Wilhelm Backhaus |

Wilhelm Backhaus

Sana'ar fasaha ta ɗaya daga cikin fitattun masu wasan pianism na duniya ta fara ne a farkon ƙarni. A lokacin da yake da shekaru 16, ya yi rawar gani a Landan kuma a shekara ta 1900 ya yi rangadin farko a Turai; a 1905 ya zama wanda ya lashe gasar kasa da kasa ta IV mai suna Anton Rubinstein a birnin Paris; a 1910 ya rubuta tarihinsa na farko; A farkon yakin duniya na farko, ya riga ya yi suna sosai a Amurka, Kudancin Amirka, da Ostiraliya. Ana iya ganin suna da hoton Backhaus a cikin Littafin Kiɗa na Zinare da aka buga a Jamus a farkon ƙarni namu. Shin wannan ba yana nufin, mai karatu na iya tambaya, cewa yana yiwuwa a rarraba Backhouse a matsayin ɗan wasan piano na “zamani” ne kawai bisa dalilai na yau da kullun, tare da la’akari da tsawon rayuwarsa da ba a taɓa gani ba, wanda ya ɗauki kimanin shekaru saba’in? A'a, fasaha na Backhaus na zamaninmu ne, kuma saboda a cikin shekarunsa na raguwa, mai zane bai "gama da kansa ba", amma ya kasance a saman nasarorin da ya samu. To amma babban abin ba haka yake ba, sai dai kasancewar irin salon wasansa da halin masu saurare a cikin wadannan shekarun da suka gabata ya nuna matakai da dama wadanda ke da alaka da ci gaban fasahar piano na zamani, sun kasance kamar su. gada mai haɗa pianism na baya da na zamaninmu.

Gidan baya bai taɓa yin karatu a ɗakin karatu ba, bai sami ilimi mai tsari ba. A cikin 1892, mai gudanarwa Arthur Nikisch ya sanya wannan shigarwa a cikin kundin yaro mai shekaru takwas: "Wanda ya buga babban Bach da kyau sosai zai sami wani abu a rayuwa." A wannan lokacin, Backhaus ya fara ɗaukar darussa daga malamin Leipzig A. Reckendorf, wanda ya yi karatu tare da shi har zuwa 1899. Amma ya ɗauki ainihin mahaifinsa na ruhaniya E. d'Albert, wanda ya ji shi a karon farko yana 13- Yaro mai shekara kuma na dogon lokaci ya taimaka masa da shawarwarin abokantaka.

Gidan baya ya shiga rayuwarsa ta fasaha a matsayin fitaccen mawaki. Da sauri ya tara babban repertoire kuma an san shi da virtuoso mai ban mamaki mai iya shawo kan duk wata matsala ta fasaha. Ya kasance tare da irin wannan suna cewa ya isa Rasha a ƙarshen 1910 kuma ya yi tasiri sosai. Yu ya rubuta: “Mai ɗan wasan piano ne,” in ji Yu. Engel, "da farko, yana da kyawawan dabi'un piano: m (a cikin kayan aiki) sautin m; inda ya cancanta - mai ƙarfi, mai cikakken sauti, ba tare da fashewa da kururuwa ba; goga mai ban sha'awa, sassaucin tasiri, gabaɗaya fasaha mai ban mamaki. Amma abu mafi ban sha'awa shine sauƙin wannan fasaha mai wuya. Gidan baya yana ɗaukar tsayinsa ba a cikin gumin goshinsa ba, amma cikin sauƙi, kamar Efimov a cikin jirgin sama, ta yadda haɓakar amincewar farin ciki ba da gangan ake watsawa ga mai sauraro ba… Hali na biyu na fasalin aikin Backhouse shine tunani, don irin wannan matashin mai zane a wasu lokuta yana da ban mamaki kawai. Ta kama ido daga farkon farkon shirin - Bach's kyakkyawan wasan Chromatic Fantasy da Fugue. Duk abin da ke Backhouse ba kawai yana da haske ba, har ma a wurinsa, a cikin tsari mai kyau. Kash! – Wani lokaci ma da kyau! Don haka ina so in maimaita kalaman Bülow ga ɗaya daga cikin ɗaliban: “Ai, ai, ai! Don haka matasa - kuma riga da yawa tsari! Wannan hankali ya kasance sananne musamman, wani lokacin zan kasance a shirye in faɗi - bushewa, a cikin Chopin… Wani tsohon ɗan wasan pianist mai ban mamaki, lokacin da aka tambaye shi game da abin da ake buƙata ya zama ainihin nagarta, ya amsa shiru, amma a alamance: ya nuna hannuwansa, kai, zuciya. Kuma ga alama a gare ni cewa Backhouse ba shi da cikakkiyar jituwa a cikin wannan triad; Hannaye masu ban mamaki, kyakkyawan kai da lafiyayyan zuciya, amma marar hankali wanda ba ya tafiya tare da su. Sauran masu bita ne suka raba wannan ra'ayi cikakke. A cikin jaridar "Golos" za a iya karanta cewa "wasansa ba shi da fara'a, ikon motsin rai: yana kusan bushewa a wasu lokuta, kuma sau da yawa wannan bushewa, rashin jin daɗi yana zuwa gaba, yana ɓoye gefen virtuoso mai haske." “Akwai isassun haske a wasansa, akwai kuma kade-kade, amma watsawar ba ta dumama wutar ciki. Hasken sanyi, a mafi kyau, na iya mamaki, amma ba abin sha'awa ba. Tunaninsa na fasaha ba koyaushe yana shiga zurfin marubucin ba,” mun karanta a cikin sharhin G. Timofeev.

Don haka, Backhouse ya shiga filin wasan pianistic a matsayin mai hankali, mai hankali, amma mai sanyi, kuma wannan kunkuntar tunani - tare da mafi kyawun bayanai - ya hana shi kaiwa ga matsayi na fasaha na gaskiya shekaru da yawa, kuma a lokaci guda, mafi girma na shahara. Backhouse ya ba da kide-kide ba tare da gajiyawa ba, ya sake buga kusan duk adabin piano daga Bach zuwa Reger da Debussy, wani lokacin ya kasance babban nasara - amma ba ƙari ba. Ba a ma kwatanta shi da “manyan duniya” ba - tare da masu fassara. Bayar da yabo ga daidaito, daidaito, masu sukar sun zargi mai zane don kunna komai iri ɗaya, ba tare da sha'awar ba, cewa ya kasa bayyana halinsa ga kiɗan da ake yi. Fitaccen ɗan wasan piano da masanin kade-kade W. Niemann ya lura a cikin 1921: “Misalin koyarwa na inda neoclassicism ke kaiwa tare da halin ko in kula da hankali da ruhaniya da kuma ƙara mai da hankali ga fasaha shi ne ɗan wasan pian na Leipzig Wilhelm Backhaus… daga dabi'a , ruhun da zai sa sauti ya zama abin tunani na mai arziki da tunanin ciki, ya ɓace. Backhouse ya kasance kuma ya kasance ƙwararren masani na ilimi. " Masu sukar Soviet sun raba wannan ra'ayi a lokacin yawon shakatawa na zane-zane na USSR a cikin 20s.

Wannan ya ci gaba shekaru da yawa, har zuwa farkon 50s. Da alama bayyanar Backhouse ba ta canza ba. Amma a fakaice, na dogon lokaci ba tare da fahimta ba, akwai tsarin juyin halittar fasaharsa, wanda ke da alaka da juyin halittar mutum. Ƙa'idar ruhaniya, ɗabi'a ta zo gaba da ƙarfi, sauƙi mai hikima ya fara rinjaye a kan haske na waje, bayyanawa - akan rashin kulawa. A lokaci guda, mawallafin mawallafin ya kuma canza: virtuoso guda kusan bace daga shirye-shiryensa (yanzu an ajiye su don encores), Beethoven ya ɗauki babban wuri, sannan Mozart, Brahms, Schubert ya biyo baya. Kuma haka ya faru cewa a cikin 50s jama'a, kamar yadda yake, sun sake gano Backhaus, sun gane shi a matsayin daya daga cikin "Bethovenists" mai ban mamaki na zamaninmu.

Shin wannan yana nufin cewa an wuce hanyar da aka saba da ita daga 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 mata waɗanda ke da yawa a kowane lokaci, zuwa ga mai fasaha na gaske? Ba lallai ba ta wannan hanyar. Gaskiyar ita ce ka'idodin aikin mai zane sun kasance ba su canza ba a cikin wannan hanyar. Gidan baya ya kasance yana jaddada yanayin sakandare - daga ra'ayinsa - na fasahar fassarar kiɗa dangane da halittarsa. Ya ga a cikin mai zane kawai "mai fassara", tsaka-tsakin tsakanin mawaƙa da mai sauraro, wanda aka saita a matsayin babbansa, idan ba kawai manufarsa ba, ainihin watsa ruhi da harafin rubutun marubucin - ba tare da wani kari daga kansa ba. ba tare da nuna fasaha na "I". A cikin shekarun matashin mawaƙin, lokacin da pianistic har ma da haɓakar kiɗan kiɗan nasa ya zarce haɓakar halayensa, wannan ya haifar da bushewar motsin rai, rashin mutuntaka, fanko na ciki da sauran abubuwan da aka riga aka ambata na pianism na Backhouse. Sa'an nan kuma, yayin da mai zanen ya girma a ruhaniya, halayensa ba makawa, duk da wani furci da ƙididdiga, ya fara barin tambarin fassararsa. Wannan ba ta wata hanya ba ya sanya fassararsa ta zama "mafi son rai", bai kai ga sabani ba - a nan Backhouse ya kasance mai gaskiya ga kansa; amma ma'anar ma'ana mai ban mamaki, da alaƙa da cikakkun bayanai da kuma gaba ɗaya, tsantsa da girman sauƙi da tsarki na ruhaniya na fasaharsa babu shakka ya buɗe, kuma haɗuwarsu ta haifar da dimokuradiyya, samun dama, wanda ya kawo masa wani sabon nasara, qualitatively daban-daban fiye da da. .

Mafi kyawun fasalulluka na Backhaus sun fito tare da taimako na musamman a cikin fassararsa na marigayi sonatas na Beethoven - fassarar da aka tsarkake daga duk wani taɓawa na jin daɗi, hanyoyin ƙarya, gaba ɗaya ƙarƙashin bayyana tsarin mawallafin ciki na mawaƙi, wadatar tunanin mawaƙa. Kamar yadda daya daga cikin masu binciken ya lura, wani lokaci yakan zama kamar masu sauraron Backhouse cewa ya kasance kamar madugu wanda ya sauke hannayensa kuma ya ba wa ƙungiyar makaɗa damar yin wasa da kanta. "Lokacin da Backhaus ke wasa Beethoven, Beethoven yayi magana da mu, ba Backhaus ba," in ji sanannen masanin kida na Austriya K. Blaukopf. Ba kawai marigayi Beethoven ba, har ma Mozart, Haydn, Brahms, Schubert. Schumann ya samu a cikin wannan mawaƙin wani fitaccen fassarar gaske, wanda a ƙarshen rayuwarsa ya haɗu da nagarta da hikima.

A cikin gaskiya, ya kamata a jaddada cewa ko a cikin shekarunsa na baya - kuma sun kasance babban ranar Backhouse - bai yi nasara a kowane abu daidai ba. Yanayinsa ya zama ƙasa da ƙasa, alal misali, lokacin da aka yi amfani da kiɗan Beethoven na farkon lokaci har ma da tsakiyar lokaci, inda ake buƙatar ƙarin jin daɗi da fantasy daga mai yin. Wani mai bita ya ce "inda Beethoven ya ce ƙasa kaɗan, Backhouse ba shi da wani abin da za a ce."

A lokaci guda kuma, lokaci ya kuma ba mu damar sake kallon fasahar Backhaus. Ya bayyana a fili cewa "abun da ya yi" wani nau'i ne na mayar da hankali ga sha'awar gabaɗaya tare da wasan kwaikwayo na soyayya har ma da "super-romantic", halayyar lokacin tsakanin yakin duniya biyu. Kuma, watakila, bayan wannan sha'awar ta fara raguwa ne muka sami damar fahimtar abubuwa da yawa a Backhouse. Don haka ɗaya daga cikin mujallun Jamus ba ta yi daidai ba wajen kiran Backhaus a cikin tarihin mutuwar “ƙarshen manyan ’yan wasan pian na zamanin da.” Maimakon haka, ya kasance ɗaya daga cikin ƴan wasan pian na farko na wannan zamani.

"Ina so in kunna kiɗa har zuwa kwanakin ƙarshe na rayuwata," in ji Backhouse. Burinsa ya cika. Shekaru goma da rabi na ƙarshe sun zama lokaci na haɓaka haɓakar ƙirƙira da ba a taɓa yin irinsa ba a rayuwar mai zane. Ya yi bikin zagayowar ranar haihuwarsa na 70th tare da babban tafiya zuwa Amurka (maimaita shi bayan shekaru biyu); a 1957 ya buga dukkan kide-kiden Beethoven a Rome a maraice biyu. Bayan da ya katse aikinsa na tsawon shekaru biyu ("don tsara fasaha"), mai zane-zane ya sake bayyana a gaban jama'a a duk girmansa. Ba wai kawai a wuraren kide-kide ba, har ma a lokacin bita, bai taba yin wasan rabin-zuciya ba, amma, akasin haka, ko da yaushe ya bukaci mafi kyawun lokaci daga masu gudanarwa. Ya ɗauki lamarin a matsayin abin girmamawa har zuwa kwanakinsa na ƙarshe don yin ajiya, don haɓakawa, a shirye-shiryen irin waɗannan wasannin masu wahala kamar Liszt's Campanella ko kwafin Liszt na waƙoƙin Schubert. A cikin 60s, an sake sake rikodin bayanan Backhouse; Littattafan wannan lokacin sun ɗauki fassararsa na dukan sonatas da concertos na Beethoven, ayyukan Haydn, Mozart da Brahms. A jajibirin cikarsa shekaru 85, mawakin ya taka rawar gani sosai a Vienna Concerto na Biyu Brahms, wanda ya fara yi a shekarar 1903 tare da H. Richter. A ƙarshe, kwanaki 8 kafin mutuwarsa, ya ba da kide kide a bikin bazara na Carinthia a Ostia kuma ya sake buga wasa, kamar koyaushe, da kyau. Amma ciwon zuciya kwatsam ya hana shi kammala shirin, kuma kwanaki kadan daga baya fitaccen mawakin ya mutu.

Wilhelm Backhaus bai bar makaranta ba. Bai so kuma baya son koyarwa. Ƙoƙari kaɗan - a Kwalejin King a Manchester (1905), Sonderhausen Conservatory (1907), Cibiyar Curtis Philadelphia (1925 - 1926) bai bar wata alama ba a cikin tarihin rayuwarsa. Ba shi da dalibai. "Na shagaltu da wannan," in ji shi. "Idan ina da lokaci, Backhouse da kansa ya zama ɗalibin da na fi so." Ya ce shi ba tare da matsayi, ba tare da coquetry. Kuma ya yi qoqari don samun kamala har qarshen rayuwarsa, yana koyo da waqa.

Grigoriev L., Platek Ya.