כדי לשחזר את השיר בשפה המקורית אם אינו מופיע לאחר לחיצה על שם השיר המסומן כאן בקוו תחתון או כדי למצוא גירסות נוספות העתיקו/הדביקו את שם השיר בשפת המקור מדף זה לאתר YOUTUBE
To restore the song in the original language if it does not appear after clicking on the name of the song marked here with a bottom line or to find additional versions Copy/Paste the song name in the original language from this page to the YOUTUBE website
התרגומים לאנגלית נעשו באמצעות המנוע "מתרגם גוגל" והתרגום הועתק לאתר בצורתו המקורית ללא עריכה נוספת
The testament is a program poem by Taras Shevchenko in the form of a message written on December 25, 1845 in Pereyaslav. The poem is a call for the liberation struggle of the Ukrainian people from enslavement by the RussianEmpire, had and has a great influence on Ukrainian culture,in particular, was put to music by many composers. It has been translated into about 150 languages. On April 18, 2008, the Museum of the Testament was opened in the house where Shevchenko wrote the Testament.
History of creation and publication. In Vunyshcha. The work of Taras Shevchenko. sepia. August-October 1845. November 1845 was wet, windy and cold. Shevchenko this weather was more bad than usual, because then he, working as part of the Archeographic Commission, had to travel all the time to villages and cities, to depict ancient churches, monasteries, unusual buildings. In the morning, the poet left the village of Vuyishche to Andrushiv, on the way to the thread. All day he was freezing, and in the evening he returned to The Prison completely sick. I had to lie down in someone else's house. Dumas swarm worn in the head, asked for paper. Sick, the poet wrote his message "Both dead, and alive, and unborn ..." , "Days go by, nights go by" and several more lyrical works. His sincere friend, Pereyaslav doctor Andrey Kozachkovsky learned about the poet's disease and immediately transported Taras Hryhorovych from Vunyshche to his home in Pereyaslav. The patient began bilateral pneumonia. At that time, few people recovered from this disease. The doctor also knew this, and the poet knew. After December 20, the patient worsened, his situation was almost hopeless. Taras Grigorovich was lying in a clean, warm, cozy room, looking sadly into the ceiling and thinking about his last hour, about the fate of Ukraine, about the future of his native people. In the imagination came the Dnieper, the links wide-poly and villages that resembled the poet Pysanka. It was painful that his unsung dumas remained, that a hot, pure, unseen love for his native people would have to be taken with him to the house. At such an hour Shevchenko terribly wanted to say to the people, Ukraine, his friends a warm sincere word, and on paper lay the lines: "As an umra, then bury...". The poem was written on Christmas Day on December 25, 1845. Shevchenko did not know then that this poetry will become a very popular song, national anthem, combat call to fight not only in his homeland, but also far beyond its borders. I did not think about glory, honor, or possible penalty for my bold thoughts. He just wanted-maybe the last time to tell the people about what he thought he felt. It was his will. Fortunately, a strong organism defeated the disease, and two weeks later the poet went to Chernihiv region with the same task of the Archeographic Commission. "Testament" went to people: it was rewritten in dozens and hundreds of copies, handed over, studied by heart, until the work fell on the pages of a small collection "Nowya стихотворѣнія Pushkin and Shevchenko", which was published in Leipzig in 1859, later - in Lviv (1863) and St. Petersburg (1867). It became widespread during the transportation of Shevchenko's body to Ukraine. Considerable merit in this artist GrigoryChestyakhivsky, who taught the "Testament" to many of those people who came to the Chernech mountain to say goodbye to the Kobzar. In different lists and different editions, this poem had different ames: "Heal", "Testament", "Thought", "Last Will". Since 1867, the name "Testament" has been assigned to it. In 1870, a book by the Austrian poet Johann Georg Obrist , "Taras Shevchenko", which consisted of exploration of Shevchenko's life and work and German translations of his most politically aggravated works, including "Testament", was published in Chernivtsi and became widespread in Western Europe. It was this publication that recommended to the foreign reader Mikhail Drahomanov in his work "Ukrainian literature prohibited by the Russian government", published in 1878 in Geneva in French as a report at the International Congress of Writers in Paris.
"Testament"-a song of songs, which came out from under the pen of the brilliant son of Ukraine Taras Shevchenko, sounds today in dozens of languages of the world. Let's return at least to the wave in those distant years, when Kobzar wrote a kind of anthem of the liberation struggle of the Ukrainian people. November 1845. it turned out to be wet, windy, cold. Shevchenko this weather boarded more than others. He then worked in the Archaeographic Commission and had to travel all the time to villages and cities, to depict ancient churches, monasteries, unusual buildings. In the morning, the poet left the village of Vyunishche in Andrush, on the way to the thread. All day he was freezing, and in the evening he returned to Viunyshe completely sick. I had to lie down in someone else's house among strangers. Dumas swarm worn in the head, asked for paper. Sick, the poet wrote his message "Both dead and alive, and unborn...", "David psalm" and several more lyrical works. At the same time, the poem "Days are over, nights are over." His sincere friend, Pereyaslav doctor Andrey Osipovich Kozachkovsky learned about the poet's disease and immediately transported Taras Hryhorovych from Vyanyshche to his home in Pereyaslav. The patient began bilateral pneumonia. At that time, few people recovered from this disease. The doctor also knew this, and the poet knew. After December 20, the patient worsened, his situation was almost hopeless. Taras Grigorovich lay in a clean, warm, cozy room, looked sadly at the ceiling and thought about his last hour, about the fate of Ukraine, about the future of his native people. In the imagination came the Dnieper, the links wide-poly and villages that resembled the poet Pysanka. It was painful that his unsung dumas remained, that hot, pure, unseen love for his native people would have to be taken with him to the house. At such an hour Shevchenko terribly wanted to say to the people, Ukraine, his friends a warm sincere word, and on paper lay the lines: "If umru, bury..." The poem was written on Christmas Day December 25, 1845 T.G.Shevchenko did not know then that this poetry will become the most popular and kindest song, national anthem, combat call to fight not only in his homeland, but also far beyond. At that time, the author of "Kobzar" did not think about glory, honor, or possible penalty for his bold thoughts. He just wanted, maybe the last time, to tell the people about what he thought he was feeling. It was his will. Fortunately, Shevchenko's strong body defeated the disease, and two weeks later the poet went on his way to Chernihiv region with the same task of the Archeographic Commission. And the "Testament" went to the people: it was rewritten in dozens and hundreds of copies, passed from hand to hand, studied by heart until this immortal work fell on the pages of a small collection "New elements pushkin and Shevchenko", which was published in Leipzig in 1859, later-in Lviv (1863) and St. Petersburg (1867). But it becomes the most widespread during the transportation of Shevchenko's body to Ukraine. The great merit of the artist G. Chestyakhivsky, who many of those who came to Chernech mountain to say goodbye to the Kobzar, taught "Testament". In various lists and different editions, this poem was called: "Heal", "Testament", "Thought", "Last Will". Since 1867, the name "Testament" has firmly entrenched behind it. For the first time, in 1862, the "Testament" sounded in Polish. It was translated by A. Hozhalchinsky, in 4868-Serb-Horvath in the interpretation of A. Nikolin, in 1869-in Russian. The translation was made by M. Gerbell. In 1870 in Chernivtsi came out and became widespread in Western Europe book Austrian poet Johann-Georg Obrist-"Taras Shevchenko." Compiled her exploration of the life and work of kobzar and German translations of his most politically aggravated works, including "Testament". It was this publication that recommended to the foreign reader Mikhail Drahomanov in his work "Ukrainian literature prohibited by the Russian government", which appeared in French in Geneva in 1878 as a report to the International Congress of Writers in Paris. Ukrainian poets contributed to the spread of the revolutionary "Testament" outside Ukraine. Ivan Franko in 1882 translated the song into German, and Sylvester Kalianets, living in distant Brazil, in 1936 translated the "Testament", as well as a number of other poems of the Kobzar, full of longing for their native land-in Portuguese. In the immortal ideas of "Testament", in his images, in the sound we clearly hear the powerful chords of the revolutionary music of Beethoven, one of the favorite composers of the Kobzar. So there is a characteristic feature of the individual style of Shevchenko the poet, artist, musically gifted person and thinker-a harmonious combination of different muses. "Testament" is the quintessence of all Shevchenko's creativity. It focuses on the leading ideas, motives and images of the angry muse of the poet-wrestler, the whole work sounds like a passionate speech of the revolutionary tribune, addressed to the people. In the elegy-epic tone by means of folk symbols paints T.G.Shevchenko in the first stanzas of the poem poetic image of Ukraine, warmed by love. But in the following lines, his speech becomes uerchy, excited-he poet cannot speak calmly about the enemies of the fatherland. The power of Shevchenko's "Testament" was immediately felt by the guards of autocracy. The chief of gendarmes and the head of the third department, Orlov, reviewing the handwritten collection "Three Summers" which turned out to be the main reason for accusing the poet and exile - up to ten years, with fury crossed out the text of "Testament", qualifying this work (and some others) as "in the high degrees of the sod and the mutant soderzhany". Immortal image of the steppe mountain-tomb of the great Kobzar became a national shrine, sung by the poet himself in his immortal "Testament". Friends of the poet, his contemporaries, the people of the holiday fulfilled the covenant. From the far northern capital, the body was taken to Ukraine for a long time, not buried in Kiev, it swam overcrowded in the flood of the Dnieper further, to the region, where high mountains-graves stand over the sacred river. Friends chose a place for burial on the Monastic Mountain, checking the majesty of the place with the cherished lines, and fragile maiden hands, according to the ancient folk custom, rolled a cart with a heavy lead coffin mountains and valleys in a long last journey. Here, on a steep mountain, above the himself, the Dnieper and buried. Put on a high mountain-grave over the Dnieper single oak cross. Wild horns bloomed around, later sawdust and silver waves of the wild steppe rolled along the mountain-grave. No pharaoh had such a majestic flowered grave. No ruler of the world has such a grand tomb, which became above the mountain itself hardness heaven. So he buried the people of his faithful son. Interesting history of music "Testament". Seven years after the death of the author of "Kobzar", the public of Lviv was going to celebrate Shevchenko's anniversary for the first time with a big concert. Then there were almost no songs on the words of Shevchenko. In view of this unfortunate circumstance, Lviv citizens appealed to the young Kyiv composer Mykola Lysenko with a request to write music for the "Testament". Mykola Vitaliyovych willingly agreed to fulfill this request, worked hard for a long time, trying to combine the spirit of Shevchenko's poetry with the specifics of the Ukrainian folk song, and on the eve of the seventh anniversary of the poet's death sent his work to Lviv. This was his first original work. In the performance of the national choir of the Lviv community, it first sounded on the anniversary shevchenko days of 1868. Simultaneously with Mykola Lysenko he wrote music for the "Testament" and galician composer Mykhailo Verbytsky, but the artistic level of his composition was lower. The text of "Testament" sings a tenor in it, and the choir picks up only one final stanza-"Bury and get up...". The work of the Galician composer was not widely distributed Since 1868, choral groups have performed this revolutionary-national song in a very solemn atmosphere. And each time the hall was up while singing, This tradition - listening to the singing of the "Testament" standing-has spread throughout Ukraine, and then to the whole planet, where Ukrainians only live scattered with fate. In 1870, a new, quite original melody of the "Testament" appeared, which quickly spread throughout Ukraine and soon became a popular folk song. Written by her humble Poltava music teacher Gordiy Pavlovich Gladkiy. He was born around 1849, on a small farm of the current Karlovy district in Poltava region, came from a poor family, because in his youth he was forced to earn himself a piece of bread. In the 1960s he worked as a seller in a tea shop owned by Moscow merchants brothers Popov and was on Petrovskaya Street in Poltava. G. Gladkiy's musical abilities were quite early, because already while working as a teller, he had a beautiful voice. The young man was especially fond of Ukrainian folk songs, which he knew many. Shevchenko revered above all. Without a more solid instrument, he played all his songs on guitar, sang them with friends who were always welcome guests in his poor house. Every Saturday, young people gathered in a room in H. Gladkiy on the ground floor of a large three-story building. These were mainly local seminarists, who, as a rule, had beautiful voices and therefore each time a paramount male choir was impromptu. It is natural that this choir was always led by G. Gladkiy himself, who even then showed his outstanding conductor abilities. It was this choir that became the first performer of his works. Among them were many choral finishes of Ukrainian folk songs, as well as their own works on the words of Taras Shevchenko, as well as his famous "Testament". Soon Gordiy Pavlovich found out that Poltava seminarists were already singing his "Testament", as well as in Kharkiv University his melody sounds, which is known in Kyiv. The work of G.P.Gladkiy was very much liked by M.V.Lysenko. He made several minor corrections in it, and the song was winged into the big world. It passed from generation to generation as a precious treasure, as a great spiritual asset of the Ukrainian people. We sing this "Testament" today. Pride Pavlovich Gladkiy was lucky to create a choral melody with great convincing power.
Shchors (Russian: Щopc) is a 1939 Soviet biopic film directed by Alexander Dovzhenko and Yuliya Solntseva. Commissioned by Joseph Stalin, the film is a biography of the partisan leader and Ukrainian Bolshevik Nikolai Shchors. Shchors is played by Yevgeny Samoylov (1912-2006). Synopsis. Cheered up by the revolutionary zeal, the courage and the energy of their leader Nikolai Alexandrovitch Shchors, in 1919 the peasants and workers groups gather in the devastated by the civil war in Ukraine, to defeat the foreign conquerors and enemies of the revolution. Shchors and his troops advance to Kiev, the seat of the bourgeois nationalists under their leader Symon Petliura, and take over the city. Other villages and towns fall. A bitter struggle with major losses blazes about Berdychiv. But Shchors' revolutionary forces remain victorious. However, it does not take long until a new danger threatens: this time the Polish Pans enter Ukraine, and General Dragomirov marches to Kiev. Shchors, however, gathers the revolutionary forces of the country and brings them to a victorious counter-attack.
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