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
התוכן והעיבוד הלשוני אינם סופיים
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 Izzy Hod: Farewell from the Slavs, composed as music only in 1912, inspired by the farewell of Serbian mothers, while they were sending their loved ones to the first Balkan war, against Ottoman Turk, the leader of the Ottoman Empire. A war declared by the Balkan countries, Serbia, Bulgaria, Greece and Montenegro and started with Montenegro's declaration of war on Turkey on October 8, 1912. The first words to the song were written as early as 1914, but the poet's name is unknown. The composer of the original piece, Agafkin, was then a music officer and trumpeter, who accompanied the recruits and saw the farewells and, as a military man, actually composed a song for a military brass band. Agafkin, memorized a song from the Russo-Japanese War attack in Manchuria in 1904-5, and arranged the piece into a musical piece for trumpets first. When the first record of the full version of the song, music and word was published in the Balkans, it reached Russia and the neighboring countries and became a hit there. Since then, many different versions of other words have been written for it, in many countries and in different languages, including Hebrew [between borders], especially during the Second World War in Russia [1941-1945] and after it. For Victory Day over Nazi Germany, a special version was written, which is played in the Red Square parades on that day. The literal version presented here was written by the poet, Vladimir Lazarev, in 1984 and became very popular, with the fall of the Soviet Union, in 1991. Lazarev, wrote his lyrical poem, as he thought he would have written it, if he had seen for himself, the exciting separations of the boys the Bulgarians going to that war in 1912, from their Bulgarian mothers, but he meant Bulgarian women, who separated from volunteer Russian soldiers who served in that war in 1912, who were called to return to Russia, at the end of the First Balkan War. In 1991, when the Soviet Union collapsed and Russia came into existence, this song was considered a candidate to be the new Russian anthem, if the anthem is also replaced. The Hebrew song, Between Borders, is the first song, written by the poet, Haim Hefer, the song was written, only for part of the complex melody, of the original song, Farewell from the Slavs. The song, is heard towards the end of the movie, Relatives, from 1981. In the same movie, one can also hear the melody of the song, An orphan harmonica. In the film, a kind-hearted but innocent mother, a woman of the old and simple world, tries to understand and fix the home life of her daughter and of her granddaughter, who live in a new and difficult situation, which also includes her ex-husband and the father of her daughter. The mother's intentions are good, but as happens from time to time, and in this film too, the good intentions lead to a hellish life for the daughter and granddaughter. The song, Farewell from the Slavs, is also heard in the movie, The Cranes are flying, from 1957. In the movie, a young couple in love is caught up in the time of World War II. The boy reaches the front and after a turbulent period is killed. When the girl learns this, she becomes involved with another boy even though she does not believe that her lover actually fell in the war. On the day when the military unit she served in returns, she receives final confirmation of her loved one's death in battle, from a close friend, and at the same time the cranes hover in the sky above her, as a testimony to what the friend who returned from the war says, those who fall in battle will never forget. In November 1941, when the Red Army was fighting to prevent the occupation of Moscow by the Nazi German army, Stalin decided to show his strength against the invader and hold a military parade in Red Square in Moscow. Stalin, recognized and loved the melody of the song, Farewell of the Slavs, which was written back in 1912 and chose the composer of the original song, Agafkin, to be responsible for the music that would accompany the parade. It so happened that the melody of the song, the march song, Farewell from the Slavs, accompanied this parade and the parades that followed [some doubt that the song led the parade in 1941]. In the Russian Civil War, which began immediately after the October Revolution of 1917 and officially lasted until 1923, the song, Farewell from the Slavs, served both the White Army and later the Red Army. Sometimes with the original words and often with new texts written to the original tune. The authors of the original song from 1912 were already serving in the Red Army. Some of the secondary texts written starting in 1914, especially those written by White Army soldiers, angered the new Russian authorities after the revolution and the name of Agafkin, the composer of the original song, was sealed. Only in 1970 did Agafkin's name start sounding positive when talking about brass band composers. Agafkin, according to one version, was the one who lead the marching song, Farewell from the Slavs, in the Red Square parade in 1941, as a show of strength against the Nazi German army, but in 1945, in the victory parade in Red Square, with the victory over Nazi Germany, Agafkin lead only the drummers of the orchestra, while the entire orchestra was conducted by Semyon Alexandrovich Chamatsky, Major General, commander of all musical services of the Red Army. As for the reasons for writing the song, the composer, Agafkin, wrote about it in his book. It was, indeed, in 1912, in the First Balkan War, when Turkey brutally and suddenly attacked the Slavic peoples that Agafkin, a Russian of Slavic origin, sympathized with them. In fact the whole of Russia, through close family ties from marriages between the House of Romanov and the rulers of Montenegro sided and supported the Balkan peoples, in this war and previous similar wars such as the Turkish-Serbian war in 1875-6.
"Farewell of Slavianka" (Russian: Прощание славянки, Proshchaniye slavyanki) is a Russian patriotic march, written by the composer Vasily Agapkin in honour of the Slavic women accompanying their husbands in the First Balkan War. The march was written and premiered in Tambov in the end of 1912. In summer of 1915 it was released as a gramophone single in Kiev. Slavyanka means "Slavic woman". The melody gained popularity in Russia and adjoining countries during the First World War, when the Russian soldiers left their homes and were accompanied by the music of the march. It was performed also during parade of 7 November 1941 on the Red Square after which soldiers went straight to fight in the Battle of Moscow. This march was also used as an unofficial anthem of Admiral Kolchak's White Army. It was commonly believed that prior to its use in the award-winning 1957 film The Cranes Are Flying, the song was banned in the Soviet Union because of its lyrics about banned subjects. The song's popularity and quality made the Communist authorities adopt the song, but they had made significant changes to its lyrics. The original text mentioned Russian patriotism, religion, nationalism and culture, which was not acceptable under the Soviet Union. The song was originally published by Zimmerman Production Association around 1912. The march was published in an official collection of music for Red Army orchestras, and it was recorded in the early 1940s by a military orchestra under the conductor Ivan Petrov (1906-1975), but different lyrics were then used. Other lyrics are now usually sung by the Red Army choir. Subsequently, several Russian and Polish composers have written lyrics for the music. During the Second World War in German-occupied Poland, an adapted "underground" version of the song, Rozszumiały się wierzby płaczące ("Weeping Willows Began to Hum"), became popular in the Polish resistance and was based on lyrics by Roman Ślęzak. In the 1990s, the Yabloko, a political party, lobbied unsuccessfully for the march to be adopted as the Russian national anthem. "Farewell of Slavyanka" was used in movies like The Cranes Are Flying and Charlie Wilson's War, which is about the Soviet–Afghan War, and in the Russian movies 72 Meters (72 метра) and Prisoner of the Mountains (Кавказский пленник). An instrumental version of the song was also featured in the 1990 Ukrainian film Raspad ("Decay") during the Pripyat evacuation scene. A Hebrew version was written in 1945 by the singer/songwriter Haim Hefer for the Palmach. In his version of the song, בין גבולות ("Between Borders"), Hefer coined the phrase אָנוּ פֹּה חוֹמַת מָגֵן (We are here a defensive wall), which was used by Israel Defense Forces to call Operation Defensive Shield (literally "Operation Defensive Wall") in 2002. 1967 version: The Farewell of Slavianka first received official lyrics under the Soviet leadership that were appropriate for the time's political climate, but references to Russian culture, religion and patriotism were changed. The new version by A. Fedotov. The first version under the Soviet Union (1941) did not mention the Battle of Berlin, unlike the later version (1967). 1984 version: Another version of the lyrics was written by Vladimir Lazarev in 1984 and has gained the popularity since the dissolution of the Soviet Union in 1991 because of the slower tempo and the added human fragility factor ("Farewell, fatherland, remember us,…not all of us will come back..."). 1997 version: A White Army version of the march, written by Andrei Mingalyov, was created after the dissolution of the Soviet Union. Tambov Oblast anthem:The Farewell of Slavianka melody was used for the Tambov Oblast anthem, whose lyrics were written on 22 May 2002 by A. Mitrofanov.
Прощание славянки / Slavic Woman's Farewell. The song was composed in 1912, as Russia was awash in rumors about the impending new Balkan War, in which the Slavs would be pitted against the Ottoman Turks, and Orthodox Christianity aganst Islam. Although, this particular war did not materialize, the song spread like wildfire, and became the most popular military march during WWI as well as WWII Although it has its author, V. Lazarev, the text of the march that has become part of the urban folklore exists in several version. One of them, by A. Mingalev, is full of patriotic and martial spirit that is rather out of keeping with the elegiac and, perhaps, more authentic tone of the original. A more recent version was produced by Aleksandr Galich (1941 and 1970). The word "Slavic" in the title of the march, which otherwise invokes only Russia, is a tribute as much to the pan-Slavist ideology of the preceding century as to its transformation into Russian nationalism on the eve of WWI. Like other iconic artifacts of the pre-1917 era, the march underwent a revival after the collapse of communism. It gave its name even to a new brand of vodka. Most notably, though, during the debates surrounding Russia's new national anthem in the 1990s, Joseph Brodsky, along with many others, including General Lebed, petitioned Boris Yeltsin to adopt "The Slavic Woman's Farewell" as the national anthem of the new Russia. Later, in 2000, during the heated controversy on the same subject under Vladimir Putin, the Yabloko Party proposed it as an alternative to both Glinka's (de fact anthem under Yeltsin) and the old Soviet workhorse. Curiously, the march continues to carry its anthem aura even now that the the official Russian hymn has been adopted. During the greeting ceremony in Seoul in March 2001, President Putin was greeted first by the two official anthems of Russia and South Korea and immediately afterwards by Proshchanie slavianki. The marching song is so deeply imprinted on the Russian psyche that Sergey Bodrov managed to provide a whole layer of ironic meaning in his celebrated anti-war film Prisoner of the Caucasus (1996)-by using it as the film's main theme.
Eliezer Goren talks about the Russian source: The melody of the song was written without words by Vasily Ivanovich Agafkin in 1912 in the context of the First Balkan War, in which Bulgaria, Serbia, Greece and Monte-Negro fought to break free from the rule of the Ottoman Empire. The composer Agapkin later became the conductor of the Soviet secret police orchestra.
Eli Set tells (most of the information according to the Russian site Прощание славянки): The popular march Прощания славянки ("The Slavic Farewell") was composed by Agapkin in 1912 for a military wind orchestra. It was first recorded on an extraphone record from Kiev in 1915. The Secret Service Orchestra, conducted by Agapkin, played the march in Moscow's Red Square during the Nazi Victory Day parade on June 24, 1945, and at Lenin's funeral in January 1924. Contrary to popular belief, there is no evidence that the march was played there during the parade on November 7, 1941. According to Russian singer-songwriter Yuri Biryokov, he was not heard at the time. The march was composed during the first "Balkan War" in which volunteers from Russia participated alongside the Balkan countries. It was composed without words, but from the beginning of the First World War and the Civil War in Russia, versions of words began to appear and in fact it can be said that versions continue to appear to this day [2014]. Most versions had an ideological / patriotic character. Watch, for example, an ideological / patriotic version of Andrei Mingaliev performed by the Cuban Cossack Choir. From World War II, the Soviet Union does not sell versions of contemporary texts. The march was played by orchestras but not sung, and for this reason some speculated that the Soviet government had boycotted it. In 1957, the marsh was incorporated into the Soviet film Летят журавли ("Flying Cranes") by director Mikhail Kataluzov (winner of the "Golden Palm" Award at the Cannes Film Festival, 1958) whose plot takes place during World War II. The march is played in the moving segment where the protagonist Boris is sent to the front and his fiancée Veronica is unable to reach him to say goodbye to him. Among the versions of the words written for Marsh later, the version of Arkady Pedotov stands out (sometimes Yu La Danev is also mentioned as a co-writer). This version is famous mainly for its performance by the Red Army Choir. According to the website Независимое военное обозрение, the version was written in 1965. Also prominent is the version of Alexander Galich (Ginzburg), who according to the website уходил мы в бу Galich was translated into Hebrew by Yaakov Sharet, who called it "Shir Lechat". On January 6, 2015, Yaakov Sharet told "Zamreshet" that the song was translated when Galich visited it in Israel and according to the melody as sung by Galich, the song was included in 1976 on the record of the show "Haloch Halacha Habria No. 2" and did not appear in print. The most heard version of the lyrics today is Vladimir Lazarev's version written in 1984. This version is more inclined to the poetic pole than to the ideological / patriotic pole and has an affinity for the event that inspired Agapkin to compose the march. According to Lazarev's letters, when he wrote his poem he tried to recreate the atmosphere that existed at the time the Marsh was composed (when he apparently meant the parting of the Russian volunteers at the end of the Balkan War). There is a claim on the Internet that the song was composed by the Jewish composer Yakov Yosifovich Bogord (1879-1941). An examination conducted on 2.2015 shows that based on the existing material, this claim cannot be proven.
Vasily Agapkin and his march "Farewell of the Slav". Today there is no person in Russia who does not know or has not heard this melody . It is no coincidence that from the first sound the march sinks into the soul and remains forever in the memory. As a rule, the sound of this music is associated with farewell, separation. No wonder it is performed at the farewell to the army (film by N. Mikhalkov "Relatives"). The episode with Boris (N. Batalov) and Veronica (T. Samoilova) from M. Kalatozov's great film "The Cranes Are Flying" is unforgettable. Yet the history of the march needs clarification. The very first is the date of writing. The second is the belittling by the author of merit in the creation of a brilliant work. During his lifetime, Agapkin spoke reluctantly about his offspring, did not consider him outstanding, and even wrote an explanatory note to the march half a century later. Why? And finally, the third is in the melody of the thing itself. Why is the march recognizable, recognized and sinks into the heart from the very first sound? Indeed, in the history of music there are few examples of such a phenomenon. I would like to start with events that are closer to us in history than the first Balkan war of 1912. But let's preface: no Freud can explain a genius. The humblest staff trumpeter, a speck of dust in the wind, gives birth in provincial Tambov, on the banks of the shallow Tsna, a masterpiece equal to incomparable examples of world musical culture. One of the decisive events of the Great Patriotic War is rightfully recognized as the historical parade on Red Square in Moscow on November 7, 1941. It took place just one tank crossing from the defense lines and is significant to many. Vasily Ivanovich Agapkin, quartermaster of the 1st rank, was appointed the head of the combined military brass band, designed to provide musical accompaniment to the parade. The nationwide love for the march is such that when you even watch the newsreel of that legendary parade, its melody involuntarily sounds in your head. You catch yourself thinking that without this march it was impossible to go on a feat, without it we simply could not stand it, we would not have defended Moscow. At that critical moment for Russia, the people and the leadership of the country were required to exert maximum effort in order to prevent the enemy from capturing the capital. Stalin decided to hold a traditional parade in front of the enemy. The combination of military music and orchestra management was very well chosen by the author of the most popular march among the people. But why exactly Agapkin? As General Artem Fedorovich Sergeev writes in his memoirs, one of Stalin's favorite pieces of music was Agapkin's march. According to him, Stalin often listened to a record on the gramophone with a recording of this work performed by the author himself. If, in terms of its significance and influence on the outcome of the war, the November parade of 1941 is equated with the greatest battles of the Great Patriotic War, then the “Farewell of the Slav” can be put on a par with such sources of Victory as love for the Motherland, loyalty to the oath, hatred for the fascist aggressor. Y. Tyurin's story "Parade" well reflects the mood and picture of that day. It is strikingly different from other works describing the morning of November 7th. The narration in it is conducted on behalf of the Kapellmeister himself. The author tells how Vasily Ivanovich was appointed the chief musical director of the parade, how and where the rehearsals of the combined orchestra and the entire parade crew were held, how the parade itself took place. According to the writer, dawn on November 7 was the most significant event in Agapkin's life. We repeat that the march "Farewell of the Slav" was written in 1912. Speaker of the State Duma B. Gryzlov, during his official visit in January 2011 to Tambov, whose anthem is this march, during a conversation with journalists supported the idea of giving the celebration of the centenary of the march a national status. Boris Vitalyevich, in particular, said: “I think that this is an event of an all-Russian scale. Today we discussed that the All-Russian Festival of Brass Music, which will be held in Tambov, could be timed to this date. Brass bands from all over our country will come to it. There will be a big holiday, which will certainly go on for more than one day”. Vasily Ivanovich Agapkin was born on February 3, 1884 in the village of Shancherovo (now the village of Mikhailovskoye) in the Ryazan province. At the age of ten, having lost his parents, he becomes, at the behest of good people, a pupil of the orchestra of the 308th Tsar's Reserve Battalion of the Astrakhan Infantry Regiment. In 1899 - the Avar reserve infantry battalion (Makhachkala), a pupil of the orchestra. 1900 - 82nd Infantry Regiment (Grozny), musician pupil. 1901-1906 - 45th Dragoon Seversky Regiment. 1906-1909 - Tver Dragoon Regiment (Tiflis), military musician. 1910-1917 - 7th Reserve Cavalry Regiment, extended service as a headquarters trumpeter (Tambov). 1918-1920 - Red Army, 1st Warsaw Hussar Regiment, bandmaster. In 1920, after the failure of the Tukhachevsky-Stalin offensive against Poland, appointed Kapellmeister of the Band of the GPU Troops (Moscow). 1922 - 17th special regiment of the OGPU troops, military bandmaster. 1923 - 1st Moscow School of the Transport Department of the OGPU, bandmaster. 1930 - Central School of the OGPU, Higher School of the NKVD of the USSR, military conductor. 1947-1955 - exemplary orchestra of the MGB, head of the orchestra. The total experience of military service in the Red and Soviet armies, including the service as a musician pupil, amounted to more than 60 years! Colonel Agapkin died in 1964, unnoticed by the media, and was buried at the Vagankovsky cemetery in Moscow. The total experience of military service in the Red and Soviet armies, including the service as a musician pupil, amounted to more than 60 years! Colonel Agapkin died in 1964, unnoticed by the media, and was buried at the Vagankovsky cemetery in Moscow. The total experience of military service in the Red and Soviet armies, including the service as a musician pupil, amounted to more than 60 years! Colonel Agapkin died in 1964, unnoticed by the media, and was buried at the Vagankovsky cemetery in Moscow. Vasily Ivanovich, in addition to "Farewell of the Slav", realized his composer's ideas in the compositions "Magic Dream", "Ston of Warsaw" (1915), "The Love of a Musician", "Blue Night", "Orphan", "Night over Moscow", "Daughter streets”, “On the Black Sea coast”, “Happy rest” and many others, about forty works in total. Fame came to Agapkin immediately. Already in 1913-1914 newspapers widely published notes mentioning his march. Then came the period of "half-forgetfulness". Despite the nationwide fame of the march, official recognition came to the author too late. What was the reason for hushing up the name and merits of Agapkin for decades? The reason for this is the huge popularity of the march melody even before the First World War. During the years of the Civil War, "Farewell of the Slav" became a favorite first among the whites and only then among the reds. In addition, a considerable number of texts were composed to the melody of the march, which the authorities might not like. These songs were sung by both whites and reds, although the author himself at that time served on the side of the reds. Some lyrics from that period have survived. Song of the volunteers of the student battalion (1918) made us drunk and nourished, Native fields of the Fatherland. And we selflessly loved You, Holy Russia land. We are the children of the great homeland, We remember the precepts of the fathers, Soldiers who died for the land of their native heroic death. Let everyone believe and know, Rays will flash from behind the clouds, And a joyful day will shine, And we will sheathe our swords. Chorus: Now the terrible hour of struggle has come, The insidious enemy has attacked us, And to everyone who is the son of Russia, There is only one way to fight the enemy. Shelters of sciences are empty, All students are ready to go. So for the Fatherland, to the great goal Let everyone go with faith. All this interfered with the composer's fame in Soviet times. This is confirmed by censored dictionaries and encyclopedias that have come out, official sources of information about the lives of remarkable people in our country. For the first time we find modest news about Agapkin only in the Great Soviet Encyclopedia (BSE) of 1970, but not in the form of a separate article, but only as a mention of his name in an article devoted to brass bands. Moreover, Vasily Ivanovich is undeservedly, in our opinion, mentioned after V.M. Blazhevich, F.I. Nikolaevsky and S.A. Chernetsky. And this despite the fact that even in alphabetical order it should be mentioned first. In the article "Military Music" in the fifth volume of the TSB, in the Musical Encyclopedia of 1982 there is not a word about Agapkin. Surprisingly, despite such a weak “encyclopedic” fame of Agapkin, in the textbook “Soviet military music”, written in 1977, in the article dedicated to him, we read the following about the march “Farewell of the Slav”: “Like the waltz “On the hills of Manchuria” I. Shatrova, this march went around the whole of Russia. Poets composed verses to him, and then they began to sing a march to the composed verses ” . The Soviet Encyclopedic Dictionary (1980) does not mention Agapkin. We find regular information about Agapkin in encyclopedic publications only since 2000. So, for example, in the Russian Encyclopedic Dictionary under the general editorship of Academician A.M. Prokhorov, published in 2001, there is a note about the outstanding military conductor. There is information about Vasily Ivanovich in the Great Encyclopedia, consisting of 62 volumes . It tells about the fact that the march "Farewell of the Slav", written in 1912, was supposedly banned in Soviet times, and that during the Civil War there were song versions of the march. Unfortunately, as often happens, all this is done without any indication of the primary sources. In the New Russian Encyclopedia, edited by A.D. Nekipelov, it is said that Agapkin "conducted the orchestra at the Victory Parade in Moscow on 06/24/1945" . This is not entirely true. In fact, Agapkin led a group of drummers, under whose fraction they threw fascist standards to the walls of the Mausoleum. If we listen to the drumming that day while watching newsreel footage, we will clearly hear the theme of the introduction to the march "Farewell of the Slav" and the first few bars of the main theme. And the combined orchestra at the Victory Parade was conducted by Major General S.A. Chernetsky, head of the Military Band Service of the Armed Forces of the Soviet Union. In the textbook "History of military music of Russia", written under the editorship of V.I. Tutunov in 2005, it was said about the composer himself and his work: “Of all the Russian marches that appeared in the 20th century before the October Revolution, the most attractive is V. Agapkin’s composition “Farewell of the Slav”, which became widely known and was preserved in the repertoire of military orchestras and ensembles up to up to the present day". The author of the textbook emphasizes that the huge popularity of the march "Farewell of the Slav" is primarily due to its melodiousness, simplicity, and connection with common everyday musical genres. This connection is manifested both in an unconventional form and in the features of the melody. At the same time, all the traditional genre features of the march are strictly observed here. In form, the march is like a couplet song, consisting of three periods. There is a message here that it was in Tambov in 1912 that Agapkin wrote his march, which, according to the author, was "a response to the liberation war of the Slavic peoples of the Balkan Peninsula against the Turkish yoke." Many details of the history of the life and work of the composer and conductor reveal to us works of art written at different times by various authors. For example, the historian N.N. Yakovlev in his famous book "August 1, 1914". In particular, he cites the diary entries of a participant in that campaign: “The command sounds: “For prayer - hats off, singers - in front of the regiment.” After "Hurrah" the orchestra plays "God Save the Tsar!". Many have tears in their eyes. The regiment moved to the station. On the platform, a hasty farewell. And the thunder of orchestras. Remarkable Russian music, which has no equal in the world, due to which even Napoleon attributed much of the victories of Russian weapons. But who will undertake to point out why, with the beginning of that war, the soul-grabbing march “Farewell to the Slav” sounded more and more often? Written shortly before and somehow flashed unnoticed, this march has become extraordinarily popular since August 1914, under the indescribably mournful sounds of it, endless echelons from countless stations retreated to the border. The book by V.K. Stepanov "Fadeless March", which was written based on the memoirs of Agapkin's daughter, Aza Vasilievna Sverdlova. This book is valuable because it remains one of the earliest studies of Agapkin's biography. Information from this book is cited by all encyclopedias, dictionaries and textbooks, but, unfortunately, often with distortions and significant changes, forgetting that Stepanov himself, as a writer, had every right to fiction. Here is what Agapkin describes his march in a note placed by Stepanov in his book: “The March “Farewell to the Slav” was written by me on the eve of the 1st World War under the influence of events in the Balkans, when Turkey aggressively attacked the peaceful Balkan states . The march is dedicated to Slavic women who see off their sons, husbands and brothers to the sacred defense of the Motherland...V.Agapkin ". Stepanov writes: “In October 1912, the quiet Tambov was stirred up by the news: the 1st Balkan War began ... Agapkin does not find a place for himself these days - he is completely captured by the Balkan events. He strives to express his feelings in music. Forgetting about the drafts of the waltz, he picks up a melody on the piano that would call the Slavs to the holy battle. He either sits down at the piano, then picks up the trumpet. And when he breaks away from the instrument, he hums some kind of melody under his breath ... Now Vasily Ivanovich works a lot at night, he is tired, he has become irritable. More than once the lid of the piano comes down with a thud, and crumpled musical sheets fly to the floor ... His march, born on a quiet Gymnasium street in Tambov in the autumn of 1912, Agapkin, the staff trumpeter, called it “Farewell of the Slav” ”. Let us recall that the Balkan question worried Russian society for more than a dozen years, starting from the second half of the reign of Alexander II. Emperors Alexander III and Nicholas II devoted a lot of time and effort to him. The House of Romanov was connected by family ties with the King of Montenegro, Nicholas I: his two daughters were married to Russian Grand Dukes. K. Pobedonostsev, M. Skobelev, V. Vereshchagin, V. Polenov, I. Aksakov, V. Garshin, L. Tolstoy, F. Dostoevsky, K. Leontiev, V. Solovyov, N. Gumilev, Metropolitan Anthony (Khrapovitsky). The Balkan events of the Serbian-Turkish war of 1875–1876 were dedicated by P.I. Tchaikovsky. The war began in October 1912, and it is not surprising that already this month, as follows from the statements of many writers, a chronicle of events in the Balkans is being played on the screen of the Tambov "cinema". It is in our age that information spreads rapidly around the world, but in 1912 front-line reports, and even more so newsreels, probably reached citizens with a great delay. Here is how the journalists of those times describe the process of transmitting news from the theater of operations, from Bulgaria to Russia: “The correspondent, Mr. Mamontov, delivers a telegram of three hundred words in Yani (three hundred miles from Stara Zagora). In this case, the following dialogue occurs. "What am I to do with your dispatch?" the telegraph operator asks.— Send by telegraph in your free time. “Yes, we don’t have free time ... Day and night we tap out service dispatches in turn ... However, tomorrow we will send on buffaloes to Lozengrad. And there it will go by telegraph ... - No, and there on buffaloes, - another telegraph operator intervenes, - to Yambol. - When will it reach Moscow? - In ten days, not earlier. - And if you urgently hand it over? - Then a day later. - Why?! - Urgent must be recorded in the register, because it is three times more expensive, - but the buffaloes still will not be lucky anyway, even if it is at least ten times “urgent” ... From what has been said, it follows that readers, even those who closely followed the course of the war through the newspapers, could not properly navigate the events taking place”. And documentary films in 1912 were spinning in Tambov a maximum of a week after the filming of the plots - the owner of the Modern cinema theater, an enterprising professional and mobile cameraman G.A. Bulgakov. Unfortunately, his archival filming of “The Day of the Gathering in favor of the Balkan Slavs in Tambov” (harvest of 1912, released on the screen on November 5, 1912) has not been preserved. V.V. Sokolov in the book "Farewell of the Slav" [22]says: “It is not known how long the work was created, and this is not so important. It can be assumed that the process of composition was measured in hours, but those behind which stood the whole life of Vasily Agapkin, the history of his family. The march “Farewell of the Slav” was created and was dedicated to all Slavic women ... ”Sokolov’s book, unfortunately, has few references to sources of information. Meanwhile, photographs are of particular value to all of us, including photographs of individual music sheets from albums - the first editions of the march. Some researchers have suggested that the march was written in a bad mood. The daughter of Vasily Ivanovich, Aza Vasilievna, also speaks of this. What caused Agapkin's bad mood is not known now. But I take the liberty of assuming that there was an autumn depression. It is precisely these circumstances that Stepanov very carefully mentions in his work The Unfading March. We are talking about the death of a newborn child in the Agapkin family. And the exact date is November. According to A.V. Sverdlova, the first child was born to the young Agapkin couple in 1911, in the fall, the girl was named Nina. Unfortunately, when issuing a birth certificate in 1921, an error occurred, and Nina's year of birth became 1912. The photograph from the family archive of 1915 shows Vasily Ivanovich, According to Aza Vasilievna, the next child in the Agapkin family was born in the autumn of 1912, and in November, at infancy, the girl died. Stepanov mentions this event, explaining Vasily Ivanovich's bouts of melancholy. The third child, also a girl, was born in 1915, but, unfortunately, died of meningitis in 1920. Aza was born in 1921, and son Boris in 1923. Thus, following the statements of strict encyclopedias, books written by writers based on the memoirs of Agapkin's relatives, we have little reason to doubt that the Farewell of the Slav woman march was written at the end of 1912. We consider it right to choose this year as the starting point for the 100th anniversary of the work - not just a national, but also an all-Slavic scale. From what the authors of books about Agapkin wrote about this, the following idea was formed and consolidated. After the first musical sketches came out from under the hand of Vasily Ivanovich, the manuscript was processed and instrumented by Ya.I. Bogorad . In the late autumn of 1912, the march was already performed by the orchestra of the 51st Lithuanian regiment in Simferopol, on the banks of the Slavyanka River, and in the winter of 1913, by the orchestra, where Vasily Ivanovich served, in Tambov. We checked in the Russian State Library (a branch in the Pashkov House) all the materials available there related to Bogorad. From the owner of the Bureau of Instrumentation Bogorad & Co. which was known far across Russia and beyond its borders, as it turned out, there was a well-registered account of the authors who applied to this office. So, it turned out that among the authors-composers who turned to Bogorad, the name of Agapkin was not mentioned at all. Thus, the ingrained opinion that Bogorad was involved in the processing and instrumentation of the march remains controversial. The literature provides an image of the title page and the first page of the notes of the march, allegedly published by the Simferopol printing house in 1912. We reproduce one of the pages of Sokolov's book "Farewell of the Slav". Note that this is perhaps the only image found in the literature without cropped edges. Consider the title page. On it, with a careful look, we see from the top right: “Dedicated to all Slavic women.” On the musical text at the top in the middle is written: "Dedicated to the events of the Balkan states." Bottom on the title page in the middle is written: "July Heinrich Zimmerman, supplier of the Court of His Imperial Majesty, Moscow, Kuznetsky most, Zakharyin's house, St. Petersburg, Morskaya, 36." On the musical text, from the bottom right, it is written: “The printing house of V. Grosse in Moscow, B. Spasskaya st., sob. etc." Number 1481 in the middle. This suggests that the title page and the sheet music published by Sokolov refer to completely different editions. A photograph is known in which Vasily Agapkin, a pupil of the orchestra of the 308th Tsar's Reserve Battalion of the Astrakhan Infantry Regiment, holds a cornet in his hands. We managed to establish that this small trumpet was just made at the Zimmerman musical instrument factory in St. Petersburg, as evidenced by the correspondence of this instrument to the image on the factory's advertising tag. This advertising tag was placed on the inside of the case and introduces us to a unique music factory for that time - the Zimmermann production association. They not only made musical instruments, but also prepared for printing, published notes of musical works. The firm was not only large, but also solid and prestigious. According to the statistical collections of 1911-1912, issued by the Ministry of Internal Affairs of Russia, the Zimmerman publishing house was in second place after the publishing house of P. Yurgenson in terms of the number of published titles and the average circulation of publications. Nevertheless, there are no even mentions of Agapkin's march "Farewell of the Slav" in these collections. This means that we can assume that this publishing house printed the march later than 1912. G.K. narrates about the nature of Agapkin's possible relationship with a publishing house that had European fame. Ivanov in his book Music Publishing in Russia: “... if a novice composer comes to the publisher, whose works were successfully performed in public and received flattering reviews from the press, then the publisher, not at all interested in the merits of the work in which he does not understand anything, ignoring both the successes and the reviews of criticism, invites the composer to print compositions on his, the composer's, means and requires a gratuitous assignment to the publisher forever of the ownership of them. When these works begin to briskly disperse, the composer meets with a more cordial reception: the publisher takes on half the costs of printing the following works, but keeps the income entirely and forever ... "Familiarity with such circumstances suggests that the Zimmerman publishing house could only publish the notes of the march when the "Farewell of the Slav" had already gained popularity and the love of listeners. Therefore, the time of publication can be attributed to the border of 1912. By a decree of the Council of People's Commissars of the RSFSR of December 19, 1918, all music printing in Russia was nationalized. Further, according to M.E. Kunin, “a specialized printing house was created on the basis of Jurgenson and Grosse's musical notations in Moscow. All funds of engraved boards passed to “Muzgiz”, which at the very first stages of its existence launched a diversified publishing activity”. Our searches in the Pashkov House (RSL) in Moscow for the march "Farewell of the Slav", published in the Grosse printing house in 1914, as in the case of the Zimmerman publishing house, were unsuccessful. We did not find "funds of engraved boards" and accounting books "according to printed music" by V. Grosse in the Russian State Archive of Literature and Art (RGALI), where the entire Muzgiz archive was transferred after its reorganization in 1964. Where, then, is the title page of Grosse's edition? It may have been irretrievably lost. So, unknown to anyone, the novice composer Vasily Agapkin could bring the manuscript of the march "Farewell of the Slav" for clavier to the Grosse printing press in Moscow, most likely in 1913. Why in 1913? Pay attention to the number at the bottom of the music page. The number 1481 is the number of the board [29]. It was affixed on every page of the publication, the same for all pages of the publication and all reprinted issues. Going through the bibliography in the music department of the RSL, we found the work of I. Shatrov "Autumn has come." It was also printed by Grosse and has board number 1483, close to the number of "Farewell of the Slav" (1481). The fonts and the “general interface” of the music page are as close as possible in style. A stamp from Shatrov's waltz "Autumn has come", where the number XIII means the date (year) of acceptance for storage, as well as the maximum proximity of the numbers of the boards and the font style of both works, gives the right to assert that the musical sheet of the march placed on the tab of Sokolov's book "Farewell of the Slav" has been published in 1913 in the Grosse printing house in Moscow. When the march gained popularity and began to be performed in parks, railway stations and other public places, Agapkin could apply to Zimmerman's publishing house. And the title page of the march with “a hussar and a languid beauty against the backdrop of mountains”, cited in all publications, belongs, perhaps, to the next edition - 1915. Let's once again pay attention to Zimmerman's publication and to a photograph from the family archive of A.V. Sverdlova. As already noted, the photograph depicting the Agapkin family was taken in 1915. Could she be the subject of the cover? Of course she could. This is evidenced by the figure and form of clothing of the man, as well as the fit and posture of the woman. But the missing child speaks of a certain symbolism of farewell and loss. And since we take the liberty of comparing images, we can conclude that the year of publication of this march was 1915. Later, after two revolutions, in 1929, the march was published by the Musical Sector of the State Publishing House in the collection "Dances for Piano", the notes of which today we will see in the music and music department of the RSL and in the music department of the National Library of Russia (Fountain House) in St. Petersburg . In the service-combatant repertoire for orchestras of the red army in 1945 also included this march, performed in the direction and in separate parties by the author himself, together with General Chernetsky. I often met Agapkin's daughter Aza Vasilievna Sverdlova. She, in particular, said that in 1941, in October, when the enemy came close to Moscow, her mother (Agapkin's wife, Olga Alekseevna), fearing that the Germans would enter the capital and capture the family of a prominent military man, burned absolutely the entire family musical archive. It is possible that both the handwritten version of the first score and the first printed copy of the clavier were burned in the fire. Vasily Ivanovich Agapkin did not give his wife the go-ahead for such a desperate act. In 1915, the staff trumpet player Agapkin graduated from the Tambov Musical College in the class of brass and wind instruments. In the certificate number 77 issued to Agapkin, it is typed in a typographical way: “The Council of the Tambov Musical College of the Imperial Russian Musical Society hereby testifies that the tradesman of the city of Astrakhan Vasily Ivanovich Agapkin, 31 years old, of the Orthodox faith, graduated in May 1915 at the Tambov Musical College course of music education according to the class of the teacher F.M. Kadichev and at the final exam showed the following successes: in the main subject chosen for special study, playing the trumpet - excellent. In compulsory subjects: solfeggio - very good; elementary theory - very satisfactory; harmonies - satisfactory; instrumentation - satisfactory; piano playing is satisfactory. In addition, he, Agapkin, studied military instrumentation, and therefore can successfully fulfill the position of military bandmaster. As a result of this and on the basis of the decision of the Council, Vasily Agapkin can be issued a first-degree certificate if he, Agapkin, submits a certificate of completion of the 4th grade of a male gymnasium. Director of the School of MusicS.Starikov ". Vasily Ivanovich Agapkin composed an amazing melody. This melody - the most important thing in the march - is especially close to the listener, because the motives of Slavic melodies lie at the heart of this music. Some musicologists, for example V.I. Tutunov, believe that the melody of the march resembles the themes of Beethoven's overture to the tragedy "Egmont". Some point to the similarity of the melody with the Slavic songs used in Tchaikovsky's "Slavic March". Narrow professional opinions do not cancel the main thing: the march is striking in its melody, immediately winning the hearts of millions of listeners. In general, the march is written in the classical form, originally in the key of C minor. The introduction of the march begins with a quart appellation characterizing the call to fight for freedom. Then comes the descending movement along the steps of the minor scale without the 7th step, which is omitted on purpose so as not to prematurely provoke the “harmony” of the minor. The main theme begins with a semitone grace note from top to bottom and a repetition of the same sound of the 6th step of the natural minor. This points to the "weeping for a little child" used in many other folk melodies. Then the melodic line moves along the sounds of triads of the main harmonic functions with a very successful use of auxiliary and passing sounds. A halftone grace note from top to bottom and a downward movement created a characteristic and easily audible “Agapka motif”, which is repeated in many other works by Agapkin, which makes them easily recognizable. The second part of the march begins with a wide interval, a sixth, then a fifth, then a fourth. Such a movement is typical for the expression of "protection of the native hearth", "one's life from invaders", these intervals characterize "a firm, wide step". The trio of the march resembles the melody of the second movement, wide intervals, but with the addition of the intonations of the first - movement along the sounds of the main triads. In general, the march was written in compliance with all traditions, in a minor key, which is typical for the Slavic soul. That is why so many texts were put on the motive of the march, which added unprecedented popularity to both the melody and its author. In Russia, Germany, Bulgaria, Serbia, Montenegro. The march is known in France, Italy, Slovenia, Macedonia, Slovakia, Greece, Ukraine and Belarus. In conclusion, we will tell about one probable eyewitness of the history of the march "Farewell to the Slav". In the Central Museum of the Great Patriotic War of 1941-1945 on Poklonnaya Hill, in the exposition dedicated to the defense of Moscow, a pipe belonging to Agapkin is placed. The chief curator of the museum Sergey Monetchikov showed us this pipe. Unfortunately, it is almost impossible to check whether the instrument really belonged to Vasily Ivanovich, but by the stamp on the bell, one can determine that the pipe was made in the period 1924-1938. Embossed on the bell: "State Musical Factory, KUDZH, Leningrad, No. 9211". According to I.Ya. Sergeeva [32]it became known that since 1924, since the renaming of the Zimmerman musical instrument factory into the State Musical Factory, the production of musical wind instruments belonged to the Commission for the Improvement of Children's Life under the Department of the Music Industry, and since 1932 - to the Trust for the production of keyboard, wind and plucked instruments of the People's Commissariat light industry. In 1938, the factory was renamed the Leningrad Plant of Musical Instruments and the KUJ brand was no longer stamped on the bells. Indeed, the trumpet could have belonged to Agapkin or one of the musicians in his orchestra. At the same time, since 1920, Vasily Ivanovich had already been appointed conductor in the orchestra of the 1st transport department of the OGPU. Knowing about the iron rules of liability, it is unlikely that Agapkin could take away the pipe, which is listed in the accounting books.
Songs of the Roads of War. Farewell of a Slavic Woman, Vladimir Kalabukhov, THE HISTORY OF THE MARCH "FAREWELL OF THE SLAVIC WOMAN" In 2014, it was 100 years since the beginning of the First World War, on the fronts of which our great-grandfathers went under the march "Farewell of a Slavic Woman". Under the same march in November 1941, right from the parade on Red Square, our fathers, grandfathers and great-grandfathers went to the front line – to defend Moscow. The Russian patriotic march "Farewell of a Slavic Woman", the author of which is the composer, conductor of the military orchestra, Kapellmeister Vasily Ivanovich Agapkin (1884 - 1964), became in our country the unofficial anthem of the two greatest wars. This work fully reflected the spiritual state of officers and soldiers of the Russian army, because its author, who was familiar with military service firsthand, knew army life well from the inside. In the weekly "Arguments and Facts" No. 16, 2014, Maria Pozdnyakova's story "He Said Everything Without Words" was published about the author of the march "Farewell of a Slavic Woman" V.I. Agapkin, who began his service in the 7th Reserve Cavalry Regiment of the Tsarist Army in Tambov as a staff trumpeter and finished serving 62 years later in the rank of colonel of the Soviet Army. The author of the story writes: "... 1912. This was the year when the first Balkan War began, in which Russia did not participate, but morally fully supported the Orthodox brothers (Serbs, Greeks, Montenegrins and Bulgarians) who rebelled against the Turkish yoke. In all parts of the Russian Empire, money was raised to support the families of the dead and wounded in the Balkans, clothes, medicines, and food were sent there. On the wave of universal Slavic solidarity, 28-year-old Vasily Agapkin was born the famous march "Farewell of a Slavic Woman". Agapkin's absolute ear was not only musical. He, a peasant nugget, managed to touch those strings of the Russian soul that are responsible in the people's body for the main thing - sacred love for the Motherland, when you go to die for the Fatherland with your head held high, when, as Suvorov bequeathed, "die yourself, and help out your comrade!" The march immediately became popular in Tambov, and then throughout the country - the records "Farewell of a Slavic Woman" were released in large editions. and in 1914, Russian women across the country saw off their loved ones marching to the First World War to the sound of the march. During the Civil War, the "Farewell of a Slavic Woman" was played by both whites and reds, although each side composed its own words for the march. Agapkin was on the side of the Red Army, but he did not take up arms - he remained a musician. " The words of this marching song are, of course, alive! Here is one of the texts of the march, written by Vladimir Yakovlevich Lazarev (born 1936): FAREWELL OF A SLAVIC WOMAN, A moment of farewell comes, You look into my eyes anxiously, And I catch my native breath, And in the distance a thunderstorm is already breathing. The air trembled foggy and blue, And the anxiety touched the temples, And Russia calls us to the feat, Blows the wind from the step of the egiments. Goodbye, fatherly land, You remember us, Goodbye, sweet look, Forgive-goodbye, forgive-goodbye...Years fly, Years fly, Trains go into the mist, And in them soldiers, And in the sky dark Burns a soldier's star. And in them are soldiers, And in the dark sky Burns a soldier's star. Goodbye, fatherly land, You remember us, Goodbye, sweet look, Forgive-goodbye, forgive-goodbye ...Forest yes steppe, yes in steppe half-machines. The light of the evening and the new dawn Do not forget the farewell of the Slavic woman, Secretly in the soul repeat! No, there will be no soul indifferent Justice lights…For love, for great brotherhood, we gave our lives. Goodbye, fatherly land, You remember us, Goodbye, dear look, Not all of us will come back. Goodbye, fatherly land, You remember us, Goodbye, sweet look, Forgive-goodbye, forgive-goodbye...The march "Farewell of a Slavic Woman" was also heard on the Red Square of Moscow on November 7, 1941. Pozdnyakova puts it this way: "... The parade of 1941 took place when the Nazis had already approached the outskirts of Moscow. A number of objects of the capital were mined in case of the arrival of the enemy. And in this situation, the march "Farewell of a Slavic Woman" sounded, under which the tsarist army went to the front "For faith, the Tsar and the Fatherland!" a quarter of a century earlier. And Stalin from the rostrum of the Mausoleum, addressing the Red Army soldiers, said: "Let the courageous image of our great ancestors – Alexander Nevsky, Dmitry Donskoy, Kuzma Minin, Dmitry Pozharsky, Alexander Suvorov, Mikhail Kutuzov – inspire you in this war!" In the Great Victory of a great country over German fascism and Japanese militarism, the next anniversary of which we celebrate this year, the force uniting the peoples was loyalty to the Fatherland and a strong fighting spirit, iron discipline and the highest responsibility for the country, its wealth, its citizens. Patriotic combat marches and drill songs have served and continue to serve this in no small part. More than a century has passed since the march "Farewell of a Slavic Woman" was born. Many versions of the lyrics have been written to his melody. Here is one of them that appeared in the student environment. The year was 1962. Fourth-year students attended camp training in their military specialties received at the Radio Institute. Most of the young men were sent to the barracks of the city of Rybinsk in the Yaroslavl region in the summer. And so, in a marching soldier's formation in the bathhouse, which was located at the other end of the Volga town, the "Farewell of a Slavic Woman" sounded in our performance: The spring session thundered, With a bright light all the stars are burning, Well, dear, you look unhappily, Escorting me to the camps? Goodbye, birthmark, Trumpet calls for a hike, Look, don't forget, don't forget Our combat missile platoon...That year, as we could, we celebrated the 50th anniversary of the "Farewell of a Slavic Woman". And the military knowledge gained at the institute was consolidated by practical work on military equipment, which can be seen in the film created in 1964, "Keys to heaven". This film always reminds me of my student years, our camp life at the training ground with rich blueberries near the Volga reservoir, not far from the dam and locks, from metallurgical plants, from the plant for the production of aircraft engines, which constantly roared in the test pipe ... All this we were preparing to protect against enemy attack, maintaining the combat power of the air defense missile battalion. A year later, along with the diplomas of radio engineers, we were awarded certificates of reserve officers. Those who wished immediately went to military service, others, including me, had the opportunity to serve in the cadres of the Soviet Army a little later, when the new law of 1967 on military duty prescribed to undergo a one-and-a-half-year internship in their military registration specialty or devote their lives to military service. I chose the latter...For more than 100 years, Agapkin's magnificent march "Farewell of a Slavic Woman" has been heard. The march was repeatedly recorded by various orchestras. In the 1960s, Alexander Arkadyevich Galich (1918 – 1977) wrote his text to the music of the march: Again the distance before me is unsightly, the steppe is wide and the sky is azure. Thou shalt not be sad, my inconspicuous, And the eyebrows of your dark ones are not frowning! Forward, behind the platoon platoon, The trumpet is calling! Came from Stavka Order to send – And, therefore, it's time for us to go on a hike! In the morning smoky, in the twilight early, Under the laughter and under the cannon bang We went into battle and into exile With this march on dusty lips. Go ahead, behind the platoon platoon, The Trumpet is calling! Came from Stavka Order to send – And, therefore, it's time for us to go on a hike! Do not be sad for us, our dear, There, far away, in the birthmark! We are all the same domestic, peaceful, Though we walk in a soldier's formation. Go ahead, behind the platoon platoon, The Trumpet is calling! Came from Stavka Order to send – And, therefore, it's time for us to go on a hike! There will be dawns replaced by sunsets, The sun will roll at its zenith – To die to us soldiers, soldiers, To resurrect us – dressed in granite. Forward, behind the platoon platoon, The trumpet is calling! Came from Stavka Order to send And so it's time for us to go! Very popular was the text written in 1965 by Arkady Yakovlevich Fe-dotov (1930 - 2018), addressing the theme of the feat of the Soviet people during the Great Patriotic War: This march did not cease on the platforms, When the enemy obscured the horizon. With him, our fathers were taken to the front in smoky wagons. He warmed the soldier in the cold of winter, In the forty-fifth he marched on Berlin. The whole of Russia rose into battle with him On the roads of difficult years. And if the Trumpet calls on the march, Beyond the land of our native We will all go into a sacred battle! They make noise in the fields of bread, My Fatherland walks To the heights of happiness Through all the inclement weather The Road of peace and labor. And if the Trumpet calls on the march, Beyond the land of our native We will all go into a sacred battle! During the war in Afghanistan, the march had new words. In the 1990s, new words to the music of the march were written by Andrei Mingalev: FAREWELL OF A SLAVIC WOMAN (STAND UP FOR FAITH, RUSSIAN LAND!) We put a lot of songs in our hearts, Singing to our native lands, Selflessly we loved you, Svyatorusskaya is our land. You raised the head high, Like the sun, Your face shone, But you were a victim of meanness to those who betrayed you and sold you. Chorus: And again the trumpet calls us on the hike. We'll all get in line AND we'll all go into holy battle. Stand up for the Faith, Russian land! Waiting for the victory of Russia Saints, Respond, Orthodox Army! Where is your Ilya and where is your Dobrynya? Sons are called motherland. Under the banner we will all stand boldly In a procession with a prayer we will go, For the Russian just cause We will honestly shed Russian blood. Refrain. We are all children of the Great Power, We all remember the precepts of our fathers, For the sake of the Motherland, honor and glory Rise, Russia, from enemy captivity. The spirit of victory is calling, it's time to fight! Raise the battle banners for the Sake of Faith, Love and Goodness. Refrain. On June 22, 2016, new words to the music of the march were written by Gennady Venediktov (portal STIKHI.RU): FAREWELL OF A SLAVIC WOMAN (THE BANNER OF THE SOVEREIGN FLUTTERS...) A banner of power flies, Thunder thunders over the formation. Melts in the haze of columns swaying, Waiting in the morning for a decisive battle. Mother, sister and wife or beloved, In the heart of the sensitive anxiety conceal. Marching through the fields of the Regiment of Huda, where the sunset is falling. Farewell, son and brother, Fatherland soldiers. There will be a harsh fight, Pass it, come home. Red-hot armor, The earth rises to the sky, Forward, infantry! Behind the company is the company, The fate of the soldier's oath. Go ahead, infantry! Behind the company is the company, The fate of the soldier's oath. The Lord's silent lips pray: "Let them return home alive, Let their lot fall on the door familiar Knock on the evening sometimes." You paid the freedom of the defiled Motherland dearly. Feverish path you have traveled, Sprinkled with bloody dew. Farewell, husband and brother, The Unknown Soldier. Harsh will be the fight, Not all of you will come home. Spring will come, the country will work peacefully...The last payment for that soldier Life is selflessly given. The last payment for that soldier Life is selflessly given. The night is replaced by aloe, Faith is full, Slavyanka, your gaze: Tired soldiers walk towards you From the edges where the sunset darkens. Day after day, their young lives were spared in the attacks of the dashing. The memory of Russia will preserve the age-old About their unknown heroes. Farewell, son and brother, Fatherland soldiers. It was a brutal battle, Not all of you came home. Among the birches granite Honor of the soldiers of the fallen keeps. A stern soldier on the battlefield In a stone overcoat stands. A stern soldieron the battlefield In a stone overcoat stands. Gennady Venediktov also wrote the poems "The Silence of a Slavic Woman" - a summary. of the poetic heritage based on the march of V.I. Agapkin "Farewell of a Slavic Woman":ttp://alski.spb.ru/files/articles/proschanie_essay.pdf. The large number of texts indicates a high degree of popularity of the march. He sounded and sounds in many films and performances, on military parades, on the platforms of railway stations. And at the Belorussky railway station in Moscow on May 8, 2014, on the eve of the 69th anniversary of the Great Victory, a monument to the famous march "Farewell of a Slavic Woman" was opened - a woman says goodbye to a soldier leaving for the front ... On her website on the Internet, Margarita Smorodinskaya gives a photo of the document and comments to it: "The sculptural composition was installed on the initiative of the Russian Military Historical Society and Russian Railways with the support of the Ministry of Culture and the participation of the Central Museum of the Great Patriotic War. The authors of the monument were the architect Vasily Danilov and sculptors Sergey Shcherbakov and Vyacheslav Molokostov. The monument was created based on the film by Mikhail Kalatozov "The Cranes Are Flying" and is dedicated to all the Slavic women who accompanied their relatives to the war. Earlier, at the exhibition in the Central Museum of the Great Patriotic War on Poklonnaya Hill, ten models of the future monument by the work of different authors were shown. The march "Farewell of a Slavic Woman" is one of the most recognizable musical works of Russia and at the same time one of the main melodies of the Russian Army. For the first time, the march of Vasily Agapkin sounded in 1912, and it gained particular popularity during the First World War. Nowadays, to this music, recruits are escorted to military service. It is planned that in the near future all long-distance trains will depart from the Belorussky railway station under the "Farewell of a Slavic Woman".The march "Farewell of a Slavic Woman", written in October 1912, reflected the mood of Slavic women escorting people dear to the heart to the front, became a nationally beloved work, a symbol of military glory, love and devotion to the Motherland. It sounds as relevant these days as it did 100 years ago. We will hear "Farewell of a Slavic Woman" in the days of celebration of Victory Day. he story of the march has a continuation. My version of this story was published on the website of the national literary portal PROZA.RU. Readers sent several texts to this famous melody, recalling their youth and military training in their student years - the popularity of the march does not cause any doubts. And one of the readers on the Internet, Sergey Shramko, a lover and collector of stories of songs and marches, told me this news: "In the issue of the Ryazan Vedomosti of August 19, 2014, an article entitled "Honor the past, care about the future" was published. It tells about the opening of the bust to the author of the famous march "Farewell of a Slavic Woman" Vasily Agapkin in his small homeland, in the village of Shancherovo, Mikhailovsky District, Ryazan Region. Participant of the Great Patriotic War, teacher of philosophy, professor of the Ryazan Radio Engineering University, member of the Union of Journalists of Russia and member of the Union of Writers of Armenia Gulab Martirosyan, responding to the publication, said: - Not everyone knows that the melody of the march was written in a place called Gyumri in Armenia. Agapkin served there; at the same time, there was a national liberation movement in Bulgaria, with which the march "Farewell of a Slavic Woman" is associated," said Gulab Aramovich. The fact that the bust of the composer was installed for people's money, according to Gulab Martirosyan, is the best example of patronage. - In the Ryazan region, there are many famous people worthy of perpetuation inmonuments. There should be more such monuments as in Shancherov," Gyulab Martirosyan believes. Lyudmila Ivanova's note with a photograph of the bust of Vasily Agapkin from the newspaper "Ryazan Vedomosti" (No. 196-2014) was found on the Internet: " The opening last Saturday of the monument is timed to the 130th anniversary of the famous native of the Ryazan land, whose work is inseparable from the history of the country. The famous march "Farewell of a Slavic Woman" forever inscribed his name in the golden musical fund of the Fatherland. Vasily Agapkin's music sounded during the First World War, performed at the parade on November 7, 1941, when Soviet fighters left Red Square for the front. "The march has not lost its popularity today. We hear him at celebrations, military parades, holidays, from the capital's stages and in small rural clubs - he is always with us, "said Oleg Kovalev, Governor of the Ryazan Region, who took part in the opening ceremony of the monument. He stressed that the residents of the region are rightfully proud of the fact that Vasily Agapkin was born on the Ryazan land, and cherish the memory of him. Funds for the installation of the bust were collected by the whole world. Donations came from all over the country - residents of not only the Ryazan region, but also from different parts of Russia made their contribution to perpetuating the memory of Vasily Agapkin. For this purpose, a special charitable foundation was created, which was headed by the composer's countrywoman Lyudmila Bukhonina. It took two and a half years for initiative countrymen to raise the necessary money. The author of the bust was the famous Ryazan sculptor Oleg Sedov. One of the most famous creations of which is the monument to Evpaty Kolovrat. The guest of honor of the celebration, the grandson of Vasily Agapkin, Yuri Sverdlov, speaking as a senior villager, thanked them for the initiative to install the bust and spoke about the human qualities of his famous grandfather. According to Yuri Sverdlov, Vasily Agapkin was a kind and sympathetic person, always ready to help. The composer, as his grandson said, perfectly felt the soul of the people. As part of the holiday in the village of Shancherovo, the Academic Red Banner, the Order of the Red Star Song and Dance Ensemble of the Russian Army named after A.V. Alexandrov performed a musical program. The monumental monuments erected at the Belorussky railway station and in the village of Shancherovo are an expression of national love and respect for the Russian patriotic march "Farewell of a Slavic Woman" and for its author Vasily Ivanovich Agapkin.On the Internet there are video clips of parades on the Red Square of Moscow to the sounds of the march "Farewell of a Slavic Woman", the performance of the march with different versions of the text, soloists with military ensembles sing. Performs the march with the words of Arkady Fedotov and academic twice Red Banner, Order of the Red Star ensemble of song and dance of the Russian Army named after A.V. Alexandrov. Watch the video and listen to the song "Farewell of a Slavic Woman" performed by the group "Cavalier Duet": http://www.youtube.com/watch?v=4- KNApW2A8;The song with the words of Gennady Venediktov is performed by Dasha Zhitkova a student of the Theater Institute in St. Petersburg (RGISI): http://www.youtube.com/watch?v=NDICV_66Z5Q - the best video of 2017; http://www.youtube.com/watch?v=5tPSyXe5rd4 is a video clip with old photographs. Return to the content of the collection "Songs of the Roads of War" – http://www.proza.ru/2015/02/16/1876. 2014 – 2020, © Copyright: Vladimir Kalabukhov,2014 Certificate of Publication No. 214050802142.
Soundtimes.ru. Farewell Slav. Farewell Slav. The famous recognizable march, written more than a century ago, has long ceased to be just a piece of music. It is a symbol with many meanings, the essence of which is determined by the historical and cultural context. “Farewell of the Slav” is an ever-relevant unforgettable classic. With clear lines, simple and therefore ingenious harmonies, the song emphasizes the power of musical art, which denies the laws of time. The history of the creation of the march " Farewell of the Slav ", as well as interesting facts and the content of the work, read on our page. History of creation The work was written during the First Balkan War, in 1912, and was intended to be performed by a brass band. The march was composed by Vasily Ivanovich Agapkin, a man whose life for a long period was closely connected with war and music. The work of this composer clearly demonstrates how outstanding the transition of destructive energy into a creative channel can be. Vasily Ivanovich Agapkin. Vasily Agapkin was 28 years old when he wrote his march. At that time, the composer served in the Tambov cavalry. The inspiration for writing music was the author's personal observations. With the beginning of the war in the Balkans, Agapkin often became an unwitting witness to how women and girls escorted their husbands and brothers to the front, and these touching and infinitely sad moments were expressed in music. The finished work was first seen and appreciated by the regimental bandmaster. He advised Agapkin to show the march to Yakov Bogorad. The famous composer at that time lived in the Crimea. The trip to the Black Sea coast turned out to be fruitful: Bogorad came up with the name of the march, helped arrange the orchestral accompaniment, and contributed to the first publication.The march "Farewell to the Slav" was first performed at a solemn military parade in Tambov. In 1915, the work became available on record, which contributed to the growth of its popularity in European countries. The inspiring motive excited creative minds: various variants of poetic content began to appear. At one time, the "Farewell of the Slav" was better known as the "Siberian March": the volunteers of the People's Army of Siberia rewrote the poems, adapting the content to the current reality of the Civil War.Yakov Bogorad. It is no secret that during the war, music acquired the value of a life-giving resource, it created, concentrated and catalyzed something intangible, but extremely important for maintaining moral strength, stamina - fighting spirit. The march "Farewell to the Slav" accompanied the participation of the Russian Empire in the First World War, sounded like a refrain during bloody clashes between the White Guards and the Red Army, was heard during the Great Patriotic War and escaped oblivion when the artillery volleys fell silent and the guns stopped rumble. In 1911, as a student at the Tambov Musical College, Vasily Agapkin could hardly have imagined that he would be the creator of one of the outstanding and most famous works of the 20th century, a march that was destined to become an integral part of the intonation code of an entire nation. Initially, the march was performed without words, only music sounded. The first text arose from the pen of young poets who voluntarily went to the front after the outbreak of war in 1914-1918 was declared. The first line sounded like "You have drunk us and fed us." It was with this text that the song “Farewell of the Slav” survived the first military world conflict and part of the period of civil strife in Russia. Around 1914-1915, an alternative version appeared - “On the uneven roads of Galicia” - a piercing farewell to the Motherland from the lips of those who leave to defend their native land and no longer hope to return. In the late 60s, several more text variations were created for the march. As a result, the poems by A. Galich and A. Fedotov turned out to be the most popular. In the first half of the 80s, the song "Farewell of the Slav" acquired a new verbal content. The heartfelt text of Vladimir Lazarev turned out to be not only unusually lyrical, but also in the historical context of the era, it took on a provocative tone. The lines “The Word of God blows over us, we are not alone on this earth” clearly contradicted the ardent atheistic morality of the Soviet ideology, but the censors nevertheless showed loyalty to the author’s creation. At the same time, Lazarev claimed that he was guided by the principles of historical authenticity. He intended to write poetry that would fit harmoniously into the era of music creation. The rhyming lines were supposed to find consonance with the culture and moods of 1912, when the empire existed, However, there is also a more modern text. It was written at the end of the 20th century by A. Mingalev. The poems glorify the greatness of Russia, emphasize the unity of moral guidelines (faith, kindness, love), but the content still noticeably reflects the spirit of the controversial 90s, when the air was saturated with the desire for change and intolerance for power. Interesting Facts. The cover of the first printed edition of the song "Farewell of the Slav" depicted a landscape: a picturesque view of the Balkan Peninsula. It was just a background. The central place in the illustration was occupied by the image of a girl seeing off a soldier. The publication of the march was accompanied by an eloquent and concise dedication to "Slavic women". There is a hypothesis that Agapkin himself was the prototype of the warrior who left his beloved, and behind the silhouette of the girl there was a portrait of the composer's wife O. Matyunina. For several years, the song "Farewell of the Slav" was officially banned at the state level. This is due to the fact that the march was often performed by supporters of the White Guard, therefore, the adherents of the revolution that ended in victory made a lot of efforts so that the sounds of the march, so loved by the enemies of the Red Banner, ceased to sound in the newly formed USSR. "Opal" stopped only in 1957, during the "thaw". The film “The Cranes Are Flying” was released, which marked the long-awaited return of the song beloved by the people from the dark nooks and crannies of the ubiquitous censorship yoke. Any movement of the hands would be taken by the orchestra as a signal to continue the work. The bandmaster came to the aid of the conductor. In Agapkin's notes, there is no exact indication that the musicians performed exactly the “Farewell of the Slav”, however, in some sources, due to the significant presence of the author of the famous march at the parade, the title of the work appears in this context. There is no documented reliable evidence of the assumption. In 1943, "Farewell of the Slav" became the national anthem of the Resistance detachment formed from the partisan movement in Poland. A new text was written based on R. Schlenzak's poem "The weeping birch trees made a noise." The song, which tells how a girl says goodbye to those leaving for the war, has become extremely popular among the Polish partisans. It so happened historically that the song "Farewell of the Slav" has always invariably been associated with events related to parting, parting, seeing off. From about the middle of the 20th century, it constantly sounded at railway stations, river and sea piers, when trains left and steamers set sail. In some regions, in particular in the Volga region, the tradition has survived to this day. In 2004, the domestic film "72 meters" was released. The work of director Vladimir Khotinenko, dedicated to the tragedy on a submarine, was originally called “Farewell of a Slav”, which quite obviously “intersected” in meaning with the patriotic mood of the picture and displayed a complete analogy with the name of the warship featured in the frames. The content of the song "Farewell of the Slav" A rather simple, memorable melody is another important factor that influenced the development of the popularity of the song "Farewell of the Slav". The chorus is based on two complementary motifs. One is more expressive, melodious and “rolling”, the second is outlined by rhythmic parts, which forms an expressive semantic shade of inflexibility of fortitude and stamina. “On the uneven roads of Galicia” is perhaps the most concise text of the song, consisting of two verses and a chorus. In this version, the narration comes from the perspective of those who have to defend their native borders. The refrain is a farewell to the Motherland, a personalized appeal to her as to an animated person. In V. Lazarev's text, listeners are expected to tell the story of a soldier who breaks up with his beloved girl, looks into her eyes and predicts an indefinite separation. There is a description of gloomy landscapes embodying a general disturbing mood. In the chorus, an appeal to the fatherland is broadcast. The lyrics reflect hope: the names of the soldiers who fell in battles will not sink into oblivion, but will remain in the people's memory, will live forever. A. Mingalev's text is a declaration of love for the Fatherland, a national cry that gathers under the banner of the faithful and devoted sons of the Motherland. The refrain begins with the familiar phrase “And again on the campaign”, this is a solemn, desperate and indestructible call to battle, this is an inevitable sacrifice and the only way to preserve freedom and independence in the face of the enemy. The text, beginning with the words “You brought us to drink and fed us,” is a kind of gratitude to the Motherland and an expression of readiness to selflessly and devotedly serve her at the appointed hour. In the couplets, there is an emphasis on the continuity of generations and the need to honor the precepts of grandfathers and fathers, in the end - the hope for a peaceful sky above your head and a better life for posterity. The revolution, the troubled times of the bloody Civil War, the crimson pages of the history of the fight against fascism, the long-awaited peace and the construction of a new life - the march " Farewell to the Slav " accompanied the stages of history with a permanent soundtrack and each sounded differently, but with the same pride and article. This legendary work is a musical personification of the continuity of generations, a sense of national unity and patriotism. This is the need to remember your past, written in notes, reproduced by voice and instruments, in order to build the future in the right way without fatal mistakes. well .
The story of one song: "Farewell of the Slav". Military background. Now “Farewell of the Slav” is one of the most recognizable “musical symbols” of Russia, and before that, the march was considered a symbol of the Soviet Union and even the Russian Empire. The melody survived the 1917 revolution and several wars (including the Great Patriotic War), but still remains popular. It all began more than a century ago, when the military conductor and composer Vasily Agapkin, and then the headquarters trumpeter of the 7th reserve cavalry regiment, wrote his march. In history, Agapkin will remain "the author of one work." The artist at the time of the creation of the march was 28 years old, and he, coming from a family of a farm laborer, did not even dream of world fame. When the First Balkan War began in October 1912, Agapkin watched as Russian volunteers left for the front, and their families saw them off. Inspired by the indifference of young guys and "station scenes", he wrote a march for a military brass band and decided to show it to some professional composer. According to one of the legends, the bandmaster of his regiment was the first to hear the then-untitled work. He suggested to Agapkin where the weaknesses were in his essay, advised how to fix them, and also recommended contacting Yakov Bogorad - the famous bandmaster and composer, who lived in Simferopol. And the young musician obeyed - he went from Tambov to the Crimea. Bogorad not only helped Agapkin with the orchestration, but also came up with a title for the composition and published the sheet music in his native Simferopol. The cover of the first edition featured a picture of a woman saying goodbye to a warrior, with the Balkan Mountains and a detachment of soldiers visible in the background. Also on the picture was the caption: "Dedicated to all Slavic women." RELATED ARTICLE. One Song Story: O Sole Mio The first public performance of the updated and "polished" march took place in Tambov - at the drill review of the regiment in which the author served. The peppy melody soon became famous, and in 1915 - 3 years after it was written - "Farewell of the Slav" was released on a gramophone record. They learned about the march abroad: the melody sounded in the performance of military bands in Germany, France and other states. At the same time, the melody had words - they were invented by the people. One of the most famous variations of those years is the so-called "Siberian March" (march of the Siberian People's Army): You gave us drink and nourished us, Siberian native fields, And we selflessly loved You, the land of snow and ice. Now the formidable hour of struggle has come, has come, The insidious enemy has attacked us, attacked us. And to everyone who is Russia's son, who is Russia's son, There is only one, one, one way to fight the enemy ... After the October Revolution of 1917, the march was almost banned because of the whites' love for it. In general, many points related to the history of the “Farewell of the Slav” are still vague: for example, historians argue whether the composition sounded at the parade on Red Square on November 7, 1941 (Vasily Agapkin was in command of the parade). According to the memoirs of Semyon Budyonny and some of his contemporaries, the orchestra actually performed this march that day. Another myth is associated with the ban on Slavyanka: it was previously believed that in the USSR the march was rehabilitated only in the film The Cranes Are Flying by Mikhail Kalatozov , but there are recordings of the song that refute this fact. Partisans, Tambov residents and other fans of the composition "Farewell of the Slav" significantly influenced not only domestic, but also foreign culture. So, in Poland during the Second World War, the march became the anthem of the partisan movement - their song was known under the name “Weeping willows made a noise” and with the text of Roman Shlezak. “Farewell of the Slav” and other marches that became the “sound uniform” of the armies of different countries Since 1955, all trains have departed from the Simferopol station under this march, and even now this tradition has been preserved at many Russian stations. The motor ships on the Volga, and the ferry Vanino - Kholmsk, sail away to the well-known march, and the Tambov region generally chose "Farewell of the Slav" as its anthem. The march is still performed with different versions of the text - and often without words at all. One of the "canonical" texts was the lines of Vladimir Lazarev - as beautiful as the music itself: The moment of farewell comes, You look anxiously into my eyes, And I catch my native breath, And in the distance a thunderstorm is already breathing. The foggy and blue air trembled, And anxiety touched the temples, And Russia calls us to a feat, The wind blows from the step of the regiments. Farewell, fatherland, You remember us, Farewell, dear look, Forgive, farewell, forgive, farewell ...
https://moskvam.ru/publications/publication_414.html///Vasily Agapkin and his march "Farewell of a Slavic Woman"///Home Archive of publications Vasily Agapkin and his march "Farewell of a Slavic Woman"///Honour///Mikhail Chertok Culture November 2011///Mikhail Davidovich Chertok was born in 1966 in Leningrad. He graduated from the Military Conducting Faculty of the Moscow State Conservatory named after P.I. Tchaikovsky. For five years he was in Chechnya as a military conductor of a military brass band. Major of the reserve. Chief Specialist-Expert of the Department of Science, Innovation and Information Technologies of the Department of Science and Education of the Ministry of Culture of the Russian Federation.///Sincehis day, there is no person in Russia who would not know or hear this melody. It is no coincidence that from its first sound the march falls into the soul and forever remains in the memory. As a rule, the sound of this music is associated with farewell, separation. No wonder it is performed at the send-off to the army (N. Mikhalkov's film "Kindred"). Unforgettable is the episode with Boris (N.Batalov) and Veronika (T.Samoilova) from the great film by M.Kalatozov "The Cranes Are Flying".///Yet the history of the march needs clarification. The very first is the date of writing. The second is in the author's belittling of the merit in the creation of a brilliant work. During his lifetime, Agapkin was reluctant to talk about his brainchild, did not consider it outstanding and even wrote an explanatory note for the march half a century later. Why? And finally, the third is the melody of the thing itself. Why is it that from the very first sound the march is recognizable, recognized and falls into the heart? After all, in the history of music there are few examples of such a phenomenon.///I would like to start with events closer to us in history than the first Balkan War of 1912. But for ahead: no Freud will explain genius. The humblest staff trumpeter, a speck of dust in the wind, gives birth in provincial Tambov, on the banks of the shallow Tsna, a masterpiece equal to incomparable examples of world musical culture.///One of the decisive events of the Great Patriotic War is rightfully recognized as the historic parade on Red Square in Moscow on November 7, 1941. It took place only one tank crossing from the defensive lines and is significant for many.///The head of the combined military brass band, designed to provide musical accompaniment to the parade, was appointed quartermaster of the 1st rank Vasily Ivanovich Agapkin. The nationwide love for the march is such that when you watch even the newsreel of that legendary parade, its melody involuntarily sounds in your head. You catch yourself thinking that without this march it was impossible to leave for a feat, without it we simply could not stand it, we would not have defended Moscow.///At that critical moment for Russia, the people and the country's leadership were required to exert the utmost tension in order to prevent the enemy from capturing the capital. Stalin decided to hold the traditional parade in front of the enemy. The combination of military music and the management of the orchestra by the author of the most popular march among the people was very successfully selected. But why Agapkin? As General Artem Fyodorovich Sergeyev writes in his memoirs, one of Stalin's favorite musical works was Agapkin's march. According to him, Stalin often listened to a record on the gramophone with a recording of this work performed by the author himself. If in its significance and influence on the outcome of the war, the November parade of 1941 is equated with the greatest battles of the Great Patriotic War, then the "Farewell of a Slavic Woman" can be put on a par with such sources of Victory as love for the Motherland, loyalty to the oath, hatred of the fascist aggressor.Well reflects the mood and picture of that day the story of Y. Tyurin "Parade". It is strikingly different from other works describing the morning of November 7. It is narrated on behalf of the Kapellmeister himself. The author tells how Vasily Ivanovich was appointed the main musical director of the parade, how and where the rehearsals of the combined orchestra and the entire parade crew went, how the parade itself took place. According to the writer, the dawn of November 7 was the most significant event in Agapkin's life. Let us repeat that the march "Farewell to The Glories"Yankee" was written in 1912. The Speaker of the State Duma B. Gryzlov during his official visit in January 2011 to Tambov, the anthem of which is this march, during a conversation with journalists supported the idea of giving the celebration of the centenary of the march a national status. Boris Vitalyevich, in particular, said: "I think that this is an event of all-Russian scale. Today we discussed that the All-Russian Wind Music Festival, which will be held in Tambov, can be timed to coincide with this date. Brass bands from all over our country will come to it. There will be a big celebration, which will certainly go on for more than one day." Vasily Ivanovich Agapkin was born on February 3, 1884 in the village of Shancherovo (now the village of Mikhailovskoye), Ryazan Governorate. At the age of ten, having lost his parents, he became, at the behest of good people, a pupil of the orchestra of the 308th Tsarevsky Reserve Battalion of the Astrakhan Infantry Regiment. In 1899 - Avar Reserve Infantry Battalion (Makhachkala), a pupil of the orchestra. 1900 - 82nd Infantry Regiment (Grozny), musician pupil. 1901–1906 - 45th Dragoon Regiment Seversky. 1906–1909 - Tver Dragoon Regiment (Tiflis), military service as a military musician. 1910–1917 - 7th Reserve Cavalry Regiment, overtime service as a staff trumpeter (Tambov). 1918–1920 - Red Army, 1st Warsaw Hussar Regiment, Kapellmeister. In 1920, after the failure of the Tukhachevsky-Stalin offensive on Poland, he was appointed Kapellmeister of the GPU Band (Moscow). 1922 - 17th Special Regiment of the OGPU Troops, Military Kapellmeister. 1923 - 1st Moscow School of transport department of the OGPU, Kapellmeister. 1930 - Central School of the OGPU, Higher School of the NKVD of the USSR, military conductor. 1947–1955 - exemplary orchestra of the MGB, head of the orchestra. The total experience of military service in the Red and Soviet army, including service as a musician pupil, was more than 60 years! Colonel Agapkin died in 1964, unnoticed by the media, and was buried at the Vagankovo Cemetery in Moscow. Vasily Ivanovich, in addition to "Farewell of a Slavic Woman", realized his compositional ideas in the works "Magic Dream", "The Groan of Warsaw" (1915), "The Musician's Love", "Blue Night", "Orphan", "Night over Moscow", "Daughter of the Street", "On the Black Sea Coast", "Merry Rest" and many others, about forty works in total. Fame to Agapkin came immediately. Already in 1913-1914, newspapers widely published notes mentioning his march. Then came the period of "half-oblivion". Despite the nationwide fame of the march, official recognition came to the author a little late. What was the reason for the silence of the name and merits of Agapkin for decades? The reason for this is the huge popularity of the melody of the march even before the First World War. During the Civil War, "Farewell of a Slavic Woman" became a favorite first among whites and only then among reds. In addition, a considerable number of texts were composed to the melody of the march, which the authorities might not like. These songs were sung in both white and red, although the author himself at that time served on the side of the reds. Some lyrics of songs of that period have been preserved.///Song of the Volunteers of the Student Battalion (1918)///You have drunk us and fed us, Fatherland native fields. And we selflessly loved You, the Holy Russian land. We are children of the great fatherland, We remember the ovenants of the fathers, Killed behind the land of their native Heroic death fighters. Let everyone believe and know, Let the rays shine from behind the clouds, And the joyful day will shine, And in the sheath we will put swords. Chorus: Now the terrible hour of struggle has come, The insidious enemy has attacked us, And to everyone who is a son of Russia, There is only one way to fight the enemy. The shelters of science are empty, All students are ready to go camping. So for the Fatherland, to the great goal Let everyone go in faith.///All this hindered the fame of the composer in Soviet times. This is confirmed by the published censored dictionaries and encyclopedias - official sources of information about the lives of remarkable people of our country. For the first time, modest news about Agapkin is found only in the Great Soviet Encyclopedia (TSB) issue of 1970, but not in the form of a separate article, but only as a mention of his name in an article on brass bands. Moreover, Vasily Ivanovich is undeservedly, in our opinion, mentioned after V.M. Blazhevich, F.I. Nikolaevsky and S.A. Chernetsky. This is despite the fact that even in alphabetical order it should be mentioned first.///In the article "Military Music" in the fifth volume of the TSB, in the 1982 Encyclopedia of Music, there is not a word about Agapkin. Surprisingly, despite such a weak "encyclopedic" fame of Agapkin, in the textbook "Soviet Military Music", written in 1977, in an article dedicated to him, we read the following about the march "Farewell of a Slavic Woman": "Like the waltz "On the Hills of Manchuria" by I. Shatrov, this march bypassed the whole of Russia. Poets put poems to it, and then began to sing a march on composed poems."The Soviet Encyclopedic Dictionary (1980) does not mention Agapkin. Regular information about Agapkin in encyclopedic publications is found only since 2000. For example, in the Russian Encyclopedic Dictionary under the general editorship of Academician A.M. Prokhorov, published in 2001, there is an article about an outstanding military conductor .There is information about Vasily Ivanovich in the Great Encyclopedia, which consists of 62 volumes. It tells that the march "Farewell of a Slavic Woman", written in 1912, was allegedly banned in Soviet times, and also that during the Civil War there were song versions of the march. Unfortunately, as is often the case, all this is done without any indication of the primary sources. The New Russian Encyclopedia, edited by A.D. Nekipelov, says that Agapkin "conducted the orchestra at the Victory Parade in Moscow on 24.06.1945". That's not entirely true. In fact, Agapkin led a group of drummers, to the beat of which fascist standards were thrown to the walls of the Mausoleum. If we listen to the drumming that day, watching the newsreel footage, we will clearly hear the theme of the introduction to the march "Farewell of a Slavic Woman" and the first few bars of the main theme. And the combined orchestra at the Victory Parade was conducted by Major-General S.A. Chernetsky, head of the Military Orchestra Service of the Armed Forces of the Soviet Union. In the textbook "History of Military Music of Russia", written under the editorship of V.I. Tutunov in 2005, it is said about the composer himself and his work: "Of all the Russian marches that appeared in the XX century before Oct The most attractive is V. Agapkin's work "The Farewell of a Slavic Woman", which has become widely known and has survived in the repertoire of military orchestras and ensembles up to the present day." The author of the textbook emphasizes that the huge popularity of the march "Farewell of a Slavic Woman" is primarily due to melody, simplicity, connection with common household musical genres. This connection is manifested both in an unconventional form and in the features of the melody. At the same time, all the traditional genre features of the march are strictly observed here. In form, the march is like a couplet song, consisting of three periods. There is a report here that it was in Tambov in 1912 that Agapkin wrote his march, which, according to the author, was "a response to the liberation war of the Slavic peoples of the Balkan Peninsula against the Turkish yoke." Many details of the history of the life and work of the composer and conductor reveal to us works of art written at different times by different authors. For example, the historian N.N. Yakovlev mentions the march in his famous book "August 1, 1914". In particular, he cites the diary entries of a participant in that campaign: "The command sounds: "To prayer - hats down, singers - in front of the regiment." After "Hooray", the orchestra plays "God Save the King!". Many have tears in their eyes. The regiment moved to the station. On the platform is a hurried farewell. And the thunder of orchestras. Wonderful Russian music, which has no equal in the world, due to which Napoleon attributed much to the victories of Russian weapons. But who can point out why, with the beginning of that war, the "Farewell of a Slavic Woman" march was increasingly heard? Written shortly before and flashing somehow unnoticed, this march from August 1914 became extremely popular, to the indescribably mournful sounds of it endless trains from countless stations departed to the border." V.K. Stepanov's book "The Unfading March" is well known, which was written according to the memoirs of Agapkin's daughter Aza Vasilyevna Sverdlova. This book is valuable because it remains one of the earliest studies of Agapkin's biography. Information from this book is quoted by all encyclopedias, dictionaries and textbooks, but, unfortunately, often with distortions and significant changes, forgetting that Stepanov himself, as a writer, had every right to fiction.///Here is what Agapkin characterizes his march in a note placed by Stepanov in his book: "The march "Farewell of a Slavic Woman" was written by me on the eve of the 1st World War under the influence of events in the Balkans, when Turkey aggressively attacked the peaceful Balkan states. The march is dedicated to Slavic women who see off their sons, husbands and brothers to the sacred defense of the Motherland... V.Agapkin". Stepanov writes: "In October 1912, the quiet Tambov was stirred up by the news: the 1st Balkan War had begun... Agapkin these days does not find a place for himself - he is all captured by the Balkan events. He strives to express his feelings in music. Forgetting about the drafts of the waltz, he picks up a melody on the piano that would call the Slavs to a sacred battle. He sits down at the piano, then takes the pipe. And he breaks away from the instrument - sings some melody under his nose ... Now Vasily Ivanovich works hard at night, is tired, has become irritable. More than once, the lid of the piano is lowered with a knock, and crumpled sheet music flies to the floor ... His Marchborn on a quiet Gymnasium Street in Tambov in the autumn of 1912, the trumpeter headquarters Agapkin called it "Farewell of a Slavic Woman".///Let us recall that the Balkan question worried Russian society for more than a dozen years, starting from the second half of the reign of Alexander II. Emperors Alexander II and Nicholas II devoted a lot of time and effort to it. K. Pobedonostsev, M. Skobelev, V. Vereshchagin, V. Polenov, I. Aksakov, V. Garshin, L. Tolstoy, F. Dostoevsky, K. Leontiev, V. Solovyov, N. Gumilev, Metropolitan Anthony (Khrapovitsky) actively participated in the resolution of the Balkan crisis. The Balkan events of the Serbian-Turkish war of 1875-1876 were dedicated to his famous "Slavic March" by P.I. Tchaikovsky.///The war began in October 1912, and it is not surprising that already this month, as follows from the statements of many writers, a chronicle of events in the Balkans is being played on the screen of the Tambov "cinema". In our age, information spreads rapidly around the world, but in 1912, front-line reports, and even more so newsreels, probably reached citizens with a great delay. Here is how journalists of those times describe the process of transmitting news from the theater of operations, from Bulgaria to Russia: "The correspondent Mr. Mamontov delivers a telegram of three hundred words in Yani (three hundred versts from Stara Zagora). The following dialogue occurs. "What should I do with your dispatch?" The telegraph operator asks. -Send by telegraph in your spare time. -Yes, we don't have free time... Day and night, we take turns tapping service dispatches... However, tomorrow we will send on buffaloes to Lozengrad. And there on the telegraph will go..."No, and there on buffaloes," another telegraph operator intervenes, "to Yambol. -When will it reach Moscow? -Ten days from now, not before. -hat if you turn it in urgently? -Then a day later. -Why?! -Urgent should be recorded in the register, it is after all three times more expensive - and buffaloes are still more likely to be unlucky, if it is at least ten times "urgent"... From the foregoing, it follows that readers, even those who closely followed the course of the war in the newspapers, could not properly navigate the events taking place."///And documentary films in 1912 were spinning in Tambov a maximum of a week after the filming of the plots - the owner of the cinema theater "Modern", an enterprising professional and mobile operator G.A. Bulgakov, worked there. Unfortunately, his archival filming "Collection Day in Favor of the Balkan Slavs in Tambov" (harvest of 1912, released on the screen on November 5, 1912) has not been preserved.///V.V. Sokolov in his book "Farewell of a Slavic Woman" says: "It is not known how long the work was created, and it is not so important. It can be assumed that the process of composition was measured in hours, but such as those behind which stood the whole life of Vasily Agapkin, the history of his family. The march "Farewell of a Slavic Woman" was created and dedicated to all Slavic women..." Sokolov's book, unfortunately, has few references to sources of information. Meanwhile, photographs are of particular value to all of us, including photographs of individual sheet music from albums – the first editions of the march. Some researchers have suggested that the march was written in a bad mood. See also vasily Ivanovich's daughter, Aza Vasilyevna, also speaks. What caused Agapkin's bad mood is now impossible to know. But I dare to assume that there was an autumn depression. It is these circumstances that Stepanov mentions very carefully in his work "The Unfading March". We are talking about the death of a newborn child in the Agapkin family. And the date is quite accurately indicated - November. According to A.V. Sverdlova, the first child was born to the young Agapkin couple in 1911, in the autumn, the girl was named Nina. Unfortunately, when issuing a birth certificate, in 1921, an error occurred, and Nina's year of birth became 1912. The photo from the family archive of 1915 depicts Vasily Ivanovich, Olga Alekseevna and their daughter Nina born in 1911. According to Aza Vasilyevna, the next child in the Agapkin family was born in the autumn of 1912, and in November, in infancy, the girl died. Stepanov mentions this event, explaining the bouts of melancholy in Vasily Ivanovich. The third child, also a girl, was born in 1915, but, unfortunately, died of meningitis in 1920. Aza was born in 1921, and a son Boris in 1923. Thus, following the statements of strict encyclopedias, books written by writers based on the memoirs of Agapkin's relatives, there is little reason to doubt that the march "Farewell of a Slavic Woman" was written at the end of 1912. We consider it right to choose this year as a starting point for the 100th anniversary of the work – not just a national, but also a pan-Slavic scale. From what the authors of books about Agapkin wrote on this occasion, the following idea was formed and consolidated. After the first musical sketches came out from under the hand of Vasily Ivanovich, the manuscript was processed and instrumented by Y.I. Bogorad. In the late autumn of 1912, the march was already performed by the orchestra of the 51st Lithuanian Regiment in Simferopol, on the bank of the Slavyanka River, and in the winter of 1913 - performed by the orchestra where Vasily Ivanovich served in Tambov. We checked in the Russian State Library (branch in the Pashkov House) all the materials related to Bogorad that were available there. The owner of the Bogorad and Co. Instrumentation Bureau, which was known far from Russia and beyond, turned out to have a good record of the authors who applied to this office. So, it turned out that among the authors-composers who appealed to Bogorad, the name of Agapkin is not mentioned at all. Thus, the ingrained belief that Bogorad was involved in the processing and instrumentation of the march remains controversial. In the literature there is an image of the title page and the first page of the notes of the march, allegedly published by the Simferopol printing house in 1912. We reproduce one of the pages of Sokolov's book "Farewell of a Slavic Woman". Note that this is perhaps the only image found in the literature, without cropped edges. Consider the title page. On it, with a careful look, we see from the top right: "Dedicated to all Slavic women." On the musical text above in the middle it is written: "Dedicated to the events of the Balkan states." At the bottom on the title page in the middle it is written: "Julius Genrikh Zimmerman, supplier of His Imperial Majesty's Court, Moscow, Kuznetsky Bridge, Zakharyin's House, St. Petersburg, Morskaya, 36." On the musical text on the bottom right it is written: "Printing by V. Grosse in Moscow, B. Spasskaya Street, sob. A." In the middle is the number 1481. This is gives reason to believe that the title page and the musical page published by Sokolov belong to completely different publications. There is a well-known photograph in which Vasily Agapkin, a pupil of the orchestra of the 308th Tsarevsky Reserve Battalion of the Astrakhan Infantry Regiment, holds a cornet in his hands. We managed to establish that this small pipe was just made at the Zimmerman musical instrument factory in St. Petersburg, as evidenced by the correspondence of this instrument to the image on the factory's advertising tag. This advertising tag was placed on the inside of the case and introduces us to a unique music factory for that time – the Zimmermann Production Association. There they not only made musical instruments, but also prepared for printing, published notes of musical works. The company was not just large, but also solid, prestigious. According to the statistical collections of 1911-1912 issued by the Ministry of Internal Affairs of Russia, Zimmerman's publishing house was in second place after the publishing house of P. Jurgenson in terms of the number of published titles and the average circulation of publications. Nevertheless, even mentions of Agapkin's march "Farewell of a Slavic Woman" are absent in these collections. So, we can assume that in this publishing house the march was printed later than 1912. The nature of Agapkin's possible relationship with the publishing house, which had European fame, is narrated by G.K. Ivanov in his book "Notoizding in Russia": "... if the publisher is an aspiring composer whose works have been successfully performed publicly and have received flattering reviews from the press, then the publisher, not at all interested in the merits of the work, in which he understands nothing, ignoring both the successes and the reviews of critics, offers the composer to print the works on his, the composer's, funds and demands a gratuitous concession to the publisher forever of ownership of them. When these works begin to diverge briskly, the composer meets a more cordial welcome: the publisher assumes half of the costs of printing the following works, but keeps the income entirely for himself and forever..." Acquaintance with such circumstances suggests that zimmermann's publishing house could have printed the notes of the march only when the "Farewell of a Slavic Woman" had already gained popularity and love of the listeners. Consequently, the time of publication can be attributed to the border of 1912. By the decree of the Council of People's Commissars of the RSFSR of December 19, 1918, all musical printing in Russia was nationalized. Further, according to M.E. Kunin, "a specialized printing house was created in Moscow on the basis of Jurgenson and Grosse's not-printing presses. All the funds of engraved boards passed to Muzgiz, which at the very first stages of its existence launched a diversified publishing activity." Our search in the Pashkov House (RSL) in Moscow for the march "Farewell of a Slavic Woman", published in the Gross printing house in 1914, as in the case of Zimmermann's publishing house, was not crowned with success. We did not find "collections of engraved boards" and accounting books "on not-printing" of V. Grosse's printing in the Russian State Archive of Literature and Art (RGALI), where the entire archive of Muzgiz moved after its reorganization in 1964. Where, then, is the title page of Grosse's edition? Perhaps it is irretrievably lost. So, the unknown, novice composer Vasily Agapkin could bringand the manuscript of the march "Farewell of a Slavic Woman" for keyboard in Grosse's printing in Moscow, most likely in 1913. Why in 1913? Let's pay attention to the number at the bottom of the musical page. The number 1481 is the number of the board. It was put on each page of the publication, the same for all pages of the publication and all reprinted issues. Sorting through the bibliography in the music department of the RSL, we found the work of I. Shatrov "Autumn has come". It is also printed in Grosse's possession and has a board number of 1483, close to the number of the Farewell of a Slavic Woman (1481). The fonts and the "general interface" of the musical page are as close as possible in style. The stamp from Shatroff's waltz "Autumn has come", where the number XIII means the date (year) of acceptance for storage, as well as the maximum proximity of the numbers of the boards and the fonts of both works, gives the right to assert that the musical sheet of the march placed on the tab of Sokolov's book "Farewell of a Slavic Woman" was published in 1913 in grosse's printing in Moscow. When the march gained popularity and began to be performed in parks, train stations and other public places, Agapkin could turn to Zimmerman's publishing house. And the title page of the march with "a hussar and a languid beauty against the background of the mountains", given in all publications, belongs, perhaps, to the next edition - 1915. Let's once again pay attention to Zimmerman's publication and to the photo from the family archive of A.V. Sverdlova. As already noted, the photo with the image of the Agapkin family was taken in 1915. Could it have served as a cover story? Of course, I could. This is evidenced by the figure and form of clothing of a man, as well as the landing and posture of a woman. But the absent child speaks of a certain symbolism of farewell and loss. And since we dare to compare the images, we can conclude that the year of publication of this march was 1915. Later, after two revolutions, in 1929, the march was published by the Music Sector of Gosizdat in the collection "Dances for Piano", the notes of which today we will see in the musical and musical department of the RSL and in the musical department of the RNB (Fountain House) in St. Petersburg. The Service and Drill Repertoire for Red Army Orchestras of 1945 also included this march, performed in the directorate and in separate parts by the author himself together with General Chernetsky. I often met Agapkin's daughter, Aza Vasilyevna Sverdlova. In particular, she said that in 1941, in October, when the enemy came close to Moscow, her mother (Agapkin's wife, Olga Alekseevna), fearing that the Germans would enter the capital and seize the family of a prominent soldier, burned absolutely the entire family music archive in the oven. Perhaps both the handwritten version of the first score and the first printed copy of the clavier burned in the fire. Vasily Ivanovich Agapkin did not give the go-ahead for such a desperate act to his wife. In 1915, agapkin graduated from the Tambov Music College in the class of brass instruments. In the certificate number 77 issued to Agapkin, typographically typed: "The Council of the Tambov Music School of the Imperial Russian Musical Society testifies that the bourgeois of Astrakhan Vasily Ivanovich Agapkin, 31 years old, of the Orthodox faith, graduated in May 1915 at the Tambov Music College a course of musical education in the class of teacher F.M. Kadichev and at the final exam showed the following successes: in the main chosen subject for special study playing the trumpet is great. In compulsory subjects: solfeggio - very good; elementary theory - very satisfactory; harmony — satisfactory; instrumentation — satisfactory; piano playing is satisfactory. In addition, he, Agapkin, was trained in military instrumentation, and therefore can successfully perform the post of military Kapellmeister. As a result of this and on the basis of the resolution of the Council, Vasily Agapkin can be issued a certificate of the first degree if he, Agapkin, submits a certificate of completion of the 4th grade of the men's gymnasium. Director of the Music College S. Starikov." Vasily Ivanovich Agapkin composed a stunning melody. This melody – the most important thing in the march – is especially close to the listener, because at the heart of this music are the motifs of Slavic melodies. Some musicologists, for example, V.I. Tutunov, believe that the melody of the march resembles the themes of Beethoven's overture to the tragedy "Egmont". Some point to the similarity of the melody with the Slavic songs used in Tchaikovsky's "Slavic March". Narrow professional opinions do not cancel the main thing: the march amazes with its melody, immediately wins the hearts of millions of listeners.///In general, the march is written in classical form, originally in the key of C minor. The introduction of the march begins with a quart forschlag, which characterizes the call for the struggle for freedom. Then there is a downward movement along the steps of the minor sound series without the 7th stage, which is skipped specifically, so as not to prematurely provoke the "harmony" of the minor. The main theme begins with a halftone foreshlag from top to bottom and a repetition of the same sound of the 6th step of a natural minor. This indicates the "crying for a small child" used in many other folk melodies. Next, the melodic line moves along the sounds of the trebles of the main harmonic functions with a very successful use of auxiliary and passing sounds. The semitone foreshlag from top to bottom and the downward movement created a characteristic and easily audible "Agapkin motif", which is repeated in many other works of Agapkin, which gives them easy recognition. The second part of the march begins with a wide interval of delays, a sexta, then a quinta, then a quart. Such a movement is characteristic of the expression "protection of the native hearth", "one's life from invaders", these intervals characterize "a firm, wide step". The trio of the march resembles the melody of the second movement, wide intervals, but with the addition of intonations of the first - movement along the sounds of the main trebles. In general, the march is written in compliance with all traditions, in a minor key, which is typical for the Slavic soul. That is why so many texts were put on the motif of the march, which added to the unprecedented popularity of both the melody and its author. In Russia, Germany, Bulgaria, Serbia, Montenegro. The march is known in France, Italy, Slovenia, Macedonia, Slovakia, Greece, Ukraine and Belarus. In conclusion, we will tell you about one probable eyewitness to the history of the march "Farewell of a Slavic Woman". In the Central Museum of the Great Patriotic War of 1941-1945 on Poklonnaya Hill, in the exposition dedicated to the defense of Moscow, a trumpet belonging to Agapkin is placed. The chief curator of the museum, Sergei Monetchikov, showed us this pipe. Unfortunately, it is almost impossible to check whether the instrument really belonged to Vasily Ivanovich, but from the stamp on the socket it can be determined that the pipe was made in the period 1924-1938. On the trumpet embossed: "State Music Factory, KUJ, Leningrad, No. 9211". According to I.Y. Sergeeva[32] it became known that since 1924, since the renaming of the Zimmerman musical instrument factory into the State Music Factory, the production of musical wind instruments belonged to the Commission for the Improvement of Children's Life under the Department of the Music Industry, and since 1932 - to the Trust for the production of keyboard, wind and plucked instruments of the People's Commissariat of Light Industry. In 1938, the factory was renamed the Leningrad Plant of Musical Instruments and the stamp "KUJ" was no longer embossed on sockets. Indeed, the trumpet could belong to Agapkin or one of the musicians of his orchestra. At the same time, since 1920, Vasily Ivanovich was already appointed conductor in the orchestra of the 1st transport department of the OGPU. Knowing about the iron rules of material liability, it is unlikely that Agapkin could take for himself a pipe listed on the books of accounting. The absence of such in the family collection is also evidenced by Aza Vasilyevna Sverdlova.
Additional references update
https://web.stanford.edu/class/slavgen194a/audio/proshchanie_slavianki.htm///Прощание славянки / Slavic Woman's Farewell
https://www.youtube.com/watch?v=Hg1wsO7GkPc///White army of Russia farewell of slavianka
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