Yakov Vladimirovich Flier |

Yakov Flier

Yakov Vladimirovich Flier aka haife shi a Orekhovo-Zuevo. Iyalin pianist na gaba sun yi nisa da kiɗa, ko da yake, kamar yadda ya tuna daga baya, an ƙaunace ta cikin gidan. Mahaifin Flier ƙwararren mai sana'a ne, mai yin agogo, kuma mahaifiyarsa matar gida ce.

Yasha Flier ya yi matakansa na farko a cikin fasaha kusan ya koyar da kansa. Ba tare da taimakon kowa ba, ya koyi karba ta kunne, da kansa ya gano abubuwan da ke tattare da kida. Duk da haka, daga baya yaron ya fara ba da darussan piano Sergei Nikanorovich Korsakov - wani wajen fice mawaki, pianist da kuma malami, a gane "music haske" Orekhovo-Zuev. A cewar Flier's memoirs, hanyar koyarwar Piano ta Korsakov ta bambanta da wani asali - bai gane ko dai ma'auni ba, ko horo na fasaha, ko horar da yatsa na musamman.

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

Ilimin kiɗa da haɓaka ɗalibai ya dogara ne kawai akan kayan fasaha da bayyananni. An sake buga wasan kwaikwayo iri-iri iri-iri marasa rikitarwa na marubutan Yammacin Turai da na Rasha a cikin ajinsa, kuma abubuwan da ke cikin wakokinsu sun bayyana ga matasa mawaƙa a cikin tattaunawa mai ban sha'awa da malamin. Wannan, ba shakka, yana da ribobi da fursunoni.

Duk da haka, ga wasu daga cikin dalibai, mafi kyawun dabi'a, wannan salon aikin Korsakov ya kawo sakamako mai tasiri. Yasha Flier kuma ya ci gaba da sauri. Shekara daya da rabi na m karatu - kuma ya riga ya kusanci Mozart's sonatinas, m miniatures na Schumann, Grieg, Tchaikovsky.

Lokacin da yake da shekaru goma sha ɗaya, an shigar da yaron zuwa makarantar kiɗa ta tsakiya a Moscow Conservatory, inda GP Prokofiev ya fara zama malaminsa, kuma daga baya SA Kozlovsky. A cikin Conservatory, inda Yakov Flier ya shiga a 1928, KN Igumnov ya zama malamin piano.

An ce a lokacin karatunsa, Flier bai yi fice sosai a tsakanin ’yan uwansa ɗalibai ba. Gaskiya ne, sun yi magana game da shi da girmamawa, sun ba da ladabi ga bayanansa mai karimci da fasaha na fasaha, amma kaɗan za su iya tunanin cewa wannan saurayi mai launin fata - daya daga cikin mutane da yawa a cikin Konstantin Nikolayevich - an ƙaddara ya zama wani saurayi. shahararren mawaki a nan gaba.

A cikin bazara na 1933, Flier ya tattauna tare da Igumnov shirin jawabin karatunsa - a cikin 'yan watanni ya kammala karatun digiri. Ya yi magana game da Concerto na uku na Rachmaninov. "Eh, kawai kun kasance masu girman kai," in ji Konstantin Nikolaevich. "Shin, kun san cewa babban malami ne kawai zai iya yin wannan abu?!" Flier ya tsaya tsayin daka, Igumnov ba shi da tabbas: "Ka yi kamar yadda ka sani, koyar da abin da kake so, amma don Allah, sannan ka gama ɗakin ajiyar da kanka," ya ƙare tattaunawar.

Dole ne in yi aiki a kan Rachmaninov Concerto a cikin haɗari da haɗari, kusan a ɓoye. A lokacin rani, Flier kusan bai bar kayan aiki ba. Ya yi karatu cikin zumudi da sha'awa, wanda bai saba masa ba a da. Kuma a cikin fall, bayan hutu, lokacin da ƙofofin Conservatory suka sake buɗewa, ya sami damar shawo kan Igumnov don sauraron wasan kwaikwayo na Rachmaninov. "To, amma kawai kashi na farko..." Konstantin Nikolayevich ya yarda da kyar, yana zaune don rakiyar piano na biyu.

Flier ya tuna cewa da wuya ya yi farin ciki kamar ranar da ba a mantawa da shi ba. Igumnov ya saurari shiru, bai katse wasan ba tare da magana ɗaya. Kashi na farko ya zo karshe. "Har yanzu kuna wasa?" Ba tare da ya juyo ba ya tambaya a hankali. Tabbas, a lokacin rani an koyi duk sassan triptych na Rachmaninov. Lokacin da ƙwanƙwasa na shafukan ƙarshe na ƙarshe ya yi sauti, Igumnov ya tashi da sauri daga kujera kuma, ba tare da furta kalma ba, ya bar aji. Bai daɗe da dawowa ba, dogon lokaci mai ban tsoro ga Flier. Kuma ba da daɗewa ba labari mai ban sha'awa ya bazu a kusa da ɗakin ajiyar: an ga farfesa yana kuka a wani ɓangarorin ɓangarorin corridor. Saboda haka shãfe shi sai Flierovskaya game.

Jarabawar ƙarshe ta Flier ta faru ne a cikin Janairu 1934. Bisa al'ada, ƙaramin zauren Conservatory yana cike da mutane. Lambar kambi na shirin difloma na matashin pianist ya kasance kamar yadda ake tsammani, wasan kwaikwayo na Rachmaninov. Nasarar Flier tana da girma, ga galibin waɗanda suke wurin - abin ban sha'awa sosai. Shaidun gani da ido sun tuna cewa lokacin da matashin, bayan ya kawo karshen wasan karshe, ya tashi daga kayan aikin, na wasu lokuta wani cikaken rudani ya mamaye masu sauraro. Sai shuru ya karye da irin wannan tafawa da ba'a tunawa a nan. Bayan haka, “lokacin da wasan kwaikwayo na Rachmaninoff da ya girgiza zauren ya mutu, lokacin da komai ya lafa, ya nutsu kuma masu saurare suka fara magana a tsakaninsu, kwatsam sai suka lura cewa suna magana cikin rada. Wani abu mai girma da girma ya faru, wanda duk zauren ya zama shaida. ƙwararrun masu sauraro sun zauna a nan - ɗaliban ɗakin karatu da furofesoshi. Sun yi magana a cikin muryoyin da suka rikiɗe, suna tsoron tsoratar da hankalinsu. (Tess T. Yakov Flier // Izvestia. 1938. Yuni 1.).

Wasan karramawar babbar nasara ce ga Flier. Wasu kuma suka biyo baya; ba daya ba, ba biyu ba, amma jerin nasarori masu kayatarwa a cikin wasu ’yan shekaru. 1935 - Gasar a Gasar Ƙungiya ta Biyu ta Mawaƙa a Leningrad. Bayan shekara guda - nasara a gasar kasa da kasa a Vienna (kyauta ta farko). Sai Brussels (1938), gwaji mafi mahimmanci ga kowane mawaki; Flier yana da kyauta ta uku mai daraja anan. Yunƙurin ya kasance mai ban tsoro da gaske - daga nasara a jarrabawar Conservative zuwa shaharar duniya.

Flier yanzu yana da nasa masu sauraronsa, ɗimbin yawa da sadaukarwa. "Flierists", kamar yadda ake kira magoya bayan mai zane a cikin shekaru talatin, sun cika dakunan dakunan a lokacin kwanakin wasan kwaikwayonsa, suna ba da amsa ga fasaharsa. Me ya zaburar da matashin mawakin?

Na gaske, ƙarancin gwaninta - da farko. Wasan Flier wani yunƙuri ne mai ban sha'awa, mai ƙarar hanya, wasan kwaikwayo mai ban sha'awa na ƙwarewar kiɗa. Ba kamar kowa ba, ya iya jan hankalin masu sauraro da “zazzagewar jijiya, tsantsar sauti, tashi nan take, kamar yana kumfa sautin raƙuman ruwa” (Alshwang A. Soviet Schools of Pianoism // Sov. Music. 1938. No. 10-11. P. 101.).

Tabbas, dole ne ya zama daban-daban, don daidaitawa da buƙatu daban-daban na ayyukan da aka yi. Kuma duk da haka yanayin fasaharsa mai zafi ya fi dacewa da abin da aka yi wa alama a cikin bayanin kula tare da kalamai Furioso, Concitato, Eroico, con brio, con tutta Forza; asalinsa shine inda fortissimo da matsananciyar motsin rai suka yi sarauta a cikin kiɗa. A irin wannan lokacin, a zahiri ya ja hankalin masu sauraro da karfin halinsa, tare da jajircewa da rashin iyawa ya karkata mai sauraro ga aikata wasiyyarsa. Sabili da haka "yana da wuya a yi tsayayya da mai zane, koda kuwa fassararsa ba ta dace da ra'ayoyin da suka kasance ba" (Adzhemov K. Kyautar Romantic // Sov. Music. 1963. No. 3. P. 66.), in ji wani mai suka. Wani kuma ya ce: “Nasa (Fliera.- Mr. C.) Maɗaukakin magana na soyayya yana samun iko na musamman na tasiri a lokutan da ke buƙatar babban tashin hankali daga mai yin. Cike da cututtukan baka, yana bayyana kansa da ƙarfi a cikin matsananciyar rajistar bayyanawa. (Shlifshtein S. Soviet Laureates // Sov. Music. 1938. No. 6. P. 18.).

Sha'awa wani lokaci yakan jagoranci Flier zuwa yin ɗaukaka. A cikin frenzied accelerando, ya kasance cewa an rasa ma'anar rabo; Babban taki mai ban mamaki da mai son pianist ke ƙauna bai ba shi damar yin cikakken "faɗa" rubutun kiɗan ba, ya tilasta masa "ya tafi don wasu "raguwa" a cikin adadin cikakkun bayanai" (Rabinovich D. Laureates uku // Sov. art. 1938. 26 Afrilu). Ya faru wanda ya duhuntar da masana'antar kiɗan da yawan fedali mai yawa. Igumnov, wanda bai gaji da maimaita wa ɗalibansa ba: "Iyakar saurin sauri shine ikon jin kowane sauti" (Milstein Ya. Yin aiki da ka'idodin koyarwa na KN Igumnov // Masters na makarantar pianistic Soviet. - M., 1954. P. 62.), - fiye da sau ɗaya ya shawarci Flier "domin daidaita yanayin yanayin sa a wasu lokuta, wanda ke haifar da jinkirin da ba dole ba kuma wani lokacin yin sauti" (Igumnov K. Yakov Flier // Sov. Music. 1937. No. 10-11. P. 105.).

Filayen fasahar fasahar Flier a matsayin mai yin wasan kwaikwayo sun ƙaddara ƙayyadaddun labarinsa. A cikin shekarun kafin yakin, hankalinsa ya mayar da hankali ga romantics (musamman Liszt da Chopin); Ya kuma nuna sha'awar Rachmaninov. A nan ne ya sami "rawarsa" na gaskiya; bisa ga masu suka na shekaru talatin, fassarar Flier na ayyukan waɗannan mawaƙa sun kasance a kan jama'a "kai tsaye, babban ra'ayi na fasaha" (Rabinovich D. Gilels, Flier, Oborin // Music. 1937. Oct.). Bugu da ƙari, ya fi son aljani, leaf infernal; jarumtaka, jaruntaka Chopin; Rachmaninov ya girgiza sosai.

Mawallafin pian ɗin ya kasance kusa ba kawai ga mawaƙa da duniyar mawallafa ba. Salon piano na adonsu na ban sha'awa ya burge shi - waɗancan kayan kwalliyar launuka masu ban sha'awa, kayan ado na pianistic, waɗanda ke cikin abubuwan ƙirƙira. Hanyoyi na fasaha ba su dame shi da yawa ba, yawancinsu ya ci nasara ba tare da ƙoƙari na bayyane ba, sauƙi da dabi'a. "Hanyoyin Flier manya da ƙanana suna da ban mamaki… Matashin pianist ya kai wannan matakin na nagarta lokacin da kamalar fasaha a kanta ta zama tushen 'yanci na fasaha" (Kramskoy A. Art da ke jin daɗin // fasahar Soviet. 1939. Jan. 25).

Wani lokaci mai mahimmanci: yana da wuya a iya bayyana dabarar Flier a wancan lokacin a matsayin "marasa sani", a ce an sanya ta aikin sabis ne kawai a cikin fasaharsa.

Akasin haka, ɗabi'a ce mai ƙarfin hali da ƙarfin hali, a fili tana alfahari da ikonsa akan kayan, yana haskakawa cikin bravura, sanya zanen pianistic.

Tsofaffin lokutan dakunan kide kide da wake-wake suna tunawa da cewa, ya juya zuwa ga al'adun gargajiya a lokacin samartaka, mai zane-zane, Willy-nilly, ya “zauna” su. Wani lokaci ma an zarge shi da cewa: “Flier ba ya jujjuya kansa zuwa sabon “tsarin tunani” lokacin da mawaƙa daban-daban suka yi. (Kramskoy A. Art da ke jin daɗin // fasahar Soviet. 1939. Jan. 25). Dauki, misali, fassararsa na Beethoven's Appasionata. Tare da duk abubuwan ban sha'awa da pianist ya kawo wa sonata, fassararsa, bisa ga masu zamani, ba ta wata hanya ta zama ma'auni na tsauraran salon gargajiya. Wannan ya faru ba kawai tare da Beethoven ba. Kuma Flier ya san shi. Ba kwatsam ba ne cewa mawaƙa irin su Scarlatti, Haydn, Mozart sun mamaye wani wuri mai faɗi sosai a cikin waƙarsa. An wakilta Bach a cikin wannan repertoire, amma galibi ta hanyar shirye-shirye da rubuce-rubuce. Mai wasan pian din bai juyo da yawa zuwa Schubert ba, Brahms ko. A cikin wata kalma, a cikin wannan wallafe-wallafen inda fasaha mai ban sha'awa da ban sha'awa, fa'idar pop, yanayin zafi, yawan karimci na motsin rai ya zama isa ga nasarar wasan kwaikwayon, ya kasance mai fassarar ban mamaki; inda ake buƙatar ainihin ƙididdige ƙididdigewa, bincike na hankali-falsafa a wasu lokuta yakan zama bai kai tsayin daka ba. Kuma tsantsar suka, tare da nuna godiya ga nasarorin da ya samu, bai yi la'akari da cewa wajibi ne a kauce wa wannan gaskiyar ba. “Rashin gazawar Flier yana magana ne kawai kan sanannen kunkuntar burinsa na kirkire-kirkire. Maimakon ya ci gaba da faɗaɗa repertoire nasa, yana haɓaka fasaharsa tare da zurfin shiga cikin salo daban-daban, kuma Flier yana da fiye da kowa don yin wannan, ya iyakance kansa ga haske mai ƙarfi da ƙarfi, amma ɗan ƙanƙara. (A cikin gidan wasan kwaikwayo sun ce a irin waɗannan lokuta cewa mai zane ba ya taka rawa, amma kansa) " (Grigoriev A. Ya. Flier // Soviet Art. 1937. 29 Satumba). "Ya zuwa yanzu, a cikin wasan kwaikwayon na Flier, sau da yawa muna jin girman girman gwanintarsa ​​na pianist, maimakon ma'auni mai zurfi, cike da fahimtar falsafar tunani." (Kramskoy A. Art da ke jin daɗin // fasahar Soviet. 1939. Jan. 25).

Wataƙila zargi daidai ne kuma ba daidai ba ne. Hakkoki, masu ba da shawara ga faɗaɗa repertoire na Flier, don haɓaka sabbin duniyoyi masu salo ta hanyar pianist, don haɓaka haɓakar fasahar fasaha da waƙarsa. A lokaci guda kuma, bai yi daidai ba wajen zargi matashin don rashin isashen “ma’auni na zurfin tunani mai zurfi na falsafa.” Masu dubawa sun yi la'akari da yawa - da fasali na fasaha, da sha'awar fasaha, da abun da ke cikin repertoire. An manta wani lokacin kawai game da shekaru, kwarewar rayuwa da yanayin ɗabi'a. Ba kowa ne aka ƙaddara a haife shi a matsayin masanin falsafa ba; mutuntaka ko da yaushe da wani abu kuma debe wani abu.

Halayen aikin Flier ba zai cika ba tare da ambaton wani abu guda ɗaya ba. Pianist ya iya a cikin fassararsa don mayar da hankali gaba ɗaya a kan tsakiyar hoton abun da ke ciki, ba tare da shagala da sakandare, abubuwa na biyu ba; ya iya bayyanawa da inuwa cikin jin daɗi ta hanyar haɓaka wannan hoton. A matsayinka na mai mulki, fassararsa na nau'in piano sun yi kama da hotuna masu sauti, wanda ya zama kamar masu sauraro suna kallo daga nesa mai nisa; wannan ya sa ya yiwu a iya ganin "fasalin gaba", don fahimtar ainihin abin da ba daidai ba. Igumnov ko da yaushe son shi: "Flier," ya rubuta, "buri, da farko, zuwa ga mutunci, Organicity na aikin yi. Ya fi sha'awar layin gabaɗaya, yana ƙoƙari ya ƙaddamar da duk cikakkun bayanai zuwa ga bayyanar rai na abin da yake kama da shi ainihin ainihin aikin. Don haka, ba ya karkata ga yin daidai ga kowane dalla-dalla ko kuma ya fitar da wasu daga cikinsu don cutar da gaba ɗaya.

Mafi kyawun abu, - Konstantin Nikolayevich ya kammala, - Flier ta baiwa yana bayyana lokacin da ya ɗauki manyan zane-zane ... Ya yi nasara a cikin kayan haɓaka-lyrical da fasaha, amma ya taka mazurkas na Chopin da waltzes mai rauni fiye da yadda zai iya! Anan kuna buƙatar wannan filigree, wannan ƙare kayan ado, wanda bai kusa da yanayin Flier ba kuma wanda har yanzu yana buƙatar haɓakawa. (Igumnov K. Yakov Flier // Sov. Music. 1937. No. 10-11. P. 104.).

Lallai, manyan ayyukan piano sun kafa tushe na repertoire na Flier. Za mu iya suna aƙalla A-manjor concerto da duka Liszt's sonatas, Schumann's Fantasy da Chopin's B-flat small sonata, Mussorgsky's Beethoven's "Appassionata" da "Hotuna a wani Nunin", manyan nau'ikan cyclic na Ravel, Khachaturian, Tchaturian, Tchaevovsky. , Rachmaninov da sauran marubuta. Irin wannan repertoire, ba shakka, ba na haɗari ba ne. Ƙayyadaddun ƙayyadaddun buƙatun da kiɗa na manyan nau'i ya ƙulla sun dace da yawancin fasalulluka na kyautar halitta da tsarin tsarin fasaha na Flier. A cikin faffadan sauti mai faɗi ne aka fi bayyana ƙarfin wannan kyautar a fili (halayen guguwa, ƴancin numfashi na rhythmic, nau'ikan iyakoki), da… ƙarancin ƙarfi an ɓoye (Igumnov ya ambata su dangane da ƙaramin Chopin).

A taƙaice, muna jaddada: nasarorin da matashin maigidan ya samu sun kasance masu ƙarfi saboda an ci nasara daga taron jama'a, mashahuran masu sauraron da suka cika dakunan wasan kwaikwayo a cikin shekaru ashirin da talatin. Jama'a sun gamsu sosai da yadda Flier ya nuna kwarjini, kwarjini da jaruntakar wasansa, ƙwararrun fasaharsa iri-iri, sun kasance cikin zuciya. GG Neuhaus ya rubuta a wancan lokacin, "Wannan ɗan pian ne, yana magana da jama'a a cikin wani yare mai ƙima, ƙwazo, gamsasshen harshe na kaɗe-kaɗe, mai fahinta har da mutumin da ba shi da ɗan gogewa a cikin kiɗa" (Neigauz GG Nasarar mawakan Soviet // Koms. Pravda 1938. Yuni 1.).

…Sai kuma ba zato ba tsammani matsala ta zo. Daga ƙarshen 1945, Flier ya fara jin cewa wani abu ba daidai ba ne a hannun damansa. Sanannen rauni, rasa aiki da ƙwaƙƙwaran yatsun hannu. Likitoci sun yi asara, kuma a halin da ake ciki, hannun yana ƙara tsananta. Da farko, mai wasan piano ya yi ƙoƙarin yin zamba da yatsa. Sai ya fara watsar da guntun piano da ba za su iya jurewa ba. An rage waƙarsa da sauri, an rage yawan wasan kwaikwayon da bala'i. A shekara ta 1948, Flier wani lokaci ne kawai yana shiga cikin buɗaɗɗen kide kide da wake-wake, kuma har ma da yawa a cikin maraice na ɗaki. Da alama ya dushe cikin inuwa, ya rasa ganin masu son waka...

Amma Flier-teacher ya furta kansa da ƙarfi da ƙarfi a cikin waɗannan shekaru. An tilasta masa yin ritaya daga matakin wasan kwaikwayo, ya sadaukar da kansa ga koyarwa. Kuma cikin sauri ya samu ci gaba; Daga cikin dalibansa akwai B. Davidovich, L. Vlasenko, S. Alumyan, V. Postnikova, V. Kamyshov, M. Pletnev… Flier ya kasance fitaccen mutum a ilimin piano na Soviet. Sani, ko da a takaice, tare da ra'ayinsa game da ilimin matasa mawaƙa, ba shakka, yana da ban sha'awa da kuma ilmantarwa.

"... Babban abu," in ji Yakov Vladimirovich, "shi ne don taimaka wa ɗalibin ya fahimci daidai da zurfi kamar yadda zai yiwu abin da ake kira babban niyya (ra'ayin) na abun da ke ciki. Domin kawai daga fahimtar yawancin ra'ayoyin mawaƙa ne kawai tsarin samar da mawaƙin nan gaba ya samo asali. Bugu da ƙari, bai isa ga Flier ba cewa ɗalibin ya fahimci marubucin a wasu lokuta guda ɗaya da takamaiman. Ya bukaci ƙarin - fahimta style a cikin dukkan sifofinsa na asali. "Yana halatta a ɗauki ƙwararrun wallafe-wallafen piano kawai bayan da ya ƙware sosai da salon ƙirƙirar mawaƙin da ya ƙirƙiri wannan ƙwararren" (An nakalto bayanan Ya. V. Flier daga bayanan tattaunawar da marubucin labarin ya yi da shi.).

Batutuwa masu alaƙa da salon wasan kwaikwayo daban-daban sun mamaye babban wuri a cikin aikin Flier tare da ɗalibai. An yi magana da yawa game da su, kuma an yi nazari sosai. A cikin ajin, alal misali, mutum zai iya jin irin waɗannan kalaman: “To, gabaɗaya, ba laifi ba ne, amma wataƙila kai ma kai ma kana “yanke” marubucin.” (Sauta wa matashin ɗan wasan piano wanda ya yi amfani da ma'anar ma'anar da ta wuce kima wajen fassara ɗaya daga cikin sonata na Mozart.) Ko: “Kada ku nuna halin kirki da yawa. Duk da haka, wannan ba Liszt ba ne" (dangane da Brahms '' Bambance-bambance akan Jigo na Paganini "). Lokacin sauraron wasa a karon farko, Flier ba ya katse mai yin wasan, amma ya bar shi ya yi magana har zuwa ƙarshe. Ga farfesa, launi mai salo yana da mahimmanci; yana kimanta hoton sauti gabaɗaya, ya ƙaddara ƙimar sahihancin sa, gaskiyar fasaha.

Flier ya kasance ba ya jure wa son zuciya da rashin kwanciyar hankali a cikin aiki, koda kuwa duk wannan ya kasance "dandandan" ta mafi kai tsaye da ƙwarewa. Dalibai ya rene shi ne bisa sanin fifikon wasicin mawakin ba tare da wani sharadi ba. "Ya kamata a amince da marubucin fiye da kowane ɗayanmu," bai gaji da ƙarfafa matasa ba. "Me ya sa ba ku amince da marubucin ba, a kan wane tushe?" – ya zagi, alal misali, ɗalibin da ba tare da tunani ba ya canza tsarin aiwatar da mahaliccin aikin da kansa ya tsara. Tare da sababbin shiga a cikin ajinsa, Flier wani lokaci yana yin nazari mai zurfi, mai zurfi game da rubutun: kamar dai ta gilashin girma, an bincika mafi ƙanƙanta tsarin sauti na aikin, an fahimci duk maganganun marubucin da sunayensu. "Yi amfani da ɗaukar mafi girma daga umarni da buri na mawaƙin, daga duk bugun jini da nuances ɗin da ya tsara a cikin bayanin kula," in ji shi. “Matasa, abin takaici, ba koyaushe suke kallon rubutun sosai ba. Sau da yawa kuna sauraron matashin ɗan wasan pian ɗin ku ga cewa bai gano duk abubuwan da ke cikin rubutun ba, kuma bai yi tunani ta yawancin shawarwarin marubucin ba. Wani lokaci, ba shakka, irin wannan dan wasan pian kawai ba shi da fasaha, amma sau da yawa wannan shine sakamakon rashin isasshen binciken aikin.

"Hakika," in ji Yakov Vladimirovich, "makirci na fassara, ko da mawallafin da kansa ya ba da izini, ba wani abu ba ne da ba zai canza ba, ba tare da daidaitawa ɗaya ko wani daga bangaren mai zane ba. Akasin haka, damar (haka ma, larura!) don bayyana maƙalar waƙar "I" ta hanyar halayen aikin ɗaya ne daga cikin abubuwan ban mamaki na wasan kwaikwayo. Remarque – furcin nufin mawaƙi – yana da matuƙar mahimmanci ga mai fassara, amma kuma ba akida ba ce. Koyaya, malamin Flier duk da haka ya ci gaba daga waɗannan abubuwan: "Na farko, yi, gwargwadon iyawa, abin da marubucin yake so, sannan… Sa'an nan kuma za mu gani."

Bayan ya saita kowane aikin yi ga ɗalibin, Flier ko kaɗan bai yi la'akari da cewa ayyukansa na malami sun ƙare ba. Akasin haka, nan take ya zayyana hanyoyin magance wannan matsala. A matsayinka na mai mulki, a can, a nan tabo, ya yi gwaji tare da yatsa, ya shiga cikin ainihin mahimman hanyoyin mota da yatsa yatsa, gwada zaɓuɓɓuka daban-daban tare da pedaling, da dai sauransu. Sa'an nan kuma ya taƙaita tunaninsa a cikin takamaiman umarni da shawarwari. . “Ina jin cewa a cikin tarbiyyar mutum ba zai iya iyakance kansa ga yin bayani ga ɗalibi ba cewa ana bukace shi da shi ya tsara wata manufa, a ce. Yadda dole yi yaya don cimma abin da ake so - dole ne malami ya nuna wannan. Musamman idan ya kasance ƙwararren ƙwararren pianist…”

Abin sha'awa babu shakka shine ra'ayoyin Flier game da yadda kuma a cikin wane tsari ya kamata a ƙware sabbin kayan kiɗan. "Rashin kwarewa na matasa 'yan pians sau da yawa yana tura su kan hanya mara kyau," in ji shi. , sanin zahiri da rubutu. A halin yanzu, abu mafi fa'ida ga haɓakar basirar kiɗa shine a hankali bin dabaru na ci gaban tunanin marubucin, don fahimtar tsarin aikin. Musamman idan wannan aikin "an yi" ba kawai ..."

Don haka, da farko yana da mahimmanci a rufe wasan kwaikwayon gaba ɗaya. Bari ya zama wasan kusa da karantawa daga takarda, ko da yawancin fasaha ba su fito ba. Duk iri ɗaya, wajibi ne a kalli zanen kiɗa tare da kallo ɗaya, don gwadawa, kamar yadda Flier ya ce, don "fadi cikin ƙauna" tare da shi. Sa'an nan kuma fara koyo "a cikin guda", cikakken aikin da ya riga ya kasance mataki na biyu.

Sanya "binciken" nasa dangane da wasu lahani a cikin aikin ɗalibi, Yakov Vladimirovich ya kasance mai haske sosai a cikin kalmominsa; kalamansa sun bambanta da kankare da tabbaci, an karkatar da su daidai ga abin da ake nufi. A cikin aji, musamman ma sa’ad da yake magana da waɗanda ba su kammala karatun digiri ba, Flier ya kasance mai hankali sosai: “Sa’ad da kake nazari da ɗalibin da ka sani na dogon lokaci da kyau, ba a buƙatar kalmomi da yawa. Tsawon shekaru yana zuwa cikakkiyar fahimta. Wani lokaci jimloli biyu ko uku, ko ma da alama kawai, sun isa… ”A lokaci guda, yana bayyana tunaninsa, Flier ya san yadda kuma yana son samun nau'ikan maganganu masu ban sha'awa. Jawabin nasa an yafa masa ba zato ba tsammani kuma na alama, kwatancen wayo, da misalan ban mamaki. "A nan kuna buƙatar motsawa kamar somnambulist ..." (game da kiɗan da ke cike da ma'anar detachment da numbness). "Ku yi wasa, don Allah, a wannan wuri da yatsu maras komai" (game da labarin da ya kamata a yi legeriersimo). "A nan ina son ɗan ƙaramin mai a cikin waƙar" (umarni ga ɗalibin wanda cantilena ya bushe da bushewa). "Abin da ake ji yana da kusan daidai da idan an girgiza wani abu daga hannun hannu" (game da fasaha a cikin ɗayan guntu na "Mephisto-Waltz") na Liszt. Ko, a ƙarshe, ma'ana: "Ba lallai ba ne cewa duk motsin zuciyarmu ya fashe - bar wani abu a ciki ..."

Dabi'a: bayan gyaran fuska na Flier, duk wani yanki da ɗalibi ya yi aiki da shi sosai ya sami abin burgewa na musamman na pianistic da ƙawa wanda ba a da. Ya kasance gwanin da ba a iya kwatanta shi da kawo haske a wasan dalibai. Yakov Vladimirovich ya ce: "Ayyukan dalibi yana da ban sha'awa a cikin aji - zai zama mai ban sha'awa a kan mataki." Saboda haka, wasan kwaikwayon a cikin darasi, ya yi imani, ya kamata ya kasance kusa da wasan kwaikwayo, ya zama nau'i na mataki sau biyu. Wato, ko da a gaba, a cikin yanayin dakin gwaje-gwaje, ya zama dole don ƙarfafa irin wannan mahimmanci mai mahimmanci kamar zane-zane a cikin matashin pianist. In ba haka ba, malami, lokacin da yake tsara aikin jama'a na dabbar sa, zai iya dogara ga sa'a kawai.

Wani abu daya. Ba boyayye ba ne cewa duk wani mai sauraro yana burge shi da jajircewar mai wasan kwaikwayo a kan dandalin. A wannan lokacin, Flier ya lura da haka: “Kasancewa a madannai, bai kamata mutum ya ji tsoron yin kasada ba – musamman a cikin matasa. Yana da mahimmanci don haɓaka ƙarfin hali a cikin kanku. Bugu da ƙari, wani lokaci na tunani zalla har yanzu yana ɓoye a nan: lokacin da mutum ya yi taka tsantsan, a hankali ya kusanci wuri ɗaya ko wani wuri mai wahala, tsalle "mayaudari", da dai sauransu, wannan wuri mai wuya, a matsayin mai mulkin, ba ya fitowa, ya rushe. … ”Wannan shi ne – a ka’idar. A haƙiƙa, babu abin da ya zaburar da ɗaliban Flier don nuna rashin tsoro kamar yadda malaminsu ya yi wasa, sananne a gare su.

… A cikin kaka na 1959, ba zato ba tsammani ga mutane da yawa, fosta sun sanar da dawowar Flier zuwa babban matakin wasan kwaikwayo. A baya akwai aiki mai wahala, tsawon watanni na maido da fasahar pianistic, samun tsari. Bugu da ƙari, bayan hutu na fiye da shekaru goma, Flier ya jagoranci rayuwar baƙo mai wasan kwaikwayo: yana taka rawa a cikin biranen Tarayyar Soviet, yana tafiya zuwa ƙasashen waje. Ana tafa masa, ana gaishe shi da fara'a. A matsayinsa na mai fasaha, gabaɗaya ya kasance mai gaskiya ga kansa. Don duk wannan, wani master, wani Flier, ya shigo cikin rayuwar kide-kide na sittin…

"A tsawon shekaru, kun fara fahimtar fasaha ta wata hanya dabam, wannan ba makawa ne," in ji shi a cikin shekarunsa na raguwa. "Ra'ayoyin kiɗa sun canza, tunanin kansu suna canzawa. Yawancin ana gabatar da su kusan a akasin haske fiye da na matasa… A zahiri, wasan ya bambanta. Wannan, ba shakka, ba yana nufin cewa duk abin da yanzu ya zama dole ya zama mafi ban sha'awa fiye da da. Wataƙila wani abu ya yi kama da ban sha'awa kawai a farkon shekarun. Amma gaskiyar ita ce gaskiyar - wasan ya zama daban ... "

Tabbas, nan da nan masu sauraro sun lura da yadda fasahar Flier ta canza. A cikin bayyanarsa a kan mataki, zurfin zurfi, maida hankali na ciki ya bayyana. Ya zama mai natsuwa da daidaitawa a bayan kayan aiki; bisa ga haka, ƙarin kamewa cikin bayyanar da ji. Dukansu yanayi da sha'awar sha'awa sun fara ɗaukar ikonsa a sarari.

Wataƙila wasan kwaikwayon nasa ya ɗan ragu saboda yadda yake sha'awar masu sauraro kafin yaƙin. Amma fayyace wuce gona da iri kuma sun ragu. Dukansu hawan sautin sauti da fashewar dutsen mai aman wuta na climaxes ba su kasance ba kwatsam tare da shi kamar da; daya ya sami ra'ayi cewa yanzu an yi tunani sosai, an shirya, goge.

An ji wannan musamman a fassarar Flier na "Choreographic Waltz" na Ravel (a hanya, ya tsara wannan aikin don piano). An kuma lura da shi a cikin Bach-Liszt's Fantasia da Fugue a G ƙananan, Mozart's C small sonata, Beethoven's Seventh Sonata, Schumann's Symphonic Etudes, Chopin's scherzos, mazurkas da nocturnes, Brahms' B qananan rhapsody da sauran masu aikin piper. na 'yan shekarun nan.

A ko'ina, tare da karfi na musamman, girman girman girmansa, rabon fasaha na aikin, ya fara bayyana kansa. Akwai tsauri, wani lokacin har ma da wasu kamewa cikin amfani da dabaru da dabaru masu launi da na gani.

Sakamakon kyawawan halaye na duk wannan juyin halitta shine haɓaka na musamman na hotunan waƙa a cikin Flier. Lokaci ya yi don jituwa na ciki na ji da kuma nau'ikan bayyana matakinsu.

A'a, Flier bai rushe zuwa "masanin ilimi", bai canza yanayin fasaha ba. Har zuwa kwanakinsa na ƙarshe, ya yi wasa a ƙarƙashin ƙaunataccen ƙauna kuma kusa da shi tutar soyayya. Soyayyarsa kawai ta zama daban: balagagge, zurfafawa, wadatar rayuwa ta tsawon rayuwa da ƙwarewar ƙirƙira…

G. Tsipin