Vladimir Horowitz (Vladimir Horowitz) |

Vladimir Horowitz

Wasan kide-kide na Vladimir Horowitz koyaushe lamari ne, ko da yaushe abin mamaki. Kuma ba yanzu ba, lokacin da kide kide da wake-wake nasa ba su da yawa wanda kowa zai iya zama na ƙarshe, amma har ma a lokacin farko. Haka ya kasance kullum. Tun daga farkon bazara na 1922, lokacin da matashin pianist ya fara bayyana a kan matakan Petrograd da Moscow. Gaskiya ne, an gudanar da kide-kiden nasa na farko a manyan biranen biyu a manyan dakunan da ba kowa a cikinsu - sunan wanda ya halarta ya fadi kadan ga jama'a. Wasu ƴan masana da ƙwararru ne kawai suka ji labarin wannan matashi mai hazaka mai ban mamaki wanda ya kammala karatunsa a Kwalejin Conservatory na Kyiv a 1921, inda malamansa su ne V. Pukhalsky, S. Tarnovsky da F. Blumenfeld. Kuma washegari bayan wasan kwaikwayonsa, jaridu baki ɗaya sun ba da sanarwar Vladimir Horowitz a matsayin tauraro mai tasowa a sararin samaniyar pianistic.

Bayan ya yi yawon shakatawa da yawa a cikin ƙasar, Horowitz ya tashi a cikin 1925 don "ci nasara" Turai. A nan tarihi ya maimaita kansa: a wasansa na farko a yawancin biranen - Berlin, Paris, Hamburg - akwai 'yan masu sauraro, don na gaba - an karɓi tikiti daga yakin. Gaskiya ne, wannan yana da ɗan tasiri akan kuɗin: ​​sun kasance kaɗan. An kafa farkon ɗaukakar hayaniya - kamar yadda sau da yawa yakan faru - ta hanyar haɗari mai farin ciki. A cikin Hamburg guda, wani ɗan kasuwa mara numfashi ya ruga zuwa ɗakin otal ɗinsa kuma ya yi tayin maye gurbin mawaƙin soloist na farko a Tchaikovsky's First Concerto. Sai da na yi magana cikin rabin sa'a. Da gaugawar shan gilashin madara, Horowitz ya garzaya cikin zauren, inda tsohon madugu E. Pabst ya sami lokaci kawai ya gaya masa: “Ka kalli sanda na, kuma in Allah ya yarda, babu wani mugun abu da zai faru.” Bayan ’yan sanduna, madugun da ya cika da mamaki da kansa ya kalli wasan mawaƙin na solo, kuma a lokacin da aka kammala wasan kwaikwayo, masu sauraro sun sayar da tikitin yin rawar da ya taka a cikin sa’a guda da rabi. Wannan shi ne yadda Vladimir Horowitz cikin nasara ya shiga rayuwar kiɗan Turai. A birnin Paris, bayan fitowar sa na farko, mujallar Revue Musical ta rubuta: "Wani lokaci, duk da haka, akwai wani mai fasaha wanda ke da hazaka don fassara - Liszt, Rubinstein, Paderevsky, Kreisler, Casals, Cortot ... Vladimir Horowitz yana cikin wannan nau'i na zane-zane- sarakuna.”

Sabuwar tafi ya kawo Horowitz na farko a nahiyar Amurka, wanda ya faru a farkon shekara ta 1928. Bayan ya fara yin wasan kwaikwayo na Tchaikovsky da kuma shirin solo, in ji jaridar The Times, an ba shi “taron da ya fi hadari da mai piano zai iya dogara da shi. .” A cikin shekaru masu zuwa, yayin da yake zaune a Amurka, Paris da Switzerland, Horowitz ya zagaya kuma yayi rikodin sosai. Adadin kide-kiden da yake yi a kowace shekara ya kai dari, kuma dangane da adadin bayanan da aka fitar, nan da nan ya zarce mafi yawan masu pian na zamani. Littattafansa suna da faɗi da bambanta; tushen shi ne kiɗa na romantics, musamman Liszt da Rasha composers - Tchaikovsky, Rachmaninov, Scriabin. Mafi kyawun fasalin aikin Horowitz na wancan lokacin kafin yaƙin yana nunawa a cikin rikodinsa na Liszt's Sonata a ƙaramin B, wanda aka yi a cikin 1932. Yana burge ba kawai tare da iskar fasaha ba, tsananin wasan, har ma da zurfin wasan. ji, da gaske Liszt sikelin, da sauƙi na cikakkun bayanai. Liszt's rhapsody, Schubert's impromptu, Tchaikovsky's concertos (Lamba 1), Brahms (Lamba 2), Rachmaninov (No. 3) da yawa suna da alama iri ɗaya. Amma tare da cancantar, masu suka sun sami daidai a cikin aikin Horowitz na zahiri, sha'awar tasirin waje, don raba masu sauraro tare da fasahohin fasaha. Ga ra’ayin fitaccen mawakin nan na Amirka W. Thomson: “Ba na da’awar cewa fassarar Horowitz ƙarya ce kuma ba ta da hujja: wani lokacin ma, wani lokacin ba haka ba ne. Amma wanda bai taɓa sauraron ayyukan da ya yi ba zai iya ɗauka cikin sauƙi cewa Bach mawaƙi ne kamar L. Stokowski, Brahms wani nau'i ne mai banƙyama, mai aikin dare Gershwin, kuma Chopin ɗan wasan violin ne. Waɗannan kalmomi, ba shakka, suna da tsauri, amma irin wannan ra'ayi ba a ware ba. Horowitz wani lokaci ya ba da uzuri, ya kare kansa. Ya ce: “Wasannin Piano ya ƙunshi hankali, zuciya da hanyoyin fasaha. Dole ne a inganta komai daidai: idan ba tare da hankali ba za ku gaza, idan ba tare da fasaha ba kai mai son ne, ba tare da zuciya ba kai inji ne. Don haka sana’ar tana cike da hadura. Amma lokacin da, a cikin 1936, saboda aikin appendicitis da matsalolin da suka biyo baya, aka tilasta masa katse ayyukansa na wasan kwaikwayo, kwatsam ya ji cewa yawancin zargi ba su da tushe.

Tsayawa yayi ya tilasta masa sake kallon kansa, kamar daga waje, don sake nazarin dangantakarsa da kiɗa. "Ina tsammanin cewa a matsayina na mai fasaha na girma a lokacin waɗannan bukukuwan tilas. A kowane hali, na gano sabbin abubuwa da yawa a cikin kiɗa na, ” ɗan wasan pian ya jaddada. Ana iya tabbatar da ingancin waɗannan kalmomi cikin sauƙi ta hanyar kwatanta bayanan da aka rubuta kafin 1936 da kuma bayan 1939, lokacin da Horowitz, a kan nacewar abokinsa Rachmaninov da Toscanini ('yarsa ya auri), ya koma kayan aiki.

A cikin wannan na biyu, mafi girma tsawon shekaru 14, Horowitz ya faɗaɗa kewayon sa sosai. A gefe guda, ya fito daga ƙarshen 40s; akai-akai kuma sau da yawa yana wasa sonatas na Beethoven da cycles Schumann, dada da manyan ayyukan Chopin, yana ƙoƙarin nemo fassarar daban-daban na kiɗan manyan mawaƙa; a daya bangaren kuma tana wadatar da sabbin shirye-shirye da wakokin zamani. Musamman ma, bayan yakin, shi ne na farko da ya taka rawar Prokofiev ta 6, 7th da 8th sonatas, Kablevsky ta 2nd da 3rd sonatas a Amurka, haka ma, ya taka leda da ban mamaki. Horowitz ya ba da rai ga wasu ayyukan marubutan Amurka, ciki har da Barber Sonata, kuma a lokaci guda ya haɗa da yin amfani da ayyukan Clementi da Czerny, waɗanda aka ɗauke su kawai wani ɓangare na repertoire na koyarwa. Ayyukan mai zane a wancan lokacin ya zama mai tsanani sosai. Ga mutane da yawa da alama ya kasance a matsayin mafi girman iyawar sa. Amma yayin da "na'urar wasan kwaikwayo" ta Amurka ta sake mallake shi, an fara jin muryoyin shakku, da sau da yawa na ban mamaki. Wasu suna kiran mai wasan piano “mai sihiri”, “mai kama bera”; sun sake yin magana game da rikice-rikicensa na kere-kere, game da rashin damuwa ga kiɗa. Masu koyi na farko sun bayyana a kan mataki, ko kuma ma masu koyi na Horowitz - kayan aiki sosai na fasaha, amma babu komai a ciki, matasa "masu fasaha". Horowitz ba shi da ɗalibai, tare da ƴan kaɗan: Graffman, Jainis. Kuma, yana ba da darussa, ya aririce a kai a kai “zai fi kyau ku yi naku kurakurai da ku kwaikwayi kurakuran wasu.” Amma wadanda suka kwafi Horowitz ba sa so su bi wannan ka'ida: suna yin fare akan katin da ya dace.

Mai zanen ya kasance mai raɗaɗi game da alamun rikicin. Kuma yanzu, da ya buga a watan Fabrairu 1953 a gala concert a lokacin da 25th ranar tunawa da halarta a karon a Carnegie Hall, ya sake barin mataki. Wannan lokaci na dogon lokaci, shekaru 12.

Gaskiya ne, shirun mawaƙin bai wuce shekara ɗaya ba. Sa'an nan, kadan kadan, ya sake fara yin rikodin musamman a gida, inda RCA ta samar da dukan ɗakin studio. Bayanan sun sake fitowa daya bayan daya - sonatas na Beethoven, Scriabin, Scarlatti, Clementi, Liszt's rhapsodies, ayyukan Schubert, Schumann, Mendelssohn, Rachmaninoff, Hotunan Mussorgsky a wani nuni, rubuce-rubucen kansa na F. Sousasspe da Striffs March , "Bikin aure Maris" Mendelssohn-Liszt, wani fantasy daga" Carmen "... A 1962, da artist karya tare da kamfanin RCA, m da cewa ya samar da abinci kadan don talla, kuma ya fara hada gwiwa tare da Columbia kamfanin. Kowane sabon rikodin nasa yana tabbatar da cewa mai wasan pian ba ya rasa kyawawan halayensa na ban mamaki, amma ya zama maɗaukaki da zurfin fassara.

“Mai zanen, wanda aka tilasta masa tsayawa gaba da gaba da jama’a, ya shiga damuwa ba tare da saninsa ba. Yana bayarwa kullum ba tare da ya karba ba. Shekaru na guje wa yin magana a bainar jama'a sun taimaka mini a ƙarshe in sami kaina da ainihin akida na. A cikin shekarun hauka na kide-kide - a can, a nan da ko'ina - Na ji kaina na yi sanyi - a ruhaniya da fasaha, "in ji shi daga baya.

Masu sha'awar zane-zane sun yi imanin cewa za su sadu da shi "fuska da fuska". Lalle ne, a ranar 9 ga Mayu, 1965, Horowitz ya ci gaba da aikin kide-kide tare da wasan kwaikwayo a Hall Carnegie. Sha'awar wasan kwaikwayon nasa ba a taɓa yin irinsa ba, tikitin da aka sayar a cikin sa'o'i kadan. Wani muhimmin bangare na mahalarta taron akwai matasan da ba su taba ganinsa ba, mutanen da ya kasance almara. "Ya yi kama da lokacin da ya bayyana a nan shekaru 12 da suka wuce," in ji G. Schonberg. - Babban kafadu, jiki yana kusan motsi, dan kadan ya karkata zuwa maɓallan; hannaye da yatsu ne kawai suka yi aiki. Ga matasa da yawa a cikin masu sauraro, kamar suna wasa Liszt ko Rachmaninov, fitaccen ɗan wasan piano kowa yana magana game da shi amma babu wanda ya taɓa jin labarinsa. Amma ko da mafi mahimmanci fiye da rashin daidaituwa na Horowitz shine zurfin canji na cikin wasansa. "Lokaci bai tsaya ga Horowitz ba a cikin shekaru goma sha biyu tun bayan bayyanarsa ta ƙarshe a bainar jama'a," in ji mai bitar New York Herald Tribune Alan Rich. - Haske mai ban sha'awa na fasaharsa, iko mai ban mamaki da ƙarfin aiki, fantasy da palette mai launi - duk wannan an kiyaye shi gaba ɗaya. Amma a lokaci guda, wani sabon salo ya bayyana a wasan nasa, don a ce. Tabbas, lokacin da ya bar fagen wasan kwaikwayo yana da shekaru 48, ya kasance cikakken mai fasaha. Amma yanzu mai fassara mai zurfi ya zo Carnegie Hall, kuma sabon "girma" a cikin wasansa ana iya kiransa balaga na kiɗa. A cikin 'yan shekarun da suka gabata, mun ga dukan galaxy na matasan pianists suna gamsar da mu cewa za su iya yin wasa da sauri da kuma amincewa. Kuma mai yiyuwa ne shawarar da Horowitz ya yanke na komawa fagen wakoki a yanzun nan saboda sanin cewa akwai wani abu da hatta mafi hazaka daga cikin wadannan matasa ya kamata a tunatar da shi. A lokacin wasan kwaikwayo, ya koyar da darussa masu mahimmanci. Darasi ne na fitar da rawani, launuka masu kyalli; ya kasance darasi a cikin amfani da rubato tare da dandano maras kyau, musamman a bayyane a cikin ayyukan Chopin, darasi ne mai haske wajen haɗa cikakkun bayanai da duka a cikin kowane yanki kuma ya kai ga kololuwa (musamman tare da Schumann). Horowitz ya bar “muna jin shakkun da suka addabe shi a tsawon wadannan shekarun yayin da yake tunanin komawar sa zauren kide-kide. Ya nuna irin kyauta mai tamani da yake da shi yanzu.

Wannan wasan kide-kide da ba a mantawa da shi, wanda ya sanar da farfaɗo da ma sabuwar haifuwar Horowitz, ya biyo bayan shekaru huɗu na wasannin solo akai-akai (Horowitz bai yi wasa da ƙungiyar makaɗa ba tun 1953). “Na gaji da wasa a gaban makirufo. Ina so in yi wa mutane wasa. Cikakkiyar fasaha kuma tana da gajiyawa, ”in ji mai zane. A shekarar 1968, shi ma ya fara fitowa a talabijin a wani fim na musamman na matasa, inda ya yi wasu duwatsu masu daraja na repertore. Sa'an nan - sabon hutu na shekaru 5, kuma maimakon kide-kide - sababbin rakodi masu ban sha'awa: Rachmaninoff, Scriabin, Chopin. Kuma a jajibirin cikarsa shekaru 70, babban malamin ya sake komawa ga jama'a a karo na uku. Tun daga wannan lokacin, bai yi sau da yawa ba, kuma a lokacin rana kawai, amma har yanzu kide-kide nasa yana da ban sha'awa. Duk waɗannan kide-kide an rubuta su, kuma bayanan da aka fitar bayan haka sun sa ya yiwu a yi tunanin irin nau'in pianistic mai ban mamaki da mai zane ya riƙe tun yana da shekaru 75, menene zurfin fasaha da hikimar da ya samu; ba da damar aƙalla wani ɓangare don fahimtar menene salon “marigayi Horowitz” yake. Wani bangare “saboda, kamar yadda masu sukar Amurkawa suka jaddada, wannan mai zanen bai taba samun fassarori guda biyu ba. Tabbas, salon Horowitz ya zama na musamman kuma tabbatacce wanda duk wani mai saurara mai zurfi ko ƙasa da haka zai iya gane shi a lokaci ɗaya. Ma'auni ɗaya na kowane fassararsa akan piano zai iya bayyana wannan salon fiye da kowace kalma. Amma ba zai yiwu ba, duk da haka, kada a ware mafi kyawun halaye - nau'i mai ban sha'awa mai ban sha'awa, ma'auni na lapidary na fasaha mai kyau, babban sauti mai girma, da kuma haɓakar rubato da bambance-bambance, bambance-bambance masu ban mamaki a hannun hagu.

Irin wannan shi ne Horowitz a yau, Horowitz, wanda ya saba da miliyoyin mutane daga rikodin da dubban daga kide kide. Ba shi yiwuwa a iya hasashen wasu abubuwan mamaki da yake shirya wa masu sauraro. Kowane taro da shi har yanzu taron ne, har yanzu hutu ne. Kade-kade da aka gudanar a manyan biranen Amurka, wanda mawakin ya yi bikin cika shekaru 50 da fara fitowa a Amurka, ya zama irin wannan biki ga masoyansa. Ɗaya daga cikinsu, a ranar 8 ga Janairu, 1978, ya kasance mai mahimmanci a matsayin wasan kwaikwayo na farko tare da ƙungiyar makaɗa a cikin kwata na karni: An yi wasan kwaikwayo na Rachmaninov na Uku, Y. Ormandy ya gudanar. Bayan 'yan watanni, Horowitz's Chopin maraice na farko ya faru a Carnegie Hall, wanda daga baya ya zama kundi na rikodin hudu. Kuma a sa'an nan - maraice da aka sadaukar don ranar haihuwarsa na 75 ... Kuma duk lokacin da, fita a kan mataki, Horowitz ya tabbatar da cewa ga mahalicci na gaskiya, shekarun ba su da mahimmanci. "Na tabbata cewa har yanzu ina ci gaba a matsayin mai wasan piano," in ji shi. “Ina samun kwanciyar hankali da girma yayin da shekaru ke wucewa. Idan na ji cewa ba zan iya yin wasa ba, ba zan kuskura in fito a dandalin ba.…