Walter Gieseking |

Walter Gieseking

Al'adu biyu, manyan al'adun kiɗa biyu sun ciyar da fasahar Walter Gieseking, sun haɗu a cikin bayyanarsa, suna ba shi siffofi na musamman. Kamar dai kaddara ce ta kaddara masa ya shiga tarihin pianism a matsayin daya daga cikin manyan masu fassara wakokin Faransanci kuma a lokaci guda daya daga cikin manyan masu yin kidan Jamusanci, wanda wasansa ya ba da kyauta mai wuyar gaske, Faransanci zalla. haske da alheri.

An haifi dan wasan pian na Jamus kuma ya yi kuruciyarsa a Lyon. Iyayensa sun tsunduma cikin aikin likitanci da ilmin halitta, kuma an ba da damar ilimin kimiyya ga ɗansa - har zuwa ƙarshen kwanakinsa ya kasance mai sha'awar ornithologist. Ya fara nazarin kiɗan sosai a makare, ko da yake ya yi karatu tun yana ɗan shekara 4 (kamar yadda aka saba a cikin gida mai hankali) don kunna piano. Sai bayan dangi ya ƙaura zuwa Hanover, ya fara ɗaukar darasi daga fitaccen malami K. Laimer kuma ba da daɗewa ba ya shiga ajinsa na Conservatory.

• Kiɗa na Piano a cikin kantin sayar da kan layi OZON.ru

Sauƙin da ya koya yana da ban mamaki. A lokacin da yake da shekaru 15, ya ja hankali fiye da shekarunsa tare da fassarar dalla-dalla na ballads guda hudu na Chopin, sannan ya ba da kide-kide guda shida a jere, wanda ya yi duk 32 Beethoven sonatas. "Abin da ya fi wuya shi ne koyon komai da zuciya ɗaya, amma wannan bai yi wuya ba," daga baya ya tuna. Kuma babu fahariya, babu ƙari. Yaƙi da aikin soja sun ɗan katse karatun Gieseking, amma a cikin 1918 ya sauke karatu daga jami'ar Conservatory kuma cikin sauri ya sami karbuwa sosai. Tushen nasararsa shi ne hazaka mai ban mamaki da kuma aikace-aikacensa na yau da kullun a cikin aikin nasa na sabuwar hanyar bincike, wanda aka haɓaka tare da malami kuma abokinsa Karl Leimer (a cikin 1931 sun buga ƙananan ƙasidu biyu waɗanda ke bayyana tushen tsarinsu). Ma'anar wannan hanya, kamar yadda mai bincike na Soviet Farfesa G. Kogan ya lura, "ya ƙunshi aiki mai mahimmanci na tunani game da aikin, musamman ba tare da kayan aiki ba, kuma a cikin sauri mafi girman shakatawa na tsokoki bayan kowane ƙoƙari a lokacin wasan kwaikwayon. ” Wata hanya ko wata, amma Gieseknng ya haɓaka ƙwaƙwalwar ƙwaƙwalwa ta musamman, wanda ya ba shi damar koyon mafi hadaddun ayyuka tare da saurin gudu kuma ya tara babban repertoire. "Zan iya koyan zuciya a ko'ina, ko da a kan tram: ana buga bayanan kula a cikin zuciyata, kuma idan sun isa wurin, babu abin da zai sa su bace," in ji shi.

Taki da hanyoyin aikinsa akan sabbin abubuwan ƙirƙira sun kasance almara. Sun faɗi yadda wata rana, da ya ziyarci mawaƙin M. Castel Nuovo Tedesco, ya ga wani rubutun sabon ɗakin piano a tashar piano. Bayan buga shi a can "daga gani", Gieseking ya nemi bayanin kula na kwana ɗaya kuma ya dawo washegari: an koyi ɗakin ɗakin kuma ba da daɗewa ba ya yi sauti a cikin wani wasan kwaikwayo. Kuma wasan kwaikwayo mafi wahala na wani mawaƙin Italiyanci G. Petrassi Gieseking ya koya a cikin kwanaki 10. Bugu da ƙari, 'yancin fasaha na wasan, wanda ya kasance mai mahimmanci kuma ya ci gaba a tsawon shekaru, ya ba shi damar yin aiki kadan kadan - ba fiye da sa'o'i 3-4 a rana ba. A cikin wata kalma, ba abin mamaki bane cewa repertoire na pianist ya riga ya kasance marar iyaka a cikin 20s. Wani wuri mai mahimmanci a cikinta ya shagaltar da kiɗa na zamani, ya buga, musamman, yawancin ayyukan da marubutan Rasha suka yi - Rachmaninoff, Scriabin. Prokofiev. Amma ainihin sanannun ya kawo shi aikin ayyukan Ravel, Debussy, Mozart.

Fassarar Gieseking na aikin masu hasashe na sha'awar Faransanci ya buge da wadataccen launi da ba a taɓa gani ba, inuwa mafi kyau, jin daɗin sake fasalin duk cikakkun bayanai na masana'antar kiɗan mara ƙarfi, ikon "dakatar da lokacin", don isarwa ga mai saurare duk yanayin mawaƙin, cikar hoton da ya ɗauka a cikin bayanin kula. Iko da sanin Gieseking a wannan yanki sun kasance ba za a iya jayayya ba cewa ɗan wasan pian na Amurka kuma ɗan tarihi A. Chesins ya taɓa yin tsokaci dangane da wasan kwaikwayon "Bergamas Suite" na Debussy: “Mafi yawan mawaƙa da ke wurin ba za su sami ƙarfin gwiwa don ƙalubalanci Haƙƙin mawallafin ya rubuta: "Kayan mallakar Walter Gieseking. Kar ku kutsa kai.” Da yake bayyana dalilan da ya sa ya ci gaba da samun nasara a wasan kwaikwayon Faransanci, Gieseking ya rubuta: “An riga an yi ƙoƙari akai-akai don gano dalilin da ya sa a cikin ma’anar asalin Jamusanci ake samun irin wannan ƙungiyoyi masu nisa da kiɗan Faransanci na gaske. Mafi sauƙi kuma, haka kuma, amsa taƙaice ga wannan tambaya za ta kasance: kiɗa ba shi da iyaka, magana ce ta "ƙasa", mai fahimta ga dukan mutane. Idan muka yi la'akari da wannan a matsayin daidai ne da babu shakka, kuma idan tasirin ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararraƙi idan har aka yi la'akari da su a kowane lokaci na duniya sun kasance tushen farin ciki da gamsuwa ga mai yin kida, to, wannan shi ne ainihin bayani game da irin wannan hanya a fili ta fahimtar kiɗan. … A ƙarshen 1913, a Hanover Conservatory, Karl Leimer ya ba ni shawarar in koyi “Wani tunani a cikin Ruwa” daga littafin farko na “Hotuna”. Daga mahangar “marubuci”, mai yiwuwa zai yi tasiri sosai wajen magana game da wata fahimta kwatsam wadda da alama ta yi juyin juya hali a raina, game da wani nau’in “tsawa” na kida, amma gaskiya ta umurci a yarda cewa babu wani abu na irin ya faru. Ina matukar son ayyukan Debussy, na same su da kyau kwarai kuma nan da nan na yanke shawarar buga su gwargwadon yiwuwa…” kuskure” ba zai yiwu ba. Kun gamsu da wannan kuma akai-akai, kuna nufin cikakkun ayyukan waɗannan mawaƙa a cikin rikodin Gieseking, wanda ke riƙe da sabo har yau.

Yawancin abubuwan da suka fi dacewa da rigima suna da alama ga wani yanki da aka fi so na aikin mai zane - Mozart. Kuma a nan wasan kwaikwayon ya cika a cikin dabaru da yawa, wanda aka bambanta ta hanyar ladabi da haske na Mozartian zalla. Amma duk da haka, a cewar masana da yawa, Gieseking's Mozart gaba ɗaya ya kasance na tsohuwar, daskarewa - karni na XNUMX, tare da al'adun kotu, raye-raye masu kyau; babu wani abu a cikinsa daga marubucin Don Juan da Requiem, daga harbinger na Beethoven da romantics.

Babu shakka, Mozart na Schnabel ko Clara Haskil (idan muka yi magana game da waɗanda suka yi wasa a lokaci guda kamar Gieseking) ya fi dacewa da ra'ayoyin zamaninmu kuma ya zo kusa da manufa na mai sauraron zamani. Amma fassarori na Gieseking ba su rasa ƙimar fasahar su ba, watakila da farko saboda, bayan da ya wuce ta hanyar wasan kwaikwayo da zurfin ilimin falsafa na kiɗa, ya iya fahimta da kuma isar da haske na har abada, ƙaunar rayuwa da ke cikin kowane abu - har ma da mafi yawan shafuka masu ban tsoro. na aikin wannan mawaki.

Gieseking ya bar ɗaya daga cikin mafi kyawun tarin sauti na kiɗan Mozart. Da yake tantance wannan gagarumin aiki, mai sukar Jamus ta Yamma K.-H. Mann ya lura cewa "gaba ɗaya, waɗannan rikodin ana bambanta su ta hanyar sauti mai sassauƙa da ba a saba gani ba kuma, ƙari kuma, bayyananniyar kusan mai raɗaɗi, amma kuma ta hanyar faɗin ma'auni mai ban mamaki da tsabtar taɓawa ta pianistic. Wannan gaba ɗaya ya dace da tabbacin Gieseking cewa ta wannan hanyar ana haɗuwa da tsabtar sauti da kyawun magana, ta yadda cikakkiyar fassarar sigar gargajiya ba ta rage ƙarfin zurfafan ji na mawakin ba. Waɗannan su ne dokokin bisa ga abin da mai wasan kwaikwayo ya buga Mozart, kuma a kan su ne kawai mutum zai iya kimanta wasansa daidai.

Tabbas, repertoire na Gieseking bai iyakance ga waɗannan sunaye ba. Ya buga Beethoven da yawa, ya kuma taka leda a hanyarsa, a cikin ruhun Mozart, ƙin kowane pathos, daga romanticization, ƙoƙari don tsabta, kyakkyawa, sauti, jituwa na rabbai. Asalin salon sa ya bar tambari iri ɗaya akan ayyukan Brahms, Schumann, Grieg, Frank da sauransu.

Ya kamata a jaddada cewa, ko da yake Gieseking ya kasance mai gaskiya ga ka'idodinsa na halitta a duk rayuwarsa, a cikin shekaru goma da suka wuce, bayan yakin basasa, wasansa ya sami wani hali daban-daban fiye da baya: sauti, yayin da yake riƙe da kyau da kuma nuna gaskiya, ya zama cikakke kuma zurfi, gwaninta ya kasance mai ban mamaki. feda da wayo na pianissimo, lokacin da wata boyayyiyar sauti da kyar ta kai ga layuka masu nisa na zauren; a ƙarshe, mafi girman madaidaicin an haɗa shi tare da wasu lokuta ba zato ba tsammani - kuma duk mafi ban sha'awa - sha'awar. A wannan lokacin ne aka yi mafi kyawun rikodi na mai zane - tarin Bach, Mozart, Debussy, Ravel, Beethoven, rikodin tare da kide-kide na romantics. Hakazalika, daidaito da kamalar wasansa sun kasance waɗanda aka rubuta yawancin bayanan ba tare da shiri ba kuma kusan ba tare da maimaitawa ba. Wannan yana ba su damar aƙalla isar da fara'a wanda wasansa a ɗakin kide-kide ya haskaka.

A cikin shekarun bayan yakin, Walter Gieseking yana cike da kuzari, yana cikin farkon rayuwarsa. Tun 1947, ya koyar da ajin piano a Saarbrücken Conservatory, yana aiwatar da tsarin ilimin matasa na pianists wanda shi da K. Laimer suka ɓullo da su, sun yi tafiye-tafiyen kide-kide na dogon lokaci, kuma sun rubuta abubuwa da yawa a rubuce-rubuce. A farkon 1956, artist ya shiga cikin wani hadarin mota a cikin abin da matarsa ​​ta mutu, kuma ya ji rauni mai tsanani. Duk da haka, bayan watanni uku, Gieseking ya sake bayyana a kan matakin Carnegie Hall, yana yin tare da ƙungiyar makaɗa a ƙarƙashin baton Guido Cantelli Beethoven's Fifth Concerto; Washegari, jaridun New York sun bayyana cewa mai zanen ya warke sarai daga hatsarin kuma fasaharsa ba ta dusashe ba kwata-kwata. Da alama lafiyarsa ta samu kwata-kwata, amma bayan wata biyu ya mutu kwatsam a Landan.

Gadon Gieseking ba bayanansa kaɗai ba ne, hanyar koyarwarsa, ɗalibansa masu yawa; Maigidan ya rubuta littafi mafi ban sha'awa na memoirs "Don haka Na Zama Pianist", da kuma ɗakin daki da na piano, shirye-shirye, da bugu.

Cit.: Don haka na zama dan wasan pianist // Yin fasahar ƙasashen waje. – M., 1975. Fitowa. 7.

Grigoriev L., Platek Ya.