Edwin Fischer |
Edwin Fischer
Ingxenye yesibili yekhulu lethu ibhekwa njengenkathi yokuphelela kobuchwepheshe bokudlala upiyano, ubuciko bokwenza ngokujwayelekile. Ngempela, manje esiteji cishe akunakwenzeka ukuhlangana nomculi ongeke akwazi ukwenza i-pianistic "acrobatics" yezinga eliphezulu. Abanye abantu, ngokuxhamazela behlobanisa lokhu nenqubekelaphambili evamile yesintu, base bevele bethambekele ekumemezeleni ukushelela nokushelela komdlalo njengezimfanelo ezidingekayo nezanele ukufinyelela ukuphakama kobuciko. Kodwa isikhathi sahlulelwe ngenye indlela, sikhumbula ukuthi upiyano akuyona i-skating noma i-gymnastics. Kwadlula iminyaka, futhi kwaba sobala ukuthi njengoba indlela yokusebenza ithuthuka ngokujwayelekile, isabelo sayo ekuhlolweni okuphelele kokusebenza kwalokhu noma leya mculi yaya ngokuya incipha. Ingabe yingakho inani labashayi bopiyano abakhulu ngempela lingazange likhule nhlobo ngenxa yokukhula okuvamile?! Enkathini lapho "wonke umuntu efunde ukudlala upiyano," izindinganiso zobuciko ngempela - okuqukethwe, ingokomoya, ukuzwakalisa - zahlala zingenakunyakaziswa. Futhi lokhu kugqugquzele izigidi zabalaleli ukuthi baphinde baphendukele efeni lalabo baculi abanohlonze abahlale bebeka lezi zindinganiso ezinhle phambili kwezobuciko babo.
Omunye wabaculi abanjalo kwakungu-Edwin Fisher. Umlando wopiyano wekhulu lesi-XNUMX awucabangeki ngaphandle komnikelo wakhe, yize abanye babacwaningi besimanje bezamile ukungabaza ubuciko bomculi waseSwitzerland. Yini enye ngaphandle kwentshiseko yaseMelika “yokuphelela” engachaza ukuthi uG. Schonberg encwadini yakhe, eyanyatheliswa eminyakeni emithathu kuphela ngemva kokushona komdwebi, akazange akubone kudingekile ukunikeza uFischer ngaphezu ... komugqa owodwa. Nokho, ngisho naphakathi nokuphila kwakhe, kanye nezimpawu zothando nenhlonipho, kwadingeka akhuthazelele ukuhlanjalazwa ngenxa yokungapheleli kwabagxeki abahamba ngezinyawo, ababewabhalisa njalo amaphutha akhe futhi babonakale bemjabulela. Akwenzekanga yini okufanayo kumuntu owayephila ngesikhathi sakhe u-A. Corto?!
I-biographies yalaba baculi ababili ngokuvamile ifana kakhulu ezicini zabo eziyinhloko, naphezu kweqiniso lokuthi ngokwemibandela yepiyano kuphela, ngokwemibandela "yesikole", ihluke ngokuphelele; futhi lokhu kufana kwenza kube nokwenzeka ukuqonda imvelaphi yobuciko kokubili, umsuka wobuhle babo, obusekelwe embonweni womhumushi ngokuyinhloko njengomculi.
U-Edwin Fischer wazalelwa eBasel, emndenini wezingcweti zomculo zofuzo, odabuka eCzech Republic. Kusukela ngo-1896, wafunda ejimini yomculo, wabe eseya endaweni yokugcina izinto ngaphansi kokuqondisa kuka-X. Huber, futhi wenza ngcono eBerlin Stern Conservatory ngaphansi kuka-M. Krause (1904-1905). Ngo-1905, yena ngokwakhe waqala ukuhola ikilasi lepiyano ku-conservatory efanayo, ngesikhathi esifanayo eqala umsebenzi wakhe wobuciko - okokuqala njengomsizi womculi u-L. Vulner, wabe esecula yedwa. Waqashelwa ngokushesha futhi wathandwa izilaleli emazweni amaningi aseYurophu. Ikakhulukazi ukuduma okubanzi kwalethwa kuye ngokudlalwa okuhlanganyelwe no-A. Nikish, f. U-Wenngartner, W. Mengelberg, kwase kuba ngu-W. Furtwängler kanye nabanye abaqhubi abakhulu. Ekuxhumaneni nalaba baculi abakhulu, izimiso zakhe zokudala zathuthukiswa.
Ngama-30s, ububanzi bomsebenzi wekhonsathi kaFischer wawubanzi kangangokuthi wayeka ukufundisa futhi wazinikela ngokuphelele ekudlaleni upiyano. Kodwa ngokuhamba kwesikhathi, umculi onesiphiwo esenza izinto eziningi waminyene ngaphakathi kohlaka lwensimbi yakhe ayithandayo. Wazakhela eyakhe i-orchestra yasekamelweni, edlalwa naye njengomqhubi nomculi oyedwa. Yiqiniso, lokhu akuzange kunqunywe izifiso zomculi njengomqhubi: kwakuwukuthi ubuntu bakhe babunamandla futhi bangempela kangangokuthi wayekhetha, hhayi njalo ukuba nabalingani abanjalo njengabaphathi abaqanjiwe, ukudlala ngaphandle komqhubi. Ngaso leso sikhathi, akazange azikhawulele kuma-classics ekhulu lama-1933-1942 (manje osekuyinto evamile), kodwa waqondisa i-orchestra (futhi wayiphatha kahle!) Ngisho nalapho enza amakhonsathi e-Beethoven. Ngaphezu kwalokho, u-Fischer wayeyilungu le-trio emangalisayo nomdlali we-violini u-G. Kulenkampf kanye no-cellist u-E. Mainardi. Ekugcineni, ngokuhamba kwesikhathi, wabuyela ku-pedagogy: ngo-1948 waba uprofesa e-Higher School of Music eBerlin, kodwa ngo-1945 wakwazi ukushiya iJalimane lamaNazi waya ezweni lakubo, ezinza eLucerne, lapho achitha khona iminyaka yakhe yokugcina. ukuphila. Kancane kancane, umfutho wemidlalo yakhe yekhonsathi yehla: ukugula kwezandla kwakuvame ukumvimbela ukuba adlale. Nokho, waqhubeka edlala, eqhuba, eqopha, ebamba iqhaza ku-trio, lapho u-G. Kulenkampf athathelwa indawo u-V. Schneiderhan ngo-1958. Ngo-1945-1956, uFischer wafundisa izifundo zepiyano eHertenstein (eduze kwaseLucerne), lapho inqwaba yabaculi abasha. abavela kuwo wonke umhlaba bathutheleka kuye minyaka yonke. Abaningi babo baba abaculi abakhulu. UFischer wabhala umculo, waqamba ama-cadenza amakhonsathi asendulo (kaMozart noBeethoven), wahlela izingoma zasendulo, futhi ekugcineni waba umbhali wezifundo ezimbalwa ezinkulu - “J.-S. Bach" (1956), "L. van Beethoven. UPiano Sonatas (1960), kanye nezindatshana eziningi nezindatshana eziqoqwe ezincwadini I-Musical Reflections (1956) kanye ne-On the Tasks of Musicians (XNUMX). Ngo-XNUMX, inyuvesi yedolobha lakubo lomdlali wepiyano, iBasel, yamkhethela iziqu zobudokotela ezihlonishwayo.
Lunjalo uhlaka lwangaphandle lwe-biography. Okuhambisana nakho kwakuwumugqa wokuziphendukela kwemvelo kwangaphakathi kokubukeka kwakhe kobuciko. Ekuqaleni, emashumini eminyaka okuqala, uFischer wagxila endleleni yokudlala ecacile, ukuhumusha kwakhe kwaphawulwa ukweqisa okuthile kanye nenkululeko ye-subjectivism. Ngaleso sikhathi, umculo we-Romantics wawuphakathi kwezithakazelo zakhe zokudala. Yiqiniso, naphezu kwakho konke ukuphambuka esikweni, wabamba izethameli ngokudluliswa kwamandla esibindi kaSchumann, ubukhosi bukaBrahms, ukuphakama kwamaqhawe kaBeethoven, idrama kaSchubert. Ngokuhamba kweminyaka, isitayela sokudlala somculi saba nokuvinjelwa, ukucaciswa, futhi isikhungo samandla adonsela phansi sashintshela kwezakudala - u-Bach no-Mozart, nakuba uFischer engazange ahlukane ne-repertoire yothando. Phakathi nalesi sikhathi, uwuqaphela ngokucacile umsebenzi womdlali wokuba umlamuleli, “umxhumanisi phakathi kobuciko baphakade, obuphezulu nomlaleli.” Kodwa umlamuli akayena ongenandaba, umi eceleni, kodwa uyasebenza, ephikisa lokhu "kwaphakade, ubunkulunkulu" ngeprism "Mina" wakhe. Isiqubulo salo mculi sisengamazwi awasho kwesinye sezihloko: “Impilo kumele inyakaze ngokudlala; ama-crescendo nama-fortes angenawo ulwazi abukeka engowokwenziwa.”
Izici zemvelo yothando yomdwebi kanye nezimiso zakhe zobuciko zafinyelela ukuvumelana okuphelele esikhathini sokugcina sokuphila kwakhe. V. Furtwangler, ngemva kokuvakashela ikhonsathi yakhe ngo-1947, waphawula ukuthi “wafinyelela izinga lakhe eliphakeme ngempela.” Umdlalo wakhe washaya ngamandla esipiliyoni, ukuthuthumela kwebinzana ngalinye; kwakubonakala sengathi umsebenzi wazalwa kabusha njalo ngaphansi kweminwe yomculi, owayengajwayelekile ngokuphelele isitembu nesimiso. Phakathi nalesi sikhathi, waphinde waphendukela kuqhawe lakhe alithandayo, u-Beethoven, futhi wenza ukuqoshwa kwamakhonsathi ka-Beethoven maphakathi nawo-50s (ezimweni eziningi yena ngokwakhe wayehola i-London Philharmonic Orchestra), kanye nenani le-sonatas. Lokhu okurekhodiwe, kanye nalokhu okwenziwe ngaphambili, emuva ngeminyaka yama-30s, kwaba yisisekelo sefa elizwakalayo likaFischer - ifa okwathi ngemva kokushona komdwebi, kwadala impikiswano enkulu.
Yiqiniso, amarekhodi awasidluliseli ngokugcwele ubuhle bokudlala kukaFischer, adlulisa kancane nje imizwa ekhangayo yobuciko bakhe, ubukhulu bemiqondo. Kulabo abezwa umdwebi ehholo, empeleni, abalutho ngaphandle kokubonisa okuvelayo kwangaphambili. Izizathu zalokhu akunzima ukuthola: ngaphezu kwezici ezithile zomculo wakhe wopiyano, nazo zilele endizeni ye-prosaic: umculi wepiyano wayesaba imakrofoni, wazizwa engafaneleki esitudiyo, ngaphandle kwezilaleli, futhi enqoba. lokhu kwesaba kwakungavamile ukunikwa kuye ngaphandle kokulahlekelwa. Kokuqoshwayo, umuntu angezwa iminonjana yokwethuka, nokukhathala okuthile, kanye “nomshado” wobuchwepheshe. Konke lokhu izikhathi ezingaphezu kwesisodwa kwasebenza njengenhloso yabashisekeli “bobumsulwa”. Futhi umgxeki uK. Franke wayeqinisile: “Ummemezeli kaBach noBeethoven, u-Edwin Fischer akashiyanga nje amaphuzu angamanga. Ngaphezu kwalokho, kungashiwo ukuthi ngisho namanothi angamanga kaFischer abonakala ngokuhlonishwa kwesiko eliphakeme, umuzwa ojulile. UFischer wayenemizwa impela - futhi lobu ubukhulu bakhe kanye nemikhawulo yakhe. Ukuzidlalela kokudlala kwakhe kuqhubekela phambili ezihlokweni zakhe... Waziphatha edeskini ngendlela efanayo naleyo edlala upiyano - wahlala eyindoda enokholo olungenangqondo, hhayi ukucabanga nolwazi.”
Kumlaleli ongenalo ubandlululo, ngokushesha kuba sobala ukuthi ngisho nasekurekhodini kokuqala kwe-sonatas kaBeethoven, eyenziwe emuva ngasekupheleni kweminyaka engama-30, izinga lobuntu bomculi, ukubaluleka kokudlala kwakhe umculo, kuzwakala ngokugcwele. Igunya elikhulu, izindlela zothando, kuhlangene nokuzithiba okungalindelekile kodwa okuqinisekisayo, ukucabanga okujulile kanye nokulungiswa kwemigqa eguquguqukayo, amandla okuphela - konke lokhu kwenza umbono ongenakuvinjelwa. Omunye ukhumbula ngokuzenzakalelayo amazwi kaFischer, owaphikisa encwadini yakhe ethi “Musical Reflections” ukuthi umculi odlala u-Beethoven kufanele ahlanganise umdlali wopiyano, umculi nomshayi wevayolini “kumuntu oyedwa”. Yilo muzwa omvumela ukuthi azicwilise ngokuphelele emculweni ngokuchaza kwakhe i-Appassionata kangangokuthi ubulula obuphezulu bukwenza ukhohlwe ngezinhlangothi ezinethunzi zokusebenza.
Ukuvumelana okuphezulu, ukucaca kwe-classical, mhlawumbe, amandla amakhulu akhangayo aqoshiwe kamuva. Lapha kakade ukungena kwakhe ekujuleni komoya kaBeethoven kunqunywa isipiliyoni, ukuhlakanipha kwempilo, ukuqonda ifa lakudala likaBach noMozart. Kodwa, naphezu kweminyaka yobudala, ukusha kokubona kanye nesipiliyoni somculo kubonakala ngokucacile lapha, okungenakukwazi ukudluliselwa kubalaleli.
Ukuze umlaleli wamarekhodi kaFischer akwazi ukukubona ngeso lengqondo ukubukeka kwakhe, ake siphethe ngokuthi sinikeze abafundi bakhe abaqavile ithuba lokukhuluma. P. Badura-Skoda uyakhumbula: “Wayeyindoda engavamile, ebonisa umusa ngokoqobo. Isimiso esiyinhloko sokufundisa kwakhe kwakuyimfuneko yokuthi umdlali wopiyano akufanele ahoxe ensimbini yakhe. UFischer wayeqiniseka ukuthi zonke izimpumelelo zomculo kufanele zihlotshaniswe nezindinganiso zomuntu. “Umculi ovelele okokuqala ngqa wubuntu. Iqiniso elikhulu elingaphakathi kufanele lihlale kuye - phela, lokho okungekho kumculi ngokwakhe akukwazi ukufakwa ekusebenzeni, "akazange adinwe ukuphindaphinda ezifundweni."
Umfundi wokugcina kaFischer, u-A. Brendle, unikeza lesi sithombe esilandelayo senkosi: “UFischer wanikwa uhlakanipho ekwenzeni (uma leli gama eliphelelwe yisikhathi lisamukeleka), akazange anikezwe umqambi, kodwa ngokunembile wanikwa uhlakanipho lokuhumusha. Umdlalo wakhe womabili ulungile futhi ngesikhathi esifanayo unesibindi. Unokusha nokuqina okukhethekile, ukuhlalisana okumvumela ukuthi afinyelele umlaleli ngokuqondile kunanoma yimuphi omunye umculi engimaziyo. Phakathi kwakhe nawe akukho khethini, akukho mgoqo. Ukhiqiza umsindo opholile ngokujabulisayo, ufeza i-pianissimo yokuhlanza kanye ne-fortissimo enonya, kodwa, engeyona embi futhi ebukhali. Ube yisisulu sezimo nemizwa, futhi amarekhodi akhe awanikezi umqondo omncane walokho akuzuza kumakhonsathi nasemakilasini akhe, efunda nabafundi. Umdlalo wakhe wawungekho ngaphansi kwesikhathi nemfashini. Futhi yena ngokwakhe wayeyinhlanganisela yengane kanye nesihlakaniphi, ingxube ye-naive futhi ecwengisisiwe, kodwa kukho konke lokho, konke lokhu kuhlanganiswe ebunyeni obuphelele. Wayenekhono lokubona wonke umsebenzi uwonke, ucezu ngalunye lwaluphelele futhi yindlela olwalubonakala ngayo ekusebenzeni kwakhe. Futhi lokhu kubizwa ngokuthi i-ideal… "
L. Grigoriev, J. Platek
