Vladimir Vladimirovich Sofronitsky |

Vladimir Sofronitsky

Vladimir Vladimirovich Sofronitsky - wani adadi na musamman a hanyarsa. Idan, a ce, mai yin "X" yana da sauƙin kwatanta tare da mai yin "Y", don samun wani abu kusa, mai alaƙa, kawo su zuwa ga ma'ana ɗaya, to yana da wuya a kwatanta Sofronitsky tare da kowane abokan aikinsa. A matsayinsa na mai fasaha, yana ɗaya daga cikin nau'i kuma ba za a iya kwatanta shi ba.

A daya bangaren kuma, ana samun kwatance cikin sauki wadanda suka hada fasaharsa da duniyar wakoki, adabi, da zane-zane. Ko da a lokacin rayuwar ɗan pian, abubuwan da ya yi na fassara suna da alaƙa da waƙoƙin Blok, zane-zane na Vrubel, Dostoevsky's da littattafan Green. Yana da ban sha'awa cewa wani abu makamancin haka ya faru a lokaci guda tare da kiɗan Debussy. Kuma ya kasa samun gamsasshiyar misali a cikin da’irar mawakan ’yan uwansa; A lokaci guda, zargi na mawaƙa na zamani cikin sauƙin samun waɗannan kwatancin tsakanin mawaƙa (Baudelaire, Verlaine, Mallarmé), marubutan wasan kwaikwayo (Maeterlinck), masu zanen (Monet, Denis, Sisley da sauransu).

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

Tsaye a cikin fasaha daga ’yan’uwan mutum a cikin bitar kere-kere, a nesa da waɗanda suke kama da fuska, gata ce ta fitattun masu fasaha. Sofronitsky babu shakka ya kasance na irin waɗannan masu fasaha.

Tarihinsa bai wadata a cikin abubuwan ban mamaki na waje ba; babu wani abin mamaki na musamman a cikinsa, babu hatsarorin da ke canza kaddara kwatsam kuma kwatsam. Lokacin da kuka kalli tarihin rayuwarsa, abu ɗaya yana kama ku: kide kide kide da wake-wake, kide-kide, kide-kide ... An haife shi a St. Petersburg, a cikin dangi mai hankali. Mahaifinsa masanin kimiyya ne; a cikin pedigree za ku iya samun sunayen masana kimiyya, mawaƙa, masu fasaha, mawaƙa. Kusan dukkanin tarihin rayuwar Sofronitsky sun ce kakan kakansa na uwa ya kasance fitaccen mai zanen hoto na ƙarshen XNUMX - farkon karni na XNUMX Vladimir Lukich Borovikovsky.

Tun yana da shekaru 5, an jawo yaron zuwa duniyar sauti, zuwa piano. Kamar duk yara masu hazaka na gaske, yana son yin fantasy a madannai, kunna wani abu na kansa, ɗaukar waƙoƙin waƙa da bazuwar. Da wuri ya nuna kaifi kunnuwa, ƙwaƙwalwar kiɗa mai tsauri. 'Yan uwa ba su da shakka cewa ya kamata a koyar da shi da gaske kuma da wuri-wuri.

Tun yana da shekaru shida Vova Sofronitsky (iyalinsa na zaune a Warsaw a wancan lokacin) ya fara daukar piano darussa daga Anna Vasilievna Lebedeva-Getsevich. Wani almajiri na NG Rubinshtein, Lebedeva-Gtsevich, kamar yadda suka ce, ya kasance mawaƙin gaske kuma mai ilimi. A cikin karatunta, aunawa da tsarin ƙarfe sun yi sarauta; komai ya yi daidai da sabbin shawarwarin hanyoyin; Ayyuka da umarni an rubuta su a hankali a cikin diary na ɗalibai, an sarrafa su sosai. "Aikin kowane yatsa, kowace tsoka ba ta kubuta daga hankalinta ba, kuma ta ci gaba da neman kawar da duk wani rashin daidaituwa" (Sofronitsky VN Daga abubuwan tunawa // Memories na Sofronitsky. - M., 1970. P. 217)– ya rubuta a cikin memoirs Vladimir Nikolaevich Sofronitsky, mahaifin pianist. A bayyane yake, darussa tare da Lebedeva-Gtsevich ya yi wa ɗansa hidima mai kyau. Yaron ya matsa da sauri cikin karatunsa, yana shakuwa da malaminsa, kuma daga baya ya tuno da ita fiye da sau ɗaya tare da godiya.

… Lokaci ya wuce. A shawarwarin Glazunov, a cikin kaka na 1910, Sofronitsky ya tafi karkashin kulawar wani shahararren Warsaw gwani, farfesa a Conservatory Alexander Konstantinovich Mikhalovsky. A wannan lokacin, ya ƙara sha'awar rayuwar kiɗan da ke kewaye da shi. Yakan halarci maraice na piano, ya ji Rachmaninov, matashi Igumnov, da mashahurin dan wasan piano Vsevolod Buyukli, waɗanda suke yawon shakatawa a cikin birni. Wani kyakkyawan mai yin ayyukan Scriabin, Buyukli yana da tasiri mai karfi a kan matashin Sofronitsky - lokacin da yake cikin gidan iyayensa, yakan zauna a piano, da son rai kuma yana wasa da yawa.

Shekaru da dama da aka kashe tare da Mikhalovsky yana da mafi kyawun tasiri a kan ci gaban Safronitsky a matsayin mai zane. Michalovsky da kansa ya kasance fitaccen dan wasan piano; mai sha'awar Chopin, sau da yawa yakan bayyana a matakin Warsaw tare da wasan kwaikwayo. Sofronitsky yayi karatu ba kawai tare da gogaggen mawaƙi, ingantaccen malami ba, an koyar da shi mai yin kida, mutumin da ya san wurin da dokokinsa sosai. Abin da ke da mahimmanci kuma yana da mahimmanci. Lebedeva-Gtsevich ya kawo masa amfani maras tabbas a lokacinta: kamar yadda suke cewa, ta "sa hannunta", ta kafa tushen ƙwararrun ƙwararru. Kusa da Mikhalovsky, Sofronitsky ya fara jin ƙanshi mai ban sha'awa na wasan kwaikwayo na wasan kwaikwayo, ya kama kyan gani na musamman, wanda ya ƙaunaci har abada.

A 1914, Sofronitsky iyali koma St. Petersburg. Dan wasan piano mai shekaru 13 ya shiga cikin ɗakin karatu ga sanannen masanin ilimin piano Leonid Vladimirovich Nikolaev. (Baya ga Sofronitsky, ɗalibansa a lokuta daban-daban sun haɗa da M. Yudina, D. Shostakovich, P. Serebryakov, N. Perelman, V. Razumovskaya, S. Savshinsky da sauran sanannun mawaƙa.) Sofronitsky ya kasance mai sa'a don samun malamai. Tare da duk bambanci a cikin haruffa da yanayin (Nikolaev ya kasance mai karewa, daidaitacce, mai ma'ana mai mahimmanci, kuma Vova ya kasance mai sha'awar kuma mai sha'awar sha'awar), hulɗar hulɗa tare da farfesa ya wadata dalibinsa ta hanyoyi da yawa.

Yana da ban sha'awa a lura cewa Nikolaev, ba ma ɓarna a cikin ƙaunarsa ba, da sauri ya yi sha'awar matasa Sofronitsky. An ce sau da yawa yakan juya ga abokai da abokansa: “Ku zo ku saurari wani yaro mai ban sha’awa… A gani na cewa wannan ƙwararren gwani ne, kuma ya riga ya taka leda sosai.” (Leningrad Conservatory a cikin Memoirs. - L., 1962. S. 273.).

Daga lokaci zuwa lokaci Sofronitsky yana shiga cikin kide-kide na dalibai da abubuwan sadaka. Suna lura da shi, suna magana da ƙarfi da ƙarfi game da babbar baiwar sa mai fara'a. Tuni ba kawai Nikolaev ba, amma har ma da masu kida na Petrograd - da kuma bayan su wasu masu sharhi - annabta kyakkyawar makomar fasaha a gare shi.

… An gama ɗakin ajiya (1921), rayuwar ƙwararren ɗan wasan kide-kide ta fara. Sunan Sofronitsky za a iya samun sau da yawa a kan posters na garinsu; al'adar al'ada da kuma bukatar jama'a na Moscow sun san shi kuma suna yi masa kyakkyawar maraba; Ana jin shi a Odessa, Saratov, Tiflis, Baku, Tashkent. A hankali, sun koyi game da shi kusan ko'ina a cikin USSR, inda ake girmama kiɗa mai tsanani; an daidaita shi da fitattun ’yan wasan kwaikwayo na wancan lokacin.

(A m touch: Sofronitsky taba shiga cikin music gasa da kuma, ta hanyar shigar da kansa, ba ya son su. Glory ya lashe da shi ba a gasa, ba a guda fama a wani wuri da kuma tare da wani, akalla duk ya bashi shi ga capricious. wasa na dama, wanda, ya faru cewa za a ɗaga ɗaya daga cikin matakai kaɗan, ɗayan kuma ya koma cikin inuwa ba tare da cancanta ba. , tabbatar da haƙƙinsa na yin ayyukan kide-kide.)

A 1928 Sofronitsky tafi kasashen waje. Tare da nasara shine tafiye-tafiyensa a Warsaw, Paris. Kimanin shekara daya da rabi yana zaune a babban birnin kasar Faransa. Haɗu da mawaƙa, masu fasaha, mawaƙa, ya saba da fasahar Arthur Rubinstein, Gieseking, Horowitz, Paderewski, Landowska; yana neman shawara daga ƙwararren malami kuma ƙwararren masani a pianism, Nikolai Karlovich Medtner. Paris tare da tsofaffin al'adunta, gidajen tarihi, gidajen tarihi, mafi kyawun taskar gine-gine na ba wa matashin mai zanen ra'ayi mai yawa, yana sa hangen nesansa na fasaha na duniya ya fi kyau da kaifi.

Bayan rabuwa da Faransa, Sofronitsky koma zuwa mahaifarsa. Kuma sake yin tafiye-tafiye, yawon shakatawa, manyan wuraren wasan kwaikwayo na philharmonic da ba a san su ba. Ba da da ewa ya fara koyarwa (yana gayyatar Leningrad Conservatory). Pedagogy ba a ƙaddara ya zama sha'awarsa, sana'a, aikin rayuwa - kamar yadda, a ce, ga Igumnov, Goldenweiser, Neuhaus ko malaminsa Nikolaev. Amma duk da haka, bisa ga nufin yanayi, an ɗaure shi da ita har zuwa ƙarshen kwanakinsa, ya sadaukar da lokaci mai yawa, kuzari da ƙarfi.

Kuma a sa'an nan zo da kaka da kuma hunturu na 1941, wani lokaci na wuce yarda da wuya gwaji ga mutanen Leningrad da Sofronitsky, wanda ya zauna a cikin birnin kewaye. Sau ɗaya, a ranar 12 ga Disamba, a cikin mafi yawan kwanakin mafarki na toshewar, wasan kwaikwayo nasa ya faru - wani sabon abu, wanda har abada ya shiga cikin ƙwaƙwalwarsa da sauran mutane da yawa. Ya taka leda a Pushkin Theater (tsohon Alexandrinsky) ga mutanen da suka kare Leningrad. "Ya kasance digiri uku a kasa da sifili a cikin zauren Alexandrinka," in ji Sofronitsky daga baya. “Masu sauraro, masu kare birnin, suna zaune a cikin riguna masu gashi. Na buga safofin hannu tare da yanke yatsa… Amma yadda suka saurare ni, yadda na taka! Yaya waɗannan abubuwan tunawa suke da daraja… Na ji cewa masu sauraro sun fahimce ni, cewa na sami hanyar zuwa zukatansu. ”… (Adzhemov KX wanda ba a iya mantawa da shi. - M., 1972. S. 119.).

Sofronitsky yana ciyar da shekaru ashirin na ƙarshe na rayuwarsa a Moscow. A wannan lokacin, yakan yi rashin lafiya, wani lokacin kuma ba ya bayyana a bainar jama'a tsawon watanni. Da yawan rashin haƙuri suna jiran kide-kiden nasa; kowannensu ya zama taron fasaha. Wataƙila ko da kalma ɗaya concert ba mafi kyau ba idan yazo ga wasan kwaikwayon Sofronitsky daga baya.

Wadannan wasan kwaikwayo a wani lokaci ana kiran su daban-daban: "musical hypnosis", "poetic nirvana", "liturgy ruhi". Lalle ne, Sofronitsky ba kawai yi (da kyau, da kyau sosai) wannan ko shirin da aka nuna akan hoton kide kide. Yayin kunna kiɗa, ya zama kamar yana ikirari ga mutane; Ya furta da matuƙar gaskiya, ikhlasi da, abin da ke da mahimmanci, sadaukar da kai. Game da ɗaya daga cikin waƙoƙin Schubert - Liszt, ya ambata: "Ina so in yi kuka lokacin da na kunna wannan abu." A wani lokaci kuma, bayan da ya gabatar wa masu sauraro kyakkyawar fassara ta Chopin's B-flat small sonata, ya yarda, bayan ya shiga ɗakin fasaha: "Idan kun damu da haka, to ba zan buga shi fiye da sau ɗari ba. .” Gaskiya kidan da ake kunnawa so, kamar yadda ya dandana a piano, an ba wa wasu kaɗan. Jama'a sun ga kuma sun fahimci haka; Anan ya ba da ma'ana ga ƙarfin da ba a saba gani ba, “Magnetic”, kamar yadda mutane da yawa suka tabbatar, tasirin mai zane a kan masu sauraro. Tun magaribansa sun kasance suna fita shiru, cikin yanayin zurfafa kai, kamar suna mu'amala da wani sirri. (Heinrich Gustovovich Neuhaus, wanda ya san Sofronitsky da kyau, ya taɓa cewa "tambarin wani abu mai ban mamaki, wani lokacin kusan allahntaka, mai ban mamaki, wanda ba a iya bayyanawa kuma yana jan hankalin kansa koyaushe yana kan wasansa…")

Haka ne, kuma masu wasan pian da kansu jiya, tarurruka tare da masu sauraro ma wasu lokuta sun faru a nasu, hanya ta musamman. Sofronitsky yana son ƙananan ɗakuna masu jin daɗi, "masu sauraro". A cikin shekaru na ƙarshe na rayuwarsa, ya fi son yin wasa a cikin Ƙananan Hall na Conservatory na Moscow, a cikin Gidan Masanan Kimiyya kuma - tare da mafi girman gaskiya - a cikin Gidan kayan gargajiya na AN Scriabin, mawallafin wanda ya bauta wa kusan daga karancin shekaru.

Abin lura shi ne cewa a cikin wasan Sofronitsky babu wani cliché (wasa mai ban tsoro, mai ban sha'awa, wanda wani lokaci ya rage darajar fassarar mashahuran mashahuran); samfuri na fassara, taurin tsari, yana fitowa daga horo mai ƙarfi, daga shirin “sanya” mai tsauri, daga yawan maimaita guda ɗaya akan matakai daban-daban. A stencil a cikin wasan kwaikwayo na kiɗa, tunani mara kyau, sune abubuwan da suka fi ƙiyayya a gare shi. "Yana da matukar muni," in ji shi, "lokacin da, bayan 'yan sanduna na farko da wani ɗan wasan pian ya ɗauka a cikin wasan kide kide, kun riga kun yi tunanin abin da zai biyo baya." Hakika, Sofronitsky yayi nazarin shirye-shiryensa na dogon lokaci kuma a hankali. Kuma shi, duk rashin iyaka na repertoire, ya sami damar maimaita a cikin kide-kide da aka buga a baya. Amma - abu mai ban mamaki! - babu wani tambari, babu jin " haddace" abin da suka fada daga mataki. Domin ya kasance mahalicci a cikin gaskiya da ma'anar kalmar. "... Sofronitsky ne mai aiwatarwa? VE Meyerhold ya furta lokaci guda. "Wane ne zai juya harshensa ya faɗi haka?" (Fadar kalmar mai aiwatarwa, Meyerhold, kamar yadda zaku iya tsammani, yana nufin yi; ba yana nufin kiɗa ba yi, da kuma kiɗan himma.) Hakika: mutum zai iya suna wani zamani kuma abokin aiki na pianist, wanda a cikinsa tsanani da kuma mita na m bugun jini, da tsanani na m radiation za a ji zuwa mafi girma fiye da a cikinsa?

Sofronitsky ko da yaushe halitta a kan dandalin wasan kwaikwayo. A cikin wasan kwaikwayo na kiɗa, kamar yadda a cikin gidan wasan kwaikwayo, yana yiwuwa a gabatar wa jama'a sakamakon kammala aikin da aka yi a gaba (kamar yadda, alal misali, shahararren dan wasan Italiyanci Arturo Benedetti Michelangeli ya buga); wanda zai iya, akasin haka, ya zana hoton fasaha a can, a gaban masu sauraro: "a nan, a yau, yanzu," kamar yadda Stanislavsky ya so. Ga Sofronitsky, na ƙarshe shine doka. Masu ziyara zuwa ga kide-kide nasa ba su samu zuwa "ranar budewa", amma zuwa wani nau'i na bita. A ka'ida, sa'ar jiya a matsayin mai fassara bai dace da mawaƙin da ya yi aiki a cikin wannan bita ba - haka ta kasance… Akwai wani nau'in mai zane wanda, don ci gaba, koyaushe yana buƙatar ƙin wani abu, ya bar wani abu. An ce Picasso ya yi kusan zane-zane na farko na 150 don shahararrun bangarorinsa na "Yaki" da "Peace" kuma bai yi amfani da ɗayan su ba a ƙarshe, sigar ƙarshe na aikin, kodayake yawancin waɗannan zane-zane da zane-zane, a cewar ƙwararrun mashahuran gani da ido. asusun, sun kasance masu kyau. Picasso a zahiri ba zai iya maimaita, kwafi, yin kwafi ba. Dole ne ya bincika da ƙirƙirar kowane minti; wani lokacin zubar da abin da aka samo a baya; akai-akai don magance matsalar. Yanke shawara daban-daban fiye da, a ce, jiya ko ranar da ta gabata. In ba haka ba, kerawa kanta a matsayin tsari zai rasa fara'a, jin daɗin ruhi, da takamaiman dandano gare shi. Wani abu makamancin haka ya faru da Sofronitsky. Zai iya yin wasa iri ɗaya sau biyu a jere (kamar yadda ya faru da shi a lokacin ƙuruciyarsa, a kan ɗaya daga cikin clavirabends, lokacin da ya nemi izinin jama'a don sake maimaita abin da Chopin ya yi, wanda bai gamsar da shi a matsayin mai fassara ba) - na biyu " version” tabbas wani abu ne daban da na farko. Sofronitsky ya kamata ya maimaita bayan Mahler madugu: "Ba abin mamaki ba ne a gare ni in jagoranci aiki tare da hanya guda daya." Shi, a gaskiya, fiye da sau ɗaya ya bayyana kansa ta wannan hanya, ko da yake a cikin kalmomi daban-daban. A cikin tattaunawa da ɗaya daga cikin danginsa, ko ta yaya ya ce: “A koyaushe ina yin wasa dabam, ko da yaushe daban.”

Waɗannan "marasa daidaituwa" da "bambanta" sun kawo fara'a na musamman ga wasansa. Koyaushe yana tsinkayar wani abu daga haɓakawa, bincike na ɗan lokaci; A baya an riga an ce Sofronitsky ya tafi mataki ƙirƙirar – kar a sake halitta. A cikin tattaunawa, ya ba da tabbacin - fiye da sau ɗaya kuma tare da kowane haƙƙin yin haka - cewa shi, a matsayin mai fassara, koyaushe yana da "tsari mai ƙarfi" a cikin kansa: "kafin wasan kwaikwayo, na san yadda za a yi wasa har zuwa lokacin hutu na ƙarshe. ” Amma sai ya kara da cewa:

“Wani abu kuma shi ne yayin wani shagali. Yana iya zama iri ɗaya da na gida, ko kuma yana iya zama daban. " Kamar a gida - irin wannan - Ba shi da…

Akwai a cikin wannan pluses (babban) da kuma rangwamen (wataƙila babu makawa). Babu buƙatar tabbatar da cewa haɓakawa inganci ne mai daraja kamar yadda yake da wuya a cikin al'adar fassarar kiɗan yau. Don haɓakawa, ba da kai ga fahimta, yin aiki a kan matakin aiki cikin ƙwazo kuma ana yin nazari na dogon lokaci, don tashi daga kan hanya a mafi mahimmancin lokacin, kawai mai fasaha ne mai hazaka, ƙarfin zuciya, da ƙwaƙƙwaran ƙirƙira tunani. iya yin hakan. Iyakar "amma": ba za ku iya ba, ƙaddamar da wasan "zuwa dokar lokacin, dokar wannan minti, yanayin da aka ba da hankali, kwarewa da aka ba ..." - kuma a cikin waɗannan maganganun GG Neuhaus ya bayyana. Halin mataki na Sofronitsky - ba zai yiwu ba, a fili, su kasance masu farin ciki koyaushe a cikin abubuwan da suka samo. A gaskiya, Sofronitsky bai kasance cikin masu pianists daidai ba. Kwanciyar hankali baya cikin kyawawan halayensa a matsayinsa na mai yin kide-kide. Fahimtar waƙoƙi na ban mamaki ikon canza tare da shi, ya faru, tare da lokacin rashin tausayi, tunanin tunani, demagnetization na ciki. Nasarar fasaha mafi haske, a'a, a'a, a, tare da gazawar zagi, nasara mai nasara - tare da raunin da ba tsammani da rashin tausayi, tsayin ƙirƙira - tare da "plateaus" wanda ke damun shi sosai da gaske ...

Wadanda ke kusa da mai zane sun san cewa ba zai taba yiwuwa a yi tsinkaya tare da aƙalla tabbacin ko ayyukansa na gaba zai yi nasara ko a'a. Kamar yadda sau da yawa yakan faru tare da m, m, sauƙi m yanayi (da zarar ya ce game da kansa: "Ina rayuwa ba tare da fata"), Sofronitsky ya kasance mai nisa daga ko da yaushe iya ja da kansa tare a gaban wani concert, mayar da hankali ga nufin, shawo kan spasm na spasm. damuwa, sami kwanciyar hankali. Nuni a cikin wannan ma'anar shine labarin ɗalibinsa IV Nikonovich: "Da yamma, sa'a daya kafin wasan kwaikwayo, bisa ga buƙatarsa, sau da yawa na kira shi ta taksi. Hanyar daga gida zuwa zauren kide-kide ta kasance mai matukar wahala… An haramta yin magana game da kiɗa, game da wasan kwaikwayo mai zuwa, ba shakka, game da abubuwa masu ban sha'awa, yin tambayoyi iri-iri. An hana a ɗaukaka su da yawa ko yin shiru, da karkatar da hankali daga yanayin wasan kwaikwayo na farko ko, akasin haka, a mai da hankali a kai. Tashin hankalinsa, maganadisu na ciki, tsananin damuwa, rikice-rikice da wasu sun kai kololuwarsu a wadannan lokutan. (Nikonovich IV Memories na VV Sofronitsky // Memories na Sofronitsky. S. 292.).

Abin farin ciki wanda ya azabtar da kusan dukkanin mawaƙa na kide-kide ya ƙare Sofronitsky kusan fiye da sauran. Ƙarƙashin tunani yana da girma a wasu lokuta har dukan lambobin farko na shirin, har ma da dukan sashe na farko na yamma, sun tafi, kamar yadda shi da kansa ya ce, "ƙarƙashin piano." Sai kawai a hankali, tare da wahala, ba da daɗewa ba ya zo na ciki. Sannan babban abin ya zo. Shahararren "wucewa" na Sofronitsky ya fara. Abin da taron jama'a ya je wurin kide-kide na pianist ya fara: an bayyana wa mutane tsarkakan wuraren kiɗa na kiɗa.

Jijiya, ilimin halin dan Adam na fasahar Sofronitsky kusan kowane mai sauraronsa ya ji. Mafi fahimta, duk da haka, ya tsinkayi wani abu dabam a cikin wannan fasaha - rashin tausayi. Wannan shi ne abin da ya bambanta shi da mawaƙa waɗanda suke da alama sun kasance kusa da shi a cikin burinsu na waƙa, ɗakin ajiyar yanayi na halitta, romanticism na duniya, irin su Cortot, Neuhaus, Arthur Rubinstein; sanya kansa, wuri na musamman a cikin da'irar zamani. Musical zargi, wanda ya bincikar wasan Sofronitsky, da gaske ba shi da wani zaɓi sai dai don neman daidaito da kwatankwacin wallafe-wallafe da zane-zane: ga ruɗewa, damuwa, duniyar fasaha masu launin shuɗi na Blok, Dostoevsky, Vrubel.

Mutanen da suka tsaya kusa da Sofronitsky sun rubuta game da sha'awarsa na har abada ga gefuna masu kaifi na kasancewa. AV Sofronitsky, ɗan ɗan wasan pian, ya ce: "Ko da a lokacin da aka fi jin daɗin raye-rayen, wani ɗan wasan pian mai ban tausayi bai bar fuskarsa ba, ba zai taɓa yiwuwa a sami cikakkiyar gamsuwa a kansa ba." Maria Yudina ya yi magana game da "siffar wahalarsa", "rashin lafiya mai mahimmanci..." Ba dole ba ne a ce, hadaddun rikice-rikice na ruhaniya da na tunani na Sofronitsky, wani mutum da mai zane, ya shafi wasansa, ya ba shi alama ta musamman. A wasu lokuta wannan wasan ya zama kusan zubar jini a cikin maganganunsa. Wani lokaci mutane sun yi kuka a wuraren kide-kide na pianist.

Yanzu yafi game da shekaru na ƙarshe na rayuwar Sofronitsky. A lokacin kuruciyarsa, fasaharsa ta hanyoyi da yawa daban-daban. Sukar ya rubuta game da "girmamawa", game da "hanyoyin soyayya" na matashin mawaki, game da "jihohinsa masu ban sha'awa", game da "karimcin jin dadi, shiga cikin lyricism" da makamantansu. Don haka ya buga wasan piano na Scriabin, da kiɗan Liszt (ciki har da B qananan sonata, wanda ya sauke karatu daga ɗakin karatu); A cikin wannan tunanin da kuma m jijiya, ya fassara ayyukan Mozart, Beethoven, Schubert, Schumann, Chopin, Mendelssohn, Brahms, Debussy, Tchaikovsky, Rachmaninov, Medtner, Prokofiev, Shostakovich da sauran composers. A nan, mai yiwuwa, zai zama wajibi ne don ƙayyade cewa duk abin da Sofronitsky ya yi ba za a iya lissafa shi ba - ya ajiye daruruwan ayyuka a cikin ƙwaƙwalwar ajiyarsa kuma a cikin yatsunsa, zai iya sanar (wanda, ta hanyar, ya yi) fiye da dozin shagali. shirye-shirye, ba tare da maimaituwa a cikin ɗayansu ba: da gaske labarinsa ya kasance marar iyaka.

A tsawon lokaci, ayoyin motsin zuciyar dan wasan pian sun zama mafi kamewa, tasiri yana ba da hanya zuwa zurfin da iyawar abubuwan da aka riga aka ambata, da yawa. Hoton marigayi Sofronitsky, mai zane-zane wanda ya tsira daga yakin, mummunan hunturu na Leningrad na arba'in da daya, asarar ƙaunatattunsa, ya bayyana a cikin zane-zane. Wataƙila wasa soyadda ya taka leda a cikin shekarunsa na raguwa, yana yiwuwa kawai a bar shi a baya ya hanyar rayuwa. Akwai wani lamari da ya faɗa a hankali game da wannan ga wata daliba da ke ƙoƙarin nuna wani abu a piano a cikin ruhin malaminta. Mutanen da suka ziyarci maɓallan maɓalli na pian a cikin shekaru arba'in da hamsin ba za su taɓa manta da fassararsa na fantasy na Mozart's C-minor ba, waƙoƙin Schubert-Liszt, Beethoven's “Apassionata”, Waƙar Balaguro da Sonata na ƙarshe na Scriabin, guntun Chopin, Fa- sharp- ƙananan sonata, "Kreisleriana" da sauran ayyukan Schumann. Ba za a manta da girman girman girman kai ba, kusan monumentalism na ginin sauti na Sofronitsky; taimako na sassaka da ɓarke ​​​​na cikakkun bayanai na pianistic, layi, kwane-kwane; "deklamato" mai ban tsoro sosai. Kuma wani abu daya: da yawa kuma a fili ya bayyana lapidarity na salon wasan kwaikwayo. Mawakan da suka san halinsa sosai sun ce: “Ya fara wasa da komai da sauƙi da tsauri fiye da dā,” in ji mawaƙa waɗanda suka san halinsa sosai, “amma wannan sauƙi, rashin fahimta da kuma hikimar ya ba ni mamaki kamar ba a taɓa gani ba. Ya ba da ainihin mafi tsirara kawai, kamar wani tabbatacciyar maida hankali, ɗigon ji, tunani, zai… bayan samun yanci mafi girma a cikin rowa da ba a saba gani ba, matsananciyar ƙarfi, takurawa. (Nikonovich IV Memories na VV Sofronitsky // Cited ed.)

Sofronitsky da kansa yayi la'akari da lokacin hamsin hamsin mafi ban sha'awa da mahimmanci a cikin tarihin tarihinsa. Mafi mahimmanci, haka ya kasance. Faɗuwar faɗuwar rana na sauran masu fasaha wani lokaci ana fentin su a cikin sautunan musamman na musamman, na musamman a cikin faɗuwarsu - sautunan rayuwa da ƙirƙirar "kaka na zinariya"; waɗancan sautunan da suke kama da tunani ana watsar da su ta hanyar wayewar ruhaniya, zurfafawa cikin kai, ƙwanƙwasa ilimin halin ɗan adam. Tare da farin ciki mara misaltuwa, muna sauraron matsalolin ƙarshe na Beethoven, muna kallon fuskokin baƙin ciki na tsofaffi maza da mata na Rembrandt, wanda ya kama shi jim kaɗan kafin mutuwarsa, kuma mun karanta ayyukan ƙarshe na Goethe's Faust, Tashin Tolstoy ko Dostoevsky's Brothers Karamazov. Ya fadi zuwa ga ƙarni na baya-bayan nan na masu sauraron Soviet don tuntuɓar ainihin ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun Sofronitsky. Mahaliccinsu har yanzu yana cikin zukatan dubban mutane, cikin godiya da ƙauna yana tunawa da fasaharsa mai ban mamaki.

G. Tsipin