Vera Vasilievna Gornostayeva (Vera Gornosayeva) |

Vera Gornosayeva

Vera Vasilievna Gornostaeva ya zo don yin aiki, a cikin kalmominta, "ta hanyar koyarwa" - hanyar ba ta saba ba. Sau da yawa, akasin haka ya faru: suna samun suna a kan wasan kwaikwayo kuma, a matsayin mataki na gaba, sun fara koyarwa. Misalin wannan shine tarihin rayuwar Oborin, Gilels, Flier, Zach da sauran shahararrun mawakan. Tafiya a cikin kishiyar hanya ba ta da yawa, lamarin Gornostaeva yana ɗaya daga cikin waɗanda ke tabbatar da mulkin.

Mahaifiyarta malamar kida ce wacce ta sadaukar da kanta gaba daya wajen aiki da yara; "Malamin likitan yara", tare da halayensa na ban dariya, yayi magana game da sana'ar mahaifiyar Gornostaev. “Na koyi darussan piano na farko a gida,” in ji mai wasan pian, “sannan na yi karatu a Makarantar Waƙoƙi ta Tsakiya ta Moscow da wata ƙwararren malami kuma kyakkyawa mai suna Ekaterina Klavdievna Nikolaeva. A ɗakin ajiyar ɗakuna, malamina shine Heinrich Gustavovich Neuhaus.

A 1950, Gornostaeva yi a kasa da kasa gasar na yin kida a Prague da kuma lashe lakabi na laureate. Amma bayan haka ta zo ba zuwa mataki na wasan kwaikwayo mataki, kamar yadda zai zama na halitta sa ran, amma zuwa Gnessin Musical da Pedagogical Institute. Bayan 'yan shekaru, daga 1959, ta fara aiki a Moscow Conservatory. Yana koyarwa a can har yau.

"An yi imani da cewa ilimin koyarwa yana haifar da cikas ga wasan kwaikwayo," in ji Gornostaeva. “Tabbas, azuzuwan a cikin aji suna da alaƙa da babban asarar lokaci. Amma kada mu manta! - kuma tare da fa'ida mai yawa ga wanda ya koyar. Musamman idan kun yi sa'a don yin aiki tare da ɗalibi mai ƙarfi, ƙwararren ƙwararren. Dole ne ku kasance a tsayin matsayi, daidai? - wanda ke nufin dole ne ku ci gaba da yin tunani, bincika, zurfafa bincike, bincika. Kuma ba kawai don bincika ba - neman; bayan haka, ba wai binciken kansa ne ke da muhimmanci a cikin sana’ar mu ba, binciken ne ke da muhimmanci. Na tabbata cewa ilimin koyarwa ne, wanda na tsunduma cikin shekaru da yawa da nufin yanayi, na kafa mawaki a cikina, ya sanya ni wanda nake… Lokaci ya yi da na gane cewa na zan iya kar a yi wasa: yana da matukar wahala a yi shiru idan akwai cewa a gaya. A kusan farkon shekarun saba'in, na fara yin wasan kwaikwayo akai-akai. Bugu da kari; yanzu ina tafiye-tafiye da yawa, ina yawon shakatawa a garuruwa daban-daban, na rikodi.

Kowane mai yin kide-kide (sai dai na yau da kullun, ba shakka) yana da ban mamaki ta hanyarsa. Gornostaeva yana da sha'awa, da farko, kamar yadda hali - asali, halayyar, tare da fuska mai ban sha'awa da ban sha'awa. Ba pianism dinta ba ne ke jan hankali; ba na'urorin aiki na waje ba. Wataƙila wasu daga cikin ɗaliban yau (ko jiya) na Gornostaeva za su iya yin tasiri mai kyau akan mataki fiye da malaminsu. Wannan shi ne gaba ɗaya batu - su, tare da ƙarfin zuciya, ƙarfi, halin kirki, za su fi burge su lashe; yana da zurfi kuma mafi mahimmanci.

Da zarar, yana magana a cikin jarida, Gornostaeva ya ce: "Kwarewar fasaha a cikin fasaha hanya ce da mutum ya bayyana duniyar ciki. Kuma a ko da yaushe muna jin abubuwan da ke cikin wannan duniyar cikin tarin wakoki, a cikin wasan kwaikwayo na marubuci, da kuma a cikin rera waƙoƙin piano. Kuna iya jin matakin al'ada, dandano, motsin rai, hankali, hali" (Mai suna bayan Tchaikovsky: Tarin labarai da takardu kan Gasar Mawaƙa ta Duniya ta Uku na Mawaƙa-Masu Mawaƙa mai suna bayan PI Tchaikovsky. – M 1970. S. 209.). Komai yana nan, kowace kalma. Ba wai kawai roulades ko alheri ba, zance ko ɓata lokaci ana jin su a cikin wasan kwaikwayo - kawai ɓangaren da ba shi da kwarewa na masu sauraro yana tunanin haka. Ana kuma jin wasu abubuwa…

Tare da Gornostaeva pianist, alal misali, ba shi da wuya a "ji" tunaninta. Yana ko'ina, tunaninsa yana kan komai. Babu shakka ta bashi mafi kyawun aikinta. Ga wadanda, da farko, cewa ya ji daidai da dokokin kida: ya san piano sosai, ya sani. cako iya cimma a kan shi kuma as yi shi. Kuma yadda ta yi amfani da fasaha na pian dinta! Abokan aikinta nawa ne kawai, ta wata hanya ko wata, suna fahimtar abin da yanayi ya ba su? Gornostaeva yana bayyana cikakkiyar damar iya yin aikinta - alamar duka haruffa masu ƙarfi da (mafi mahimmanci!) Fitattun hankali. Wannan tunani mai ban mamaki, babban ajinsa na ƙwararru ana jinsa musamman a cikin mafi kyawun waƙoƙin pianist - mazurkas da waltzes, ballads da sonatas na Chopin, rhapsodies (op. 79) da intermezzo (op. 117 da 119) na Brahms, “Sarcasm " da kuma sake zagayowar "Romeo da Juliet" na Prokofiev, Preludes na Shostakovich.

Akwai masu yin kide-kide da ke jan hankalin masu sauraro da karfi yadda suke ji, suna ƙonawa tare da sha'awar sha'awa, tasirin yin magana. Gornostaeva ya bambanta. A cikin abubuwan da suka faru a mataki, babban abu ba haka bane gwada yawa factor (yaya ƙarfi, mai haske…), da gwajin inganci - wanda aka nuna a cikin epithets "mai ladabi", "mai ladabi", "aristocratic", da dai sauransu Ina tunawa, alal misali, shirye-shiryenta na Beethoven - "Pathetic", "Appassionata", "Lunar", na bakwai ko talatin da biyu. sonata. Ba ƙarfin kuzarin da mai wannan waƙar ya yi ba, ko kuzari, matsatsi mai ƙarfi, ko sha'awar iska. A gefe guda, da hankali, inuwa mai ladabi na motsin rai, babban al'adar kwarewa - musamman ma a cikin sassa na hankali, a cikin abubuwan da ke cikin nau'i-nau'i na lyrical.

Gaskiya ne, rashin "ƙididdigewa" a cikin wasan Gornostaeva wani lokacin har yanzu yana jin kansa. Ba shi da sauƙi a gare ta a kololuwar koli, a cikin kiɗan da ke buƙatar mai yawa, fortissimo mai arziki; damar jiki kawai na mai zane yana da iyaka, kuma a wasu lokuta ana iya gani! Dole ne ta danne muryarta na pianism. A cikin Pathetique na Beethoven, yawanci tana samun nasara mafi yawa a cikin motsi na biyu, mai kwantar da hankali Adagio. A cikin Hotunan Mussorgsky a wani nunin, Gornostaeva's melancholic Old Castle yana da kyau sosai kuma Ƙofofin Bogatyr ba su da ɗan ban sha'awa.

Duk da haka, idan muka tuna ma'ana a cikin fasaha na pianist, dole ne mu yi magana game da wani abu dabam. M. Gorky, yana magana da B. Asafiev, sau ɗaya ya ce; mawaƙa na gaske sun bambanta ta yadda za su ji ba kiɗa kawai ba. (Bari mu tuna da Bruno Walter: “Mawaƙi ne kaɗai mawaƙi ne kawai ɗan wasan kwaikwayo.”) Gornostaeva, a cikin kalmomin Gorky, an ba da damar ji a fasahar kiɗa ba kawai kiɗa ba; haka ta samu damar zuwa matakin wasan kide-kide. Ta ji "ƙari", "fadi", "zurfi", kamar yadda yawanci halayen mutanen da ke da ra'ayi iri-iri na ruhaniya, buƙatun ilimi mai arziƙi, haɓakar yanayin haɗin gwiwa - a takaice, waɗanda ke iya fahimtar duniya ta hanyar prim na music…

Tare da irin wannan hali kamar Gornostaeva, tare da amsawa ga duk abin da ke kewaye da ita, ba zai yiwu a yi rayuwa mai gefe ɗaya da rufaffiyar ba. Akwai mutanen da a dabi'ance "contraindicated" su yi abu daya; suna buƙatar musanya abubuwan sha'awa na ƙirƙira, canza nau'ikan ayyuka; Bambance-bambancen irin wannan ba su dame su ko kadan, sai dai suna faranta musu rai. A cikin rayuwarta, Gornostaeva ya tsunduma cikin nau'ikan aiki daban-daban.

Ta rubuta da kyau, ƙware sosai. Ga yawancin abokan aikinta, wannan ba abu ne mai sauƙi ba; Gornostaeva ya dade yana sha'awar shi da kuma sha'awar. Mutum ce mai hazaka ta adabi, tana da kyakkyawar ma'ana ta dabarar harshe, ta san yadda za ta tufatar da tunaninta cikin yanayi mai daɗi, kyakkyawa, mara misaltuwa. An buga ta akai-akai a cikin jaridu na tsakiya, yawancin labaranta sun kasance sanannun - "Svyatoslav Richter", "Wani Hannu a Gidan Waƙoƙi", "Wani Mutumin da ya sauke karatu daga Conservatory", "Shin Za ku Zama Artist?" da sauransu.

A cikin maganganun jama'a, labarai da tattaunawa, Gornostaev yayi magana game da batutuwa iri-iri. Kuma duk da haka akwai batutuwan da suka fi burge ta fiye da kowa. Waɗannan su ne, da farko, ƙayyadaddun makomar matasa masu kirkira. Me ke hana haziƙai, haziƙan ɗalibai, waɗanda akwai da yawa a cikin makarantunmu, wanda, wani lokaci, ba ya ba su damar girma zuwa manyan masters? Har zuwa wani lokaci - ƙayayyun rayuwar wasan kwaikwayo, wasu lokuta masu inuwa a cikin tsarin rayuwar philharmonic. Gornostaeva, wanda ya yi tafiya da kuma lura da yawa, ya san game da su da kuma tare da dukan gaskiya (ta san yadda za a kai tsaye, idan ya cancanta, da kuma kaifi) magana a kan wannan batu a cikin labarin "Shin darektan na philharmonic son music?". Har ila yau, ta ci gaba da adawa da sauri da kuma samun nasara cikin sauri a matakin wasan kwaikwayo - sun ƙunshi haɗari masu yawa, barazanar ɓoye. Lokacin da Eteri Anjaparidze, ɗaya daga cikin ɗalibanta, ya sami lambar yabo ta IV a gasar Tchaikovsky yana da shekaru goma sha bakwai, Gornostaeva bai yi la'akari da cewa yana da kyau a bayyana a fili ba (a cikin muradun Anjaparidze kanta) cewa wannan kyauta ce mai girma "mafi girma". shekarunta. "Nasara," ta taɓa rubutawa, "dole ne kuma ya zo a kan lokaci. Kayan aiki ne mai ƙarfi sosai. ”… (Gornostaeva V. Za ku zama mai zane? // al'adun Soviet. 1969 29 nau'i-nau'i.).

Amma abu mafi haɗari, Vera Vasilievna ta sake maimaitawa, shine lokacin da suka daina sha'awar wani abu banda sana'a, suna bin kawai kusa, wani lokacin maƙasudin amfani. Sannan kuma, a cewarta, matasa mawakan, “ko da suna da hazakar yin wasa ba tare da wani sharadi ba, ba ta yadda za a yi su zama hazikin fasaha mai haske, kuma su kasance masu iyakacin sana’a har zuwa karshen kwanakinsu, wadanda suka riga sun yi hasarar sabo da rashin jin dadin samari a kan ayyukan fasaha. shekaru, amma ba su karɓi mai fasaha da ake buƙata ba na ikon yin tunani da kansa, don yin magana, ƙwarewar ruhaniya ” (Ibid).

Kwanan nan, shafukan jaridar Sovetskaya Kultura sun buga zane-zane na wallafe-wallafen wallafe-wallafen da Mikhail Pletnev da Yuri Bashmet suka yi, mawaƙa waɗanda Gornostaeva ke girmama su. A lokacin bikin cika shekaru 100 na haihuwar GG Neuhaus, an buga rubutunta na "Master Heinrich", wanda ke da rawar gani a cikin da'irar kiɗa. Ko da mafi girma resonance - har ma mafi girma jayayya - ya haifar da labarin "Wanene Ya mallaki Art", wanda Gornostaeva ya tabo wasu abubuwa masu ban tausayi na mu na musika ("Al'adun Soviet", Mayu 12, 1988).

Duk da haka, ba kawai masu karatu sun saba da Gornostaeva ba; masu sauraron rediyo da masu kallon TV sun san shi. Da farko, godiya ga sake zagayowar na m da kuma ilimi shirye-shirye a cikin abin da ta daukan a kan wuya manufa na gaya game da fice composers na baya (Chopin, Schumann, Rachmaninov, Mussorgsky) - ko game da ayyukan da suka rubuta; a lokaci guda kuma ta kwatanta jawabinta akan piano. A lokacin, Gornostaeva ta telecasts "Gabatar da Matasa", wanda ya ba ta damar sanin jama'a da wasu daga cikin debutants na yau concert scene, tada mai girma sha'awa. A cikin lokacin 1987/88, jerin talabijin na Open Piano ya zama babba a gare ta.

A ƙarshe, Gornostaeva ɗan takara ne wanda ba makawa a cikin tarurrukan karawa juna sani da tarurrukan kan wasan kiɗa da koyarwa. Tana isar da rahotanni, saƙonni, buɗaɗɗen darussa. Idan zai yiwu, ya nuna wa ɗaliban ajinsa. Kuma, ba shakka, yana amsa tambayoyi masu yawa, yana ba da shawara, yana ba da shawara. "Dole ne in halarci irin wadannan tarurrukan karawa juna sani da taron karawa juna sani (an kira su daban) a Weimar, Oslo, Zagreb, Dubrovnik, Bratislava da sauran biranen Turai. Amma, a gaskiya, abin da na fi so shi ne irin wannan tarurruka tare da abokan aiki a kasarmu - a Sverdlovsk, Tbilisi, Kazan ... a irin wadannan abubuwan. Gaskiyar ita ce, a cikin ɗakunan ajiyarmu, ainihin matakin tattaunawa game da matsalolin sana'a, a ganina, ya fi ko'ina. Kuma wannan ba zai iya ba sai murna…

Ina jin na fi amfani a nan fiye da kowace ƙasa. Kuma babu wani shingen harshe.”

Rarraba gwaninta na aikin koyarwa nata, Gornostaeva ba ta gajiya da jaddada cewa babban abu ba shine yanke shawarar yanke shawara akan ɗalibin ba. waje, ta hanyar umarni. Kuma kada ku nemi ya yi aikin da yake koyo kamar yadda malaminsa zai yi wasa. “Abu mafi mahimmanci shi ne gina ra’ayin wasan kwaikwayo dangane da ɗalibin ɗalibi, wato, daidai da sifofinsa na halitta, sha’awa, da iyawarsa. Ga malami na gaske, a gaskiya babu wata hanya.”

… A tsawon shekarun da Gornostaeva ke sadaukar da kai ga ilimin koyarwa, ɗalibai da yawa sun ratsa hannunta. Ba dukansu ba ne suka sami damar yin nasara a gasar, kamar A. Slobodyanik ko E. Andzhaparidze, D. Ioffe ko P. Egorov, M. Ermolaev ko A. Paley. Amma duk ba tare da togiya, sadarwa tare da ita a lokacin azuzuwan, zo a cikin lamba tare da duniya na high ruhaniya da sana'a al'adu. Kuma wannan shi ne abu mafi daraja da dalibi zai iya karba a fannin fasaha daga wurin malami.

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Daga cikin shirye-shiryen wasan kwaikwayo da Gornostaeva ya buga a cikin 'yan shekarun nan, wasu sun ja hankalin musamman. Misali, sonata uku na Chopin (lokacin 1985/86). Ko kuma, ƙananan piano na Schubert (lokacin 1987/88), daga cikinsu akwai lokutan Kiɗa da ba kasafai ake yin su ba, Op. 94. Masu sauraro sun sadu da sha'awar Clavierabend da aka keɓe ga Mozart - Fantasia da Sonata a cikin ƙananan ƙananan C, da kuma Sonata a D Major na pianos guda biyu, Vera Vasilievna ta buga tare da 'yarta, K. Knorre (lokacin 1987/88) .

Gornostaeva ya mayar da wasu ƙididdiga masu yawa a cikin repertoire bayan dogon hutu - ta sake tunani ta wata hanya, ta taka leda a wata hanya. Mutum na iya komawa cikin wannan haɗin aƙalla zuwa Shostakovich's Prelude.

PI Tchaikovsky yana jan hankalin ta sosai. Ta buga "Albam din Yara" fiye da sau ɗaya a cikin rabin na biyu na shekaru tamanin, duka a cikin shirye-shiryen talabijin da kuma a wuraren kide-kide.

“Soyayya ga mawakin nan tabbas tana cikin jinina. A yau ina jin cewa ba zan iya kawai kunna kiɗan sa ba - kamar yadda ya faru, mutum ba zai iya faɗi wani abu ba, idan akwai - menene… Wasu daga cikin guntun Tchaikovsky suna motsa ni kusan hawaye - “Sentimental Waltz” iri ɗaya, wanda na kasance a ciki. cikin soyayya tun yarinta. Yana faruwa ne kawai tare da babban kiɗa: kun san shi duk rayuwar ku - kuma kuna sha'awar duk rayuwar ku… "

Tunawa da wasan kwaikwayon na Gornostaeva a cikin 'yan shekarun nan, ba za a iya kasa sake suna ba, watakila musamman mahimmanci da alhakin. An gudanar da shi ne a cikin ƙaramin zauren Conservatory na Moscow a cikin Afrilu 1988 a matsayin wani ɓangare na bikin da aka sadaukar don bikin cika shekaru 100 na haifuwar GG Neuhaus. Gornostaeva ya buga Chopin a wannan maraice. Kuma ta taka rawar gani sosai…

Gornostaeva ya ce: “Idan na daɗe ina ba da kade-kade, na ƙara gamsuwa da muhimmancin abubuwa biyu. "Da farko, akan wace ka'ida mai zane ya tsara shirye-shiryensa, kuma ko yana da ka'idoji irin wannan. Na biyu, ko ya yi la'akari da takamaiman rawar da ya taka. Shin ya san abin da yake da ƙarfi a ciki, da abin da ba shi ba, a ina ya yanki a cikin repertoire na piano, kuma inda - ba nasa ba.

Dangane da shirye-shiryen shirye-shirye, abu mafi mahimmanci a gare ni a yau shi ne in sami wata ma'ana ta asali a cikinsu. Abin da ke da mahimmanci a nan ba kawai zaɓin wasu marubuta ba ne ko takamaiman ayyuka ba. Haɗin kansu yana da mahimmanci, tsarin da ake yin su a wurin shagali; a wasu kalmomi, sauye-sauye na sauye-sauye na hotuna na kiɗa, yanayin tunani, abubuwan da suka shafi tunanin mutum ... Har ma da tsarin tsarin ayyukan da ke sauti daya bayan daya yayin al'amuran maraice.

Yanzu game da abin da na zayyana ta kalmar yin rawar gani. Kalmar, ba shakka, tana da sharadi, kimanin, amma duk da haka… Kowane mawaƙin kide-kide ya kamata, a ganina, ya sami wani nau'in ilhami na ceto wanda zai gaya masa abin da ke kusa da shi da abin da ba shi ba. A cikin abin da ya fi dacewa ya tabbatar da kansa, da abin da zai fi kyau a guje wa. Kowannenmu yana da ta yanayi ta wani “kewayon muryar mai yin aiki” kuma ba shi da ma'ana aƙalla mu yi la'akari da wannan.

Tabbas, koyaushe kuna son kunna abubuwa da yawa - duka wannan da wancan, da na uku… Sha'awar gaba ɗaya ta halitta ce ga kowane mawaƙi na gaske. To, za ku iya koyan komai. Amma nesa da duk abin da ya kamata a fitar da shi a kan mataki. Misali, ina yin kade-kade iri-iri a gida - duka wadanda nake so in buga da kaina da wadanda dalibana suke kawowa a aji. Duk da haka, a cikin shirye-shiryen jawabina na jama'a, na sanya wani bangare ne kawai na abin da na koya.

Wasannin kide-kide na Gornostaeva yawanci suna farawa da sharhinta na baki akan sassan da take yi. Vera Vasilievna ta daɗe tana yin hakan. Amma a cikin 'yan shekarun nan, kalmar da aka yi wa masu sauraro, watakila, ta sami ma'ana ta musamman a gare ta. Af, ita kanta ta yi imanin cewa Gennady Nikolaevich Rozhdestvensky ya rinjayi ta a nan ta wata hanya; misalinsa ya sake tabbatar mata a cikin sanin mahimmanci da wajibcin wannan lamari.

Duk da haka, tattaunawar Gornostaeva da jama'a ba su da alaƙa da abin da wasu ke yi game da wannan. A gare ta, ba bayanin game da ayyukan da aka yi ba ne ke da mahimmanci a cikin kansa, ba ilimin gaskiya ba, ba bayanan tarihi da kiɗa ba. Babban abu shine ƙirƙirar wani yanayi a cikin zauren, don gabatar da masu sauraro a cikin yanayi na mawaƙa na ma'ana - don "zubar da" fahimtarsa, kamar yadda Vera Vasilievna ya ce. Don haka hanyarta ta musamman ta yin magana da masu sauraro - sirri, na halitta, ba tare da kowane jagora ba, hanyoyin koyarwa. Ana iya samun ɗaruruwan mutane a zauren; kowannensu zai ji cewa Gornostaeva yana magana musamman game da shi, kuma ba ga wasu "mutum na uku" ba. Tana yawan karanta wakoki yayin da take magana da masu sauraro. Kuma ba wai kawai saboda ita kanta tana son su ba, amma don dalili mai sauƙi cewa suna taimaka mata wajen kawo masu sauraro kusa da kiɗa.

Hakika, Gornostaeva ba, a kowane hali, karanta daga takarda. Kalamanta na baka akan shirye-shiryen da ake aiwatarwa koyaushe ana inganta su. Amma inganta mutum wanda ya san sosai a fili da kuma ainihin abin da yake so ya fada.

Akwai matsala ta musamman a cikin nau'in magana na jama'a wanda Gornostaeva ya zaɓa don kansa. Wahalhalun juzu'i daga roƙon magana ga masu sauraro - zuwa wasan da akasin haka. “A da, wannan babbar matsala ce a gare ni,” in ji Vera Vasilievna. “Sai na saba da shi kadan. Amma duk da haka, wanda yake tunanin cewa magana da wasa, musanya ɗaya da ɗayan, yana da sauƙi - ya yi kuskure sosai.

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Haɓakawa na halitta ya taso: ta yaya Gornostaeva ke gudanar da komai? Kuma, mafi mahimmanci, yadda komai yake tare da ita jũya? Ita mutum ce mai aiki, tsari, mai kuzari - wannan shine abu na farko. Na biyu, ba ƙaramin mahimmanci ba, ita ƙwararriyar ƙwararriya ce, mawaƙin ƙwararrun ilimi, wacce ta ga abubuwa da yawa, koyo, sake karantawa, canza ra'ayi, kuma, a ƙarshe, mafi mahimmanci, tana da hazaka. Ba a cikin abu ɗaya ba, na gida, iyakance ta tsarin "daga" da "zuwa"; mai hazaka gabaɗaya - faɗaɗa, a duniya, gabaɗaya. Ba abu ne mai yiwuwa ba a yi mata godiya game da wannan…

G. Tsipin, 1990