Wilhelm Kempff |

Wilhelm Kempff

A cikin zane-zane na karni na 20, ana iya gano wanzuwar har ma da adawar abubuwa guda biyu, matsayi na fasaha guda biyu daban-daban da ra'ayoyi kan rawar da mawakin ya taka a fili. Wasu suna ganin mai zane da farko (wani lokaci kawai) a matsayin tsaka-tsaki tsakanin mawaƙin da mai sauraro, wanda aikinsa shi ne ya isar da hankali ga masu sauraro abin da marubucin ya rubuta, yayin da ya kasance a cikin inuwa da kansa. Wasu, akasin haka, sun tabbata cewa mai zane-zane mai fassara ne a cikin ainihin ma'anar kalmar, wanda ake kira don karantawa ba kawai a cikin bayanin kula ba, har ma "tsakanin bayanin kula", don bayyana ba kawai tunanin marubucin ba, amma har ma. halinsa gare su, wato, ya wuce su ta cikin prism na "I". Tabbas, a aikace, irin wannan rarrabuwa galibi yana da sharuɗɗa, kuma ba sabon abu ba ne ga masu fasaha su karyata sanarwar nasu tare da aikin nasu. Amma idan akwai masu fasaha waɗanda bayyanarsu za a iya danganta su ga ɗayan waɗannan nau'ikan, to Kempf nasa ne kuma koyaushe yana cikin na biyun su. A gare shi, kunna piano ya kasance kuma ya kasance aikin kirkire-kirkire, wani nau'i ne na bayyana ra'ayinsa na fasaha daidai da ra'ayoyin mawallafin. A cikin ƙoƙarinsa na son rai, karatun kiɗa mai launi daban-daban, Kempf shine watakila ya fi daukar hankali ga ɗan uwansa da Backhaus na zamani. Ya tabbata sosai cewa “kawai actuating wani m rubutu, kamar dai kai ma'aikacin kotu ko notary, tsara don tabbatar da sahihancin marubucin hannun, shi ne ya yaudari jama'a. Aikin kowane mai kirkira da gaske, gami da mai fasaha, shine ya nuna abin da marubucin ya nufa a cikin madubin halinsa.

Ya kasance kamar haka koyaushe - tun farkon aikin ɗan wasan pian, amma ba koyaushe ba kuma ba nan da nan irin wannan ƙirƙira ta kai shi ga kololuwar fasahar fassara ba. A farkon tafiyarsa, sau da yawa yakan wuce gona da iri, ya ketare iyakokin da suka wuce abin da ke tattare da kirkire-kirkire ya zama saba wa nufin marubuci, zuwa ga son rai na mai yin wasan kwaikwayo. A baya a cikin 1927, masanin kiɗan A. Berrsche ya kwatanta matashin ɗan wasan pian, wanda ba da daɗewa ba ya hau kan hanyar fasaha, kamar haka: “Kempf yana da ban sha'awa, mai ban sha'awa har ma da ban mamaki a matsayin tabbataccen gyara na kayan aikin da aka zalunta. da zagi na tsawon lokaci. Yana jin wannan kyautar nasa sosai wanda sau da yawa dole ne mutum ya yi shakkar abin da ya fi sha'awa - Beethoven ko kuma tsabtar sautin kayan aiki.

A tsawon lokaci, duk da haka, riƙe da 'yancin fasaha kuma ba canza ka'idodinsa ba, Kempf ya ƙware fasaha mai mahimmanci na ƙirƙirar fassarar kansa, ya kasance mai gaskiya ga ruhu da harafin abun da ke ciki, wanda ya kawo shi a duniya. Shekaru da yawa bayan haka, wani mai suka ya tabbatar da hakan tare da waɗannan layin: "Akwai masu fassara da suke magana game da "su" Chopin, "su" Bach, "su" Beethoven, kuma a lokaci guda ba sa zargin cewa suna aikata laifi ta hanyar yin amfani da su. dukiyar wani. Kempf bai taɓa yin magana game da "nasa" Schubert, "na" Mozart, "nasa" Brahms ko Beethoven ba, amma yana buga su ba tare da kuskure ba kuma ba tare da misaltuwa ba.

Bayanin fasalin aikin Kempf, asalin salon wasan kwaikwayonsa, dole ne mutum yayi magana da farko game da mawaƙin, sannan kawai game da pianist. A cikin rayuwarsa, musamman a lokacin da yake girma, Kempf ya kasance mai matukar hannu a cikin abun ciki. Kuma ba tare da nasara ba - ya isa a tuna cewa a cikin 20s, W. Furtwängler ya haɗa da biyu daga cikin waƙoƙinsa a cikin repertoire; cewa a cikin 30s, mafi kyawun wasan kwaikwayo na operas, The Gozzi Family, yana wasa a matakai da yawa a Jamus; wanda daga baya Fischer-Dieskau ya gabatar da masu sauraronsa game da soyayyarsa, kuma da yawa daga cikin mawakan piano suna buga waƙoƙinsa na piano. Haɗin kai ba kawai "sha'awa" ba ne a gare shi, yana aiki a matsayin hanyar yin magana mai ƙira, kuma a lokaci guda, 'yanci daga ayyukan yau da kullum na nazarin pianistic.

Kempf's composing hypostasis shima yana nunawa a cikin wasan kwaikwayonsa, koyaushe cike da fantasy, sabon hangen nesa, mara tsammani na kiɗan da aka sani. Don haka numfashin kiɗan nasa na kyauta, wanda masu suka sukan ayyana a matsayin "tunanin piano."

Kempf yana ɗaya daga cikin ƙwararrun masanan cantilena mai ban sha'awa, na halitta, legato mai santsi, da sauraron sa, ka ce, Bach, ba da gangan ba ya tuna da fasahar Casals tare da sauƙin sauƙi da ɗan adam na kowane jumla. "A matsayina na yaro, aljana sun ba ni kyauta mai ƙarfi mai ƙarfi, ƙishirwa mara iyaka don sutura kwatsam, lokuta masu banƙyama ta hanyar kiɗa," in ji mai zane da kansa. Kuma daidai wannan haɓakawa ne, ko kuma, ƴancin fassarori na ƙirƙira wanda ya fi kayyade sadaukarwar Kempf ga kiɗan Beethoven da ɗaukakar da ya samu a matsayin ɗaya daga cikin mafi kyawun masu yin wannan waƙar a yau. Yana son nuna cewa Beethoven shi kansa babban mai haɓakawa ne. Yadda dan wasan piano ya fahimci duniyar Beethoven ba wai tafsirinsa kadai ke tabbatar da shi ba, har ma da cadenzas da ya rubuta ga kowa da kowa sai na karshe na kide-kiden Beethoven.

A wata ma'ana, waɗanda suka kira Kempf "mai wasan pianist don ƙwararru" tabbas daidai ne. Amma ba, ba shakka, cewa ya yi magana da kunkuntar da'irar ƙwararrun masu sauraron - a'a, fassarorinsa na dimokiradiyya ne ga duk abin da suke da shi. Amma ko da abokan aiki a kowane lokaci suna bayyana cikakkun bayanai masu yawa a cikin su, galibi suna guje wa sauran masu yin wasan kwaikwayo.

Da zarar Kempf cikin raha, rabin-da gaske ya bayyana cewa shi zuriyar Beethoven ne kai tsaye, kuma ya bayyana: “Malamina Heinrich Barth ya yi nazari da Bülow da Tausig, waɗanda suke tare da Liszt, Liszt tare da Czerny, da Czerny tare da Beethoven. Don haka tsaya a hankali lokacin da kuke magana da ni. Duk da haka, akwai wasu gaskiya a cikin wannan barkwanci, - ya kara da gaske, - Ina so in jaddada wannan: don kutsawa cikin ayyukan Beethoven, kuna buƙatar nutsar da kanku a cikin al'adun zamanin Beethoven, a cikin yanayin da ya haifar da haihuwa. babban kida na karni na XNUMX, kuma ku sake farfado da shi a yau."

Ya ɗauki Wilhelm Kempf da kansa shekaru da yawa don kusanci fahimtar babban kiɗan da gaske, kodayake ƙwararrun ƙwarewarsa na pianistic sun bayyana kansu tun yana ƙuruciya, kuma mai sha'awar nazarin rayuwa da tunani na nazari shima ya bayyana da wuri, a kowane hali, tun kafin saduwa da shi. G. Bart. Bugu da ƙari, ya girma a cikin iyali tare da dogon al'ada na kiɗa: duka kakansa da ubansa sun kasance shahararrun masu tsarawa. Ya yi ƙuruciyarsa a garin Uteborg, kusa da Potsdam, inda mahaifinsa ya yi aiki a matsayin mawaƙa da organist. A lokacin jarrabawar shiga Kwalejin Waƙa ta Berlin, Wilhelm ɗan shekara tara ba kawai ya taka leda ba ne kawai, har ma ya canza sharuɗɗa da fugues daga Bach's Well-Tempered Clavier zuwa kowane maɓalli. Daraktan makarantar Georg Schumann, wanda ya zama malaminsa na farko, ya ba yaron wasiƙar shawara ga babban ɗan wasan violin I. Joachim, kuma tsoho maestro ta ba shi guraben karatu wanda ya ba shi damar yin karatu a fannoni biyu a lokaci ɗaya. Wilhelm Kempf ya zama dalibi na G. Barth a piano da R. Kahn a cikin abun da ke ciki. Barth ya dage cewa saurayin da farko yakamata ya sami ilimi na gama-gari.

Ayyukan kide-kide na Kempf ya fara ne a cikin 1916, amma na dogon lokaci ya haɗa shi da aikin koyarwa na dindindin. A cikin 1924 an nada shi don ya gaji Max Power mai ban mamaki a matsayin darekta na Makarantar Kiɗa ta Stuttgart, amma ya bar wannan matsayi bayan shekaru biyar don samun ƙarin lokaci don yawon shakatawa. Ya ba da kide-kide da yawa a kowace shekara, ya ziyarci kasashen Turai da dama, amma ya sami karbuwa ta hakika bayan yakin duniya na biyu. Wannan shine farkon sanin mai fassarar aikin Beethoven.

Duk 32 Beethoven sonatas an haɗa su a cikin repertoire na Wilhelm Kempf, daga shekara goma sha shida zuwa yau sun kasance harsashinsa. Sau hudu Deutsche Gramophone ya fitar da faifai na cikakken tarin sonatas na Beethoven, wanda Kempf ya yi a lokuta daban-daban na rayuwarsa, na karshe ya fito a shekarar 1966. Kuma kowane irin rikodin ya bambanta da na baya. “Akwai abubuwa a rayuwa,” in ji mawallafin, “waɗanda a koyaushe suke samun sababbin abubuwa. Akwai littattafan da za a iya sake karantawa ba tare da ƙarewa ba, suna buɗe sabbin hazaka a cikinsu - irin su Goethe's Wilhelm Meister da almara na Homer a gare ni. Haka abin yake game da sonatas na Beethoven. Kowane sabon rikodin zagaye na Beethoven nasa baya kama da wanda ya gabata, ya bambanta da shi duka dalla-dalla da kuma fassarar sassa daban-daban. Amma ƙa'idar ɗa'a, ɗan adam mai zurfi, wasu yanayi na musamman na nutsewa cikin abubuwan kiɗan Beethoven ba su canzawa - wani lokacin tunani, falsafanci, amma koyaushe yana aiki, cike da tashin hankali da hankali. "A ƙarƙashin yatsun Kempf," mai sukar ya rubuta, "har ma da yanayin yanayin kwanciyar hankali na kiɗan Beethoven yana samun sihiri. Wasu za su iya yin wasa da shi a hankali, da karfi, mafi virtuoso, mafi aljanu - amma Kempf ya fi kusa da tatsuniya, ga asiri, saboda ya shiga cikin ciki ba tare da wani tashin hankali ba.

Irin wannan jin na sa hannu wajen bayyana sirrin kiɗan, ma'ana mai ban tsoro na "lokaci ɗaya" na fassarar yana kama mai sauraro lokacin da Kempf ke yin kide-kiden Beethoven. Amma a lokaci guda, a cikin shekarun da ya balaga, irin wannan rashin jin daɗi yana haɗuwa a cikin fassarar Kempf tare da tsantsar tunani, ingancin ma'ana na tsarin aiwatarwa, da gaske Beethovenian sikelin da abin tunawa. A shekara ta 1965, bayan da mai zane ya zagaya GDR, inda ya yi kade-kade da wake-wake na Beethoven, mujallar Musik und Gesellschaft ta lura cewa “a cikin wasansa, kowane sauti ya zama kamar dutsen ginin ginin da aka gina tare da tsantsan tunani da madaidaicin ra'ayi cewa ya haskaka halayen kowane wasan kwaikwayo, kuma, a lokaci guda, yana fitowa daga gare shi.

Idan Beethoven ya kasance kuma ya kasance don "ƙaunar farko" na Kempf, to shi da kansa ya kira Schubert "marigayin gano rayuwata." Wannan, ba shakka, yana da dangi sosai: a cikin faifan zane-zane, ayyukan romantics - kuma daga cikinsu Schubert - sun mamaye wani wuri mai mahimmanci. Amma masu sukar, biyan haraji ga namiji, tsanani da kuma nobility na artist ta wasan, sun ƙaryata game da shi da zama dole ƙarfi da haske a lõkacin da ta je, misali, fassarar Liszt, Brahms ko Schubert. Kuma a bakin kofa na ranar haihuwarsa na 75, Kempf ya yanke shawarar sake kallon kiɗan Schubert. Sakamakon bincikensa an "rikodi" a cikin cikakken littafin da aka buga a baya na sonatas, alama, kamar yadda koyaushe tare da wannan mai zane, ta hatimin zurfin mutumtaka da asali. "Abin da muke ji a cikin aikinsa," in ji mai suka E. Croher, "wani kallon abubuwan da suka gabata ne daga yanzu, wannan Schubert ne, wanda aka tsarkake kuma ya bayyana ta hanyar kwarewa da balaga..."

Sauran mawakan da suka gabata kuma sun mamaye wani muhimmin wuri a cikin repertoire na Kempf. "Yana wasa mafi haske, iska, Schumann mai cikakken jini wanda mutum zai iya mafarkin; ya sake yin Bach tare da soyayya, jin dadi, zurfin da waƙar sonic; yana jimre wa Mozart, yana nuna fara'a da wayo mara iyaka; yana taɓa Brahms cikin taushin hali, amma ba ta wata hanya ba tare da muguwar cuta ba,” in ji ɗaya daga cikin mawallafin tarihin Kempf. Amma har yanzu shaharar mai zane a yau yana hade daidai da sunaye biyu - Beethoven da Schubert. Kuma yana da halayyar cewa sautin cikakken tarin ayyukan Beethoven, wanda aka buga a Jamus a kan bikin cika shekaru 200 na haihuwar Beethoven, ya haɗa da bayanan 27 da aka rubuta ko dai ta Kempf ko tare da sa hannu (dan wasan violin G. Schering da cellist P. Fournier). .

Wilhelm Kempf ya riƙe babban kuzarin ƙirƙira zuwa tsufa. A cikin shekarun saba'in, ya ba da kide-kide har zuwa 80 a shekara. Wani muhimmin al'amari na ayyuka daban-daban na mai zane a cikin shekarun bayan yakin shine aikin koyarwa. Ya kafa kuma yana gudanar da darussan fassarar Beethoven a kowace shekara a garin Positano na Italiya, inda yake gayyatar matasa ƴan pian 10-15 waɗanda ya zaɓa yayin balaguron kide kide. A cikin shekarun da suka wuce, ɗimbin 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 ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun shekaru sun yi tafiya a nan, kuma a yau sun zama manyan mashahuran ƙwararrun mawaƙa. Ɗaya daga cikin majagaba na rikodi, Kempf har yanzu yana yin rikodin abubuwa da yawa a yau. Kuma ko da yake fasaha na wannan mawaƙin na iya zama aƙalla a daidaita shi "sau ɗaya kawai" (bai sake maimaitawa ba, har ma da sigogin da aka yi a lokacin rikodi guda ɗaya sun bambanta da juna), amma fassararsa da aka kama a kan rikodin yana da tasiri sosai. .

"A wani lokaci an zarge ni," Kempf ya rubuta a tsakiyar 70s, "cewa aikina ya kasance mai ma'ana, cewa na keta iyakokin gargajiya. Yanzu sau da yawa ana bayyana ni a matsayin tsohuwa, na yau da kullun kuma ƙwararren maestro, wanda ya kware sosai a fasahar gargajiya. Bana jin wasa na ya canza sosai tun lokacin. Kwanan nan ina sauraron faifai tare da nade-nade da aka yi a cikin wannan - 1975, kuma ina kwatanta su da na tsofaffi. Kuma na tabbatar da cewa ban canza tunanin kiɗan ba. Bayan haka, na tabbata cewa mutum yana matashi har zuwa lokacin da bai rasa ikon damuwa ba, fahimtar abubuwan gani, da gogewa.

Grigoriev L., Platek Ya., 1990