UFerdinand Laub |

Ferdinand Laub

Ingxenye yesibili yekhulu lesi-XNUMX bekuyisikhathi sokuthuthuka ngokushesha kwenhlangano yenkululeko yentando yeningi. Ukungqubuzana okujulile kanye nokwehluka komphakathi wonxiwankulu kubangela imibhikisho evuthayo phakathi kwezihlakaniphi ezinomqondo oqhubekayo. Kodwa umbhikisho awusenaso isimilo sokuvukela kothando komuntu ngokumelene nokungalingani kwezenhlalo. Imibono yedemokhrasi ivela ngenxa yokuhlaziya kanye nokuhlola okunengqondo kwempilo yezenhlalo, isifiso solwazi kanye nencazelo yomhlaba. Emkhakheni wobuciko, izimiso zamaqiniso ziqinisekiswa ngokunamandla. Ezincwadini, le nkathi yayibonakala ngokuqhakaza okunamandla kweqiniso elibucayi, elibuye labonakala emdwebeni - i-Russian Wanderers iyisibonelo salokhu; emculweni lokhu kuholele ekucabangeni kwengqondo, kubantu abanothando, nasemisebenzini yezenhlalo yabaculi - ekukhanyiselweni. Izidingo zobuciko ziyashintsha. Egijimela emahholo ekhonsathi, efuna ukufunda kukho konke, i-petty-bourgeois intelligentsia, eyaziwa eRussia ngokuthi "raznochintsy", idonswa ngokulangazela emculweni ojulile, ojulile. Isiqubulo sosuku ukulwa nobuhle, ukubukisa kwangaphandle, i-salonism. Konke lokhu kubangela izinguquko ezibalulekile empilweni yomculo - ku-repertoire yabadlali, ezindleleni zokwenza ubuciko.

I-repertoire egcwele imisebenzi ye-virtuoso ithathelwa indawo yi-repertoire ehlanganiswe nobuciko obubalulekile obubalulekile. Akuzona izingcezu eziwumbukwane zabadlali bevayolini ngokwabo ezenziwa kabanzi, kodwa amakhonsathi kaBeethoven, Mendelssohn, futhi kamuva - Brahms, Tchaikovsky. Kuza "ukuvuselelwa" kwemisebenzi yamakhosi amadala ekhulu le-XVII-XVIII - J.-S. Bach, Corelli, Vivaldi, Tartini, Leclerc; ku-repertoire yegumbi, ukunakwa okukhethekile kukhokhwa kuma-quartets okugcina kaBeethoven, ayenqatshiwe ngaphambili. Ekusebenzeni, ubuciko "bokuguqulwa kobuciko", "inhloso" yokudlulisa okuqukethwe kanye nesitayela somsebenzi kuya phambili. Umlaleli oza ekhonsathini ngokuyinhloko unesithakazelo emculweni, kuyilapho ubuntu bomculi, ikhono lakhe lilinganiswa ikhono lakhe lokudlulisa imibono equkethwe emisebenzini yabaqambi. Ingqikithi yalezi zinguquko yaphawulwa ngokunembile ngu-L. Auer: “I-epigraph – “umculo ukhona we-virtuoso” ayisabonwa, futhi inkulumo ethi “i-virtuoso ikhona emculweni” isiphenduke inkomba yomculi wangempela wezinsuku zethu. .”

Abameleli abaqhakazile benkambiso entsha yobuciko ekusebenzeni kwe-violin kwakungu-F. Laub, J. Joachim no-L. Auer. Yibo abathuthukisa izisekelo zendlela engokoqobo ekusebenzeni, babengabadali bezimiso zayo, nakuba ngokuzithoba uLaub wayesaxhumene kakhulu ne-romanticism.

UFerdinand Laub wazalwa ngoJanuwari 19, 1832 ePrague. Ubaba womdlali wevayolini, u-Erasmus, wayengumculi futhi enguthisha wakhe wokuqala. Ukusebenza kokuqala kwe-violinist eneminyaka engu-6 kwenzeka ekhonsathini yangasese. Wayemncane kangangokuthi kwadingeka abekwe etafuleni. Lapho eneminyaka engu-8 ubudala, uLaub wavela phambi komphakathi wasePrague kakade ekhonsathini yomphakathi, futhi ngemva kwesikhathi esithile wahamba noyise ohambweni lwekhonsathi emadolobheni ezwe lakubo. Umdlali wevayolini waseNorway u-Ole Bull, umfana alethwe kuye, ujabule ngethalente lakhe.

Ngo-1843, uLaub wangena ePrague Conservatory ekilasini likaProfessor Mildner futhi waphumelela ngokumangalisayo eneminyaka engu-14. Ukusebenza komculi osemusha kudonsela ukunaka, futhi uLaub, njengoba ephumelele e-conservatory, akantuli amakhonsathi.

Ubusha bakhe buhambisana nesikhathi okuthiwa "i-Czech Renaissance" - ukuthuthukiswa okusheshayo kwemibono yenkululeko kazwelonke. Kuyo yonke impilo yakhe, uLaub walondoloza ukushisekela izwe, uthando olungapheli ngezwe eligqilaziwe, elihluphekayo. Ngemva kokuvukela ePrague ngo-1848, okwacindezelwa iziphathimandla zase-Austria, kwabusa amaphekula ezweni. Izinkulungwane zabashisekeli bezwe ziphoqeleka ukuba zidingiswe. Phakathi kwabo kukhona u-F. Laub, ohlala iminyaka engu-2 e-Vienna. Udlala lapha ku-orchestra ye-opera, ethatha isikhundla sokucula yedwa futhi ehambisana nayo, ethuthukisa ithiyori yomculo kanye ne-counterpoint noShimon Sekhter, umqambi waseCzech owahlala eVienna.

Ngo-1859, uLaub wathuthela e-Weimar ukuze athathe indawo kaJosef Joachim, owayehambe eya eHannover. I-Weimar - indawo yokuhlala yaseLiszt, yadlala indima enkulu ekuthuthukisweni komdlali we-violinist. Njengomuntu ocula yedwa kanye nomphathi wekhonsathi we-orchestra, uhlala exhumana no-Liszt, owazisa kakhulu umculi omangalisayo. E-Weimar, uLaub waba umngane no-Smetana, wabelana ngokugcwele ngezifiso namathemba akhe okushisekela izwe. Ukusuka e-Weimar, uLaub uvame ukuhamba namakhonsathi aye ePrague nakwamanye amadolobha aseCzech Republic. “Ngaleso sikhathi,” kubhala isazi somculo uL. Ginzburg, “lapho inkulumo yesiCzech ishushiswa ngisho nasemadolobheni aseCzech, uLaub akazange angabaze ukukhuluma ulimi lwakhe lwendabuko lapho eseJalimane. Umkakhe kamuva wakhumbula ukuthi uSmetana, ehlangene noLaub eLiszt e-Weimar, wethuswa kanjani isibindi uLaub akhuluma ngaso ngesiCzech enkabeni yeJalimane.

Unyaka ngemva kokuthuthela e-Weimar, uLaub washada no-Anna Maresh. Wahlangana naye eNovaya Guta, kokunye kokuvakashela kwakhe ezweni lakubo. U-Anna Maresh wayengumculi nendlela u-Anna Laub azuza ngayo udumo ngokuvakashela njalo nomyeni wakhe. Wazala izingane ezinhlanu - amadodana amabili namadodakazi amathathu, futhi kukho konke ukuphila kwakhe kwaba umngane wakhe ozinikele kakhulu. Umdlali wevayolini u-I. Grzhimali wayeshade nenye yamadodakazi akhe, u-Isabella.

Ikhono lika-Laub lathakaselwa abaculi abakhulu emhlabeni, kodwa ekuqaleni kwawo-50s ukudlala kwakhe kwaphawulwa kakhulu ngobuhle. Encwadini ayibhalela umfowabo eLondon ngo-1852, uJoachim wabhala: “Kuyamangaza indlela ekhaliphile ngayo le ndoda; abukho ubunzima kuye.” I-repertoire kaLaub ngaleso sikhathi yayigcwele umculo we-virtuoso. Ngokuzithandela wenza amakhonsathi nemicabango kaBazzini, Ernst, Vietana. Kamuva, ukugxila kokunaka kwakhe kuthuthela kokwakudala. Phela, kwakunguLaub okwathi, ekuchazeni kwakhe imisebenzi kaBach, amakhonsathi namaqoqo kaMozart noBeethoven, ngokwezinga elithile wayengumanduleli futhi kamuva waba imbangi kaJoachim.

Imisebenzi yequartet ka-Laub idlale indima ebalulekile ekujuliseni intshisekelo kokwakudala. Ngo-1860, u-Joachim ubiza u-Laub ngokuthi "umdlali we-violinist ongcono kakhulu phakathi kozakwabo" futhi umhlola ngentshiseko njengomdlali we-quartet.

Ngo-1856, uLaub wamukela isimemo esivela enkantolo yaseBerlin futhi wazinza enhloko-dolobha yasePrussia. Imisebenzi yakhe lapha ishube ngokwedlulele – udlala ngabathathu no-Hans Bülow kanye no-Wohlers, unikeza izikhathi zakusihlwa ze-quartet, akhuthaze ezakudala, okuhlanganisa nama-quartet akamuva ka-Beethoven. Ngaphambi kweLaub, ubusuku be-quartet yomphakathi e-Berlin ngeminyaka yama-40s babubanjwe iqoqo eliholwa ngu-Zimmermann; Ukufaneleka komlando kaLaub kwakuwukuthi amakhonsathi akhe ekamelo abe unomphela. I-quartet yasebenza kusukela ngo-1856 kuya ku-1862 futhi yenza okuningi ukufundisa okuthandwa ngumphakathi, yavulela uJoachim indlela. Umsebenzi eBerlin wahlanganiswa nohambo lwamakhonsathi, ikakhulukazi eCzech Republic, lapho ahlala khona isikhathi eside ehlobo.

Ngo-1859 uLaub wavakashela eRussia okokuqala. Imisebenzi yakhe eSt. Petersburg enezinhlelo ezihlanganisa imisebenzi kaBach, uBeethoven, uMendelssohn, idala imizwa. Abagxeki baseRussia abavelele u-V. Odoevsky, A. Serov bajabule ngokusebenza kwakhe. Kwenye yezincwadi eziphathelene nalesi sikhathi, uSerov wabiza uLaub ngokuthi “unkulunkulu weqiniso.” “NgeSonto e-Vielgorsky ngezwa ama-quartets amabili kuphela ( eka-Beethoven e-F-dur, evela e-Razumovskys, op. 59, ne-Haydn's e-G-dur), kodwa bekuyini lokho!! Ngisho nasemshinini, uViettan wazidlula yena.

USerov unikela ngochungechunge lwezihloko kuLaub, enaka ngokukhethekile incazelo yakhe yomculo kaBach, uMendelssohn noBeethoven. U-Bach's Chaconne, futhi ukumangala komnsalo kaLaub nesandla sobunxele, kubhala uSerov, ithoni yakhe eqinile, ibhande elibanzi lomsindo ngaphansi komnsalo wakhe, elikhulisa ivayolini izikhathi ezine ngokumelene nevamile, ama-nuances akhe athambile kakhulu ku-"pianissimo", yakhe. imisho engenakuqhathaniswa, ngokuqonda okujulile isitayela se-Bach! .. Ukulalela lo mculo ojabulisayo owenziwa ukusebenza kukaLaub okujabulisayo, uqala ukuzibuza: ingabe usengaba khona omunye umculo emhlabeni, isitayela esihluke ngokuphelele (hhayi i-polyphonic), ukuthi ngabe ilungelo lokuba yisakhamuzi ecaleni lingaba nesitayela esihlukile , - njengoba kuphelele njengesitayela esingapheli se-organic, se-polyphonic se-Sebastian enkulu?

I-Laub ihlaba umxhwele uSerov naku-Beethoven's Concerto futhi. Ngemva kwekhonsathi ngo-March 23, 1859, wabhala: “Kulokhu kucace ngendlela emangalisayo; wacula umculo ogqamile, oqotho ngokwezingelosi ngomnsalo wakhe ongcono ngokungenakuqhathaniswa kunasekhonsathini yakhe ehholo loMhlangano Ohloniphekile. Ubuhle buyamangalisa! Kodwa akekho e-Laub ezenzela yena, kodwa ukuze kuzuze indalo yomculo ophezulu. Ukube wonke ama-virtuosos ayeqonda incazelo yawo nenjongo yawo ngale ndlela!” “Ngama-quartets,” kubhala uSerov, ngemva kokulalela kusihlwa segumbi, “uLaub ubonakala emude kakhulu kunoyedwa. Ihlangana ngokuphelele nomculo odlalwayo, okuyinto abaningi abanekhono, kuhlanganise neVieuxne, abangakwazi ukuyenza.”

Isikhathi esihehayo kubusuku bequartet kaLaub kubaculi abaphambili basePetersburg kwaba ukufakwa kwamaquartets okugcina ka-Beethoven enanini lemisebenzi eyenziwe. Ukuthambekela enkathini yesithathu yomsebenzi ka-Beethoven kwakuyisici se-intelligentsia yentando yeningi yama-50s: "... futhi ikakhulukazi sizame ukujwayelana nokusebenza namaquartets okugcina ka-Beethoven," kubhala u-D. Stasov. Ngemuva kwalokho, kuyacaca ukuthi kungani amakhonsathi kaLaub emukelwe ngesasasa.

Ekuqaleni kwawo-60s, uLaub wachitha isikhathi esiningi e-Czech Republic. Le minyaka eCzech Republic ngezinye izikhathi yayikhula ngokushesha esikweni lomculo kazwelonke. Izisekelo zomculo wakudala wase-Czech zakhiwe ngu-B. Smetana, u-Laub agcina naye ubuhlobo obuseduze. Ngo-1861, kwavulwa inkundla yemidlalo yaseshashalazini yaseCzech ePrague, futhi kwagujwa iminyaka engu-50 yasungulwa. U-Laub udlala i-Beethoven Concerto ephathini yesikhumbuzo. Ungumhlanganyeli njalo kuzo zonke izibopho zokushisekela izwe, ilungu elisebenzayo lenhlangano kazwelonke yabamele ubuciko "Ingxoxo Yobuqili".

Ehlobo lika-1861, lapho uLaub ehlala eBaden-Baden, u-Borodin nomkakhe babevame ukuza ukuzombona, owayengumdlali wopiyano, owayethanda ukudlala ama-duets noLaub. ULaub ulazise kakhulu ithalente likaBorodin lomculo.

Ukusuka eBerlin, uLaub wathuthela eVienna futhi wahlala lapha kwaze kwaba ngu-1865, ethuthukisa imisebenzi yekhonsathi negumbi. “Enkosini yeviyolin uFerdinand Laub,” wawufundeka umbhalo osemqhele wegolide awunikezwa iVienna Philharmonic Society lapho uLaub eshiya eVienna.

Ngo-1865 uLaub waya eRussia okwesibili. NgoMashi 6, udlala kusihlwa kwa-N. Rubinstein, futhi umbhali waseRussia u-V. Sollogub, owayekhona lapho, encwadini evulekile eya kuMatvey Vielgorsky, eyanyatheliswa ku-Moskovskie Vedomosti, unikeza imigqa elandelayo kuye: “… umdlalo wangijabulisa kakhulu ngaze ngakhohlwa nokukhithika, nesiphepho esishisayo, kanye nezifo... Ukuzola, ubungane, ubulula, ubukhali besitayela, ukuntuleka kokuzenzisa, ukwehluka kanye, ngesikhathi esifanayo, ugqozi olujulile, kuhlangene namandla angavamile, kwakubonakala sengathi Izimpawu zikame Laub ezihlukile … Akawomi, njengowakudala, akanawo amawala, njengowothando. Ungowokuqala, uzimele, une, njengoba uBryullov wayevame ukusho, i-gag. Akanakuqhathaniswa namuntu. Iciko langempela lihlale lijwayelekile. Wangitshela okuningi futhi wabuza ngawe. Ukuthanda kusuka ekujuleni kwenhliziyo yakhe, njengoba wonke umuntu okwaziyo ekuthanda. Ngendlela yakhe, kimi kwakubonakala sengathi wayelula, enozwela, ekulungele ukubona isithunzi somunye umuntu futhi wayengacasulwa yibo ukuze aphakamise ukubaluleka kwakhe.

Ngakho-ke ngemivimbo embalwa, uSollogub udwebe isithombe esikhangayo sikaLaub, indoda nomdwebi. Encwadini yakhe kuyacaca ukuthi uLaub wayesevele ejwayele futhi esondelene nabaculi abaningi baseRussia, kuhlanganise no-Count Vielgorsky, i-cellist ephawulekayo, umfundi we-B. Romberg, nomculi ovelele eRussia.

Ngemva kokudlala kuka-Laub ka-Mozart G Minor Quintet, u-V. Odoevsky waphendula ngesihloko esivusa amadlingozi: “Noma ubani ongazange amuzwe uLaub ku-G Minor Quintet kaMozart,” ebhala, “akakaze ayizwe le quintet. Imuphi kubaculi ongayazi ngekhanda leyo nkondlo emangalisayo ebizwa ngokuthi iHemole Quintet? Kodwa yeka ukuthi kuyivelakancane kangakanani ukuzwa ukudlala kwakhe okungagculisa ngokugcwele umqondo wethu wobuciko.

ULaub wafika eRussia okwesithathu ngo-1866. Amakhonsathi awanikeza eSt. Petersburg naseMoscow agcina eqinise ukuthandwa kwakhe okungavamile. Ngokusobala uLaub wahlabeka umxhwele ngomkhathi wempilo yomculo waseRussia. ngo-March 1, 1866 usayina isivumelwano sokusebenza egatsheni laseMoscow le-Russian Musical Society; ngesimemo sikaN. Rubinstein, uba uprofesa wokuqala we-Moscow Conservatory, eyavulwa ekwindla ka-1866.

NjengoVenyavsky no-Auer eSt. Petersburg, uLaub wenza imisebenzi efanayo eMoscow: e-conservatory wafundisa ikilasi le-violin, ikilasi le-quartet, ama-orchestra aholayo; wayengumqondisi wekhonsathi kanye nomculi oyedwa we-symphony orchestra kanye ne-violinist wokuqala ku-quartet yegatsha laseMoscow le-Russian Musical Society.

ULaub wahlala eMoscow iminyaka engu-8, okungukuthi, cishe kwaze kwaba sekufeni kwakhe; Imiphumela yomsebenzi wakhe mikhulu futhi ibalulekile. Wagqama njengothisha wekilasi lokuqala owaqeqesha abadlali be-violin abangaba ngu-30, phakathi kwabo kwakukhona u-V. Villuan, owaphumelela e-conservatory ngo-1873 ngendondo yegolide, I. Loiko, owaba ngumdlali wekhonsathi, umngane kaTchaikovsky u-I. Kotek. I-violinist yasePoland eyaziwa kakhulu uS. Bartsevich waqala imfundo yakhe noLaub.

Umsebenzi kaLaub wokudlala, ikakhulukazi owegumbi, waziswa kakhulu abantu besikhathi sakhe. “EMoscow,” kubhala uTchaikovsky, “kunomdlali onjalo we-quartet, zonke izinhloko-dolobha zaseNtshonalanga Yurophu ezimbheka ngomona…” NgokukaTchaikovsky, nguJoachim kuphela ongaqhudelana noLaub ekwenzeni imisebenzi yakudala, “edlula uLaub ekhonweni insimbi yomculo ethambile ethinta inhliziyo, kodwa ngokuqinisekile ingaphansi kwakhe ngamandla ephimbo, ngothando namandla ahloniphekile.

Kamuva, ngo-1878, ngemva kokushona kukaLaub, kwenye yezincwadi zakhe azibhalela u-von Meck, uTchaikovsky wabhala ngokudlala kukaLaub u-Adagio ku-Mozart's G-moll quintet: “Lapho uLaub edlala le Adagio, ngangihlale ngicasha khona kanye ekhoneni lehholo. , ukuze bangaboni ukuthi yini eyenziwa kimi kulo mculo.

E-Moscow, uLaub wayezungezwe umoya ofudumele, nobungane. N. Rubinstein, Kossman, Albrecht, Tchaikovsky - zonke izibalo ezinkulu zomculo waseMoscow zazinobungane obukhulu naye. Ezincwadini zikaTchaikovsky zango-1866, kunemigqa efakazela ukuxhumana okuseduze noLaub: “Ngikuthumelela imenyu enobuhlakani yesidlo sakusihlwa esisodwa ePrince Odoevsky, engaya kuyo noRubinstein, uLaub, uKossmann no-Albrecht, ngikubonise uDavydov. ”

I-Laubov Quartet efulethini likaRubinstein yaba ngeyokuqala ukwenza i-Tchaikovsky's Second Quartet; Umqambi omkhulu wanikezela iQuartet yakhe Yesithathu kuLaub.

ULaub wayethanda iRussia. Izikhathi eziningana wanikeza amakhonsathi emadolobheni ezifundazweni - Vitebsk, Smolensk, Yaroslavl; umdlalo wakhe walalelwa Kyiv, Odessa, Kharkov.

Wahlala nomkhaya wakhe eMoscow Tverskoy Boulevard. Imbali yomculo yaseMoscow yabuthana endlini yakhe. ULaub kwakulula ukumphatha, nakuba wayehlala ezithwele ngokuziqhenya nangesithunzi. Wayebonakala ngenkuthalo enkulu kukho konke okuhlobene nomsebenzi wakhe: “Wayedlala futhi eprakthiza cishe ngokuqhubekayo, futhi lapho ngimbuza,” kukhumbula u-Servas Heller, uthisha wezingane zakhe, “kungani esacindezeleka kangaka kuyilapho kakade , mhlawumbe , isiqongo sobuhle, wahleka sengathi uyangihawukela, wabe esethi sina: “Ngokushesha lapho ngiyeka ukuthuthuka, kuzovela ngokushesha ukuthi othile udlala kangcono kunami, futhi angifuni .”

Ubungane obukhulu kanye nezithakazelo zobuciko zixhumene eduze no-Laub no-N. Rubinstein, owaba ngumlingani wakhe njalo ngezikhathi zakusihlwa ze-sonata: "Yena no-NG Rubinstein babefanelana kakhulu ngokwesimo somdlalo, futhi ama-duets abo ngezinye izikhathi ayemahle ngokungenakuqhathaniswa. Cishe akekho oke wezwa, ngokwesibonelo, ukusebenza kahle kakhulu kwe-Beethoven's Kreutzer Sonata, lapho bobabili abaculi baqhudelana ngamandla, ububele nothando lomdlalo. Babeqiniseka ngomunye nomunye kangangokuthi ngezinye izikhathi babedlala izinto ababengazi esidlangalaleni ngaphandle kokuzijwayeza, ngokuqondile i-livre ouvert.

Phakathi nokunqoba kukaLaub, ukugula kwamfica kungazelelwe. Ehlobo lika-1874, odokotela batusa ukuba aye eKarlsbad (Karlovy Vary). Njengokungathi ulindele ukuphela okuseduze, uLaub wema endleleni emadolobheni aseCzech ayewathanda kakhulu - okokuqala eKřivoklát, lapho atshala khona isihlahla se-hazel phambi kwendlu ayehlala kuyo, kwase kuba seNovaya Guta, lapho ayedlala khona. quartets eziningana nezihlobo.

Ukwelashwa eKarlovy Vary akuzange kuhambe kahle futhi umculi ogula ngokuphelele wadluliselwa eTyrolean Gris. Lapha, ngo-March 18, 1875, wafa.

UTchaikovsky, ekubukezeni kwakhe ikhonsathi yomdlali wevayolini oyi-virtuoso uK. Sivori, wabhala: “Ngimlalele, ngacabanga ngalokho okwakusesiteji ncamashi ngonyaka odlule. okokugcina omunye umdlali wevayolini edlala phambi komphakathi, egcwele impilo namandla, kukho konke ukuqhakaza kwethalente elihlakaniphile; ukuthi lo mdlali wevayolini ngeke esavela phambi kwanoma yiziphi izilaleli ezingabantu, ukuthi akekho oyojatshuliswa isandla esenza imisindo enamandla kangaka, enamandla futhi ngesikhathi esifanayo ethambile futhi ephulula. G. Laub ushone eneminyaka engu-43 kuphela.”

L. Raaben