Shura Cherkassky |

Shura Cherkassky

Emakhonsathini alo mculi, abalaleli bavame ukuba nomuzwa ongavamile: kubonakala sengathi akuyena umculi onolwazi owenza phambi kwakho, kodwa ingane encane ye-prodigy. Iqiniso lokuthi esiteji epiyano kunendoda encane enegama lengane, elinciphayo, ubude obucishe bufane nengane, enezingalo ezimfushane neminwe emincane - konke lokhu kusikisela ukuhlangana kuphela, kepha izalwa yisitayela somculi uqobo, okuphawulwa hhayi kuphela ngokuzenzekela kobusha, kodwa ngezinye izikhathi i-naivete yengane eqondile. Cha, umdlalo wakhe awunakuphikwa uhlobo lokuphelela okuyingqayizivele, noma ukukhanga, ngisho nokuthakazelisa. Kodwa ngisho noma uthathwa, kunzima ukuyeka umqondo wokuthi umhlaba wemizwa lapho umculi ekucwilisa kuwo awuwona owomuntu ovuthiwe, ohloniphekile.

Phakathi naleso sikhathi, indlela yobuciko yaseCherkassky ibalwa amashumi eminyaka. Ongowokuzalwa e-Odessa, wayengenakuhlukaniswa nomculo kusukela ebuntwaneni: eneminyaka emihlanu waqamba i-opera enkulu, eneminyaka eyishumi waqhuba i-orchestra yama-amateur futhi, yebo, wadlala upiyano amahora amaningi ngosuku. Wathola izifundo zakhe zokuqala zomculo emndenini, uLidia Cherkasskaya wayengumdlali wepiyano futhi wadlala eSt. Petersburg, wafundisa umculo, phakathi kwabafundi bakhe umculi wepiyano uRaymond Leventhal. Ngo-1923, umndeni Cherkassky, ngemva kokuzulazula isikhathi eside, wazinza e-United States, edolobheni Baltimore. Lapha u-virtuoso osemusha ngokushesha wenza i-debut yakhe phambi komphakathi futhi waba nempumelelo enesivunguvungu: wonke amathikithi amakhonsathi alandelayo athengiswa ngendaba yamahora. Umfana wamangaza izethameli hhayi kuphela ngekhono lakhe lobuchwepheshe, kodwa futhi nomuzwa wezinkondlo, futhi ngaleso sikhathi i-repertoire yakhe isivele ihlanganisa imisebenzi engaphezu kwamakhulu amabili (kuhlanganise namakhonsathi kaGrieg, Liszt, Chopin). Ngemva kokuvela kwakhe okokuqala eNew York (1925), iphephandaba i-World laphawula: “Ngokukhuliswa ngokucophelela, ikakhulukazi kwenye yezindawo zomculo ezigcina umculo, uShura Cherkassky angakhula eminyakeni embalwa abe ingcweti yopiyano yesizukulwane sakhe.” Kodwa ngaleso sikhathi noma kamuva uCherkassky akazange afunde ngokuhlelekile noma kuphi, ngaphandle kwezinyanga ezimbalwa zezifundo eCurtis Institute ngaphansi kokuqondisa kuka-I. Hoffmann. Futhi kusukela ngo-1928 wazinikela ngokuphelele ekhonsathini, ekhuthazwa ukubuyekezwa okuhle kwezinkanyiso ezinjalo zopiyano njengoRachmaninov, Godovsky, Paderevsky.

Kusukela ngaleso sikhathi, isikhathi esingaphezu kwesigamu sekhulu, ubelokhu “ebhukuda” ngokuqhubekayo olwandle lwekhonsathi, ephindelela eshaya izilaleli ezivela emazweni ahlukene ngemvelaphi yokudlala kwakhe, okubangele impikiswano eshubile phakathi kwabo, ezithathela isichotho. imicibisholo ebucayi, ngezinye izikhathi engakwazi ukuvikela kanye nezikhali zokuhalalisela izethameli. Akunakushiwo ukuthi ukudlala kwakhe akuzange kushintshe nhlobo ngokuhamba kwesikhathi: eminyakeni yamashumi amahlanu, kancane kancane waqala ukuphikelela ngokuqhubekayo izindawo ezazingafinyeleleki ngaphambili - i-sonatas nemijikelezo emikhulu yeMozart, Beethoven, Brahms. Kodwa noma kunjalo, kukho konke, izilinganiso ezijwayelekile zokuhumusha kwakhe zihlala zifana, futhi umoya wohlobo lobuhle obungenandaba, ngisho nokunganaki, uhamba phezu kwabo. Futhi yilokho kuphela - "kuvela": naphezu kweminwe emifushane, naphezu kokuntuleka kwamandla ...

Kodwa lokhu kuhlanganisa nokuhlambalaza ngokungenakugwenywa - ukubheka phezulu, ukuzithanda nokulwela imiphumela yangaphandle, ukunganaki konke kanye namasiko ahlukahlukene. Ngokwesibonelo, uJoachim Kaiser, uyakholelwa: “Iqili njengoShura Cherkassky, yiqiniso, liyakwazi ukubangela ukumangala nokushaya ihlombe kwezilaleli ezihlakaniphile - kodwa ngesikhathi esifanayo, embuzweni wokuthi siludlala kanjani upiyano namuhla, noma. indlela isiko lesimanjemanje elihlobana ngayo nobungcweti bezincwadi zepiyano, ukukhuthala okusheshayo kukaCherkassky akunakwenzeka ukunikeza impendulo.

Abagxeki bayakhuluma - futhi hhayi ngaphandle kwesizathu - mayelana "nokunambitheka kwe-cabaret", mayelana nokweqisa kwe-subjectivism, mayelana nenkululeko yokuphatha umbhalo wombhali, mayelana nokungalingani kwesitayela. Kodwa u-Cherkassky akanandaba nokuhlanzeka kwesitayela, ubuqotho bomqondo - udlala nje, udlala indlela azizwa ngayo umculo, kalula futhi ngokwemvelo. Ngakho-ke, yini ehehayo nokuthakasela umdlalo wakhe? Ingabe ukushelela kwezobuchwepheshe kuphela? Cha, yiqiniso, akekho omangala ngalokhu manje, futhi ngaphandle kwalokho, inqwaba yama-virtuosos amancane adlala ngokushesha nangaphezulu kuneCherkassky. Amandla akhe, ngamafuphi, akhona kanye ekuziphenduleleni komzwelo, ebuhleni bomsindo, futhi nasentweni emangazayo ukuthi ukudlala kwakhe kuhlala kuphethe, ekhonweni lomshayi wopiyano “lokufunda phakathi kwemigqa.” Yiqiniso, kumaseyili amakhulu lokhu ngokuvamile akwanele - kudinga ukujula, ukujula kwefilosofi, ukufunda nokudlulisa imicabango yombhali kubo bonke ubunzima bayo. Kodwa ngisho nalapha eCherkassky ngezinye izikhathi umuntu ujabulela izikhathi ezigcwele ubusuka nobuhle, okutholakalayo okuphawulekayo, ikakhulukazi kuma-sonatas kaHaydn nasekuqaleni kukaMozart. Eduze kwesitayela sakhe umculo wababhali bezothando kanye nababhali besikhathi samanje. Lokhu kugcwele ukukhanya nezinkondlo "I-Carnival" kaSchumann, i-sonatas kanye nemicabango kaMendelssohn, Schubert, Schumann, "Islamei" kaBalakirev, futhi ekugcineni, i-sonatas kaProkofiev kanye ne "Petrushka" kaStravinsky. Ngokuqondene nama-piano miniatures, lapha uCherkassky uhlala eyingxenye yakhe, futhi kulesi sici kukhona abambalwa abalingana naye. Njengomunye umuntu, uyakwazi ukuthola imininingwane ethokozisayo, agqamise amazwi aseceleni, aqale ukudansa okukhangayo, azuze ubuhlakani obusha emdlalweni ka-Rachmaninoff noRubinstein, iToccata kaPoulenc kanye nekaMann-Zucca ethi “Training the Zuave”, “Tango” ka-Albéniz kanye neka-Albéniz. inqwaba yezinye "izinto ezincane" ezimangalisayo.

Yiqiniso, lokhu akuyona into eyinhloko kwezobuciko be-pianoforte; idumela leciko elikhulu alivamisile ukwakhiwa kulokhu. Kepha uCherkassky unjalo - futhi yena, ngokuhlukile, "unelungelo lokuba khona." Futhi uma usujwayele ukudlala kwakhe, ngokuzenzakalelayo uqala ukuthola izici ezikhangayo kwezinye izincazelo zakhe, uqala ukuqonda ukuthi umdwebi unobuntu bakhe, obuyingqayizivele nobuqinile. Futhi-ke ukudlala kwakhe akusabangela ukucasuka, ufuna ukumlalela ngokuphindaphindiwe, ngisho nokuqaphela ukulinganiselwa kobuciko bomculi. Khona-ke uyaqonda ukuthi kungani abanye abagxeki abakhulu kakhulu nabanolwazi bepiyano belubeka phezulu kangaka, lubize, njengo-R. Kammerer, “indlalifa yesambatho sika-I. Hoffman". Kulokhu, kunjalo, kunezizathu. “Cherkassky,” kubhala uB. UJacobs ngasekupheleni kweminyaka yama-70s ungomunye wamathalenta asekuqaleni, uyingcweti yokuqala futhi, njengabanye kule nombolo encane, usondele kakhulu kulokho esesikuqaphela manje njengomoya weqiniso wama-classics amakhulu nama-romantics kuno. izinto eziningi ezidaliwe “ezinesitayela” zezinga lokunambitha elomile lamaphakathi nekhulu lesi-XNUMX. Lo moya uphakamisa izinga eliphezulu lenkululeko yokudala yomdlali, nakuba le nkululeko akufanele iphanjaniswe nelungelo lokuzenzela umathanda. Abanye ochwepheshe abaningi bayavumelana nokuhlolwa okuphezulu kangaka komdwebi. Nansi eminye imibono emibili enegunya. Isazi somculo u-K. AT. UKürten uyabhala: “Ukushaya kwakhe ikhibhodi okumangalisayo akulona uhlobo oluhlobene kakhulu nezemidlalo kunobuciko. Amandla akhe anesivunguvungu, ubuciko obuhle, ubuciko bepiyano busebenza ngokuphelele kumculo oguquguqukayo. I-Cantilena iqhakaza ngaphansi kwezandla zikaCherkassky. Uyakwazi ukufaka imibala ezingxenyeni ezihamba kancane ngemibala ezwakalayo yomsindo, futhi, njengabanye abambalwa, wazi okuningi mayelana nobuqili obunesigqi. Kodwa ezikhathini ezimangalisa kakhulu, ugcina lokho kuhlakanipha okubalulekile kwe-piano acrobatics, okwenza umlaleli azibuze ngokumangala: le ndoda encane, ebuthaka iwatholaphi amandla angavamile nokunwebeka okunamandla okumvumela ukuba anqobe ngokunqoba zonke izindawo eziphakeme zobuhle? "I-Paganini Piano" ibizwa ngokufanelekile ngokuthi i-Cherkassky ngobuciko bakhe bomlingo. Imivimbo yesithombe somculi oyingqayizivele iphelezelwa u-E. U-Orga: “Ezinhlelweni zakhe, uCherkassky ungumpetha wopiyano oseqophelweni eliphezulu, futhi uletha ekuchazeni kwakhe isitayela nendlela esobala. I-Touché, i-pedalization, imisho, umuzwa wesimo, ukuvezwa kwemigqa yesibili, ukuhlonishwa kwezimpawu, ukusondelana kwezinkondlo - konke lokhu kusemandleni akhe. Uzihlanganisa nopiyano, akalokothi aluvumele lumnqobe; ekhuluma ngezwi elipholile. Akafuni ukwenza noma yini eyimpikiswano, noma kunjalo akabheki phezulu. Ukuzola nokuzola kwakhe kuqeda leli khono elingu-XNUMX% lokwenza umbono omkhulu. Mhlawumbe akanawo ubuhlakani obuqinile namandla aphelele esiwathola kuwo, athi, Arrau; akanayo intelezi evuthayo ye-Horowitz. Kodwa njengeciko, uthola ulimi oluvamile nomphakathi ngendlela yokuthi ngisho ne-Kempf ayifinyeleleki. Futhi empumelelweni yakhe ephakeme kakhulu unempumelelo efana nekaRubinstein. Ngokwesibonelo, ezingxenyeni ezinjenge-Tango ka-Albéniz, unikeza izibonelo ezingenakudlulwa.

Ngokuphindaphindiwe - kokubili esikhathini sangaphambi kwempi kanye neminyaka engama-70-80, umculi weza e-USSR, futhi izilaleli zaseRussia zazikwazi ukuzitholela ubuhle bakhe bobuciko, zihlole ngokucophelela ukuthi iyiphi indawo yalo mculi ongavamile ku-panorama enemibala yomculo wepiyano. ubuciko bezinsuku zethu.

Kusukela ngeminyaka yawo-1950 uCherkassky wazinza eLondon, lapho ashonela khona ngo-1995. Wangcwatshwa emathuneni aseHighgate eLondon.

Grigoriev L., Platek Ya.