UMartha Argerich |

UMarta Argerich

Umphakathi jikelele kanye nabezindaba baqala ukukhuluma ngethalente elingavamile lomdlali wopiyano wase-Argentina ngo-1965, ngemva kokunqoba kwakhe ngokunqoba emncintiswaneni weChopin eWarsaw. Bambalwa abantu abazi ukuthi ngalesi sikhathi wayengeyena neze "omusha oluhlaza", kodwa kunalokho, wakwazi ukudlula indlela enezigigaba futhi enzima kakhulu yokuba.

Ukuqala kwale ndlela kwaphawulwa ngo-1957 ngokunqoba emiqhudelwaneni emibili ebaluleke kakhulu yamazwe ngamazwe ngesikhathi esisodwa - igama likaBusoni eBolzano naseGeneva. Ngisho nangaleso sikhathi, umdlali wopiyano oneminyaka engu-16 ubudala wakhangwa ngobuhle bakhe, inkululeko yobuciko, umculo ogqamile - ngegama, ngakho konke ithalente elincane "okufanele" libe nalo. Ngaphezu kwalokhu, u-Argerich wathola ukuqeqeshwa okuhle kochwepheshe emuva ezweni lakubo ngaphansi kokuqondisa kothisha base-Argentina abahamba phambili u-V. Scaramuzza noF. Amicarelli. Ngemva kokuba eqale e-Buenos Aires ngokudlala amakhonsathi kaMozart (C minor) nekaBeethoven (C major), waya eYurophu, wafunda e-Austria naseSwitzerland nothisha abaphambili nabaculi bamakhonsathi - F. Gulda, N. Magalov.

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Phakathi naleso sikhathi, imidlalo yokuqala yomdlali wopiyano ngemva kwemincintiswano e-Bolzano naseGeneva yabonisa ukuthi ithalenta lakhe lalingakakhiwa ngokugcwele (futhi kungenzeka yini ukuthi lapho eneminyaka engu-16?); ukuhumusha kwakhe kwakungalungisiswa ngaso sonke isikhathi, futhi umdlalo wawuhlushwa ukungalingani. Mhlawumbe yingakho, futhi ngenxa yokuthi abafundisi bomculi osemusha babengajahile ukuxhaphaza ithalenta lakhe, u-Argerich akazange athole ukuthandwa okubanzi ngaleso sikhathi. Iminyaka yobudala yengane ye-prodigy isiphelile, kodwa waqhubeka ethatha izifundo: waya e-Austria eBruno Seidlhofer, eBelgium eya kuStefan Askinase, e-Italy ku-Arturo Benedetti Michelangeli, ngisho noVladimir Horowitz e-USA. Kungakhathaliseki ukuthi kwakukhona othisha abaningi kakhulu, noma isikhathi sokuqhakaza kwethalenta asifikanga, kodwa inqubo yokwakheka yadonsa. I-disc yokuqala eqoshiwe yemisebenzi ka-Brahms no-Chopin ayizange ifinyelele kulokho okwakulindelwe. Kodwa kwabe sekufika ngo-1965 - unyaka womncintiswano eWarsaw, lapho engatholanga khona umklomelo ophakeme kakhulu, kodwa futhi nemiklomelo eminingi eyengeziwe - yokusebenza kahle kwama-mazurkas, ama-waltzes, njll.

Yilo nyaka okube yingqophamlando kumlando wokuqamba womdlali wopiyano. Ngokushesha wema ngokulingana nabameleli abadumile bentsha yobuciko, waqala ukuvakasha kabanzi, ukuqopha. Ngo-1968, izilaleli zaseSoviet zakwazi ukuqinisekisa ukuthi udumo lwakhe aluzalwanga ngokuzwakalayo futhi aluzange lwenziwe ihaba, lusekelwe nje kuphela kuhlelo olumangalisayo olumvumela ukuba axazulule kalula noma yiziphi izinkinga zokuhumusha - kungakhathaliseki ukuthi kumculo kaLiszt, Chopin noma. I-Prokofiev. Abaningi bakhumbula ukuthi ngo-1963 u-Argerich wayesefikile e-USSR, hhayi nje njengomculi oyedwa, kodwa njengomlingani kaRuggiero Ricci futhi wazibonakalisa engumdlali omuhle kakhulu wokuhlanganisa. Kodwa manje sase sinomculi wangempela phambi kwethu.

“UMartha Argerich ungumculi osezingeni eliphezulu ngempela. Unekhono elihle kakhulu, i-virtuoso ngomqondo ophakeme wegama, amakhono opiyano aphelelisiwe, umuzwa omangalisayo wesimo kanye ne-architectonics yocezu lomculo. Kodwa okubaluleke kakhulu, umdlali wopiyano unesiphiwo esingavamile sokuphefumula umuzwa ophilayo noqondile emsebenzini awenzayo: amazwi akhe afudumele futhi anokuthula, kuma-pathos akukho ukuthinta kokuphakanyiswa ngokweqile - injabulo yomoya kuphela. Isiqalo esivuthayo, sothando singenye yezici ezihluke kakhulu zobuciko be-Argerich. Umshayi wopiyano ngokusobala udonsela emisebenzini egcwele ukugqama okumangalisayo, amazwibela ezingoma… Amakhono omculo osemusha womdlali wopiyano ayamangalisa. Umsindo, ubuhle bawo obuthinta inkanuko, akusona neze isiphetho kuyena.” Wabhala kanjalo umhlaziyi osemusha waseMoscow ngaleso sikhathi uNikolai Tanaev, ngemva kokulalela uhlelo lapho kwenziwa khona imisebenzi kaSchumann, Chopin, Liszt, Ravel noProkofiev.

Manje uMartha Argerich ufakwe ngokufanelekile kubadlali bopiyano “abaphakeme” bezinsuku zethu. Ubuciko bakhe bubucayi futhi bujulile, kodwa ngesikhathi esifanayo buhle futhi buncane, i-repertoire yakhe ikhula ngokuqhubekayo. Kusasekelwe emisebenzini yabaqambi bothando, kodwa kanye nabo, uBach noScarlatti, uBeethoven noTchaikovsky, uProkofiev noBartok bathatha indawo egcwele ezinhlelweni zabo. U-Argerich akarekhodi okuningi, kodwa ukuqoshwa kwakhe ngakunye kuwumsebenzi ocatshangelwayo ojulile, ofakazela ukucinga okuqhubekayo komdwebi, ukukhula kwakhe kokudala. Ukuhumusha kwakhe kusalokhu kuhlaba umxhwele ngokungalindelekile, okuningi kwezobuciko bakhe "akuzange kulungiswe" nanamuhla, kodwa ukungaqiniseki okunjalo kwandisa kuphela ukukhanga komdlalo wakhe. Umgxeki oyiNgisi uB. Morrison wachaza indlela umdwebi abukeka ngayo manje: “Ngezinye izikhathi indlela u-Argerich adlala ngayo ibonakala ingenangqondo, indlela yakhe yasenganekwaneni isetshenziselwa ukufeza imiphumela ewubudlabha ecasulayo, kodwa lapho isezingeni eliphezulu, akunakungabaza ukuthi ulalele. kumdwebi okuqonda kwakhe kuphawuleka njengokushelela nokukhululeka okwaziwayo.

Grigoriev L., Platek Ya., 1990