Pavel Serebryakov |

Pavel Serebryakov

Sannado badan, Pavel Serebryakov wuxuu madax ka ahaa Conservatory Leningrad, oo ah kan ugu da'da weyn dalkeena. Iyo in ka badan nus qarni ka hor, wuxuu halkan ka yimid Tsaritsyn, oo si cabsi leh, wuxuu ka soo muuqday guddi cajiib ah, oo ka mid ah xubnihiisa Alexander Konstantinovich Glazunov, sida hadda la odhan karo, mid ka mid ah kuwii ka horreeyay ee "kursiga Rector". Laxamiistaha aadka u wanaagsan ayaa si hufan u qiimeeyay kartida dhalinyarada gobolka, kan dambena wuxuu noqday arday dhigta fasalka LV Nikolaev. Ka dib markii uu ka qalin jabiyay koorsada (1930) iyo koorsada postgraduate (1932), wuxuu si guul leh uga soo baxay Tartanka All-Union ee 1933 (abaalmarinta labaad).

Rajada farshaxan ee quruxda badan kuma aysan qasbin Serebryakov inuu ka tago dhaqdhaqaaqyada muusikada iyo bulshada, kuwaas oo had iyo jeer ku dhow dabeecadiisa tamarta. Dib ugu noqoshada 1938, wuxuu istaagay "xakamaynta" Leningrad Conservatory wuxuuna ku sii jiray jagadan mas'uulka ah ilaa 1951; 1961-1977 waxa uu mar kale ahaa gudoomiyaha konserfatifka (ilaa 1939-kii bare). Guud ahaanna, muddadaas oo dhan, fannaanka ayaa sida ay yiraahdeen, ku dhex-jirtay nolosha faneed ee dalka, isagoo ka qayb-qaadanayay dhismaha iyo horumarinta dhaqanka qaranka. Waxaa lagu doodi karaa in dabeecadda noocan oo kale ah ay sidoo kale saameysay habka pianism-kiisa, kaas oo SI Savshinsky si sax ah loogu yeero dimoqraadiyad.

Ilaa konton sano ayaa lagu jiray masraxa riwaayadaha… Waqti ku filan oo lagu maro marxalado kala duwan, si loo beddelo lifaaqyada. "Dabaysha isbeddelka" ayaa taabatay, dabcan, Serebryakov, laakiin dabeecaddiisa farshaxanka waxaa lagu kala soocay daacadnimo naadir ah, joogtaynta hamiga hal-abuurka ah. "Xitaa bilowgii waxqabadkiisa riwaayad," N. Rostopchina ayaa qoray, " naqdiyeyaashu waxay xuseen miisaanka, hindisaha, dabeecadda inay yihiin kuwa ugu soocan ciyaarta muusikaystaha da'da yar. Sanadihii la soo dhaafay, muuqaalka pianist-ka ayaa isbeddelay. Kartidu way hagaagtay, xakamayn, qoto dheer, ragannimo adag ayaa soo muuqatay. Laakiin hal dhinac, farshaxankiisu ma isbeddelin: daacadnimada dareenka, dareenka khibradaha, caddaynta aragtida adduunka.

Serebryakov's repertoire palette, sidoo kale way fududahay in la go'aamiyo jihada guud. Tani waa, marka hore, classic piano Ruush, iyo waxa ku jira, marka hore, Rachmaninoff: Concertos Labaad iyo Saddexaad, Second Sonata. Kala duwanaanshaha mawduuca Corelli, labadaba wareegyada etudes-rinjiyeynta, horudhaca, daqiiqadaha muusiga iyo wax ka badan. Guulaha ugu wanagsan ee pianist-ga waxa ka mid ah riwaayadii ugu horaysay ee Tchaikovsky. Waxaas oo dhan muddo dheer ka hor siiyey E. Svetlanov sabab sifo Serebryakov sida dacaayad joogto ah ee music biyaano Ruush, sida turjumaan fakar ah shuqullada Tchaikovsky iyo Rachmaninov. Aynu tan ku darno magacyada Mussorgsky iyo Scriabin.

Boodhadhka riwaayadaha ee Serebryakov tobankii sano ee la soo dhaafay, waxaan ka heli doonaa in ka badan 500 oo cinwaan. Lahaanshaha lakabyo kala duwan ayaa u oggolaatay fannaanka xilli ciyaareedkii Leningrad ee 1967/68 si uu u siiyo wareeg ah toban habeen oo piano ah, kaas oo shaqada Beethoven, Chopin, Schumann, Liszt, Brahms, Mussorgsky, Tchaikovsky, Scriabin, Rachmaninov iyo Prokofiev. ayaa la soo bandhigay. Sida aad arki karto, iyada oo la hubo dhammaan dhadhanka fanka, pianist-ka ma uusan isku xirin nooc kasta oo qaabaysan.

"Farshaxanka, sida nolosha," ayuu yidhi, "Waxaa i soo jiitay isku dhacyo fiiqan, isku dhacyo duufaan leh, kala duwanaansho dhalaalaya ... Muusiga, Beethoven iyo Rachmaninov ayaa si gaar ah iigu dhow. Laakiin waxay iila muuqataa in pianist-gu aanu addoon u noqon rabitaankiisa… Tusaale ahaan, waxaa i soo jiitay muusigga jacaylka - Chopin, Schumann, Liszt. Si kastaba ha ahaatee, iyaga oo ay weheliyaan, riwaayadayda waxaa ka mid ah shaqooyinka asalka ah iyo qoraalada Bach, Scarlatti's sonatas, Mozart's iyo Brahms' concertos iyo sonatas.

Serebryakov had iyo jeer wuxuu xaqiiqsaday fahamkiisa muhiimadda bulsheed ee farshaxanka ee waxqabadka tooska ah. Waxa uu xidhiidh dhow la yeeshay sayidyadii muusiga Soofiyeedka, ugu horreyntii laxamiistaha Leningrad, wuxuu soo bandhigay dhagaystayaasha shaqooyinka B. Goltz, I. Dzerzhinsky, G. Ustvolskaya, V. Voloshinov, A. Labkovsky, M. Glukh, N. Chervinsky , B. Maisel, N. Simonyan, V. Uspensky. Waxaa muhiim ah in la xoojiyo in qaar badan oo ka mid ah halabuurkan lagu daray barnaamijyada safarradiisa dibadda. Dhanka kale, Serebryakov wuxuu u soo jeediyay dareenka dhagaystayaasha Soofiyeedka wax yar oo la yaqaan opuses E. Vila Lobos, C. Santoro, L. Fernandez iyo qorayaasha kale.

Dhammaan noocyada kala duwan ee muusikada "wax soo saarka" waxaa muujiyay Serebryakov si dhalaalaya oo dhab ah. Sida S. Khentova ku nuuxnuuxsaday, "ku-dhowaad" ayaa ku badan tafsiirkiisa: jaangooyooyin cad, kala duwanaansho fiiqan. Laakin doonista iyo xiisaddu waxa ay si dabiici ah isugu darsameen jilicsanaan, daacadnimo, gabayo iyo fudayd. Dhawaaq qoto dheer, buuxa, baaxad weyn oo firfircooni ah (laga bilaabo pianissimo si dhib yar loo maqli karo ilaa fortissimo xoog leh), laxan cad oo dabacsan, dhalaal, saamaynta sonority orkestral ku dhawaad ​​ayaa aasaas u ah xirfadiisa.

Waxaan horey u sheegnay in Serebryakov uu la xiriiro Conservatory Leningrad sanado badan. Halkan waxa uu ku tababaray piano-badan oo hadda ka shaqeeya magaalooyinka kala duwan ee dalka. Waxaa ka mid ah abaal-marinaha dhammaan-Union iyo tartamada caalamiga ah G. Fedorova, V. Vasiliev, E. Murina, M. Volchok iyo kuwa kale.

Tixraacyo: Rostopchina N. Pavel Alekseevich Serebryakov.- L., 1970; Rostopchina N. Pavel Serebryakov. – M., 1978kii.

Grigoriev L., Platek Ya., 1990