaye masu haske. Ba zai zama ƙari ba a ce Nikolaeva yana ɗaya daga cikin mafi kyawun ɗaliban fitaccen malamin Soviet. Kuma - ba ƙaramin abin mamaki ba - ɗaya daga cikin halayensa wakilan. Hanyar Goldenweiser cikin wasan kida: da kyar kowa a yau ya cika al'adarsa fiye da ita. Za a yi ƙarin bayani game da wannan a nan gaba.

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

Tatyana Petrovna Nikolaeva aka haife shi a garin Bezhitsa, Bryansk yankin. Mahaifinta masanin harhada magunguna ne a sana'a kuma mawaki ne ta sana'a. Da yake da kyakkyawan umarni na violin da cello, sai ya taru a kusa da shi kamar kansa, masu son kiɗa da masu sha'awar fasaha: ana gudanar da kide-kide na yau da kullum, tarurruka na kiɗa da maraice a cikin gidan. Ba kamar mahaifinta ba, mahaifiyar Tatyana Nikolaeva ta tsunduma cikin kiɗa da fasaha sosai. A cikin ƙuruciyarta, ta sauke karatu daga sashen piano na Moscow Conservatory, kuma, ta danganta makomarta tare da Bezhitse, ta sami filin wasa mai yawa don ayyukan al'adu da ilimi - ta kirkiro makarantar kiɗa kuma ta haɓaka ɗalibai da yawa. Kamar yadda sau da yawa yakan faru a cikin dangin malamai, ba ta da ɗan lokaci don yin nazari da ɗiyarta, ko da yake, ba shakka, ta koya mata ainihin wasan piano idan ya cancanta. "Babu wanda ya tura ni zuwa piano, bai tilasta ni in yi aiki musamman ba," in ji Nikolaeva. Na tuna, da na yi girma, na kan yi wasa a gaban abokai da baƙi waɗanda gidanmu ya cika. Har ma a lokacin, a lokacin ƙuruciya, ya damu kuma ya kawo farin ciki mai yawa.

Lokacin da yake da shekaru 13, mahaifiyarta ta kawo ta zuwa Moscow. Tanya ta shiga Makarantar Kiɗa ta Tsakiya, ta jimre, watakila, ɗayan gwaje-gwaje mafi wahala da alhakin rayuwarta. (“Mutane kusan ɗari shida ne suka nemi guraben guraben aiki ashirin da biyar,” in ji Nikolaeva. “Ko a lokacin, Makarantar Waƙoƙi ta Tsakiya ta yi suna sosai da kuma iko.”) AB Goldenweiser ya zama malaminta; lokaci guda ya koya wa mahaifiyarta. Nikolaeva ya ce: "Na shafe kwanaki duka na bace a cikin ajinsa, yana da ban sha'awa sosai a nan. Irin wannan mawaƙa kamar AF Gedike, DF Oistrakh, SN Knushevitsky, SE Feinberg, ED Krutikova sun kasance suna ziyartar Alexander Borisovich a darussansa ... Yanayin da ya kewaye mu, ɗaliban babban malamin, ko ta yaya girma, mai daraja, tilasta yin aiki. da kanta, to art da dukan tsanani. A gare ni, waɗannan shekaru ne na ci gaba mai ma'ana da sauri."

Nikolaeva, kamar sauran ɗalibai na Goldenweiser, wani lokaci ana tambayarsa ya gaya, kuma a cikin ƙarin daki-daki, game da malaminta. “Na tuna shi da farko saboda halinsa na kyautatawa ga mu duka dalibansa. Bai kebance kowa ba, ya kula kowa da irin wannan kulawa da tarbiyyar tarbiyya. A matsayinsa na malami, bai kasance da sha'awar "ka'ida" ba - kusan bai taɓa yin magana ba. Yakan yi magana kaɗan, a hankali yana zaɓar kalmomi, amma koyaushe game da wani abu mai mahimmanci da mahimmanci. Wani lokaci, yakan sauke jawabai biyu ko uku, kuma ɗalibin, ka ga, ya fara wasa ta wata hanya dabam… Mu, na tuna, mun yi da yawa - a lokacin hutu, nunin faifai, buɗaɗɗen maraice; Alexander Borisovich ya ba da muhimmanci ga wasan kwaikwayo na matasa pianists. Kuma yanzu, ba shakka, matasa suna wasa da yawa, amma - duba ga gasa zaɓe da kuma saurare - sau da yawa suna wasa iri ɗaya… Mukan yi wasa. sau da yawa kuma tare da daban-daban"Wannan shine batun gaba daya."

1941 raba Nikolaeva daga Moscow, dangi, Goldenweiser. Ta ƙare a Saratov, inda a lokacin da aka kwashe wani ɓangare na dalibai da kuma Faculty na Moscow Conservatory. A cikin wasan piano, sanannen malamin Moscow IR Klyachko ya ba ta shawarar ɗan lokaci. Har ila yau, tana da wani mashawarci - fitaccen mawakin Soviet BN Lyatoshinsky. Gaskiyar ita ce, ta daɗe, tun daga ƙuruciyarta, ta kasance tana sha'awar tsara kiɗa. (A baya a cikin 1937, lokacin da ta shiga Makarantar Kiɗa ta Tsakiya, ta buga nata ra'ayin a gwajin shiga, wanda, watakila, ya sa hukumar ta ba da fifiko ga wasu. don ita, ta biyu, kuma a wasu lokuta kuma na farko, ƙwarewar kiɗa. "Ba shakka, yana da matukar wahala a raba kanmu tsakanin kerawa da wasan kwaikwayo na yau da kullun da kuma aikin wasan kwaikwayo," in ji Nikolaeva. “Na tuna kuruciyata, aiki ne na ci gaba da aiki, aiki da aiki… A lokacin rani na fi yin tsarawa, a lokacin hunturu na kusan sadaukar da kaina ga piano. Amma nawa wannan haɗin ayyukan biyu ya ba ni! Na tabbata cewa ina bin sakamakona a cikin aiki da yawa a gare shi. Lokacin rubutawa, za ku fara fahimtar irin waɗannan abubuwa a cikin kasuwancinmu wanda wanda ba ya rubuta ba ƙila ba zai fahimta ba. Yanzu, ta yanayin aikina, koyaushe ina fuskantar ƙwararrun matasa. Kuma, ka sani, wani lokacin bayan sauraron novice artist, zan iya kusan babu shakka - ta hanyar ma'anar fassararsa - ko yana da hannu wajen tsara kiɗa ko a'a.

A 1943, Nikolaeva koma Moscow. An sabunta tarukan ta akai-akai da hulɗar kirkire-kirkire tare da Goldenweiser. Kuma bayan 'yan shekaru, a 1947, ta samu nasarar sauke karatu daga piano Faculty na Conservatory. Tare da nasarar da ba ta zo da mamaki ga mutanen da suka sani ba - a wannan lokacin ta riga ta tabbatar da kanta a daya daga cikin wurare na farko a tsakanin matasa 'yan pian na birni. Shirin kammala karatunsa ya jawo hankali: tare da ayyukan Schubert (Sonata a cikin manyan B-flat), Liszt (Mephisto-Waltz), Rachmaninov (Sonata na biyu), da Tatiana Nikolaeva kanta ta Polyphonic Triad, wannan shirin ya ƙunshi duka kundin Bach's. Clavier mai tsananin fushi (48 preludes da fugues). Akwai 'yan wasan kide kide da wake-wake, har ma a cikin jiga-jigan pianistic na duniya, waɗanda za su sami babban zagayowar Bach a cikin repertoire; Anan ne aka gabatar da shi ga hukumar ta jiha ta hanyar buga wasan piano, yana shirin barin benci na ɗalibai. Kuma ba kawai maɗaukakiyar ƙwaƙwalwar ajiyar Nikolaeva ba - ta shahara da ita a cikin ƙananan shekarunta, ta shahara a yanzu; kuma ba kawai a cikin babban aikin da ta yi don shirya irin wannan shirin mai ban sha'awa ba. Hanyar da kanta ta ba da umarnin girmamawa repertory abubuwan matashin pianist - abubuwan da suka shafi fasaha, dandano, sha'awa. Yanzu da aka san Nikolaeva sosai ga ƙwararrun masana da masu son kiɗa da yawa, Clavier mai tsananin fushi a jarrabawarta ta ƙarshe da alama wani abu ne na halitta - a tsakiyar shekarun arba'in wannan ba zai iya ba sai mamaki da jin daɗi. Nikolaeva ya ce: "Na tuna cewa Samuil Evgenievich Feinberg ya shirya "tikiti" tare da sunayen duk wani shiri na Bach da fugues," in ji Nikolaeva, "kuma kafin jarrabawar an ba ni damar zana ɗaya daga cikinsu. A can aka nuna cewa na yi wasa da kuri'a. Lallai, hukumar ba ta iya sauraren dukkan shirye-shiryen kammala karatuna ba - da ya ɗauki fiye da kwana ɗaya…”

Bayan shekaru uku (1950) Nikolaeva kuma sauke karatu daga mawaki sashen na Conservatory. Bayan BN Lyatoshinsky, V. Ya. Shebalin shi ne malaminta a cikin aji; Ta kammala karatunta tare da EK Golubev. Don nasarorin da aka samu a cikin ayyukan kiɗa, an shigar da sunanta a cikin kwamitin karramawar marmara na Moscow Conservatory.

Yawancin lokaci, idan ya zo ga sa hannu na Nikolaeva a cikin gasa na yin mawaƙa, suna nufin, da farko, nasarar da ta samu a gasar Bach a Leipzig (1950). A gaskiya ma, ta gwada hannunta a yaƙe-yaƙe da yawa a baya. A baya a 1945, ta shiga cikin gasar don mafi kyawun wasan kwaikwayo na kiɗan Scriabin - an gudanar da shi a Moscow a cikin yunƙurin Moscow Philharmonic - kuma ta sami lambar yabo ta farko. "Na tuna cewa alkalai sun haɗa da dukan fitattun ƴan wasan pian na Soviet na waɗannan shekarun," Nikolaev ya yi nuni ga abubuwan da suka gabata, "kuma daga cikinsu akwai gunkina, Vladimir Vladimirovich Sofronitsky. Tabbas, na damu sosai, musamman tunda dole ne in buga kambi na "sa" repertoire - etudes (Op. 42), Sonata na huɗu na Scriabin. Nasarar da aka yi a wannan gasa ta ba ni kwarin gwiwa a kaina, cikin karfina. Lokacin da kuka ɗauki matakanku na farko a fagen wasan kwaikwayon, yana da mahimmanci.

A cikin 1947, ta sake shiga gasar piano da aka gudanar a matsayin wani ɓangare na bikin Matasan Demokraɗiyya na Farko a Prague; anan tazo a matsayi na biyu. Amma Leipzig da gaske ya zama apogee na nasarorin gasa na Nikolaeva: ya jawo hankalin jama'a masu yawa na mawaƙa - ba kawai Soviet ba, har ma da kasashen waje, ga matasa masu zane-zane, ya bude kofofin ga duniya na babban wasan kwaikwayo na wasan kwaikwayo a gare ta. Ya kamata a lura cewa gasar Leipzig a shekarar 1950 ta kasance a zamaninta wani taron fasaha na babban matsayi. Wanda aka shirya domin tunawa da cika shekaru 200 da rasuwar Bach, ita ce gasa irinta ta farko; daga baya suka zama na gargajiya. Wani abu kuma ba shi da mahimmanci. Ya kasance ɗaya daga cikin taron mawaƙa na farko na duniya na duniya a bayan yaƙin Turai da rawar da ta yi a cikin GDR, da kuma a wasu ƙasashe, ya yi kyau sosai. Nikolaev, wanda aka wakilta zuwa Leipzig daga matasan pianistic na USSR, ya kasance a cikin ta farko. A wannan lokacin, labarinta ya haɗa da adadin ayyukan Bach; ta kuma ƙware dabara mai gamsarwa ta fassara su: Nasarar da ɗan wasan piano ya samu bai ɗaya kuma ba za a iya jayayya ba (kamar yadda matashin Igor Bezrodny ya kasance wanda ba a tantama a kai ba na 'yan wasan violin a wancan lokacin); Mawallafin kiɗa na Jamus sun yaba da ita a matsayin "Sarauniyar Fugues".

"Amma a gare ni," Nikolaeva ya ci gaba da labarin rayuwarta, "shekara ta hamsin ta kasance muhimmiyar ba kawai ga nasara a Leipzig ba. Sa'an nan kuma wani taron ya faru, da muhimmancin da ni kaina ba zan iya wuce gona da iri - na sani da Dmitri Dmitrievich Shostakovich. Tare da PA Serebryakov Shostakovich ya kasance memba na juri na Bach Competition. Na yi sa'a don saduwa da shi, in gan shi kusa, har ma - akwai irin wannan yanayin - don shiga tare da shi da Serebryakov a cikin wasan kwaikwayo na Bach sau uku a cikin ƙananan yara. Da fara'a na Dmitry Dmitrievich, na kwarai kunya da kuma ruhaniya daraja na wannan babban artist, ba zan taba mantawa.

Duba gaba, dole ne in faɗi cewa sanin Nikolaeva da Shostakovich bai ƙare ba. An ci gaba da taron nasu a birnin Moscow. A gayyatar Dmitry Dmitrievich Nikolaev, ta ziyarce shi fiye da sau ɗaya; ita ce ta farko da ta fara wasa da yawa daga cikin preludes da fugues (Op. 87) da ya halitta a lokacin: sun aminta da ra'ayinta, suka yi shawara da ita. (Nikolaeva ya tabbata, ta hanyar, cewa Shostakovich ya rubuta sanannen sake zagayowar "24 Preludes da Fugues" a karkashin jagorancin Bach festivities a Leipzig kuma, ba shakka, Clavier mai jin dadi, wanda aka yi akai-akai a can) . Daga baya, ta zama ƙwararriyar farfagandar wannan kiɗan - ita ce ta farko da ta fara kunna zagayowar gabaɗaya, ta rubuta ta a cikin rikodin gramophone.

Menene fuskar fasaha na Nikolaeva a cikin waɗannan shekarun? Menene ra'ayin mutanen da suka gan ta a asalin sana'arta? zargi ya yarda game da Nikolaeva a matsayin "mawaƙin farko, mai mahimmanci, mai fassara" (GM Kogan) (Kogan G. Tambayoyin pianism. S. 440.). Ta, cewar Ya. I. Milshtein, "yana ba da muhimmiyar mahimmanci ga ƙirƙira ingantaccen shirin aiwatarwa, binciken babban, ma'anar aiki… Wannan fasaha ce mai wayo," ta taƙaita Ya. I. Milshtein, “… mai manufa kuma mai ma’ana sosai” (Milshtein Ya. I. Tatyana Nikolaeva // Sov. Music. 1950. No. 12. P. 76.). Masana sun lura da tsattsauran ra'ayi na makarantar Nikolaeva, daidaitattun karatun ta na rubutun marubucin; yarda yayi magana game da ma'anar rabonta, kusan dandanon ma'asumi. Mutane da yawa suna ganin duk wannan hannun malaminta, AB Goldenweiser, kuma suna jin tasirinsa na koyarwa.

A lokaci guda kuma, a wasu lokuta ana yin suka ga mai wasan piano. Kuma ba abin mamaki bane: hotonta na fasaha yana ɗaukar siffar kawai, kuma a irin wannan lokaci duk abin da ke cikin gani - ƙari da rashin amfani, abũbuwan amfãni da rashin amfani, ƙarfin basira da ƙananan rauni. Dole ne mu ji cewa matashin ɗan wasan kwaikwayo wani lokaci ya rasa ruhi na ciki, waƙa, babban ji, musamman a cikin repertoire na soyayya. "Na tuna Nikolaeva da kyau a farkon tafiyarta," GM Kogan ya rubuta daga baya, "... akwai ƙarancin sha'awa da fara'a a cikin wasanta fiye da al'ada" (Kogan G. Tambayoyi na pianism. P. 440.). Ana kuma yin gunaguni game da palette na timbre na Nikolaeva; sautin mai wasan kwaikwayo, wasu daga cikin mawakan sun yi imani, ba shi da juiciness, haske, dumi, da iri-iri.

Dole ne mu ba da haraji ga Nikolaeva: ba ta kasance cikin waɗanda suka ninka hannayensu ba - ko a cikin nasara, a cikin kasawa ... Kuma da zaran mun kwatanta mawallafin kiɗan ta na shekaru hamsin da kuma, alal misali, na sittin, bambance-bambancen za su kasance. a bayyana da dukan bayyane. "Idan a baya a Nikolaeva farkon ma'ana a bayyane yake rinjaye a kan motsin rai, zurfin da wadata - sama da fasaha da rashin jin daɗi, - in ji V. Yu. Delson a cikin 1961, - sannan a halin yanzu waɗannan sassan da ba za a iya raba su ba na wasan kwaikwayo dace da juna” (Delson V. Tatyana Nikolaeva // Soviet Music. 1961. No. 7. P. 88.). "... Nikolaeva na yanzu ba kamar na baya ba," in ji GM Kogan a 1964. "Ta gudanar, ba tare da rasa abin da take da shi ba, don samun abin da ta rasa. Nikolaeva na yau wani mutum ne mai ƙarfi, mai ban sha'awa, wanda a cikin aikinsa na al'adun gargajiya da madaidaicin fasaha yana haɗuwa tare da 'yanci da fasaha na zane-zane. (Kogan G. Tambayoyin pianism. S. 440-441.).

Bayar da kide kide da wake-wake bayan nasarorin da aka samu a gasa, Nikolaeva a lokaci guda baya barin tsohuwar sha'awar abun ciki. Nemo lokaci don shi yayin da ayyukan yawon shakatawa ke faɗaɗa, duk da haka, yana ƙara zama da wahala. Duk da haka ta yi ƙoƙari kada ta rabu da mulkinta: a cikin hunturu - kide kide da wake-wake, a lokacin rani - wani muqala. A cikin 1951, an buga Concerto na farko na Piano. A kusa da lokaci guda Nikolaeva ya rubuta wani sonata (1949), "Polyphonic Triad" (1949), Bambance-bambance a Memory of N. Ya. Myaskovsky (1951), 24 kide kide karatu (1953), a cikin wani lokaci daga baya - na biyu Piano Concerto (1968). Duk wannan an sadaukar da ita ga kayan aikin da ta fi so - piano. Sau da yawa tana haɗa abubuwan da aka ambata a sama a cikin shirye-shiryenta na clavirabends, kodayake ta ce "wannan shine abu mafi wahala don yin da abubuwanku…".

Jerin ayyukan da ta rubuta a cikin wasu, nau'ikan "marasa piano" suna da ban sha'awa sosai - symphony (1955), hoton orchestral "Borodino Field" (1965), string quartet (1969), Trio (1958), Violin sonata (1955) ), Waka don cello tare da ƙungiyar makaɗa (1968), yawan ayyukan murya na ɗakin gida, kiɗa don wasan kwaikwayo da cinema.

Kuma a cikin 1958, "polyphony" na aikin kirkiro na Nikolaeva ya kara da wani sabon layi - ta fara koyarwa. (The Moscow Conservatory yana gayyatar ta.) A yau akwai matasa masu hazaka da yawa a cikin ɗalibanta; wasu sun yi nasarar nuna kansu a gasar kasa da kasa - alal misali, M. Petukhov, B. Shagdaron, A. Batagov, N. Lugansky. Yin karatu tare da ɗalibanta, Nikolaeva, a cewarta, ta dogara da al'adun makarantar piano na ƙasarsu da kuma kusa da Rasha, akan kwarewar malaminta AB Goldenweiser. "Babban abu shine aiki da fa'ida na fahimi sha'awar ɗalibai, binciken su da sha'awar su, na yaba da wannan fiye da komai," ta ba da ra'ayoyinta game da ilimin koyarwa. ” na shirye-shirye iri daya, duk da cewa wannan ya shaida wani dagewar matashin mawakin. Abin takaici, a yau wannan hanyar ta fi dacewa fiye da yadda muke so…

Malamin ra'ayin mazan jiya wanda ke karatu tare da haziƙan ɗalibi yana fuskantar matsaloli da yawa a kwanakin nan, ”in ji Nikolaeva. Idan haka ne… Ta yaya, ta yaya za a tabbatar da cewa basirar ɗalibi bayan cin nasara mai gasa - kuma ana ƙididdige ma'auni na ƙarshen - ba ya dusashewa, ba ya rasa ikonsa na da, ba ya zama stereotyped? Tambayar kenan. Kuma a ra'ayi na, daya daga cikin abubuwan da suka fi dacewa a cikin ilimin kiɗa na zamani.

Da yake magana a shafuffukan Mujallar Soviet Music, Nikolaeva ya rubuta: “Matsalar ci gaba da nazarin waɗannan ’yan wasan kwaikwayo matasa da suka zama masu nasara ba tare da kammala karatunsu a makarantar renon yara ba ta ƙara girma. Kasancewa da ayyukan kide kide da wake-wake, sun daina kula da cikakkiyar iliminsu, wanda ya saba wa daidaituwar ci gaban su kuma yana haifar da mummunan tasirin kirkirar su. Har yanzu suna buƙatar yin karatu cikin nutsuwa, halartar laccoci a hankali, jin kamar ɗalibai na gaske, kuma ba “’yan yawon buɗe ido” waɗanda aka gafarta musu komai ba… “Kuma ta kammala kamar haka:… m matsayi, shawo wasu su m credo . A nan ne wahala ta shigo.” (Nikolaeva T. Tunani bayan gamawa: Zuwa ga sakamakon VI International Tchaikovsky Competition // Sov. Music. 1979. No. 2. P. 75, 74.). Nikolaeva kanta ta yi nasarar magance wannan matsala mai wuyar gaske a lokacinta - don tsayayya bayan da wuri kuma

babbar nasara. Ta sami damar “cire abin da ta ci nasara, ta ƙarfafa matsayinta na kirkira.” Da farko, godiya ga natsuwa na ciki, horo na kai, ƙarfi da ƙarfin zuciya, da ikon tsara lokacin mutum. Kuma saboda, canza nau'ikan aiki daban-daban, ta yi ƙarfin gwiwa ta tafi zuwa ga manyan abubuwan ƙirƙira da manyan lodi.

Pedagogy daukan tafi daga Tatyana Petrovna duk lokacin da ya rage daga concert tafiye-tafiye. Kuma, duk da haka, daidai ne a yau cewa ta ji a fili fiye da dā cewa tattaunawa da matasa ya zama dole a gare ta: “Dole ne a ci gaba da rayuwa, kada a tsufa cikin rai, domin ta ji, kamar yadda suke. ka ce, bugun jini na yau. Sannan kuma daya. Idan kun tsunduma cikin sana'ar ƙirƙira kuma kun koyi wani abu mai mahimmanci kuma mai ban sha'awa a ciki, koyaushe za ku kasance da sha'awar raba shi tare da wasu. Yana da dabi'a sosai. ”…

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Nikolaev a yau yana wakiltar tsohuwar ƙarni na pianists na Soviet. A kan asusunta, ba ƙasa ko fiye ba - kimanin shekaru 40 na kusan ci gaba da wasan kwaikwayo da aikin wasan kwaikwayo. Duk da haka, Tatyana Petrovna ta aiki ba ya rage, ta har yanzu yi vigorously da yawa. A cikin shekaru goma da suka gabata, watakila ma fiye da baya. Ya isa a faɗi cewa adadin clavirabends nata ya kai kusan 70-80 a kowace kakar - adadi mai matukar ban sha'awa. Ba shi da wuya a yi tunanin irin "nauyi" wannan a gaban wasu. ("Hakika, wani lokacin ba shi da sauƙi," Tatyana Petrovna ya taɓa cewa, "duk da haka, kila kide kide-kide shine abu mafi mahimmanci a gare ni, saboda haka zan yi wasa da wasa muddin ina da isasshen ƙarfi.")

A cikin shekaru da yawa, sha'awar Nikolaeva zuwa manyan ra'ayoyin repertory bai ragu ba. Koyaushe tana jin daɗin shirye-shirye masu ban mamaki, ga jerin kide-kide masu ban sha'awa; yana son su har yau. A kan fastocin nata na maraice ana iya ganin kusan dukkanin abubuwan da aka tsara na Bach; Ta yi babban Bach opus guda ɗaya kawai, The Art of Fugue, sau da yawa a cikin 'yan shekarun nan. Ta sau da yawa tana nufin bambancin Goldberg da Bach's Piano Concerto a cikin E Major (yawanci tare da haɗin gwiwar ƙungiyar mawaƙa ta Lithuanian Chamber da S. Sondeckis ke gudanarwa). Alal misali, biyu daga cikin wadannan k'ada da aka buga da ita a "December Maraice" (1987) a Moscow, inda ta yi a kan gayyatar S. Richter. An kuma ba da sanarwar kide kide da wake-wake da yawa a cikin shekarun tamanin - Beethoven (dukkan sonatas na piano), Schumann, Scriabin, Rachmaninov, da sauransu.

Amma watakila babban farin ciki ya ci gaba da kawo mata wasan kwaikwayo na Shostakovich's Preludes da Fugues, wanda, mun tuna, an haɗa su a cikin repertoire tun 1951, wato, daga lokacin da mawaki ya halicce su. "Lokaci ya wuce, kuma kawai bayyanar mutum na Dmitriy Dmitrievich, ba shakka, wani ɓangare yana ɓacewa, an share shi daga ƙwaƙwalwar ajiya. Amma waƙarsa, akasin haka, tana ƙara kusantar mutane. Idan a baya ba kowa ya san muhimmancinsa da zurfinsa ba, yanzu halin da ake ciki ya canza: A zahiri ban sadu da masu sauraro wanda ayyukan Shostakovich ba zai haifar da sha'awar gaske ba. Zan iya yin hukunci da wannan da gaba gaɗi, domin ina buga waɗannan ayyukan a zahiri a kowane lungu na ƙasarmu da ƙasashen waje.

Af, kwanan nan na ga ya zama dole in yi sabon rikodin Shostakovich's Preludes and Fugues a cikin ɗakin studio na Melodiya, saboda wanda ya gabata, tun daga farkon shekarun sittin, ya ɗan tsufa.

Shekarar 1987 ta kasance na musamman ga Nikolaeva. Baya ga "Marecen Disamba" da aka ambata a sama, ta ziyarci manyan bukukuwan kiɗa a Salzburg (Austria), Montpellier (Faransa), Ansbach (Jamus ta Yamma). Tatyana Petrovna ya ce: "Tafiya irin wannan ba aiki kawai ba ne - ko da yake, ba shakka, na farko aiki ne." “Duk da haka, zan so in jawo hankali zuwa ga wani batu. Wadannan tafiye-tafiye suna kawo haske mai yawa, ra'ayoyi daban-daban - kuma menene fasaha zai kasance ba tare da su ba? Sabbin birane da ƙasashe, sabbin gidajen tarihi da rukunin gine-gine, saduwa da sabbin mutane - yana haɓaka da faɗaɗa hangen nesa! Alal misali, sanin da na yi da Olivier Messiaen da matarsa ​​Madame Lariot ya burge ni sosai (wata yar wasan piano ce, tana yin dukan waƙoƙinsa na piano).

Wannan sanin ya faru kwanan nan, a cikin hunturu na 1988. Dubi sanannen maestro, wanda, yana da shekaru 80, yana cike da kuzari da ƙarfin ruhaniya, kuna tunanin ba da gangan ba: wannan shine wanda kuke buƙatar zama daidai, wanene. a dauki misali daga…

Na koyi abubuwa da yawa masu amfani ga kaina kwanan nan a ɗaya daga cikin bukukuwan, lokacin da na ji mawaƙin Negro mai ban mamaki Jessie Norman. Ni wakilin wani ƙwararren kiɗa ne. Duk da haka, bayan ziyartar aikinta, babu shakka ta sake cika ƙwararrun "bankin piggy" da wani abu mai mahimmanci. Ina tsammanin yana buƙatar sake cika shi koyaushe kuma a ko'ina, a kowane zarafi…”

Wani lokaci ana tambayar Nikolaeva: yaushe ta huta? Shin yana hutu daga darussan kiɗa kwata-kwata? "Kuma ni, ka ga, ba na gajiya da kiɗa," ta ba da amsa. Kuma ban fahimci yadda za ku iya ko cinyewa ba. Wato, na launin toka, masu wasan kwaikwayo na matsakaici, ba shakka, za ku iya gajiya, har ma da sauri. Amma wannan ba yana nufin kun gaji da kiɗa ba...”

Ta sau da yawa tuna, magana a kan irin wannan batutuwa, da ban mamaki Soviet violinist David Fedorovich Oistrakh - ta samu damar yawon shakatawa a kasashen waje tare da shi a lokaci guda. "Tun da dadewa ne, a tsakiyar shekarun XNUMXs, yayin ziyarar haɗin gwiwa zuwa ƙasashen Latin Amurka - Argentina, Uruguay, Brazil. An fara wasannin kide-kide a can kuma sun ƙare a makare - bayan tsakar dare; kuma idan muka dawo otal din a gajiye, yawanci sai wajen karfe biyu zuwa uku na safe. Don haka, maimakon mu huta, David Fedorovich ya ce mana, abokansa: menene idan muka saurari kiɗa mai kyau yanzu? (Littafin wasan da aka daɗe sun fito a kan ɗakunan ajiya a lokacin, kuma Oistrakh yana da sha'awar tattara su.) Ƙi ba a cikin tambaya. Idan ɗayanmu bai nuna sha'awa sosai ba, David Fedorovich zai fusata sosai: "Ba ku son kiɗa?"…

Don haka babban abu shine son kiɗa, in ji Tatyana Petrovna. Sannan za a sami isasshen lokaci da kuzari ga komai.”

Har yanzu tana fuskantar ayyuka daban-daban da ba a warware su ba da wahalhalu wajen aiwatarwa – duk da gogewar da ta yi da shekaru masu yawa. Ta yi la'akari da wannan a matsayin cikakkiyar dabi'a, domin kawai ta hanyar shawo kan juriya na kayan zai iya ci gaba. “Duk rayuwata na yi kokawa, alal misali, da matsalolin da suka shafi sautin kayan aiki. Ba komai na wannan al'amari ya gamsar da ni ba. Kuma sukar, in faɗi gaskiya, bai bar ni na natsu ba. Yanzu, ga alama, na sami abin da nake nema, ko, a kowane hali, kusa da shi. Duk da haka, wannan ba yana nufin ko kaɗan gobe zan gamsu da abin da ya dace da ni a yau ba.

Makarantar wasan piano ta Rasha, Nikolaeva ta haɓaka ra'ayinsa, koyaushe ana nuna shi ta hanyar wasa mai laushi, mai daɗi. KN Igumnov, da AB Goldenweiser, da sauran fitattun mawakan na tsofaffi ne suka koyar da wannan. Saboda haka, lokacin da ta lura cewa wasu matasa ’yan piano suna wulakanta piano da wulakanci, “bugawa”, “faɗawa”, da sauransu, yana bata mata gwiwa sosai. “Ina jin tsoron cewa a yau muna rasa wasu muhimman al’adu na wasan kwaikwayo. Amma rasa, rasa wani abu koyaushe yana da sauƙi fiye da adanawa…”

Kuma wani abu mai mahimmanci shine batun tunani akai-akai da neman Nikolaeva. Sauƙaƙan maganganun kiɗan .. Wannan sauƙi, dabi'a, tsabtataccen salon, wanda yawancin masu fasaha (idan ba duka) suka zo ba, ba tare da la'akari da nau'i da nau'in fasaha da suke wakilta ba. A. Faransa ta taɓa rubuta: “Lokacin da nake rayuwa, ina jin ƙarfi: babu Kyakkyawa, wanda a lokaci guda ba zai zama mai sauƙi ba.” Nikolaeva ya yarda da waɗannan kalmomi. Su ne hanya mafi kyau don isar da abin da ya yi kama da ita a yau mafi mahimmanci a cikin kerawa na fasaha. "Zan ƙara da cewa a cikin sana'ata, sauƙi da ake tambaya ya zo ne da farko ga matsalar yanayin mataki na mai zane. Matsalar jin daɗin ciki yayin aiki. Kuna iya jin daban kafin tafiya mataki - mafi kyau ko mafi muni. Amma idan mutum ya yi nasara a hankali ya daidaita kansa kuma ya shiga jihar da nake magana, babban abu, wanda zai iya la'akari, an riga an yi shi. Yana da wuya a kwatanta duk waɗannan a cikin kalmomi, amma tare da gwaninta, tare da aiki, kuna ƙara cikawa da waɗannan abubuwan jin daɗi…

To, a zuciyar komai, ina tsammanin, suna da sauƙi kuma na dabi'a na ɗan adam, waɗanda suke da mahimmanci don kiyayewa ... Babu buƙatar ƙirƙira ko ƙirƙira wani abu. Kuna buƙatar kawai ku sami damar sauraron kanku kuma kuyi ƙoƙarin bayyana kanku da gaske, ƙari kai tsaye cikin kiɗa. Wannan shi ne dukkan sirrin.”

... Watakila, ba duk abin da zai yiwu ga Nikolaeva daidai ba. Kuma takamaiman sakamakon ƙirƙira, a fili, ba koyaushe daidai da abin da ake nufi ba. Wataƙila, ɗaya daga cikin abokan aikinta ba zai "yarda" da ita ba, ya fi son wani abu a cikin pianism; ga wasu, tafsirinta na iya zama kamar ba gamsarwa ba. Ba da dadewa ba, a cikin Maris 1987, Nikolaeva ya ba da clavier band a cikin Babban Hall na Moscow Conservatory, sadaukar da shi ga Scriabin; daya daga cikin masu bitar a wannan lokacin ya soki mai wasan pian saboda "kyakkyawan ra'ayi na duniya" a cikin ayyukan Scriabin, ta yi iƙirarin cewa ba ta da wasan kwaikwayo na gaske, gwagwarmayar cikin gida, damuwa, rikice-rikice: "Kowane abu ana yin shi ta hanyar dabi'a… a cikin ruhun Arensky. (Sov. kiɗa. 1987. Na 7. S. 60, 61.). To, kowa yana jin kiɗa ta hanyarsa: ɗaya - haka, ɗayan - daban. Menene zai iya zama mafi na halitta?

Wani abu kuma ya fi mahimmanci. Gaskiyar cewa Nikolaeva har yanzu yana kan tafiya, a cikin rashin gajiya da aiki mai kuzari; cewa har yanzu, kamar da, ba ta ba da kanta ba, tana riƙe da "siffa" mai kyau na pianistic. A wata kalma, ba ya rayuwa ta jiya a fasaha, amma ta yau da gobe. Shin wannan ba shine mabuɗin makomarta ta farin ciki da tsawon rayuwata na fasaha ba?

G. Tsipin, 1990