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Maria Grinberg Milie Lebte Sehr Bescheiden, Das Klavier Erhielt Das Zehn- Jährige Mädchen Von Mäzenen Ihrer Heimatstadt Odes- Maria Grinberg Sa

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Maria Grinberg Milie Lebte Sehr Bescheiden, Das Klavier Erhielt Das Zehn- Jährige Mädchen Von Mäzenen Ihrer Heimatstadt Odes- Maria Grinberg Sa Grinberg, Maria Maria Israilewna Grinberg war eine außergewöhnliche Pianistin, deren Laufbahn aus politisch-ideologischen Gründen erschwert wurde. Seit dem Beginn der Perest- roika wird ihr künstlerisches Schaffen in Russland sowie in der ganzen Welt wieder verstärkt wahrgenommen. Orte und Länder Während der Stalin-Ära trat sie ausschließlich in der So- wjetunion auf (Moskau, Leningrad, Odessa (heute: Ukrai- ne), Riga (Lettische Sozialistische Sowjetrepublik; heute: Lettland), Tallinn (Estnische Sozialistische Sowjetrepub- lik; heute: Estland), Tbilissi (Tiflis) (Georgische Sozialisti- sche Sowjetrepublik; heute: Georgien), Baku (Aserbaid- schanische Sozialistische Sowjetrepublik; heute: Aser- baidschan), nach Stalins Tod konzertierte sich auch im Ausland (Bulgarien, Ungarn, Rumänien, Polen, DDR, Tschechoslowakei und Holland). Biografie Maria Israilewna Grinberg wurde am 6. September 1908 in Odessa geboren. Ihr Vater, ein jüdischer Gelehrte, un- terrichtete Hebräisch. Die Mutter, Fania Danilowna Grin- berg, geb. Noskina, gab privat Klavierunterricht. Die Fa- Die Pianistin Maria Grinberg milie lebte sehr bescheiden, das Klavier erhielt das zehn- jährige Mädchen von Mäzenen ihrer Heimatstadt Odes- Maria Grinberg sa. Bis zu ihrem achtzehnten Lebensjahr studierte Maria Grinberg privat Klavier bei David Eisberg (Ajzberg) so- * 6. September 1908 in Odessa, Russland, heute: wie bei Berta Michajlowna Reingbald (Rejngbal’d; Ukraine 1897–1944), die etwas später auch Emil Gilels ausbilde- † 14. Juli 1978 in Tallinn, Estnische Sozialistische te. Zugleich nahm sie Harmonielehreunterricht bei dem Sowjetrepublik; heute: Estland Komponisten Nikolaj Nikolajewitsch Wilinski (1888–1956). Pianistin und Klavierpädagogin Vom 1926 bis 1935 studierte Maria Grinberg Klavier am Moskauer Konservatorium bei Felix Michajlowitsch Blu- „Если мы хотим продолжать жить в каком-нибудь menfeld (Feliks Michajlovič Blumenfel’d, 1963–1931) произведении, мы должны переживать его так, как und nach seinem Tod bei Konstantin Nikolajewitsch если бы оно было написано в наше время". Igumnow (Konstantin Nikolaevič Igumnov, 1873–1948). Igumnow war von ihr gar nicht begeistert: er fand ihre („Wenn wir in einem Werk weiterleben wollen, müssen Spielweise viel zu einfach (vgl. Aisik Inger, Pianistka Ma- wir es so empfinden, als ob es in unserer Zeit verfasst rija Grinberg [Die Pianistin Maria Grinberg]. „Znamja“ worden wäre“.) 1999, Nr. 5; http://magazines.russ.ru/znamia/1999/5/in- ger.html). (Maria Grinberg, „Ob ‚Apassionate‘“ [Von der ‚Apassiona- ta‘], in: Maria Grinberg, Stat’i, vospominanija, materialy 1933 nahm sie am Ersten All-Union-Pianisten-Wettbe- [Aufsätze, Erinnerungen, Materialien], hg. von A. G. In- werb teil; zwei Jahre darauf gewann sie beim selben ger. Moskau 1987, S. 220-221). Wettbewerb den zweiten Preis. Profil 1932 wurde sie Solistin der Moskauer Philharmonie. Von entscheidender Bedeutung für sie waren die Konzerte Ar- thur Schnabels, der 1935 in Moskau gastierte. In ihren – 1 – Grinberg, Maria Erinnerungen schrieb sie über das Ereignis: "В тот день, Die Konflikte im Zentralkomitee der Kommunistischen когда я впервые услышала этого пианиста, решилась Partei und im Geheimdienst führten zu gravierenden Ver- моя судьба. Шнабель играл Бетховена, и с того änderungen, die sich u.a. in massiven „Säuberungen“ ma- вечера искусство великого немецкого композитора nifestierten. Am 9. September 1937 wurde Maria Grin- стало в значительной мере программой моего bergs Ehemann, der polnische Dichter und Kommunist творчества [...]. Шнабель открыл мне то величие и Stanislaw Ryschardowitsch Stande (poln. Stanisław Rys- глубину мысли в музыке Бетховена, которые zard Stande, 1897–1937), der 1931 in die Sowjetunion неисчерпаемы для меня и по сей день [...] показал emigriert war, verhaftet. Später war auch ihr Vater von мне, что Бетховен может быть разным, очень емким, den „Säuberungen“ betroffen. Am 1. November 1937 wur- и не только гигантом, мыслителем, философом. de Stanisław Stande wegen angeblicher Spionage zum To- После этой встречи со Шнабелем я всю жизнь ищу de verurteilt und noch am selben Tag erschossen. (Am 1. своего Бетховена". November 1955 wurde er rehabilitiert.) („An dem Tag, als ich erstmals diesen Pianisten hörte, Die Pianistin wurde daraufhin aus allen staatlichen Insti- entschied sich mein Schicksal. Schnabel spielte Beetho- tutionen (u.a. aus der Philharmonie) entlassen und konn- ven, und von jenem Abend an standen die Werke der te lediglich als Klavierbegleiterin bei einer Amateurgrup- deutschen Komponisten im Zentrum meines Repertoires pe arbeiten. Später konnte sie jedoch wieder als Solistin […]. Schnabel eröffnete mir jene Größe und Gedankentie- aufzutreten, insbesondere während des Zweiten Weltkrie- fe in Beethovens Musik, die für mich bis heute unersc- ges, als künstlerische Auftritte einen besonders hohen höpflich geblieben ist […]. Er zeigte mir, dass Beethoven Stellenwert genossen. Grinberg spielte regelmäßig in sehr unterschiedlich und sehr facettenreich sein konnte Moskau, Leningrad, Riga, Tallinn, Tbilissi (Tiflis), Baku und dass er nicht nur ein Heroe, Denker und Philosoph usw. Die tragischen familiären Ereignisse fanden einen war. Nach dieser Begegnung mit Schnabel begab ich mi- besonderen Niederschlag in ihrem Spiel: ihre Interpreta- ch mein ganzes Leben lang auf die Suche nach meinem ei- tionen gewannen an Tiefe und Ausdruckskraft. genen Beethoven“. (Maria Grinberg, „O processe formiro- Erst nach Stalins Tod wurde der Pianistin offiziell er- vanija chudožnika“ [Zum Prozess der Formierung eines laubt, auch im Ausland aufzutreten. Maria Grinberg gas- Künstlers], in: Maria Grinberg, Stat’i, vospominanija, ma- tierte in Bulgarien, Ungarn, Rumänien, Polen, in der terialy [Aufsätze, Erinnerungen, Materialien]. Moskau DDR, Tschechoslowakei und in Holland. Überall hatte 1987, S. 207). sie großen Erfolg und wurde von den Musikkritikern mit In den 1920er, Anfang der 1930er Jahre war Maria Grin- Pianisten wie Arthur Rubinstein, Vladimir Horowitz, Cla- berg eng mit den „proletarischen Musikern“ verbunden ra Haskil verglichen (vgl. Inger, Aisik. Pianistka Marija und arbeitete in verschiedenen Kommissionen, die das Grinberg [Die Pianistin Maria Grinberg]. „Znamja“ 1999, klassische pianistische Repertoire auf sowjetische Integri- Nr. 5; http://magazines.russ.ru/znamia/1999/5/in- tät überprüften. Aufgrund ihrer Entscheidungen wurden ger.html). Stücke erlaubt bzw. verboten. Maria Grinberg war mit ei- 1961 erhielt Maria Grinberg den Titel „Verdiente Künstle- nigen regimetreuen Vertretern der RAPM (Russische As- rin der Russischen Sozialistischen Föderativen Sowjetre- soziation proletarischer Musiker) befreundet, u.a. mit publik“ (RSFSR); ab 1959 unterrichtete sie am Moskauer Viktor Beli, Marian Koval. (vgl. Aizik Inger, Pianistka Ma- Gnessin-Institut, der heutigen Gnessin-Musikakademie, rija Grinberg [Die Pianistin Maria Grinberg]. „Znamja“ und wurde dort 1970 zur Professorin ernannt. Zu ihren 1999, Nr. 5; http://magazines.russ.ru/znamia/1999/5/in- offiziellen und privaten Schülern zählten Anna Klas, Ru- ger.html). Diese waren verantwortlich für Denunziatio- dolf Kerer, Dmitry Paperno usw. nen und Verhaftungen zahlreicher Tonkünstler und für Nach dem Ende des Zweiten Weltkrieges erreichte ihr die Verbote der Werke Strawinskys, Prokofjews, Rosla- künstlerisches Wirken seinen Höhepunkt. Ihr außeror- wez‘, Mossolows usw. (vgl. dazu Lobanova, Marina, Ni- dentlich umfangreiches Repertoire umfasste neben Wer- kolaj Andreevič Roslavec und die Kultur seiner Zeit. ken der Klassik und Romantik auch Werke der Moderne, Frankfurt am Main 1994). Ihr enger Kontakt zu den ideo- wie z.B. Werke Bela Bartóks, Sergej Prokofiews und Mau- logischen Vertretern der Staatsmacht trug zur negativen rice Ravels. Aufsehen erregte ihre Interpretation der 24 Einstellung der Pianistin Maria Judina gegenüber Maria Präludien und Fugen von Dmitri Schostakowitsch, der Grinberg bei, während diese die Pianistin Judina wieder- die Pianistin sehr schätzte. um außerordentlich schätzte. Der neue schöpferische Aufschwung erfuhr einen Rück- – 2 – Grinberg, Maria schlag durch eine schwere Krankheit. Man diagnostizier- und insbesondere nach dem Tod Stalins und der damit te bei ihr einen Gehirntumor, der 1955 operiert wurde. einsetzenden Tauwetter-Periode intensivierte sie ihre Trotz aller Schwierigkeiten und gesundheitlichen Proble- künstlerischen Aktivitäten, und ihre Popularität wuchs. me blieb sie bis zum Tode aktiv. Im Januar 1978 gab sie Die Pianistin genoss große Anerkennung sowohl in pro- das letzte Konzert im Großen Saal des Moskauer Konser- fessionellen Kreisen als auch beim breiten Publikum. vatoriums. 1970 produzierte die sowjetische Schallplattenfirma „Me- Maria Grinberg starb am 14. Juli 1978 in Tallinn. lodia“ das Album aus 13 Schallplatten mit allen Klavierso- naten von Beethoven. Insbesondere diese Studioaufnah- Würdigung men, die Maria Grinberg in den Jahren 1964 bis 1966 ge- Maria Grinberg gehört zu jenen herausragenden sowjeti- macht hat, sowie ihre Konzertinterpretation in der Sai- schen PianistInnen, deren Spiel auf einer soliden techni- son 1968–1969 wurden zum Höhepunkt ihrer pianisti- schen Basis ebenso wie auf hoher künstlerischer Reife be- schen Tätigkeit und gleichzeitig zu ihrer Visitenkarte als ruhte. Es war zwar weniger philosophisch, brillant und Künstlerin. vielseitig wie das der Maria Judina; doch verfügte Maria Von offizieller Seite wurde Maria Grinberg zwar toleriert, Grinberg über ein gutes Stilverständnis, Beherrschung jedoch nicht gefördert. Aufgrund der Repressalien,
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