הערות שכתב צבי גלעד [גרימי]: השיר, איזה מין רעש נשמע, הוא שיר אוקראיני עממי [שהמלחין והמשורר אינם ידועים], שהיה מוכר מאד, במלחמת האזרחים ברוסיה, שהחלה לאחר המהפכה הרוסית, באוקטובר 1917. כך, שהשיר האוקראיני המקורי, נולד לפני כן. לשיר יש גרסה רוסית מאוחרת יותר, שמילותיה נכתבו על ידי המשורר, דמיאן ביידני [נולד בשם: יאפיים אלכסייביץ' פרידבורוב] בשנת 1918 והלחן נכתב על ידי הקומפוזיטור, דמיטרי וואסילייב-בוגלי, בשנת 1922. תוכן השיר הרוסי הזה, שונה לגמרי והוא שיר פרידה של אם מבנה, אותו היא מלווה לבסיס הגיוס, בעוד השיר האוקראיני המקורי, עוסק בחוויותיו של יתוש, שהתחתן עם זבובה, שיר היתולי על חיי הנישואין. גרסה נוספת, הדומה יותר לשיר האוקראיני, קיימת בין הצוענים ברוסיה, שהביאו את השיר מאזור גאליציה, פולין. אך בגרסה הזו, היתוש מיד נופל מעץ האלון לקרקע ושם פוגש את זבובתו אשר עוקצת אותו למוות ואז קוברת אותו, שיר של אסון ולאו דווקא חתונה. יש דיווחים, שגרסה באידיש על יוסל'ה השוטה ההולך להילחם בצבא האדומים [העתק הגרסה הרוסית], הייתה כבר בימי מלחמת האזרחים הרוסית, וגם אחריה
הערות שכתב איזי הוד: הגרסה הרוסית המאוחרת של השיר האוקראיני הזה, שאת מילותיה של הגירסה הרוסית כתב המשורר, דמיאן ביידני, בשנת 1918, גרסה השונה בתוכנה מהשיר האוקראיני המקורי, הולחנה, או נכון יותר עובדה מחדש מהלחן האוקראיני המקורי, על ידי המלחין, דמיטרי וואסילייב-בוגלי בשנת 1922, הגרסה הרוסית הזו, הייתה שגורה בפי חיילי הצבא האדום, שהשתייכו ליחידות שהיו תחת פיקודו של, ליאו דוידוביץ' טרוצקי, במהלך המהפכה הסובייטית ומלחמת האזרחים ושהו אז באזור קאזאן. אז הוא נקרא בשם, איך אימי הסיעה [ליוותה] אותי. הכוונה לבסיס הצבאי. הכוונה הייתה לא רק לאם הפרטית של החייל, אלא גם לאמא רוסיה. במקומות אחרים, כבר ברוסיה הסובייטית, הוא נקרא, כמה קשה בצבא. ראוי לציין שעד כה לא נמצאו הוכחות חד משמעיות לכך שמחבר הלחן, או עורך הלחן מחדש, הוא אכן, דמיטרי וואסילייב-בוגלי וקיימת האפשרות שהמשורר דמיאן ביידני עצמו, או אולי אפילו, לנין עצמו, חיברו או ערכו מחדש את הלחן החדש, מהלחן האוקראיני שקדם לו. השיר בגרסה הרוסית, נכתב על חייל רוסי בשם, איבאן ניקאנורוביץ' ניקאנורוב, שהיה אז בדרכו לקרבות כנגד צבא הקיסר הגרמני, לקראת סוף מלחמת העולם הראשונה בשנת 1918 ולאחר מכן אומץ כשיר המהפכה ומלחמת האזרחים ברוסיה, החל מאותה שנה. דמיאן ביידני, היה מקורב מאד ללנין ואחר כך גם לסטאלין וזכה אף לדירה משפחתית בארמון הגדול במתחם הקרמלין. אמנם הקשר הצטנן מאוחר יותר, אך ביידני נפטר ממחלת לב בלבד, אך משום קשריו, שיריו הרבים נקראו על ידי רבים. כך קרה שביידני פרסם מאד את השיר האוקראיני העלום, ברוסיה. אמנם המילים האוקראיניות נשכחו בהתחלה, אך חזרו ושבו בהמשך. ישנה גרסה אחת המספרת שהיה זה לנין שציווה על, דמיאן ביידני, לשחזר את מילות השיר האוקראיני לשיר רוסי המבטא את המצב שהיה בתקופת המהפכה ובמהלך מלחמת האזרחים הרוסית. המלחין דמיטרי וואסילייב-בוגלי, חי באותם שנים בעומק אוקראינה והכיר את השיר האוקראיני, שאל כנראה את הלחן האוקראיני לשם עיבוד מחדש למילים הרוסיות. בשנת 1923, כתב משורר וסופר הילדים הרוסי, קורני איבאנוביץ' צ'וקובסקי, אגדת ילדים בשם, הזבובה צ'וקוטוקה. באגדה, הזבובה צ'וקוטוקה מטיילת בשדה ומוצאת מטבע, היא מזמינה לביתה כל מיני חרקים כמוה למסיבת יום הולדתה. אז מגיח לפתע עכביש ומתחיל לגרור את הזבובה לרשתו וכל האורחים בורחים על נפשם ורק היתוש האמיץ נותר והוא הורג את העכביש וזוכה בזבובה ככלתו. החתונה מתקיימת בו במקום, לשמחת האורחים שהתכנסו שוב. לא מן הנמנע שהשיר, איזה מן רעש נשמע, נכתב בציניות על הקשר המיוחד שנוצר בין הזמר הקוזאק האוקראיני יפה התואר ובעל הקול היפה, אלקסיי רוזום ואליזאבאט פאטרובנה, שליטת רוסיה בין השנים 1741 ו-1762. הוא הובא לרוסיה על ידי אחד מקציני החצר הבכירים, שהתפעל מקולו הבס היפה, שבה את ליבה של, אליזבט, וכנראה אף נישא לה בסתר וזכה לשם חדש, אלקסיי גריגוריאביץ' ראזומובסקי ולמעמד גבוה בחצר השלטון ודאג לכך שגם אחיו, קיריל גרגוריאביץ' ראזומובסקי [קודם, קיריל רוזום], יגיע למעמד גבוה בחצר המלכה ברוסיה. לאחר מותה של פאטרובנה, עלתה השליטה, קטרינה השנייה, שנקראה אף, קטרינה הגדולה של רוסיה והיא ציוותה על, אלקסיי ראזומובסקי, להשמיד כל מסמך רשמי המעיד על קשר כל שהוא, כולל נשואין לכאורה, לאליזאבאט פטרובנה ואף העיפה את אחיו מחצר המלוכה. אם הדעה הזו נכונה, אז היא מסבירה דעה נוספת, ששורשיו של השיר האוקראיני המקורי הזה הם מהמאה השמונה עשרה כנראה, וביתר דיוק בשנת 1719, השנה שבה נמצא הטקסט המוקדם ביותר של השיר, טקסט שפורסם בדפוס לראשונה בשנת 1897. הלחן הראשון לשיר האוקראיני המקורי, נכתב בשנת 1833. אך הבסיס ההיסטורי של השיר העתיק הזה, הכוונה לשיר האוקראיני המקורי, מתייחס כנראה לתקופת המאבק האוקראיני לשחרור מהשילטון הפולני, עוד במאה השבע עשרה, בתקופתו של השליט [הצורר] האוקראיני, בוהדן חמלניצקי [1648-1657]. השיר האוקראיני המקורי, שזכה להתעוררות מחודשת בעקבות כתיבת הגרסה הרוסית, נשמע לראשונה על גבי תקליט רק בשנת 1936-7 ושר אותו במקור האוקראיני הזמר, פיוטר קונסטנטינוביץ' לאשצ'אנקו, אך השיר לא זכה להצלחה גדולה. השיר הזה, נשמע אף לאורך כל הסרט הרוסי משנת 2006, תשע הנשמות של נסטור מאכנו, [שעמד בראש צבא אנארכיסטים פרטי משלו במהלך המהפכה הרוסית משנת 1917 ומלחמת האזרחים הרוסית מיד לאחריה]. השיר בגרסה הרוסית, הוקלט לראשונה על ידי השחקן והזמר היהודי, בוריס סאמיולוביץ' גוראביץ', שהסתיר את יהדותו בעזרת השם הספרתי, בוריס סאמיולוביץ' בוריסוב והיה גם חבר קרוב של המשורר של השיר והתקליט הופץ בשנת 1919. השיר בגרסה הרוסית, הווה בעיה לסטאלין ואנשי הצנזורה שלו, בגלל החשד למשהו לא כשר המצוי בתוכן, לכאורה משהו טיפשי והשיר למעשה הוחרם לשנים רבות. בשנת 1966 השיר הוקלט במתכונת של מקהלה ושוב בשנת 1983 במתכונת סולו של הזמר, איבאן סורז'יקו. גם סיפור האגדה של הסופר, קורני איבאנוביץ' צ'וקובסקי, על הזבובה צ'וקוטוקה, זכה לביקורת קשה מהצנזורה הסובייטית, בגלל שהאיורים בספר, של הצייר, וולאדימיר מיכאילוביץ' קונאסאביץ', בהם היתוש צמוד מידיי לזבובה, עוררו באגף הצנזורה תחושות ארוטיות, שלכאורה, לא נראו באגף הצנזורה, מתאימים לאגדת ילדים וגם, הצנזורה ראתה ביתוש לכאורה נסיך והזבובה לכאורה נסיכה. בתקופתו של, סטאלין, דמוי כזה נחשב לפשע. צ'וקובסקי הותקף קשות על הפעילות האנטי סוציאליסטית לכאורה ועל שסיפורי האגדות שלו מסיטים את הנוער ממציאות לחלומות ולמרות שהמכירות שלו הרקיעו שחקים, צ'וקובסקי נאלץ להתנצל בפומבי
ציוניי דרך לשיר: איזה מן רעש נשמע:
1719: נמצאה גרסת המילים הראשונה עד עכשיו, של השיר האוקראיני המקורי.
1741-1762: ההיסטוריה או הרכילות על אלקסיי רוזום ואליזאבאט פאטרובנה, ששימשה בסיס לכתיבת גרסת מילים נוספת חדשה לשיר האוקראיני המקורי.
1833: נמצא הלחן הראשון, המקורי האוקראיני.
1897: השיר בגרסת מילים ולחן אוקראינים, שהיו נוכחים באותה עת, פורסם בדפוס והופץ.
1918: חייל רוסי בשם, איבאן ניקאנורוביץ' ניקאנורוב, שהיה אז בדרכו לקרבות כנגד צבא הקיסר הגרמני,ווילהלם השני, לקראת סוף מלחמת העולם הראשונה בשנת 1918 נותן השראה למשורר דמיאן ביידני לכתיבת מילות השיר בסגנון הרוסי.
1918: המילים של השיר, בגרסה הרוסית, שנכתבו על ידי, דמיאן ביידני, בהשראת החייל איבאן ניקאנורוביץ' ניקאנורוב, בסוף מלחמת העולם הראשונה, מאומץ למהפכה במהלך מהפכת אוקטובר ברוסיה שהחלה בשנת 1917 וגלשה למלחמת האזרחים ברוסיה, שנמשכה עד 1923.
1919: השיר בגירסת המילים ברוסית, נשמע לראשונה בהופעה, בלחן האוקראיני המקורי, על ידי השחקן והזמר היהודי, בוריס סאמיולוביץ' גוראביץ', שהסתיר את יהדותו בעזרת השם הספרתי, בוריס סאמיולוביץ' בוריסוביץ.
1919: השיר בגירסת המילים ברוסית, הוקלט לראשונה בהופעה, בלחן האוקראיני המקורי, על ידי השחקן והזמר היהודי, בוריס סאמיולוביץ' גוראביץ', שהסתיר את יהדותו בעזרת השם הספרתי, בוריס סאמיולוביץ' בוריסוביץ.
1922: הקומפוזיטור, דמיטרי וואסילייב-בוגלי, מעבד מחדש, את הלחן המקורי האוקראיני של השיר, ומתאים את הלחן מחדש, למילות השיר הרוסי. קיימת האפשרות שהמשורר דמיאן ביידני עצמו, או אולי אפילו, לנין עצמו, חיבר/חיברו גם את הלחן.
1923: משורר וסופר הילדים הרוסי, קורני איבאנוביץ' צ'וקובסקי, כותב אגדת ילדים בשם, הזבובה צ'וקוטוקה, ברוח תוכן השיר.
1936-1937: הזמר, פיוטר קונסטנטינוביץ' לאשצ'אנקו, מחזיר את השיר במילים ובלחן האוקראינים המקוריים לרפרטואר השירה, בהצלחה חלקית. סטלין מצווה לגנוז את השיר.
1966: השיר בגרסת המילים והלחן הרוסיים מוקלט הקלטת מקהלה וחוזר לרפרטואר השירה הרוסית העממית.
1983: השיר בגרסה הרוסית של המילים והלחן מוקלט שוב במתכונת סולו של הזמר, איבן סורז'יקו.
2006: השיר מלווה ברקע את הסרט, תשע הנשמות של נסטור מאכנו, [שעמד בראש צבא אנארכיסטים פרטי משלו במהלך המהפכה הרוסית משנת 1917 ומלחמת האזרחים הרוסית מיד לאחריה]
שיר עברי, רוח רד מן ההרים, זמרשת
כדי לשחזר את השיר בשפה המקורית אם אינו מופיע לאחר לחיצה על שם השיר המסומן כאן בקוו תחתון או כדי למצוא גירסות נוספות העתיקו/הדביקו את שם השיר בשפת המקור מדף זה לאתר YOUTUBE
To restore the song in the original language if it does not appear after clicking on the name of the song marked here with a bottom line or to find additional versions Copy/Paste the song name in the original language from this page to the YOUTUBE website
התרגומים לאנגלית נעשו באמצעות המנוע "מתרגם גוגל" והתרגום הועתק לאתר בצורתו המקורית ללא עריכה נוספת
The English translations were done using the "Google Translate" engine and the translations were copied to the site in their original form without further editing.
Notes written by Zvi Gilad [Grimy]: The song, What kind of noise is heard, is a Ukrainian folk song [whose composer and poet are unknown], which was very well known, during the civil war in Russia, which began after the Russian revolution, in October 1917. Thus, the original Ukrainian song was born before that. The song has a later Russian version, the words of which were written by the poet, Damian Baidny [born Yafim Alekseevich Fridborov] in 1918 and the melody was written by the composer, Dmitry Vasiliev-Bogli, in 1922. The content of this Russian song is completely different and is a farewell song of a mother of her son, whom she accompanies to the recruiting base, while the original Ukrainian song deals with the experiences of mosquito, who got married with a fly, a partly facetious song about married life. Another version, more similar to the Ukrainian song, exists among the Gypsies in Russia, who brought the song from the region of Galicia, Poland. But in this version, the mosquito immediately falls from the oak tree to the ground and there meets his fly which bites him to death and then buries him, a song of disaster and not necessarily a wedding. There are reports that a Yiddish version of Yosale the Fool going to fight the Red Army [a copy of the Russian version], was already in the days of the Russian Civil War, and also after it.
Notes written by Izzy Hod: The later Russian version of the song, whose words were written by the poet, Damian Baidny, in 1918, a version that differs in content from the original Ukrainian song and was composed, or rather reworked from the original Ukrainian melody, by the composer, Dmitri Vasiliev-Bogli in 1922, this Russian version, was common among the soldiers of the Red Army, who belonged to the units under the command of Leo Davidovich Trotsky, during the Soviet revolution and the civil war and who were then in the Kazan region. It was called by name, How my mother accompanied me to the military base. The reference was not only to the private mother of the soldier, but also to Mother Russia. Elsewhere, already in Soviet Russia, it was called, How difficult it is in the army. It is worth noting that so far no unequivocal proofs have been found that the author of the composition, or the re-editor of the composition, is indeed Dmitri Vassiliev-Bogli, and there is the possibility that the poet Damian Baidny himself, or perhaps even Lenin himself, composed or re-edited the new composition, from the Ukrainian composition that preceded it. The song in the Russian version was written about a Russian soldier named Ivan Nikanorovich Nikanorov, who was then on his way to the battles against the German Emperor's army, towards the end of the First World War in 1918 and was later adopted as the song of the revolution and the civil war in Russia, starting that year. Damian Baidny, was very close to Lenin and later to Stalin and even won a family apartment in the Grand Palace in the Kremlin complex. Although the relationship cooled down later, Baidny died of heart disease, and because of his connections, his many poems were read by many. It so happened that Baidny published the unknown Ukrainian song in Russia. Although the Ukrainian words were forgotten at first, they came back later. There is one version that says that it was Lenin who ordered Damian Baidny to reproduce the words of the Ukrainian song into a Russian song expressing the situation that existed during the revolution and during the Russian Civil War. The composer Dmitry Vasiliev-Bogli, who lived in those years in the depths of Ukraine and was familiar with the Ukrainian song, probably borrowed the Ukrainian melody to rework it into Russian words. In 1923, the Russian poet and children's author, Korney Ivanovich Chukovsky, wrote a children's fairy tale called, The Fly Chukotuka. In the legend, the fly Chukotuka walks in the field and finds a coin, she invites all kinds of insects like her to her home for her birthday party. Then suddenly a spider appears and starts dragging the fly into its net and all the guests run for their lives and only the brave mosquito remains and he kills the spider and wins the fly as his bride. The wedding takes place there, to the delight of the guests who gathered again. It is not impossible that the song, what kind of noise is heard, was written sarcastically about the special relationship that was created between the handsome Ukrainian Cossack singer with the beautiful voice, Alexei Rozum, and Elizabat Patrovna, the ruler of Russia between 1741 and 1762. He was brought to Russia by one of the senior officers of the court, who admired his beautiful bass voice, which won the heart of Elizabeth, and probably even secretly married her and was given a new name, Alexei Grigorievich Razumovsky, and a high position in the ruling court and made sure that his brother, Kirill Grigorievich Razumovsky [previously, Kirill Rozum], would also reach a high position in the court of the queen in Russia. After the death of Petrovna, Catherine II, also called Catherine the Great of Russia, came to power and she ordered Alexei Razumovsky to destroy any official document indicating any connection, including an alleged marriage, to Elizabeth Petrovna and even kicked his brother out of the royal court. If this opinion is correct, then it explains another opinion, that the roots of this original Ukrainian song are probably from the eighteenth century, and more precisely in 1719, the year in which the earliest text of the song was found, a text that was first published in print in 1897. The first melody for the original Ukrainian song was written in 1833. The original Ukrainian song, which was revived following the writing of the Russian version, was heard for the first time on a record only in 1936-7 and it was originally sung by the Ukrainian singer, Pyotr Konstantynovich Lashchenko, but the song was not a great success. This song is also heard throughout the 2006 Russian film, The Nine Souls of Nestor Makhno, [who headed his private army of anarchists during the Russian Revolution of 1917 and the Russian Civil War immediately after]. The song in the Russian version was first recorded by the Jewish actor and singer, Boris Samiolovich Guravich, who hid his Jewishness with the help of the literary name, Boris Samiolovich Borisov and was also a close friend of the poet of the song and the record was released in 1919. The song in the Russian version was a problem for Stalin and his censors, because of the suspicion of something improper in the content, apparently something stupid and the song was actually banned for many years. In 1966 the song was recorded again in a choral format and again in 1983 in a solo format by the singer, Ivan Surjiko. The story of the fairy tale of the writer, Korney Ivanovich Chukovsky, about the fly Chukotuka, was also harshly criticized by the Soviet censors, because the illustrations in the book, by the painter, Vladimir Michailovich Konasavich, in which the mosquito is close by the hand of the fly, aroused erotic feelings in the censorship department, which, apparently, were not seen by the censorship department, suitable for a children's fairy tale and also, the censorship saw the mosquito as a prince and the fly as a princess. In Stalin's time, such figures were considered a crime. Chukovsky was severely attacked for his alleged anti-socialist activity and that his fairy tales divert the youth from reality to dreams and although his sales skyrocketed, Chukovsky was forced to publicly apologize.
Landmarks for the song: What kind of noise is heard:
1719: The first version of the words (Lirics], so far, of the original Ukrainian song was found.
1741-1762: The history or gossip about Alexei Rozum and Elizabat Patrovna, which served as a basis for writing another new version of the lyrics [Words] to the original Ukrainian poem.
1833: The first, original Ukrainian composition [Melody] was found.
1897: The poem with Ukrainian lyrics and melody, which were present at the time, was published in print and circulated.
1918: A Russian soldier named, Ivan Nikanorovich Nikanorov, who was then on his way to the battles against the army of the German Emperor, Wilhelm II, towards the end of the First World War in 1918, inspires the poet Damien Baidny to write the lyrics of the song in the Russian style.
1918: The lyrics of the song, in the Russian version, written by Damian Baidny, inspired by the soldier Ivan Nikanorovich Nikanorov, at the end of the First World War, adopted for revolution during the October Revolution in Russia that began in 1917 and spilled over into the Russian Civil War, which lasted until 1923.
1919: The song in the Russian version of the lyrics, was heard for the first time in a concert, in the original Ukrainian tune, by the Jewish actor and singer, Boris Samiulovich Guravich, who hid his Jewishness with the help of the pseudonym, Boris Samiulovich Borisovich.
1919: The song in the Russian version of the lyrics was recorded for the first time in concert, in the original Ukrainian tune, by the Jewish actor and singer, Boris Samiulovich Guravich, who hid his Jewishness with the help of the pseudonym, Boris Samiulovich Borisovich.
1922: The composer, Dmitri Vasiliev-Bogli, reworks the original Ukrainian melody of the song, and adapts the melody again, to the words of the Russian song. There is the possibility that the poet Damien Baidani himself, or maybe even Lenin himself, composed the melody as well.
1923: Russian poet and children's author, Korny Ivanovich Chukovsky, writes a children's fairy tale called, The Fly Chukotuka, in the spirit of the poem's content.
1936-1937: The singer, Piotr Konstantinovych Lashchenko, returns the song with the original Ukrainian words and melody to the singing repertoire, with partial success. Stalin orders the poem to be shelved.
1966: The song with the Russian lyrics and melody is recorded as a choral recording and returns to the repertoire of Russian folk poetry.
1983: The song in the Russian version of the words and melody is recorded again in a solo format by the singer, Ivan Sorzhiko.
The composer Dmitry Vasilyev-Buglay put a poem by Demjan the Poor "The Wires" written in 1918 to the melody of this song in 1922. "The Wires" became a popular Red Army song. Identical song about mosquito and Russian gypsies, only there is no wedding, and the mosquito immediately falls from the oak. Similar songs, with and without the wedding, are known to the Russians-see "Komarochek" and "Komar fly married". Ukrainian song is recorded on the album by Peter Leshchenko (Columbia, 1936-1937, WHR663, Komarik, Ukrainian comic song). The melody sounds like a leitmotif in the television series "Nine Lives of Nestor Makhno" (directed by Nikolai Kaptan, film company "DomFilm", 2006).
Notes and translation of the gypsy "Komarik" Once flew a mosquito On the meadow green, and sat that mosquito on the oak curly. And that mosquito sat on the oak curl, but blew out, the buoys played out breezes. But they blew out, the buins (buoys?) played out the breezes, rocked, shaken the branches on the oak tree. They rocked, swung the branches on an oak tree, and shook off the mosquito on the green meadow. And they shook off the mosquito on the meadow green and broke the mosquito All-lip-teeth. And they broke the mosquito All lips-teeth, Yes, two girlfriends came to the rescue. Yes, two girlfriends came to the rescue, and they picked up a mosquito under white pens. They picked up a mosquito Under white pens, dragged the mosquito into the green woods. Tales and songs born on the road: Gypsy folklore. Sost., recording, pen. from Gypsy., pre-reference and commentary. E. Drutz and A. Gessler.-M.: Main edition of eastern literature of the "Science", 1985.
There are related songs about the mosquito, including the neighboring nations-"Komarochok", "Oh, so that for the noise of the learner" (Ukrainian), "Komarichko" (gypsy). The song "The Wires" is based on the poems of Demjan the Poor (see the translation and notes "Komarichko"). The most famous literary reworking of the plot of the wedding of a mosquito and a fly is a poem "Fly-Tsokotuha" by Kornei Chukovsky (1923).
The poem by Demjan the Poor was written in 1918 at the front in Sviazhsk. In 1928, the composer Dmitry Vasilyev-Buglay adapted to him the singing of the Ukrainian song "Oy, what the noise is all about" (aka "Komarik"). This was done for the staging of "Wonder-Wonderful" on the fables of D. Poor in the infantry school. The chant of "Komarik" in the Russian army was used in the First World War, recorded in the "Songs of our army" by S. Orlov and F. Shcheglov, ed. Jurgenson, 1915. "Komarik" is also known to Russian gypsies ("Komarichko"). Ukrainians sing about how a mosquito married a fly, and then fell off an oak tree, and at the gypsies he immediately fell off the oak, and the flies raised it. The Ukrainian song was recorded on the album by Peter Leshchenko (Columbia, 1936-1937, WHR663, Komarik, Ukrainian comic song). There are also similar in the story Russian songs about the fallen from the tree mosquito-see "Komarochek" and "Komar fly married". The most famous literary reworking of the story about the wedding of a mosquito and a fly is a poem "Fly-Tsokotuha" by Kornei Chukovsky (1923).
The song, the name of which was made into the headline, was re-written in 1918 somewhere near Kazan for the Red Army Soviet poet Demian Bedny (Yukim Prydverov, a native of Gubivka, Kirovohrad region). Since then, "Kaka rodnaya me mother provozhal" was sung, and the Ukrainian roots of the song were forgotten. But in the UPA she was sung with other words: "Oh, what a noise was made, // That Mosquito to the rebels volunteered" (of course, "to bite the mosquitoes"). Of course, this favorite humorous song was sung in Ukraine always and everywhere, regardless of power and on any occasion. "Oh, what is the noise made..." even a native of Odesa region, the Russian pevets emigrant Petro Leshchenko planted and the incomparable Kvitka Cisyk sang. How and when did the song arise? According to one of the versions, it has been known since the XVII century. Another version makes the song a century younger, but the version is interesting. It was voiced in the legendary "Ukrainian Small Encyclopedia" by emigrant scientist Yevhen Onatskyi: this song seems to have been composed as saga on Cossack Oleksa Rozum, who married Russian Queen Elizabeth and became Razumovsky. This led to the fact that the Ukrainian hetmanship was restored, and Alexei's brother, Cyril, became hetman. That's why, they say, "the noise was made." But the Queen died and Catherine II came to her place-"where the fur storm came from, she was blown off the same mosquito from oak". She Hetmanate and Zaporizhzhya Sich itself eliminated. fact, No longer as a song, but as a poetic children's fairy tale "Mukha-Tskokotukha" in 1923 was written by the son of a Poltava peasant, The Russian poet Korniy Chukovsky. According to him, this song became the prototype of the fairy tale. Subsequently, Lenin's widow, N. Krupskaya, wrote in the newspaper "Pravda" on February 1, 1928: "What is the whole chepukha ophate? Kakoy lyticskoy smysl yeet? Kakoy is clearly an yette. But it is so zabotly disguised, that guess the ego is hardly working..." She did not know the song "Oh, what a noise..."-otherwise she would immediately undo the "lytic smile". Whether it was with that song or not, and the story about it attracts attention. And especially those who live now in Kropivnickiy, where once by order of Elizabeth I was founded a fortress of her name, in a city that was once called Elisavetgrad, and simpler-Lisavet, Elizabeth. They continue to sing "Oh, what a noise, // What a mosquito and a mousse got away with", without even knowing which heroes of the past are talking about! Kropyvnytskyi.
...Therefore, when the art critic Svetlana Ushakov offered to write about the history of the song, the name of which is made in the title, I agreed. I already knew something. For example, that it was re-infested in 1918 somewhere near Kazan in the troops of Lviv Trotsky and for a long time put into the mouth of the Red Army Soviet poet Demian Bedny (our countryman, native of Gubivka, in the Company, Efim Pridvorov). However, its Ukrainian roots were forgotten for a long time, and it was already called "How the mother of me was born". (In the Soviet Union, it was something like Status Quo's "How Hard in the Army." But in the UPA, somewhere near the campfire, it was performed with completely different words: "Oh, what a noise was made, // That Komar volunteered to the insurgents", it is clear "to bite the mosquitoes"! It should be added that in 1923 the son of Poltava peasant poet Korny Chukovsky crossed it not as a song, but as a poetic children's fairy tale "Mukha-Tskokotukha". Of course, I also knew that this favorite humorous song was always sung regardless of the authorities in almost every village and city, everywhere in Ukraine and almost on any occasion. I heard it performed by various soloists and bands. What to say when "Oh, what is the noise made..." even a native of Odesa region, "Russian estradnyy pevets", emigrant Peter Leshchenko planted and the incomparable Kvitka Cisyk sang. How and when did the song arise? In the Arts Department of the Dmitry Chzewski Regional Library, I was shown an interesting book by Vitaliy Zhaivoronka "Signs of Ukrainian Ethnoculture". So, on its pages it is told that it is in the imagination of the people that hides behind the concept of "mosquito", except for the blood-sucking insect itself. They say, "bites the mosquito until the pore." It also quotes the legendary "Ukrainian Small Encyclopedia" of the emigrant scientist Yevhen Onatskyi regarding the popularly known song about a mosquito who "settled on a must." It seems that this song was composed as satire on the Cossack Oleksa Rozum, who married the Russian Queen Lisaveta and became Razumovsky, which led to the restoration of the Ukrainian hetmanship in the person of his brother Cyril ("made" then a big "noise"), but the Queen died and Catherine II came to her place - "where the storm was taken, she was the same mosquito from the oak blown away" They say the people, using the esop language, thus could tell the truth about Elizaveta Petrovna and the Razumovsky brothers, who, due to her, rose in the 13th century to the leadership of the Hetmanate and the St. Petersburg Academy of Sciences. And as the next empress-"Catherine impressed baba"-even Zaporizhzhya Sich eliminated. Whether it was with that song or not, and the story attracts attention. And especially those people who now live in the city of Kropyvnytskyi, where once by the order of Elizabeth the First was founded a fortress of her name, in a city that was once called Lysavet, Elisabeth, Elisabethgrad in different parts of the population. They live and continue to sing "Oh, what kind of noise did you make, // What a mosquito and a mousse got rid of", without even knowing what kind of heroes of the past are really talking about! Fyodor Shepel.
Count Alexei Grigorievich Razumovsky (Russian: Граф Алексе́й Григо́рьевич Разумо́вский, Ukrainian: Граф Олексій Григорович Розумовський; 1709–1771) was a Ukrainian-born Russian Registered Cossack who rose to become the lover, and it was suggested he was the morganatic spouse of the Empress Elizaveta Petrovna of Russia.
Demyan Bedny (real name Efim Alexeyevich Pridvorov; April 1 (13) 1883-May 25, 1945) was a Soviet poet, writer, publicist and revolutionary public figure. A member of the RSDLP (b) since 1912, in 1938 expelled from the party, restored posthumously (1956).
Musical story of Demyan Bedny's "Provodov" Nikolay OVSYANNIKOV 11 September 2020 939. In the 1968 book by Irina Brazul about Demyan Poor, the customer of his famous "Farewells" (How my own mother saw me off ...) appears to be none other than the leader of the world proletariat, V. I. Lenin. At a meeting in the Kremlin after the poet's front-line trip (from the text, however, it is not clear when exactly this happened), Lenin called on Poor "to oppose the old song with a new one" , and now deliberately, fulfilling the people's revolutionary duty. " After all, at that time they fought "for the devil knows what, but now for their own." "It was then and then" (when exactly, it is again unclear. - N.O.), writes Brazul, "and the famous" Seeing Off "burst out:" As my own mother saw me off, how all my relatives came running here ... "Set to music by the composer Vasiliev-Buglay, the song was heard at the front and in the rear; at peaceful demonstrations and marching marches; at family celebrations and pioneer gatherings, they habitually "shouted" her in the village <...> For many, many years after the end of the civil war, the dashing "Seeing off" with a merry whistle thundered throughout "the whole Race". The poet was glad to receive evidence that he had managed to understand Ilyich's thought, to fulfill his order. So when did “Seeing Off” "burst out"? In the fighting 18th? Or in the crisis 19th? Or maybe in the victorious 20th? Who and when first performed the song, recorded it on a disc, published it in sheet music? In addition, if, when writing the text, Bednoy did not have a ready-made melody (as indicated by Brazul's phrase about Vasiliev-Buglay), then either Lenin or the poet himself had to act as a customer of the music. True, so far no one has discovered facts confirming the authorship of Vasiliev-Buglai. It is strange, however, that Irina Brazul does not even ask these questions. Meanwhile, for a huge number of Bedny's contemporaries, especially the inhabitants of Ukraine, the origin of the melody "Farewell" was not a secret. It belonged to the well-known comic folk song "Komarik" (Oh, there was a noise for the noise, / that a mosquito got married on the musa). “Komarik” was especially popular among the Ukrainians who served in the tsarist army, where the song was sung as a combatant - apparently because of the “war” episode: “Generals drove dear, / they missed that little mosquito. / The colonel was driving that way, / that one is torturing him, he is lying for the deceased. " Therefore, there is hardly any doubt that the song was known to the composer of "Providing", who spent his childhood and youth in the very heart of Ukraine - in the Elisavetgrad region. There he was drafted into the tsarist army, served for 8 years in the Kiev military paramedic school and the Elisavetgrad hospital. So the author of "Provodov" did not have to resort to the help of composers. And there were no problems with the performer. He became a friend of Demyan Bedny, one of the most popular pop artists in the country, Boris Samoilovich Gurovich (1872-1939). Like many pre-revolutionary artists of Jewish origin, Gurovich, for well-known reasons, had to hide his original surname under the stage name Boris Borisov. Here is how the Soviet theater critic Vladimir Blum wrote about him: “Borisov is a major actor in the pre- and post-war years, and in the pre- and post-revolutionary era. This is an artist who has not for a single moment retired into the “sacred groves” of priesthood, apolitism, etc. Borisov with his art is always in the midst of people, among the masses. He accepted our revolution immediately. Since 1918, he has popularized Demyan Bedny. The Red Army barracks knows him. While the bourgeois saints emigrate to their masters, Borisov stays with us. " Borisov popularized the work of his friend, the poet, not only through the Red Army barracks. Only a month after the restoration of recording in Russia, Boris Borisov (not on the direct instructions of the main Kremlin patron Poor?) Was almost the first of all the singing artists in the country to start recording on records, which were sent to units of the active army as propaganda material. So, already in the May session of 1919 "Rospechat" records 9 phonograms of Borisov, of which 8 are songs and melodies to the words of Bedny. There are no "send-offs" among them: probably the poet has not yet had time to fulfill Lenin's order. The song appears on the disc released at the end of the November session; the label reads: “WIRES. Topical couplets. Words by Demyan Bedny. Isp. Borisov B. S. " However, it is not necessary to say that as a result of this "premiere" the song has burst out all over Russia. At least for the reason that after 1919, neither Borisov nor anyone else recorded "Seeing Off" for new records, and the first sheet music edition appeared only in 1923, at the height of the New Economic Policy, when the song bias of the workers noticeably shifted to the side. peaceful themes. Two years later, in 1925, four more editions were published (in Moscow and Leningrad), and this, at least in the Stalinist era, ended. Isn't it strange for the frenzied popularity that I. Brazul writes about? For comparison: the romance “I Dreamed of a Garden” written by Boris Borisov before the revolution, which he constantly sang at concerts, in the Stalin era was released on Soviet records performed by Vadim Kozin and Nadezhda Obukhova at least 5 times in huge numbers. And this is not counting the state "pirate" copies of foreign records of emigrants, in particular Vertinsky. Yes, and the special popularity of "Providing" in the Red Army environment, especially in comparison with the "Internationale", "Red Army" by Samuil Pokrass, "Budenovsky March" by his brother Dmitry and "Aviamarsh" by Yuli Hayt is also out of the question. Even the customer of the song V.I.Lenin, according to Krupskaya, quoted by her personal secretary Vera Solomonovna Dridzo in the book “N. K. Krupskaya ", The cool attitude to the recalled song, expressed in the complete absence of gramophone records and studio recordings after 1919, as well as a four-year pause in anticipation of notes, may have been due to the ambiguous reaction of the Red Army soldiers who fought in 1920-21 in Ukraine. In the enemy performance of the Makhnovists and Petliurites, they more than once had to hear the ill-fated "Komarik", moreover, with anti-Moscow and anti-Soviet additions made by the enemy. It is possible that in the May (1920) joint military parade of Poles and Petliurites in captured Kiev, Komarik also sounded triumphantly in order to “wipe the nose” of the enemy's “Providing”. The musical history of the song, as we have seen, was short, did not have peripheral editions, and was interrupted for many years back in 1925. It seems to me that Korney Chukovsky is to blame for this. Soon after the publication of the first edition of "Provodov", he composed his famous fairy tale for children, the heroes of which, Mukha and Komar, seemed to have flown into it from a Ukrainian song. So Chukovsky's fairy tale turned into a kind of prehistory for Komarik: it ends with the wedding of the heroes, and from the Ukrainian song we learn how this fleeting marriage ended. From 1924 to 1927, under the name "Mukhina's wedding" (is it not with a hint, because "Komarik" had the common name "The wedding of a mosquito"?), It went through five editions with luxurious drawings by Konashevich. The children really liked Mukhina's wedding. But it is unlikely for an ideologically savvy adult: she probably unleashed old wounds with her winner Komar. After the persecution initiated by Nadezhda Krupskaya "Fly wedding" and its author, Chukovsky was forced to change the name of the tale to "Fly-tsokotukha". They say: time heals wounds. It would seem that by the mid-thirties, there was no one to remember about Komarik, which was actually banned in the USSR. Well, isn't it the time to revive with a vivid interpretation of the folk choir, and to record Demyanov's "Seeing Off" for a large-circulation disc? It was not so. In 1936, in Bucharest, Petr Leshchenko sang Komarika on a Columbia disc that was immediately replicated throughout Europe. Of course, in one way or another, discs with Leshchenskiy "Komarik" began to penetrate into the USSR, sound from gramophones, poison the soul of the country's chief censor Platon Kerzhentsov and his pupils. What kind of "Seeing Off" here! And literally next came the story of the staging of AP Borodin's opera "The Bogatyrs" to the libretto of Poor, which angered Stalin. The subsequent persecution of the proletarian poet in the press led to his expulsion from the CPSU (b) and the Writers' Union of the USSR. In general, it took Soviet people a long time to wait for a solid, choral, if you will, folk performance of "The Fares" after Boris Borisov's "topical couplets". Only in 1966 did Melodiya release a double album, Revolutionary Songs. Songs of the Civil War ”, where“ Seeing Off ”was performed in an exemplary interpretation of the Russian Song Choir of the All-Union Radio (No. 4 on the 2nd disc). And in 1983, domestic music lovers rejoiced at the magnificent performance of the song by Ivan Surzhikov, accompanied by the Ensemble of Soloists of the Academic Orchestra of Russian Folk Instruments, recorded for the giant Melodiya. It looks like we won't wait for a similar version of Komarik. However, personally I am quite satisfied with the sung by Pyotr Leshchenko. Nikolay OVSYANNIKOV
In 1922, composer Dmitry Vasiliev-Buglay set a poem by Demyan Bedny "Seeing Off" , written in 1918, to the melody of this song. "Seeing Off" became a popular Red Army song. Russian gypsies also have an identical song about a mosquito, only there is no wedding there, and the mosquito immediately falls from the oak. Similar songs, with and without a wedding, are also known among Russians - see "Komarochek" and "Mosquito Married a Fly" .The Ukrainian song was recorded on a record by Petr Leshchenko (Columbia company, 1936-1937, WHR663, Komarik, The melody sounds like a leitmotif in the television series "The Nine Lives of Nestor Makhno" (director Nikolai Kaptan, DomFilm film company, 2006).
///https://www.zemereshet.co.il/m/song.asp?id=73 גרסת צביקה דרור (יידיש) גרסת המילים בשנות השלושים, ומן הסתם קודם לכן (יכול להיות שמדובר אפילו בימי מלחמת האזרחים בס.ס.ס.ר), שרו חלוצים עירוניים (אני שמעתי בת"א) את הגרסה היידית. שתרגומה: "לאן אתה הולך (לאן פניך) יוסל'ה? – יוסל'ה שוטה אתה הולך להיות חייל אצל האדומים"///אָוו גייסטע יוסאַלע? – יוסאַלע שויטע גייסט ווערן אַ סאָלדאַט באַ די רויטע.
Additional references update
https://uk.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BC%D0%B0%D1%80%D0%B8%D0%BA///"Komarik" ( "Oh, what a noise was made..." ) is a humorous Ukrainian folk song about the wedding, death and funeral of a mosquito, known since the first quarter of the 18th century in various variants, versions and editions, generated by the historical circumstances of different eras , in arrangements by famous composers of the 19th century, in performances by popular artists and musical groups of the 20th century, as well as adaptations and borrowings by composers and writers of the 18th-20th centuries. The song about the mosquito and the fly exists in the folklore of various peoples. According to Ivan Franko , the natural phenomenon known as the "dance of flies and mosquitoes" served as the source of folk art, while the imagination of different peoples interpreted this phenomenon in their own way, "although everything is anthropomorphic". Researcher, historian and theorist of literature Volodymyr Peretz noted the connection of the Ukrainian folk work with a number of songs about animals, insects and birds and assumed that the poem was composed of such elements as "parodies , folk songs and Polish chants". According to the instructions of the researchers, the first written record of the text was discovered in the manuscript collection of Leontius Yagolnytskyi in 1719 and published by Mykhailo Hrushevskyi in "Notes of the Shevchenko Scientific Society" in 1897. In the work "Studies on Ukrainian folk songs" (1910-1912), Ivan Franko suggests that the plot scheme came to Ukraine from Western Europe ; on the basis of the general story canvas in the eastern and western parts of Ukraine, variants of the song developed that develop different storylines. These variants, which in the terminology of the era of Franco means "Ukrainian" and "Galician", in turn have different editions. The Ukrainian versions differ in their brevity and appeal primarily to the history of the relationship between a mosquito and a fly (courtship, marriage, life together, death). The Galician variants develop the line of disaster in more detail (the fall of a mosquito from an oak tree, the appearance of a fly that stings it, the burial) — according to Frank, they are "an allegorical picture of the fate of a burgher, over whom, even in death, a sensitive female soul takes pity". Franko points out that the Galician-Russian handwritten versions date from the end of the 18th century (around 1780), they are distinguished by the "courtier-scholar" type of poetry, they have "a character that is not purely folk." The oldest of the known printed Galician versions was published in the Polish ethnographer Vaclav Zaleski's collection "Polish and Russian Songs of the Galician People" , published under the pseudonym Wacław z Oleska in 1833 in Polish (contains Latin transcribed records of Ukrainian folk songs, in particular "Oj stuknuło w bujnym lisi"). In 1833, the notation of the folk melody arranged by the Polish composer Karol Lipinski was published in the collection of Vaclav Zaleski "Polish and Russian Songs of the Galician People" ( No. 206 ; for voice and piano). In 1923, the Russian Soviet writer with Ukrainian roots on his mother's side, Korniy Chukovsky, created a literary reworking of the plot about the wedding of a mosquito and a fly - a poetic children's tale, first published in 1924 with illustrations by Volodymyr Konashevich [ru] under the title " Mukhina's Wedding ". The book went through five editions from 1924 to 1927. In 1928, Soviet censorship saw an "unwanted" political subtext in the fairy tale. Lenin's widow , Nadia Krupska, wrote in the Pravda newspaper on February 1, 1928: " What does all this nonsense mean? What political meaning does it have? Some clearly have. But he is so carefully disguised that it is quite difficult to guess him... " According to the censors, Komarik is a "prince in disguise", Mucha is a "princess", and birthdays and weddings are "bourgeois holidays". Konashevich's illustrations were also deemed indecent, as Mukha stands too close to Komarik and smiles at him "too flirtatiously". Chukovsky had to change the name to "Mukha-Tsokotukha" [ru], but the struggle with the fairy tale lasted for several decades. In 1960, the "Literary Gazette" published a letter to the editor, the author of which saw the glorification of a " disgusting and disgusting insect " in the fairy tale and called for the book to be burned. The history of the Soviet political-ideological persecution of the fairy tale about the wedding of a mosquito and a fly in turn became a topic of oral folklore and was reflected in a cycle of anecdotes about the rulers of the USSR/Russia of the 20th and 21st centuries, also with different plot construction options.
https://uk.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BC%D0%B0%D1%80%D0%B8%D0%BA
**