Yakov Izrailevich Zak (Yakov Zak) |

Yakov Zak

"Babu shakka cewa yana wakiltar babban jigon kiɗa." Wadannan kalaman Adam Wieniawski, shugaban alkalan gasar Chopin na kasa da kasa, an fada a shekara ta 1937 ga dan wasan piano na Soviet mai shekaru 24, Yakov Zak. Dattijon mawakan ƙasar Poland ya ƙara da cewa: “Zak ɗaya ne daga cikin ’yan wasan piano mafi ban sha’awa da na taɓa ji a tsawon rayuwata.” (Abokan Soviet na gasar kiɗa na duniya. - M., 1937. P. 125.).

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

… Yakov Izrailevich ya tuna: “Gasar ta buƙaci ƙoƙari na kusan rashin ɗan adam. Tsarin gasar ya zama mai ban sha'awa sosai (yana da ɗan sauƙi ga masu fafatawa a yanzu): an sanya membobin juri a Warsaw daidai kan matakin, kusan gefe da gefe tare da masu magana. " Zak yana zaune a madannai, kuma wani wuri kusa da shi ("Na ji a zahiri numfashinsu ...") su ne masu fasaha waɗanda aka san sunayensu ga dukan duniyar kiɗa - E. Sauer, V. Backhaus, R. Casadesus, E. Frey da sauransu. Da ya gama wasa, sai ya ji tafi – wannan sabanin al’ada da al’ada, ’yan alkalan kotun suka yi ta tafa-da farko ba a yi wani abu da su ba. An bai wa Zach kyauta ta farko da kuma ƙarin, ƙarin - furen laurel na tagulla.

Nasarar da aka samu a gasar ita ce ta kawo karshen matakin farko na samar da mai fasaha. Shekarun aiki tuƙuru ya kai ta.

Yakov Izrailevich Zak aka haife shi a Odessa. Malaminsa na farko shine Maria Mitrofanovna Starkova. (“Mawaƙin ƙwararru, ƙwararren mawaƙa,” Zach ya tuna da kalmar godiya, “wanda ya san yadda ake ba ɗalibai abin da aka fi fahimta a matsayin makaranta.”) Yaron mai hazaka ya yi tafiya a cikin ilimin pian ɗinsa da sauri har ma da mataki. A cikin karatunsa akwai juriya, da manufa, da tarbiyyar kai; tun yana karami ya kasance da gaske kuma mai kokari. Lokacin da yake da shekaru 15, ya ba da clavierabend na farko a rayuwarsa, yana magana da masu son kiɗa na garinsu tare da ayyukan Beethoven, Liszt, Chopin, Debussy.

A 1932, saurayi ya shiga makarantar sakandare na Moscow Conservatory zuwa GG Neuhaus. "Darussa tare da Genrikh Gustavovich ba darussa ba ne a cikin fassarar kalmar da aka saba," in ji Zak. "Wani abu ne kuma: al'amuran fasaha. Sun “ƙone” tare da taɓa su da wani sabon abu, wanda ba a sani ba, mai ban sha'awa… Mu, ɗalibai, kamar an gabatar da mu a cikin haikalin manyan tunanin kiɗan, zurfafa da sarƙaƙƙiya… ”Zak kusan bai bar ajin Neuhaus ba. Ya kasance a kusan kowane darasi na farfesa (a cikin kankanin lokaci ya ƙware fasahar amfana da kansa daga shawarwari da umarnin da aka ba wasu); ya saurari wasan 'yan uwansa. Yawancin maganganu da shawarwari na Heinrich Gustavovich an rubuta shi a cikin littafin rubutu na musamman.

A cikin 1933-1934, Neuhaus ya yi rashin lafiya mai tsanani. Domin da yawa watanni, Zak karatu a cikin aji na Konstantin Nikolaevich Igumnov. Yawancin a nan sun bambanta, kodayake ba ƙasa da ban sha'awa da ban sha'awa ba. "Igumnov ya mallaki wani abu mai ban mamaki, wanda ba kasafai ba: ya iya kamawa tare da kallo ɗaya nau'in aikin kiɗan gabaɗaya kuma a lokaci guda ya ga kowane fasalinsa, kowane" tantanin halitta. Mutane kaɗan ne suka ƙaunaci kuma, mafi mahimmanci, sun san yadda za a yi aiki tare da ɗalibi a kan cikakkun bayanai, musamman, kamar shi. Kuma nawa ne muhimman abubuwan da ya kamata ya faɗa, ya faru, a cikin kunkuntar sarari cikin ƴan matakan! Wani lokaci ka duba, tsawon awa daya da rabi ko biyu na darasi, an wuce wasu shafuka. Kuma aikin, kamar koda a ƙarƙashin hasken rana na bazara, a zahiri cike da ruwan 'ya'yan itace ... "

A shekara ta 1935, Zak ya halarci Gasar Mawaka ta Biyu ta Ƙungiyar Ƙungiya ta Biyu, inda ya zama na uku a wannan gasar. Kuma bayan shekaru biyu an sami nasara a Warsaw, wanda aka kwatanta a sama. Nasarar da aka yi a babban birnin kasar Poland ta zama mafi armashi domin kuwa a jajibirin gasar, dan takarar ko kadan bai dauki kansa a matsayin wanda aka fi so a cikin zurfafan ransa ba. Ko da yake yana da wuyar wuce gona da iri, mafi hankali da hankali fiye da girman kai, ya daɗe yana shirye-shiryen gasar kusan a kan wayo. “Da farko na yanke shawarar kada kowa ya shigo cikin shirina. Na koyar da shirin gaba daya da kaina. Sa'an nan ya yi ƙoƙari ya nuna wa Genrikh Gustavovich. Gaba daya ya amince. Ya fara taimaka mini in shirya tafiya zuwa Warsaw. Wannan, watakila, duk shine…”

Nasarar da aka yi a Gasar Chopin ta sa Zak ya kasance a sahun gaba na pianism na Soviet. 'Yan jarida sun fara magana game da shi; akwai kyakkyawan fata na yawon shakatawa. An san cewa babu wani gwaji mafi wahala da dabara fiye da gwajin daukaka. Shi ma matashin Zak ya tsira da shi. Daraja ba ta rikitar da hankalinsa da hankali ba, bai gusar da nufinsa ba, bai lalata halayensa ba. Warsaw ya zama ɗaya daga cikin shafukan da aka juya a cikin tarihin rayuwarsa na ma'aikaci mai taurin kai, mara gajiya.

An fara sabon mataki na aiki, kuma babu wani abu. Zak a wannan lokacin yana koyar da abubuwa da yawa, yana kawo ƙarin fa'ida kuma mafi ƙwaƙƙwarar tushe don repertore na kide-kide. Yayin da yake haɓaka salon wasansa, yana haɓaka salon wasansa, salon kansa. Sukar kiɗa na ’yan shekaru talatin a cikin mutumin A. Alschwang ya lura: “I. Zach ƙwararren ɗan wasan pian ne, daidaitacce, ƙwararrun ƙwararru; dabi'unsa na yinsa ba ya fuskantar faɗuwar waje, zuwa bayyanar tashin hankali na yanayi mai zafi, ga sha'awar sha'awa, rashin kamun kai. Wannan ƙwararren mai fasaha ne, mai hankali kuma mai hankali." (Alshwang A. Soviet Schools of Pianoism: Essay on the Second // Soviet Music. 1938. No. 12. P. 66.).

An jawo hankali ga zaɓin ma'anar: "m, daidaitacce, cikakke. Mai hankali, da hankali, mai hankali…” Hoton fasaha na Zach mai shekaru 25 an ƙirƙira shi, kamar yadda yake da sauƙin gani, tare da isasshen haske da tabbaci. Bari mu ƙara - kuma ƙarshe.

A cikin hamsin da sittin, Zak ya kasance daya daga cikin wakilan da aka sani kuma mafi iko na wasan piano na Soviet. Yakan bi hanyarsa ta fasaha, yana da wata fuskar fasaha ta daban, wacce ake tunawa da ita. Menene fuska balagagge, gaba daya Kafa masters?

He was and still is a musician who is customarily categorized—tare da wani taron gunduma, ba shakka—zuwa rukunin “masu hankali.” Akwai masu fasaha waɗanda maganganun ƙirƙira suka fito da su ta hanyar ba zato ba tsammani, ba zato ba tsammani, galibin ji. Har zuwa wani lokaci, Zach shine maganin rigakafin su: a koyaushe ana tunanin jawabinsa a hankali a gaba, yana haskakawa ta hasken hangen nesa da tunani na fasaha. Daidaito, yaƙĩni, rashin daidaituwa na tafsiri nufi – da kuma pianistic cikin jiki alama ce ta fasahar Zach. Kuna iya cewa - taken wannan fasaha. "Shirye-shiryen aikinsa suna da tabbaci, amintacce, bayyananne..." (Grimikh K. Concerts na post-digiri na biyu pianists na Moscow Conservatory // Sov. Music. 1933. No. 3. P. 163.). An faɗi waɗannan kalmomi game da mawaƙin a cikin 1933; tare da dalili daidai - idan ba haka ba - za a iya maimaita su goma, da ashirin, da talatin bayan shekaru. Irin nau'in tunanin Zach ya sa shi bai zama mawaƙi ba a matsayin ƙwararren ƙwararren ƙwararren masani a cikin wasan kwaikwayo na kiɗa. Da gaske ya “jera” kayan da kyau sosai, tsarin sautinsa kusan koyaushe suna jituwa kuma ba tare da kuskure ba ta hanyar lissafi. Wannan shine dalilin da ya sa dan wasan pian ya sami nasara inda mutane da yawa, kuma sanannun, na abokan aikinsa suka kasa, a cikin Concerto na Biyu na Brahms, Sonata, op. 106 Beethoven, a cikin mafi wahalan zagayowar marubucin, Bambancin Talatin da Uku akan Waltz na Diabelli?

Zak mai zane ba kawai ya yi tunani ta wata hanya ta musamman da dabara ba; kewayon tunaninsa na fasaha ya kasance mai ban sha'awa. An san cewa motsin rai da jin daɗin mutum, idan sun kasance "boye", ba talla ko fa'ida ba, ƙarshe sun sami jan hankali na musamman, ikon tasiri na musamman. Haka abin yake a rayuwa, haka abin yake a fasaha. "Yana da kyau kada a ce fiye da sake ba da labari," sanannen mai zane na Rasha PP Chistyakov ya umurci dalibansa. "Mafi munin abu shine a ba da fiye da abin da ake bukata," KS Stanislavsky ya goyi bayan wannan ra'ayi, yana nuna shi a cikin aikin fasaha na wasan kwaikwayo. Saboda irin yanayin yanayinsa da ma'ajiyar hankalinsa, Zak, yana buga waƙa a kan fage, yawanci ba ya ɓarna a kan wahayi na kusa; maimakon haka, ya kasance mai rowa, laconic a cikin bayyana ji; karon sa na ruhi da tunani na iya zama wani lokaci kamar “abu a cikin kansa.” Duk da haka, furucin mai son piano, ko da yake ba shi da tushe, kamar an soke shi, suna da nasu fara'a, abin fara'a. In ba haka ba, zai yi wuya a bayyana dalilin da ya sa ya sami shahara ta hanyar fassara irin waɗannan ayyuka kamar wasan kwaikwayo na Chopin a F small, Liszt's Petrarch's Sonnets, A major sonata, op. 120 Schubert, Forlan da Minuet daga Kabarin Ravel na Couperin, da sauransu.

Idan aka sake tunawa da fitattun sifofin pianism na Zak, mutum ba zai iya faɗi ba game da ƙarfin son rai na ko da yaushe, da wutar lantarki na cikin wasansa. A matsayin misali, za mu iya buga da artist ta sanannun yi na Rakhmaninov's Rhapsody a kan Jigo na Paganini: kamar dai wani elastically vibrating karfe mashaya, tensely arched da karfi, muscular hannaye ... Bisa manufa, Zach, a matsayin artist, ba a halin yanzu. ta jihohin jin daɗin jin daɗin soyayya; languid tunani, sauti "nirvana" - ba ya rawar waka. Yana da ban mamaki, amma gaskiya: ga duk falsafar Faustian na tunaninsa, ya fi dacewa da bayyana kansa a ciki. mataki - a cikin motsin kiɗa, ba kida ba. Ƙarfin tunani, wanda aka ninka ta hanyar makamashi mai aiki, motsin kiɗa mai sauƙi - wannan shine yadda mutum zai iya bayyana, misali, fassararsa na Sarcasms, jerin Fleeting, Prokofiev's Second, Fourth, Fifth and Seventh Sonatas, Rachmaninov's Fourth Concerto, Doctor Gradus ad Parnassum daga Debussy's Children Corner.

Ba daidai ba ne cewa mai wasan piano ya kasance yana sha'awar sigar piano toccato. Ya ji daɗin faɗar ƙwarewar injin kayan aiki, abubuwan da ke daɗaɗa kai na "ƙarfe lope" a cikin wasan kwaikwayon, sihiri na sauri, ƙwanƙwasa rhythms na bazara. Shi ya sa, a fili, daga cikin manyan nasarorin da ya samu a matsayin mai fassara akwai Toccata (daga Kabarin Couperin), da kuma Ravel's concerto a G major, da kuma Prokofiev da aka ambata a baya, da yawa daga Beethoven, Medtner, Rachmaninoff.

Kuma wata siffa ta ayyukan Zak ita ce kyawunsu, launuka masu yawa masu karimci, canza launi. Tuni a cikin ƙuruciyarsa, mai wasan pianist ya tabbatar da kansa a matsayin ƙwararren mashawarci ta fuskar sauti, nau'o'in nau'o'in kayan ado na piano. Da yake tsokaci game da fassarar Liszt's sonata "Bayan karanta Dante" (wannan opus ya fito a cikin shirye-shiryen wasan kwaikwayo tun shekarun kafin yakin), A. Alschwang bai jaddada "hoton" na wasan Zak ba da gangan: "Ta hanyar ƙarfin ra'ayi ya haifar," in ji shi, "I Zaka tunatar da mu game da zane-zane na zane-zane na Dante ta dan wasan Faransa Delacroix ... " (Alshwang A. Soviet makarantu na pianism. P. 68.). A tsawon lokaci, tsinkayen sautin mai zane ya zama mai rikitarwa da banbanta, har ma da launuka iri-iri da gyare-gyare sun haskaka a kan palette na katako. Sun ba da fara'a ta musamman ga lambobin wasan kwaikwayo na kide-kide kamar "Scenes Yara" na Schumann da Sonatina Ravel, "Burlesque" na R. Strauss da Scriabin's Sonata na Uku, Medtner's Second Concerto da "Bambancin kan Jigo na Corelli" na Rachmaninoff.

Ana iya ƙara abu ɗaya ga abin da aka faɗa: duk abin da Zack ya yi a madannai na kayan aiki, a matsayinka na mai mulki, yana da cikakkiyar cikawa kuma mara ƙayyadaddun ƙayyadaddun tsari. Babu wani abu da ya yi "aiki" cikin gaggawa, cikin gaggawa, ba tare da kula da na waje ba! Mawaƙin mawaƙin madaidaicin fasahar fasaha, ba zai taɓa barin kansa ya gabatar da zanen wasan kwaikwayo ga jama'a ba; kowanne daga cikin kwalayen sautin da ya nuna daga mataki an aiwatar da shi tare da daidaitattun abubuwan da ke tattare da shi da tsattsauran ra'ayi. Wataƙila ba duk waɗannan zane-zane ba ne suka ɗauki hatimi na ƙwaƙƙwaran fasaha: Zach ya kasance yana da daidaito sosai, kuma yana da ma'ana sosai, kuma (a wasu lokuta) mai fa'ida. Duk da haka, ko da wane irin yanayi ne ɗan wasan kide-kide ya kusanci piano, kusan ko da yaushe ba shi da zunubi a cikin ƙwarewarsa na wasan piano. Yana iya zama "a kan bugun" ko a'a; ba zai iya zama kuskure ba a cikin ƙirar fasaha na ra'ayoyinsa. Liszt sau ɗaya ya faɗi: “Bai isa muyi ba, dole ne mu complete“. Ba koyaushe ba kuma ba kowa yana kan kafada ba. Amma game da Zach, ya kasance na mawakan da suka san yadda kuma suke son kammala komai - har zuwa cikakkun bayanai - a cikin zane-zane. (A wani lokaci, Zak yana so ya tuna da sanannen bayanin Stanislavsky: "Kowane" ko ta yaya ", "gaba ɗaya", "kimanin" ba shi da karbuwa a cikin fasaha ... " (Stanislavsky KS Sobr. soch.-M., 1954. T 2. S. 81.). Haka nan akidarsa ta kasance.)

Duk abin da aka faɗa yanzu - ɗimbin gwaninta da hikimar mai zane, da kaifin basirar tunaninsa na fasaha, horo na motsin rai, basirar kere kere - ya sami tsari cikin jimillar wannan nau'in mawaƙin na gargajiya (masanin al'adu, gwaninta, “mai mutuntawa”…), wanda babu wani abu mafi mahimmanci a cikin ayyukansa sama da siffar nufin marubucin, kuma babu wani abin da ya fi ban tsoro kamar rashin biyayya gare shi. Neuhaus, wanda ya san yanayin fasaha na ɗalibin nasa, bai yi kuskure ya rubuta game da Zak "wani ruhun haƙiƙa mafi girma ba, ƙwarewa ta musamman don fahimta da isar da fasaha "mahimmanci", ba tare da gabatar da nasa da yawa, na sirri, na zahiri ba… Masu zane-zane irin su Zak, Neuhaus ya ci gaba da cewa, "ba na mutum ba ne, amma na girman kai", a cikin wasan kwaikwayon su "Mendelssohn shine Mendelssohn, Brahms shine Brahms, Prokofiev shine Prokofiev. Halin mutum (mai fasaha - Mr. C.… kamar yadda wani abu a fili ya bambanta da marubucin, ya koma baya; Kuna ganin mawaƙin kamar ta hanyar babban gilashin ƙara girma (a nan ne, gwaninta!), Amma cikakke mai tsabta, ba girgije ta kowace hanya ba, ba tabo ba - gilashin, wanda ake amfani da shi a cikin na'urorin telescopes don kallon sararin samaniya ... " (Neigauz G. Ƙirƙirar ɗan wasan pian // ƙwararrun ƴan pian-malamai game da fasahar piano. – M .; L., 1966. P. 79.).

Domin duk tsananin aikin wasan kide-kide na Zach, ga dukkan muhimmancinsa, ya nuna bangare daya ne kawai na rayuwarsa ta kere-kere. Wani, wanda ba shi da mahimmanci, na ilimin koyarwa ne, wanda a cikin shekarun sittin da farkon saba'in ya kai mafi girma flowering.

Zach ya dade yana koyarwa. Bayan kammala karatunsa, ya fara taimaka wa farfesa, Neuhaus; daga baya kadan aka bashi amanar ajinsa. Fiye da shekaru arba'in na "ta hanyar" gogewar koyarwa… Da yawan ɗalibai, waɗanda daga cikinsu akwai ma'abota sonorous pianistic sunayen - E. Virsaladze, N. Petrov, E. Mogilevsky, G. Mirvis, L. Timofeeva, S. Navasardyan, V. Bakk… Sabanin Zak bai taba zama na sauran abokan wasan kwaikwayo ba, don haka a ce, “lokaci-lokaci”, bai taɓa ɗaukar ilimin koyarwa a matsayin wani abu mai mahimmanci na biyu ba, wanda ake cika hutu tsakanin yawon shakatawa. Ya ƙaunaci aikin a cikin aji, ya saka jari a cikinsa da karimci duk ƙarfin tunaninsa da ruhinsa. Yayin koyarwa, bai daina tunani, bincike, ganowa ba; Tunanin karatunsa bai yi sanyi da lokaci ba. Za mu iya cewa a ƙarshe ya ɓullo da jituwa, jituwa da oda tsarin (ya kasance baya karkata ga rashin tsari) ra'ayi na kida da didactic, ka'idoji, imani.

Babban, dabarun burin malamin pianist, Yakov Izrailevich ya yi imani, shine ya jagoranci ɗalibin zuwa fahimtar kiɗan (da fassararsa) a matsayin nunin hadaddun matakai na rayuwar ruhaniya ta mutum. "… Ba wani kaleidoscope na kyawawan nau'ikan pianistic ba," in ji shi ya bayyana wa matasa, "ba kawai wurare masu sauri da daidaitattun wurare ba, kyawawan kayan aiki "fiortures" da makamantansu. A'a, ainihin wani abu ne - a cikin hotuna, ji, tunani, yanayi, yanayin tunani ... "Kamar malaminsa, Neuhaus, Zak ya gamsu cewa" a cikin fasahar sauti ... komai, ba tare da togiya ba, wanda zai iya dandana, tsira, tunani. ta hanyar, yana tattare da bayyanawa kuma yana jin mutum (Neigauz G. Akan fasahar wasan piano. – M., 1958. P. 34.). Daga waɗannan matsayi, ya koya wa ɗalibansa suyi la'akari da "fasahar sauti".

Wayar da kan matashin mawaki ruhaniya Asalin wasan kwaikwayo yana yiwuwa ne kawai, in ji Zak ya ci gaba da cewa, lokacin da ya kai wani babban matakin ci gaban kida da kade-kade da fasaha na gaba daya. Lokacin da tushen iliminsa na sana'a ya kasance mai ƙarfi kuma mai ƙarfi, hangen nesansa yana da faɗi, ainihin tunanin fasaha yana samuwa, kuma ƙwarewar ƙirƙira ta taru. Waɗannan ayyuka, in ji Zak, sun fito ne daga nau'in maɓalli a fannin koyar da kiɗan gabaɗaya, da kuma koyar da piano musamman. Ta yaya aka warware su a nasa aikin?

Da farko, ta hanyar gabatarwar ɗalibai zuwa mafi girman adadin ayyukan da aka yi nazari. Ta hanyar tuntuɓar kowane ɗayan ɗaliban ajinsa tare da mafi girman kewayon abubuwan ban mamaki iri-iri na kiɗa. Matsalar ita ce yawancin matasa masu wasan kwaikwayo "suna rufe sosai… a cikin da'irar sanannen "rayuwar piano," Zak ya yi nadama. “Sau da yawa ra’ayoyinsu game da kiɗa ba su da yawa! [Muna buƙatar] muyi tunanin yadda za a sake fasalin aikin a cikin aji don buɗe fa'idar rayuwar kiɗa ga ɗalibanmu… saboda idan ba tare da wannan ba, haɓakar mawaƙi mai zurfi ba zai yiwu ba. (Zak Ya. Akan wasu batutuwa na ilimantar da matasa masu sana'ar piano // Tambayoyin wasan piano. – M., 1968. Fitowa ta 2. P. 84, 87.). A cikin da'irar abokan aikinsa, bai gaji da maimaitawa ba: "Kowane mawaƙa ya kamata ya sami "majiya na ilimi", tarin tarin abubuwan da ya ji, ya yi, da kuma gogewa. Wadannan tarawa kamar mai tara kuzari ne wanda ke ciyar da tunanin kirkire-kirkire, wanda ya wajaba don ci gaba akai-akai. (Ibid, shafi na 84, 87.).

Отсюда — установка Зака ​​на возможно более интенсивный Так, наряду с обязательным репертуаром, в его классе нередко они служили чем-то вроде вспомогательного материала, овладение которым, считал Зак, желательно, а то и просто необходимо для художественно полноценной интерпретации основной части студенческих программ. «Произведения одного и того же автора соединены обычно множеством внутренних «уз»,— говорил Яков Израилевич.— Нельзя по-настоящему хорошо исполнить какое-либо из этих произведений, не зная, по крайней мере, „близлежащих…»»

An bayyana ci gaban ilimin kiɗa, wanda ya bambanta ɗaliban Zach, duk da haka, ba kawai ta hanyar gaskiyar cewa a cikin dakin gwaje-gwaje na ilimi ba, jagorancin farfesa. da yawa. Hakanan yana da mahimmanci as an gudanar da ayyuka a nan. Irin salon koyarwar Zak, tsarin koyar da iliminsa ya motsa ci gaba da ci gaba da haɓaka fasahar fasaha da fasaha na matasa masu wasan pian. Wani muhimmin wuri a cikin wannan salon ya kasance, misali, ga liyafar sarrafawa (kusan abu mafi mahimmanci a cikin koyar da kiɗan - batun aikace-aikacen da ya cancanta). Musamman, singularly kankare a wasan piano - wanda daga abin da ainihin masana'anta na darasin aka saka (sauti, kari, kuzarin kawo cikas, nau'i, musamman nau'i na musamman, da dai sauransu), Yakov Izrailevich yawanci yakan yi amfani da shi a matsayin dalilin da ya samu m da capacious Concepts. masu alaƙa da nau'ikan fasahar kiɗan daban-daban. Saboda haka sakamakon: a cikin kwarewa na raye-rayen pianistic, ɗalibansa ba tare da fahimta ba, da kansu, sun ƙirƙira ilimi mai zurfi da yawa. Yin karatu tare da Zach yana nufin tunani: nazari, kwatanta, bambanta, zuwa ga wasu yanke shawara. "Saurari waɗannan "motsi" siffofi masu jituwa (sandunan buɗewa na wasan kwaikwayo na Ravel a cikin G-manjor.— Mr. C.), ya juya ga almajiri. “Shin, ba gaskiya ba ne yadda launuka masu launuka iri-iri suke da ban mamaki! Af, me kuka sani game da yaren jituwa na marigayi Ravel? To, idan na tambaye ka ka kwatanta jituwar, ka ce, Tunani da Kabarin Couperin?

Daliban Yakov Izrailevich sun san cewa a cikin darussansa a kowane lokaci wanda zai iya sa ran tuntuɓar duniya na wallafe-wallafe, wasan kwaikwayo, shayari, zanen ... Wani mutum mai ilimin encyclopedic, fitaccen malami a wurare da dama na al'adu, Zak, a cikin aiwatar da azuzuwan, son rai da basira amfani balaguro zuwa makwabta yankunan art : kwatanta ta wannan hanya kowane irin m da kuma yin ra'ayoyi, ƙarfafa tare da nassoshi zuwa poetic, hoto da sauran analogues na m pedagogical ra'ayoyi, halaye da tsare-tsaren. "Kyakkyawan fasaha na fasaha ɗaya shine kayan ado na wani, kawai kayan abu ne daban-daban," Schumann ya rubuta sau ɗaya; Zach ya ce sau da yawa ya gamsu da gaskiyar waɗannan kalmomi.

Da yake warware ƙarin ayyuka na koyar da piano na gida, Zak ya ware daga cikinsu wanda ya ɗauka a matsayin mahimmanci: "Babban abu a gare ni shi ne in ilimantar da ɗalibi a cikin ƙwararrun kunnuwan kiɗan "crystal" ..." Irin wannan kunnen, ya ya haɓaka ra'ayinsa, wanda zai iya ɗaukar mafi hadaddun, metamorphoses daban-daban a cikin tsarin sauti, don bambance mafi yawan ephemeral, kyawawan launuka masu launuka da haske. Wani matashi mai wasan kwaikwayo ba shi da irin wannan jin dadi na jin dadi, zai zama banza - Yakov Izrailevich ya gamsu da wannan - duk wani dabaru na malamin, ba "kayan shafawa" ko "mai sheki" ba zai taimaka wajen magance matsalar. A cikin wata kalma, "kunne na pianist abin da ido yake ga mai zane..." (Zak Ya. Akan wasu batutuwa na ilimin matasa masu sana'ar pian. P. 90.).

Ta yaya almajiran Zak suka haɓaka duk waɗannan halaye da kaddarorin? Akwai hanya ɗaya kawai: kafin mai kunnawa, an gabatar da irin waɗannan ayyukan sauti wanda ba zai iya jawo hankali ba a bayan matsakaicin nauyin albarkatun sauraron su, zai kasance wanda ba a iya narkewa akan maballin madannai a wajen ingantaccen bambance-bambance, ingantaccen jin kiɗan. Masanin ilimin halayyar dan adam, Zak ya san cewa ikon mutum yana samuwa a cikin zurfin wannan aikin, wanda daga ko'ina. larura yana buƙatar waɗannan damar iyawa - kawai su, kuma babu wani abu. Abin da ya nema daga ɗalibai a cikin darussansa kawai ba zai iya samuwa ba tare da "kunne" na kida mai aiki da hankali; wannan yana daya daga cikin dabarar koyarwarsa, daya daga cikin dalilan da suka haifar da tasiri. Amma ga takamaiman, hanyoyin "aiki" na haɓaka ji a cikin 'yan pianists, Yakov Izrailevich ya yi la'akari da cewa yana da amfani sosai don koyon kiɗan kiɗa ba tare da kayan aiki ba, ta hanyar wakilcin intra-auditory, kamar yadda suke faɗa, "a cikin tunanin." Sau da yawa yakan yi amfani da wannan ƙa'idar a cikin aikin kansa, kuma ya shawarci ɗalibansa su ma su yi amfani da shi.

Bayan da aka kafa hoton aikin da aka fassara a cikin tunanin ɗalibin, Zak ya yi la'akari da cewa yana da kyau a saki wannan ɗalibin daga ƙarin kulawar ilimi. "Idan, da ci gaba da haɓaka haɓakar dabbobinmu, muna kasancewa a matsayin inuwa ta yau da kullun a cikin ayyukansu, wannan ya riga ya isa ya sa su yi kama da juna, don kawo kowa da kowa zuwa mummunan "mahimman ƙima" (Zak Ya. Akan wasu batutuwa na ilimin matasa masu sana'ar pian. P. 82.). Don samun damar cikin lokaci - ba a baya ba, amma ba daga baya (na biyu ya kusan zama mafi mahimmanci) - don ƙaura daga ɗalibin, barin shi ga kansa, yana ɗaya daga cikin lokuta masu laushi da wahala a cikin sana'a na malamin kiɗa. Zak ya amince. Daga gare shi sau da yawa ana iya jin kalmomin Arthur Schnabel: “Ayyukan malami shi ne buɗe kofa, ba tura ɗalibai ta wurinsu ba.”

Mai hikima tare da ƙwararrun ƙwararrun ƙwararru, Zak, ba tare da suka ba, ya tantance al'amuran ɗaiɗaikun ɗaiɗaikun ayyukan rayuwarsa na zamani. Gasa da yawa, gasa iri iri, ya koka. Ga wani muhimmin bangare na novice artists, su ne "hanyoyin gwaje-gwaje na wasanni zalla" (Zak Ya. Performers ask for words // Sov. music. 1957. No. 3. P 58.). A ra'ayinsa, adadin wadanda suka yi nasara a yaƙe-yaƙe na duniya ya karu da yawa: "Yawancin matsayi, lakabi, kayan ado sun bayyana a cikin duniyar kiɗa. Abin takaici, wannan bai kara yawan masu hazaka ba.” (Ibid). Barazana ga wurin wasan kwaikwayo daga ɗan wasan kwaikwayo na yau da kullun, matsakaicin mawaƙi, yana ƙara zama na gaske, in ji Zach. Wannan ya damu da shi kusan fiye da kowane abu: "Ƙara," ya damu, "wani "kamanci" na pianists ya fara bayyana, su, ko da babba, amma wani nau'i na" m misali ... Nasara a cikin gasa, tare da wanda Kalanda na 'yan shekarun nan sun yi yawa sosai, a fili sun haɗa da fifikon fasaha a kan tunanin kirkire-kirkire. Ashe, ba daga ina ne “kwatankwacin” na waɗanda aka ba mu suka fito ba? Menene kuma don neman dalili? (Zak Ya. Akan wasu batutuwa na ilimin matasa masu sana'ar pian. P. 82.). Yakov Izrailevich kuma ya damu da cewa wasu debutants na yau concert scene a gare shi sun rasa mafi muhimmanci - high art manufa. Don haka an hana shi haƙƙin ɗabi'a da ɗabi'a na zama ɗan wasa. Mai wasan pianist, kamar kowane abokan aikinsa a cikin fasaha, "dole ne ya sami sha'awar kirkira," in ji Zak.

Kuma muna da irin wadannan matasa mawakan da suka shiga rayuwa da manyan buri na fasaha. Yana kwantar da hankali. Amma, abin takaici, muna da ƴan mawaƙa waɗanda ba su da ma'anar ƙirƙira manufa. Ba su ma tunanin hakan. Suna rayuwa daban (Zak Ya. Masu yin su suna tambayar kalmomi. S. 58.).

A cikin daya daga cikin bayyanuwansa na manema labarai, Zach ya ce: "Abin da a wasu fannonin rayuwa da aka sani da" sana'a "ana kiransa "laureatism" a cikin wasan kwaikwayo " (Ibid). Daga lokaci zuwa lokaci ya fara tattaunawa a kan wannan batu tare da matasa masu fasaha. Sau ɗaya, a wani lokaci, ya nakalto kalmomin girman kai na Blok a cikin ajin:

Mawaki bashi da sana'a Mawakin yana da makoma...

G. Tsipin