UWilhelm Kempff |

UWilhelm Kempff

Ezobuciko obudlalwayo zekhulu lama-20, ukuba khona kanye nokungqubuzana kwezitayela ezimbili, izikhundla ezimbili zobuciko ezihluke ngokuyisisekelo kanye nemibono mayelana nendima yomculi odlalayo kungalandelelwa ngokucacile. Abanye babona umdwebi ngokuyinhloko (futhi ngezinye izikhathi kuphela) njengomxhumanisi phakathi komqambi nomlaleli, umsebenzi wakhe uwukudlulisela ngokucophelela ezilalelini okulotshwe umbhali, kuyilapho ehlala emthunzini ngokwakhe. Abanye, ngokuphambene nalokho, bayaqiniseka ukuthi umdwebi ungumhumushi encazelweni yokuqala yegama, ocelwa ukuba afunde hhayi kuphela amanothi, kodwa futhi "phakathi kwamanothi", ukuveza hhayi kuphela imicabango yomlobi, kodwa futhi. isimo sakhe sengqondo ngakubo, okungukuthi, ukudlula kubo ku-prism yendalo yami "I". Yiqiniso, ekusebenzeni, ukuhlukana okunjalo kuvame ukuba nemibandela, futhi akuvamile ukuba abaculi baphikise izimemezelo zabo ngokusebenza kwabo. Kodwa uma kukhona amaciko okubukeka kwawo kungashiwo ngokungangabazeki kwenye yalezi zigaba, kusho ukuthi iKempf ingeyabo futhi ibilokhu ingeyesibili. Kuye, ukudlala upiyano kwakuyisenzo sokudala esijulile, uhlobo lokubonisa imibono yakhe yobuciko ngezinga elifanayo nemibono yomqambi. Ekuphokopheleni kwakhe i-subjectivism, ukufundwa komculo okunemibala ngayinye, u-Kempf mhlawumbe uyi-antipode ehlaba umxhwele kakhulu kumuntu wakubo kanye ne-Backhaus yangaleso sikhathi. Uqiniseka ngokujulile ukuthi “ukumane uqhubekisele phambili umbhalo womculo, njengokungathi ungumsizi wesikhonzi senkantolo noma ummeli wommeli, oklanyelwe ukuqinisekisa ubuqiniso besandla sombhali, kuwukudukisa umphakathi. Umsebenzi wanoma yimuphi umuntu oqambe ngempela, kuhlanganise nomdwebi, uwukubonisa lokho umlobi ayekuhlosile esibukweni sobuntu bakhe.

Bekulokhu kunjena - kusukela ekuqaleni komsebenzi womdlali wopiyano, kodwa hhayi ngaso sonke isikhathi futhi hhayi ngokushesha i-credo enjalo yokudala yamholela ekuphakameni kobuciko bokuhumusha. Ekuqaleni kohambo lwakhe, wayevame ukuya kude kakhulu ekuqondeni kwe-subjectivism, weqa leyo mingcele ngaphezu kwalokho ubuciko buphenduka ukwephulwa kwentando yombhali, ku-arristic arbitrariness yomdlali. Emuva ngo-1927, isazi somculo u-A. Berrsche sachaza umshayi wopiyano osemusha, owayesanda kuqalisa indlela yobuciko, kanje: “I-Kempf inokuthinta okukhangayo, okukhangayo futhi okumangazayo njengokuvuselela okugculisayo kwensimbi eye yaxhashazwa ngonya. futhi ethukwa isikhathi eside. Uzwa lesi sipho sakhe kangangokuthi umuntu ngokuvamile kufanele angabaze ukuthi yini ayijabulela kakhulu - u-Beethoven noma ukuhlanzeka komsindo wensimbi.

Nokho, ngokuhamba kwesikhathi, egcina inkululeko yobuciko futhi engaguquki izimiso zakhe, uKempf wakwazi ubuciko obungenakulinganiswa bokudala ukuhumusha kwakhe, ehlala eyiqiniso kokubili umoya kanye nencwadi yokuqamba, okwamlethela udumo emhlabeni wonke. Emashumini amaningi eminyaka kamuva, omunye umgxeki wakuqinisekisa lokhu ngale migqa: “Kunabahumushi abakhuluma ngoChopin “wabo,” “wabo” uBach, “wabo” uBeethoven, futhi ngesikhathi esifanayo abangasoli ukuthi benza ubugebengu ngokuvumela ukuba bagweme ubugebengu. impahla yomunye umuntu. U-Kempf akalokothi akhulume “ngowakhe” uSchubert, “wakhe” uMozart, “wakhe” uBrahms noma uBeethoven, kodwa uwadlala ngokusobala nangokungenakuqhathaniswa.

Echaza izici zomsebenzi ka-Kempf, umsuka wesitayela sakhe sokudlala, umuntu kufanele akhulume kuqala ngomculi, bese kuphela ngomdlali wopiyano. Kuyo yonke impilo yakhe, futhi ikakhulukazi phakathi neminyaka yakhe yokukhula, u-Kempf wayehileleke kakhulu ekuqambeni. Futhi ngaphandle kwempumelelo - kwanele ukukhumbula ukuthi emuva kuma-20s, u-W. Furtwängler wafaka ama-symphonies akhe amabili ku-repertoire yakhe; ukuthi ngeminyaka yawo-30s, ephambili kuma-opera akhe, iThe Gozzi Family, yayidlala ezitejini eziningana eJalimane; ukuthi kamuva uFischer-Dieskau wethula abalaleli ezithandweni zakhe, futhi abadlali bopiyano abaningi babedlala izingoma zakhe zopiyano. Ukwakheka kwakungeyona nje "yokuzilibazisa" kuye, kwasebenza njengendlela yokubonisa ubuciko, futhi ngesikhathi esifanayo, ukukhululwa ohlelweni lwezifundo zansuku zonke ze-pianist.

I-hypostasis yokuqamba ka-Kempf iphinde ibonakale ekusebenzeni kwakhe, okuhlala kugcwele inganekwane, umbono omusha, ongalindelekile womculo ojwayelekile. Ngakho-ke ukuphefumula kwamahhala kokwenza umculo wakhe, abagxeki abavame ukukuchaza ngokuthi “ukucabanga ngopiyano.”

U-Kempf ungomunye wezingcweti ezingcono kakhulu ze-cantilena emnandi, i-legato yemvelo, ebushelelezi, futhi umlalele enza, athi, Bach, umuntu ukhumbula ngokuzenzakalelayo ubuciko be-Casals ngobulula bayo obukhulu kanye nesintu esivevezelayo sawo wonke amagama. "Ngiseyingane, ama-fairies anginika isipho esinamandla sokwenza ngcono, ukoma okungenakuphikiswa ukugqokisa izikhathi ezingazelelwe, ezingathandeki ngendlela yomculo," kusho umculi ngokwakhe. Futhi yile nkululeko ethuthukisiwe, noma kunalokho, inkululeko yokudala yokuhumusha enquma kakhulu ukuzibophezela kuka-Kempf emculweni kaBeethoven kanye nenkazimulo ayiwinile njengomunye wabaculi abangcono kakhulu balo mculo namuhla. Uthanda ukuveza ukuthi uBeethoven naye wayengumthuthukisi omkhulu. Ukuthi umshayi wopiyano uwuqonda ngokujule kangakanani umhlaba kaBeethoven akufakazelwa nje kuphela izincazelo zakhe, kodwa nangama-cadenza awabhalela bonke kodwa amakhonsathi okugcina kaBeethoven.

Ngomqondo othile, labo ababiza uKempf ngokuthi “umdlali wopiyano ochwepheshe” cishe baqinisile. Kodwa hhayi, yebo, ukuthi ukhuluma nendilinga ewumngcingo yabalaleli abangochwepheshe - cha, ukuhumusha kwakhe kungokwentando yeningi kukho konke ukuzithoba kwabo. Kodwa ngisho nozakwethu isikhathi ngasinye baveza imininingwane eminingi ecashile kubo, ngokuvamile ebabalekela abanye abadlali.

Ngesinye isikhathi uKempf encokola, washo ngokungananazi ukuthi uyinzalo kaBeethoven eqondile, futhi wachaza: “Uthisha wami uHeinrich Barth wafunda noBülow noTausig, labo noLiszt, uLiszt noCzerny, noCzerny noBeethoven. Ngakho yima ukunaka lapho ukhuluma nami. Kodwa-ke, kuneqiniso elithile kuleli hlaya, - wanezela ngokungathí sina, - ngifuna ukugcizelela lokhu: ukuze ungene emisebenzini kaBeethoven, udinga ukucwiliswa emasikweni enkathi kaBeethoven, emkhathini owabeletha umculo omnandi wekhulu lesi-XNUMX, futhi ngiwuvuselele futhi namuhla ”.

Kwamthatha uWilhelm Kempf ngokwakhe amashumi eminyaka ukuthi aqonde ngempela ukuqonda komculo omnandi, nakuba amakhono akhe akhaliphile opiyano azibonakalisa esemncane, futhi ukuthanda ukufunda ngempilo kanye nengqondo yokuhlaziya nakho kwavela kusenesikhathi, kunoma yikuphi, ngisho nangaphambi kokuhlangana no. G. Bart. Ngaphezu kwalokho, wakhulela emndenini onesiko elide lomculo: bobabili umkhulu wakhe noyise babeyizinsimbi ezidumile. Wachitha ubuntwana bakhe edolobheni lase-Uteborg, eduze kwasePotsdam, lapho uyise asebenza khona njengomculi wekwaya nomculi womculo. Ezivivinyweni zokungena e-Berlin Singing Academy, u-Wilhelm oneminyaka eyisishiyagalolunye akazange adlale ngokukhululeka kuphela, kodwa futhi waguqula izandulela kanye nama-fugues asuka ku-Bach's Well-Tempered Clavier wawafaka kunoma yimuphi ukhiye. Umqondisi wesikole uGeorg Schumann, owaba uthisha wakhe wokuqala, wanika umfana incwadi yokutusa kumdlali wevayolini omkhulu u-I. Joachim, futhi umaestro osekhulile wamklomelisa ngomfundaze owamvumela ukuba afundele amakhono amabili ngesikhathi esisodwa. U-Wilhelm Kempf ube ngumfundi ka-G. Barth kupiyano kanye no-R. Kahn ekuqambeni. UBarth wagcizelela ukuthi le nsizwa kufanele iqale ithole imfundo ebanzi.

Umsebenzi wekhonsathi kaKempf waqala ngo-1916, kodwa isikhathi eside wawuhlanganisa nomsebenzi wokufundisa unomphela. Ngo-1924 waqokwa ukuba aphumelele uMax Power njengomqondisi weSikole Somculo Esiphakeme eStuttgart, kodwa wasishiya leso sikhundla eminyakeni emihlanu kamuva ukuze abe nesikhathi esengeziwe sokuvakasha. Wanikeza inqwaba yamakhonsathi njalo ngonyaka, wavakashela amazwe amaningi aseYurophu, kodwa wathola ukuqashelwa kwangempela kuphela ngemva kweMpi Yezwe Yesibili. Lokhu ngokuyinhloko bekuwukuqashelwa komhumushi womsebenzi kaBeethoven.

Wonke ama-sonata angu-32 kaBeethoven afakwe ku-repertoire ka-Wilhelm Kempf, kusukela eneminyaka eyishumi nesithupha kuze kube yilolu suku aseyisisekelo sakhe. Izikhathi ezine iDeutsche Gramophone ikhiphe ukuqoshwa kweqoqo eliphelele le-sonatas kaBeethoven, elenziwe nguKempf ngezikhathi ezahlukene zokuphila kwakhe, elokugcina laphuma ngo-1966. Futhi irekhodi ngalinye elinjalo lihlukile kunangaphambili. “Kunezinto ekuphileni,” kusho lo mculi, “ezihlale ziwumthombo wokuhlangenwe nakho okusha. Kunezincwadi ezingaphinda zifundwe ngokungapheli, zivule ama-horizons amasha kuzo - ezifana ne-Goethe's Wilhelm Meister kanye ne-epic kaHomer kimi. Kungokufanayo nange-sonatas kaBeethoven. Ukuqoshwa okusha ngakunye komjikelezo wakhe we-Beethoven akufani nowangaphambili, kuyahluka kukho kokubili ngemininingwane kanye nokuchazwa kwezingxenye ngazinye. Kodwa isimiso sokuziphatha, ubuntu obujulile, isimo esithile esikhethekile sokucwiliswa ezicini zomculo ka-Beethoven aziguquki - ngezinye izikhathi ziyacabangela, zefilosofi, kodwa zihlala zisebenza, zigcwele ukukhuphuka okuzenzakalelayo nokugxila kwangaphakathi. “Ngaphansi kweminwe ka-Kempf,” kubhala umgxeki, “ngisho nomculo ka-Beethoven obonakala uthulile uthola izici zemilingo. Abanye bangayidlala ihlangene kakhudlwana, inamandla, ilungile kakhulu, inobudemoni ngokwengeziwe - kodwa i-Kempf iseduze nemfumbe, emfihlakalweni, ngoba ingena ijule kuyo ngaphandle kokushuba okubonakalayo.

Umuzwa ofanayo wokubamba iqhaza ekudaluleni izimfihlo zomculo, umuzwa ovevezelayo “wesikhathi esisodwa” sokuhumusha ubamba umlaleli lapho u-Kempf enza amakhonsathi ka-Beethoven. Kodwa ngesikhathi esifanayo, eminyakeni yakhe yokukhula, ukuzenzela okunjalo kuhlanganiswa ekuchazeni kuka-Kempf ngokucabangela okuqinile, ukufaneleka okunengqondo kwecebo lokwenza, isikali se-Beethovenian ngempela kanye nesikhumbuzo. Ngo-1965, ngemva kokuvakasha komdwebi e-GDR, lapho enza khona amakhonsathi ka-Beethoven, umagazini i-Musik und Gesellschaft waphawula ukuthi “ekudlaleni kwakhe, yonke imisindo yayibonakala iyitshe lesakhiwo sesakhiwo esakhiwe ngomqondo ocatshangelwe ngokucophelela nonembe ukuthi. wakhanyisa umlingiswa wekhonsathi ngayinye, futhi, ngesikhathi esifanayo, ephuma kuye.

Uma u-Beethoven ayekhona futhi ehlala “ngothando lokuqala” lukaKempf, khona-ke yena ngokwakhe ubiza uSchubert ngokuthi “ukutholwa sekwephuzile kwempilo yami.” Lokhu, yiqiniso, kuhlobene kakhulu: ku-repertoire enkulu yomculi, imisebenzi yezothando - futhi phakathi kwabo u-Schubert - bekulokhu kunendawo ebalulekile. Kodwa abagxeki, behlonipha ubudoda, ukungathí sina kanye nobuhle bomdlalo womculi, bamphika amandla adingekayo kanye nobuhlakani lapho kuziwa, isibonelo, ukuhunyushwa kweLiszt, Brahms noma Schubert. Futhi emngceleni wosuku lwakhe lokuzalwa lwama-75, u-Kempf wanquma ukubuka kabusha umculo ka-Schubert. Umphumela wokusesha kwakhe "uqoshwa" eqoqweni eliphelele elishicilelwe kamuva le-sonatas yakhe, ephawulwe, njengoba kuhlale njalo ngalo mculi, ngophawu lokuhluka okujulile kanye nokuqala. “Esikuzwayo emsebenzini wakhe,” kubhala umgxeki u-E. Croher, “ukubuka esikhathini esidlule kusukela manje, lo nguSchubert, ocwengiwe futhi wacaciswa ngokuhlangenwe nakho nokuvuthwa …”

Abanye abaqambi besikhathi esidlule nabo banendawo ebalulekile ku-repertoire ka-Kempf. “Udlala u-Schumann okhanyiselwe kakhulu, ophefumulayo, onegazi eligcwele umuntu angaphupha ngaye; uvuselela u-Bach ngezinkondlo zothando, umuzwa, ukujula kanye nezinkondlo ze-sonic; ubhekana noMozart, ebonisa ukujabula nokuhlakanipha okungapheli; uthinta ama-Brahms ngesisa, kodwa hhayi ngezifo eziyingozi,” kubhala omunye wababhali bokuphila kukaKempf. Kodwa nokho, udumo lomculi namuhla luhlotshaniswa ngokuqondile namagama amabili - uBeethoven noSchubert. Futhi kuyisici ukuthi iqoqo eliphelele elizwakalayo lemisebenzi kaBeethoven, elanyatheliswa eJalimane ngesikhathi seminyaka engu-200 yokuzalwa kuka-Beethoven, lalihlanganisa namarekhodi angama-27 aqoshwa u-Kempf noma ngokubamba iqhaza kwakhe (umdlali wevayolini u-G. Schering kanye no-cellist P. Fournier) .

U-Wilhelm Kempf ugcine amandla amakhulu okudala ebudaleni obuvuthiwe. Emuva ngeminyaka yama-80, wayeka amakhonsathi afinyelela kwangu-10 ngonyaka. Isici esibalulekile semisebenzi yeciko enezici eziningi eminyakeni yangemva kwempi kwakuwumsebenzi wokufundisa. Wasungula futhi minyaka yonke uqhuba izifundo ze-Beethoven zokuhumusha edolobheni lase-Italy i-Positano, lapho amema khona abadlali bopiyano abasebasha abangu-15-XNUMX abakhethwe nguye phakathi nohambo lwamakhonsathi. Eminyakeni edlule, inqwaba yabaculi abanekhono baye badlula esikoleni sekhono eliphakeme kakhulu lapha, futhi namuhla baye baba ompetha abavelele besiteji sekhonsathi. Omunye wamavulandlela wokuqopha, u-Kempf usaqopha okuningi nanamuhla. Futhi nakuba ubuciko balo mculi bungalungiswa "kanye kuphela" (akaphindanga, futhi ngisho nezinguqulo ezenziwe ngesikhathi sokuqoshwa okukodwa zihluke kakhulu komunye nomunye), kodwa ukuhumusha kwakhe okuqoshwe kwirekhodi kwenza umbono omkhulu. .

“Ngake ngahlanjalazwa,” kubhala uKempf maphakathi nawo-70s, “ukuthi ukusebenza kwami ​​kwakuveza kakhulu, ngaze ngephule imingcele yakudala. Manje sekuvame ukumenyezelwa ukuthi ngiyingcweti endala, ejwayekile futhi eyi-erudite, osewazi ngokuphelele ubuciko bakudala. Angicabangi ukuthi umdlalo wami usushintshe kakhulu kusukela lapho. Muva nje bengilalela amarekhodi anamarekhodi ami enziwe kulokhu - 1975, futhi ngiwaqhathanisa nalawo amadala. Futhi ngaqiniseka ukuthi angiwashintshi amazwi omculo. Phela, ngiyaqiniseka ukuthi umuntu usemncane kuze kube yilapho engalahlekelwa ikhono lokukhathazeka, ukubona imibono, ukuzwa.

Grigoriev L., Platek Ya., 1990