Martha Argerich |

Martha Argerich

Dadweynaha iyo saxafiyiinta ayaa bilaabay inay ka hadlaan kartida aan caadiga ahayn ee pianist Argentine 1965, ka dib guushii guusha ee Chopin Competition ee Warsaw. Dad aad u tiro yar ayaa ogaa in wakhtigan aanay sinaba ahayn "mid cusub oo cagaar ah", laakiin taa lidkeeda, waxa ay ku guulaysatay in ay soo marto waddo dhacdo leh oo ay adag tahay in ay noqoto.

Bilawga waddadan waxaa lagu calaamadeeyay 1957-kii guulo laga gaaray laba tartan oo caalami ah oo hal mar ah - magaca Busoni ee Bolzano iyo Geneva. Xitaa markaa, pianist 16-sano jir ah ayaa soo jiidatay soo jiidashada, xorriyadda farshaxanka, muusikada dhalaalaya - erey, wax kasta oo kartida da'da yar "loo maleynayo" inay haysato. Intaa waxaa dheer, Argerich waxay heshay tababar xirfadeed wanaagsan oo ku soo laabtay dalkeeda iyadoo ay haginayaan macallimiinta Argentine ugu fiican V. Scaramuzza iyo F. Amicarelli. Markii ay ku soo bandhigtay Buenos Aires iyada oo soo bandhigtay riwaayadaha Mozart's concertos (C minor) iyo Beethoven's (C major), waxay aaday Yurub, waxay wax ku baratay Austria iyo Switzerland macalimiin hormuud ah iyo fanaaniinta riwaayadaha - F. Gulda, N. Magalov.

• Muusiga Piano ee dukaanka tooska ah ee Ozon →

Dhanka kale, bandhigyadii ugu horreeyay ee pianist ka dib tartamada Bolzano iyo Geneva waxay muujiyeen in tayadiisa aan weli si buuxda loo samayn (oo haddii kale waxay noqon kartaa da'da 16?); Tafsiirkeeda had iyo jeer ma ahayn kuwo xaq ah, iyo ciyaarta ayaa ka soo gaartay sinnaan la'aan. Waxaa laga yaabaa in taasi tahay sababta, iyo sidoo kale sababtoo ah barayaasha fanaaniinta da'da yar ma aysan ku degdegin inay ka faa'iidaystaan ​​​​ kartideeda, Argerich ma helin sumcad ballaadhan wakhtigaas. Da'da mucjisada caruurtu way dhammaatay, laakiin waxay sii waday inay qaadato casharrada: waxay aaday Austria ilaa Bruno Seidlhofer, Belgium ilaa Stefan Askinase, Talyaaniga ilaa Arturo Benedetti Michelangeli, xitaa Vladimir Horowitz ee Mareykanka. Ama waxaa jiray macalimiin aad u badan, ama waqtiga ubaxa kartida ma iman, laakiin habka dhismuhu wuu sii socday. Saxanka ugu horreeya ee duubista shuqullada Brahms iyo Chopin ma uusan ku noolaan wixii laga filayey midkood. Laakiin markaas ayaa yimid 1965 - sanadka tartanka ee Warsaw, halkaas oo ay heshay ma aha oo kaliya abaalmarinta ugu sareysa, laakiin sidoo kale inta badan abaalmarinta dheeraadka ah - ee waxqabadka ugu wanaagsan ee mazurkas, waltzes, iwm.

Sannadkan ayay ahayd markii ay noqotay mid taariikh-nololeedka hal-abuurka leh u noqotay piano-ga. Waxay isla markiiba la istaagtay wakiillada ugu caansan ee dhalinyarada farshaxanka, waxay bilaabeen inay si ballaaran u socdaalaan, diiwaan geliyaan. 1968-kii, dhagaystayaashii Soofiyeeti waxay awoodeen inay hubiyaan in caannimadeeda aysan ku dhalan dareen oo aan la buunbuunin, oo ku saleysan kaliya farsamada cajiibka ah ee u oggolaanaysa inay si fudud u xalliso dhibaatooyinka tarjumaadda - ha ahaato muusikada Liszt, Chopin ama Prokofiev. Qaar badan ayaa xusuustay in 1963-kii Argerich uu mar hore u yimid USSR, kaliya maaha sida soloist, laakiin lammaane Ruggiero Ricci ah oo is tusiyay inuu yahay ciyaaryahan aad u fiican. Laakiin hadda waxa ina hor yaallay fanaan dhab ah.

"Martha Argerich runtii waa fannaanad aad u wanaagsan. Waxay leedahay farsamo cajiib ah, virtuoso ee dareenka ugu sarreeya ee ereyga, xirfadaha pianistic-ka oo dhammaystiran, dareen la yaab leh oo qaab ah iyo naqshad farshaxan oo gabal muusig ah. Laakiin tan ugu muhiimsan, pianist-ku wuxuu leeyahay hadiyad naadir ah si uu ugu neefsado dareen toos ah oo toos ah shaqada ay qabato: heesaheedu waa diiran yihiin oo nabad ah, pathos ma jirto taabasho sare u qaadis xad-dhaaf ah - kaliya kicin ruuxi ah. Dab guban, bilow jacayl waa mid ka mid ah astaamaha ugu caansan ee farshaxanka Argerich. Pianist-ga waxa uu si cad ugu feejigan yahay xagga shaqooyinka ay ka buuxaan is-barbardhigyo cajiib ah, dareen-xariifeed… Dhawaaqa, quruxdiisa dareenka ah, sinaba uma aha mid iyada dhammaanaysa. Sidaas ayuu qoray dhaleeceyn da'yar oo Moscow ah Nikolai Tanaev, ka dib markii uu dhagaystay barnaamij kaas oo lagu sameeyay shuqullada Schumann, Chopin, Liszt, Ravel iyo Prokofiev.

Hadda Martha Argerich waxa ay si sax ah ugu jirtaa "elite" pianistic-ka waayaheenna. Farshaxankeedu waa mid culus oo qoto dheer, laakiin isla markaana soo jiidasho leh oo da'yar, riwaayadeeda ayaa si joogto ah u fidaysa. Waxay weli ku salaysan tahay shuqullada laxamiistaha jacaylka, laakiin ay la socdaan iyaga, Bach iyo Scarlatti, Beethoven iyo Tchaikovsky, Prokofiev iyo Bartok boos buuxa ku jira barnaamijyadeeda. Argerich wax badan ma duubo, laakiin mid kasta oo ka mid ah duubisteeda waa shaqo maskaxeed oo culus, taas oo ka marag kacaysa raadinta joogtada ah ee farshaxanimada, kobcinteeda hal-abuurka ah. Tafsiirkeeda ayaa weli ah kuwo soo jiidanaya lama filaankooda, wax badan oo farshaxan ah ma aysan "degin" xitaa maanta, laakiin saadaalin la'aanta noocan oo kale ah waxay kordhisaa soo jiidashada ciyaarteeda. Dhaleeceyn Ingiriis ah B. Morrison ayaa soo bandhigtay muuqaalka fannaanka ee hadda sida soo socota: “Mararka qaar waxqabadka Argerich wuxuu u muuqdaa mid aan fiicneyn, farsamadeeda halyeeyada ah waxaa loo adeegsadaa si loo gaaro saameyn aan dhib lahayn, laakiin marka ay ku jirto heerkeeda ugu fiican, shaki kuma jiro inaad dhageysaneyso. fanaanad caqligiisu aad u cajiib badan yahay sida faseexatinkeeda iyo fudaydkeeda caanka ah.

Grigoriev L., Platek Ya., 1990