כדי לשחזר את השיר בשפה המקורית אם אינו מופיע לאחר לחיצה על שם השיר המסומן כאן בקוו תחתון או כדי למצוא גירסות נוספות העתיקו/הדביקו את שם השיר בשפת המקור מדף זה לאתר YOUTUBE
To restore the song in the original language if it does not appear after clicking on the name of the song marked here with a bottom line or to find additional versions Copy/Paste the song name in the original language from this page to the YOUTUBE website
התרגומים לאנגלית נעשו באמצעות המנוע "מתרגם גוגל" והתרגום הועתק לאתר בצורתו המקורית ללא עריכה נוספת
The English translations were done using the "Google Translate" engine and the translations were copied to the site in their original form without further editing.
Notes written by Izzy Hod: Such a bright night, is one of the most beautiful romances, ever written in Ukraine and in the whole world. Perhaps, because it was written by a poet and a composer, very close in their lives and intentions. The poet, Mykhailo Petrovych Starytsky, was orphaned by his father and mother at the age of 12 and moved to his uncle's house, who was the father of the composer, Mykola Vitalievich Lysenko, his cousin. At the age of 16 they finished high school together and at the age of 18 they enrolled together for university studies. The poet Staritsky, who was a gifted student from childhood, was transferred, at the age of 20, to the Faculty of Mathematics and Physics, in the great city of Kyiv, but had to return to his native village, to take care of the family's large property. At that time, he married his cousin, the composer's sister, Lysanko and at the age of 24 they returned to the University of Kyiv, this time to study law and graduated in two years. The lyrics of the song went through many incarnations and were written by Staritsky, in 1860 to 1865, inspired by unrequited love for a girl named Stefanida, who was already engaged to another, when Staritsky fell in love with her. Staritsky was then 21 years old and suffered for a very long time from unrequited love. Only at the age of 31, Staritsky began to write series of songs, with the composer, Lysanko, his cousin and his wife's brother. The composer, Lysanko was then 29 years old, after years of interest and collecting Ukrainian folk songs and studying biology and then music, and then in 1881 and until 1885, the composer, Lysanko, composed his melodies to the songs by Staritsky. The song, Such a bright night, was added as an aria to an opera Lysanko wrote, called, The drowned woman, based on a story by Nikolai Vasilievich Gogol named, The anguish of Mykola Gogol, and Labko's song/serenade, was published in the opera halls and also in the literary yearbook, Niva. The operatic melody interfered with the publication of the song at the popular level, and then the composers, Andrey Voloshchanko and Vasiliy Ovchynikov, wrote a new, more popular and catchy tune for it. The song with the new tune reached wider publication in the written literature in 1914. After that, the first and original version by Staritsky and Lysenko gained momentum, until today. The first known recording of the song is from 1937, by the operatic tenor, Nikolai Platonovich Platonov. The song appears in the film, Only the elderly go into combat, from 1973. In the film, a squadron commander, who is also a musical conductor, sends the elderly pilots to the air battles, and the junior pilots who has no military experience, he organizes, as a musical team, which gives concerts from time to time, until, they too become elite pilots and battle winners but also victims of the war. The literal description of the words of the song is as follows, The night is now so bright after the moon has already risen. My beautiful girl and I will go out into the woods to pick up the coniferous leaves of the pine grove. Here in the pine grove, under the tops of the pine trees we are completely free. My beautiful girl and I enjoy the clouds moving in the sky like silver waves. The moonlight ray is clear and silvery, touching us and our love in the dormant pine grove and all the foliage of the poplar trees, like vibrating in the moonlight beam illuminating us too. The stars are scattered in the sky above everything created in the universe and the dew calves look illuminated like such beautiful sparkling pearls. Your feet are wet in the cool dewy waters, let me and I will carry you on my hands and I will bring you to the door of your house, tired. You are cold too on this quiet night, but do not worry, let me and I will embrace you to my blessed chest and finally warm you up.
It was written in 1870 by Nikolai Vitalievich Lysenko (Mykola Vitalievich Lysenko, 1842-1912).
Only "old men" go into battle. "In battle go alone "old men" ( Soviet black and white feature film in 1973, telling about the everyday life of fighter pilots during the Great Patriotic War. Many phrases of the heroes of the picture diverged into quotes, becoming part of Soviet and post-Soviet folklore. The heroes of the film, Captain Titarenko and mechanic Makarych, were installed monuments in Kiev and Kharkov, respectively. Plot. The film begins in the late summer of 1943, during the Battle of the Dnieper. From the sortie return pilots-fighters of the second squadron of the Guards Fighter Aviation Regiment. There is no only its commander-hero of the Soviet Union Guards Captain Titarenko nicknamed "Maestro". When everyone, except for his mechanic Makarych, stopped waiting, because the fuel in the tanks ran out more than forty minutes ago, the Messerschmitt, piloted by Titarenko, sat on the airfield. He was indeed shot down behind the front line, but the infantry attacking at that moment rescued the pilot, and at the jump airfield he was given a trophy. The next day, the regiment is assigned to the squadrons of the newly arrived replenishment. Several newcomers, including Lieutenant Alexandrov and Junior Lieutenants Shchedronov and Sagdullaev, ask for the famous second squadron. Titarenko asks everyone about their musical talents: the second squadron is known as "Singing" and after combat work turns into an amateur orchestra, where Titarenko acts as conductor. Schedronov sings the song "Dark" and receives the appropriate nickname. Barely acquainted with the replenishment, the "old men" with the words "Enough for your age!" fly out to intercept a large group of German bombers. Immediately in the battle beginners do not take: in the Orenburg flight school they were trained on an accelerated program, and they still need to learn to fly and learn to fight. Everyone returns to the airfield, but the Maestro is angry: not for the first time his wingman, Senior Lieutenant Skvortsov, left the battle without an order. After a serious conversation, it turns out that after Skvortsov during the Battle of Kursk over Ponyrya collided in a frontal attack with a German fighter and only miraculously survived himself, led by the "Maestro" subconsciously afraid of the battle. Skvortsov asks to write him off from aviation, but Titarenko burns his report, giving his friend a chance to correct the situation. In between sorties, the second squadron rehearses musical numbers; even aversion to music Alexandrov undertakes to perform the part of a tambourine, and soon begins to lead rehearsals instead of a komeska. Beginners start flying. After Alexandrov crashes the plane on landing, the commander reprimands him, but Alexandrov as if nothing had happened goes to catch grasshoppers. Titarenko suspends Alexandrov from flights for an indefinite time ("Appoint on duty, eternal duty at the airfield!"). For Alexandrov firmly fixed nickname "Grasshopper". Titarenko on the trophy "Messerschmitt" flies away for reconnaissance. In his absence, an emergency landing at the airfield is made by a light night bomber-the U-2 biplane, piloted by pilots Zoya and Masha. Sagdullaev at first sight falls in love with Masha and receives from his comrades the nickname "Romeo". Returning from reconnaissance Maestro confirms the information of the partisans about a large group of German tanks. When the replenishment (except for Grasshopper) was ready for the first battle, Titarenko goes on a second reconnaissance (the Germans disguised their tanks as cops and sheds), but on the way back he is shot down. Soldiers-infantry men, who mistook Titarenko for a German who liked to shoot at the medsanbat, arrange a "hot meeting" for him, but in time they realize that the fascist would not give surrender to the Soviet soldiers beating him. Returning to the regiment on horseback, Titarenko learns from Makarych that Smuglyanka died. With his leader, he practiced flying in pairs and over the airfield was shot down by the German "tambourine""Fokkers". After a while, Romeo confesses his love to Masha. Titarenko joins the CPSU (b) and receives a party assignment: by personal example to show the young replenishment that the "tambourines" (Goering'saces) can also be successfully shot down. The maestro summons the Germans to an exemplary "knightly duel". He takes Skvortsov as a wingman and at the same time conducts a "pedagogical" experiment: at the very beginning of the battle he reports that the weapon has failed. Helping out a friend, Skvortsov for the first time in a long time overcomes his fear and even shoots down a German plane. In the evening of the same day, the Germans make a raid on theairfield, during which the Grasshopper, who was removed from flights, takes off without permission, besides on Titarenko's plane, and wins his first air victory, saving the regiment. The squadron gives another concert, to which it invites the pilots, whose regiment is stationed nearby. Sergey Skvortsov performs the song "Nich yaka misyachna", and in one of the next sorties makesa "fiery ram"-directs his burning plane to the enemy railway echelons with a cry: "Guys! Let's live!" Some more time passes. The territory of the Soviet Union is almost liberated. In the battle again go some "old men", but among them already and Romeo-senior lieutenant and led Maestro, and Grasshopper- senior lieutenant and commander of the second squadron, and Titarenko himself, in the rank of major, already commands the regiment. Fifteen minutes before the formation of the regiment before the combat flight, Romeo appeals to the commander with a request to allow him to marry, since both he and Masha can be shot down at any time. Titarenko, not without hesitation, gives permission and half-jokingly reprimands the slave for the lack of a tablet (the resolution on the report with the request has to be imposed on a football),as Titarenko himself was once reprimanded. New "yellow-haired" remain on the ground to wait for the return of older comrades. From the next battle seriously wounded returns, but dies, landing the plane, Romeo. When the Maestro, Makarych and Grasshopper come to the airfield of the women's regiment to inform Masha of this news, they learn that the regiment has flown away, and Masha, along with her partner Zoya, also died. Makarych and Titarenko sit down at the grave of the girls and promise to return here when the war ends to sing "Dark" again from beginning to end. In the finale of the film there are credits "Not returned from combat missions is dedicated" and the song" For that guy" performed by Lev Leshchenkosounds.
Author's comments: "the night is so bright you could gather needls" is a Ukrainian expression meaning that there's so much light from the moon and the starts that you can see a neelde lying on the ground.
"Nich yaka misyachna" (Night what a moon) is a Ukrainian song, the lyrics of which were written by Mikhail Staritsky, although in most sources it is referred to as a "folk song". The music was composed by Nikolai Lysenko,and later by Andrei Voloshchenko and Vasily Ovchinnikov. The music of A. Voloshchenko and V. Ovchinnikov was printed in 1914. The earliest known recording of the romance is from 1937. The only known surviving copy of the record with this record is in the private collection of Oleg Besedin. The song is performed in the film "Only "old men" go into battle".
Mykhailo Petrovych Starytsky (14 December 1840-27 April 1904), in English Michael Starycky, was a Ukrainian writer, poet, and playwright. Later in life, Starytsky worked with Lysenko, collecting Ukrainian folk songs and transforming them into plays and operas for which Starytsky wrote the librettos (including Taras Bulba, an adaptation of the novel by Gogol). He eventually switched from writing scripts for theatre to writing books. Starytsky is currently remembered for his work with Lysenko, as well as his later poetry and novels.
Michael P. Starycky (Starytsky; 2 (14) December 1840, village Klischyntsi (now Chornobai district of Cherkasy reg.)-14 (27) April 1904, Kyiv)-Ukrainian writer and theatrical figure. The future writer was born in a family of small landlord. Boy was left an orphan early: in 1848 his father died, and in 1852-was died mother. He then struck up a strong friendship with Mykola Lysenko, future Ukrainian composer. In 1862 Michael married Sophia V. Lysenko (sister of Nicholas). Starycky's creativity began in 1865 as a poet. His first poems were published in Lviv magazine "Niva". He continued to write poetry until his death. In 1871 he and M. V. Lysenko organized the first Ukrainian theater company and he was closely involved in the affairs of the theater until 1895. From Staritsky's company came out all luminaries Ukrainian theater. Starycky wrote the libretto to many Lysenko's operas. As Ukrainian theater repertoire was almost non-existent, Starycky carefully started to create it-by writing original plays and remaking and staging works of other authors. Such remaking at that time don't considered copyright infringement, but in the early 20th century Staritsky was charged with plagiarism. The case dragged four years and ended in favor Staritsky. Special attention Starycky paid for translations, of which the most famous "Serbian Folk Songs" (1876) and " Hamlet" by William Shakespeare (1882). Staritsky's prose mostly written in Russian and published in Moscow. Ukrainian language in the Russian Empire was prohibited by Ems law (1876). Now some of these works have been translated into Ukrainian. Although Michael Starytsky belonged to the generation of "apolitical culture figures" and took no part in the political struggle, the Soviet authorities treated him coldly and carefully. Complete reprint of his literary heritage we don't have, the most complete collection was published in 1963-1965 years (in 8 volumes) and in 1989 (in 6 volumes). M. Zh. September 23, 2013.
A song based on the poem "Challenge" by the Little Russian playwright, poet, translator, one of the founders of the Ukrainian Theater Mikhail Staritsky (Mikhail Petrovich Staritsky, 1840-1904). The poem was written in 1870. As the song was established in the musical arrangement of Nikolai Lysenko (Nikolai Lysenko, 1842-1912). In the common song version, the first rhyme ( starry - tired ) is lost. First, it often happens in songs - cf. for example, spontaneous "As my mother / Farewell, / As here all my relatives/ I ran in "with the author's" Like my mother ... " Demyan the Poor. verses of the 1st and 3rd stanzas, and strictly observes the 2nd and 4th stanzas. The song is used in the film "Some Old Men Go to War" (1974). ... Come out , darling , tired of work, At least for a moment in the grove!
https://web.archive.org/web/20200224014041/http://www.vilavi.ru/sud/210511/210511.shtml/// http://www.vilavi.ru/sud/210511/210511.shtml///Nikolay Platonov///The first record of "Nights"///Those of our readers who are familiar with the article entitled "Mysterious "Nich": Pre-war Kiev Opera" remember, of course, that the first known gramophone record of the popular Ukrainian romance "Hich yaka misyachna" was made in 1937. On the label of the gramophone record produced by the Noginsk plant, you can read the name of the performer: "Art. Kyiv. Holder. t-ru op. that ball. M. P. Platonov". Let's listen to this record again. He accompanies the trio consisting of O. Sandler (piano), L. Rosenfeld (violin) and V. Khotinsky (cello): Noginsk B-5291///Romance "Hich yaka misyachna" performed by Nikolai Platonov./// Recorded in 1937 (Noginsk B-5291)///Нiч яка мiсячна, зоряна, ясная, Видно, хоч голки збирай .Вийди, коханая, працею зморена, Хоч на хвилиноньку в гай. Сядемо вкупi ми тут пiд калиною —Та над панами я пан! Глянь, моя рибонько: срiбною хвилею Стелеться в полі туман. Небо незмiряне, всипане зорями,— Що то за дивна краса! Срiбними зорями там пiд тополями Грає перлиста роса. Ти ж не лякайся, що нiженьки босiї Вмочиш в холодну росу: Я ж тебе, вірную, аж до хатиноньки Сам на руках однесу. Ти ж не лякайся, що змерзнеш, лебедонько, Тепло — нi вiтру, нi хмар. Я ж пригорну тебе до свого серденька, А воно палке, як жар.///Information about the person whose voice you just heard, we had to collect literally bit by bit. Something, however, we managed to find out. For example, the fact that his name was Nikolai Platonovich Platonov, that at the junction of the 20s and 30s he worked for several years in Moscow with Stanislavsky himself, that before the war he was quite a popular opera tenor in Kiev, a soloist of the Kiev Opera and the husband of the famous singer Zoya Gaidai, who in 1944 became the People's Artist of the USSR. Then they broke up, and Nikolai Platonov, around 1950, ended up in Samara, at the local opera house. That's probably all we've been able to find out about him. The article "Pre-War Kiev Opera" read as follows: In the city on the Volga, Nikolai Platonov was not a young man. Most likely, it was there that his stage activity ended. It is not known what happened to him afterwards, where and how he then lived, when and where he died, where his grave is located. I couldn't find any pictures of him. Quite so. Neither where he came from, nor how he ended up in Moscow with Stanislavsky, nor even how he looked – nothing. Here lived a man, loved, created, was the first to record the romance "Nich yaka misyachna" on a record - and disappeared. He dissolved, disappeared without a trace, as if he had never existed. Photographs?.. Yes, there are no photos of Nikolai Platonov on the World Wide Web, there are none at all! True, in our article it was suggested that a certain "M. Platonov", the performer of the role of Peter in the musical film of 1936 "Natalka Poltavka", who is sometimes called Maxim Platonov, is, in fact, our Nikolai Platonov is ... but of course, there was no complete certainty of this.///Nikolai Platonov in the film Natalka Poltavka///In the 1936 film Natalka Poltavka, one of the main roles was played by the tenor of the Kiev Opera and Ballet Theater Nikolai Platonov. It remained to hope for a happy accident and for the help of our readers. And that's exactly what happened. In distant Novosibirsk, the article "Pre-War Kiev Opera" was read by Galina Alexandrovna Zaitseva, a student of Nikolai Platonov, who knew the singer well in the last period of his life. Nikolai Platonov told her a lot about himself and about the people with whom he happened to live and work together. Thanks to the memoirs of Galina Zaitseva and the photographs she kindly provided from her personal archive, we can now, to a large extent, return from undeserved oblivion the name of Nikolai Platonov - the man who in 1937 was the first to record on a record the romance "Nich yaka misyachna", so beloved by us./// Kyiv: Elena Muravyeva///Nikolai Platonov spent his childhood and youth in Ukraine. He was born on December 13, 1902, the youngest child in the family of the Orthodox priest Platon Slutsky. Mykola Slutsky - that's what his name really was. He met the Civil War as a 15-year-old boy. It is difficult to say what he did in those years, where fate took him and where he studied to be a veterinarian, as reported by Galina Zaitseva. But it can be stated with certainty that Mykola Slutsky owes his formation as a singer to the outstanding teacher Elena Alexandrovna Muravyeva, who taught at the Kiev Music and Drama Institute named after N. V. Lysenko, and since 1920 brought up opera soloists at the Kiev Conservatory.///…So when, in what years were the classes of Mikola Slutsky with Elena Muravyeva held? In the dictionary "Domestic singers. 1750 – 1917", in an article dedicated to Elena Alexandrovna Muravyeva, we read the following: She educated 400 singers and teachers, among whom were [...] Z. M. Gaidai (in 1923–27), [...] I. S. Kozlovsky (in 1918–19), [...] O. A. Petrusenko (in 1924–25), N. P. Platonov (in 1921–25),[...] Judging by the dates given, Mikola Slutsky took vocal singing lessons from Elena Muravyeva a little later than Ivan Kozlovsky - from about 1921. It is also possible that it was during that period of time that Mykola Slutsky met his future colleagues at the Kiev Opera: Oksana Petrusenko, zoya Gaidai, his future wife - both of them also went through the school of Elena Muravyeva. By the way, Galina Zaitseva makes such a curious remark: "Nikolai Platonovich said that Zoya Gaidai, while Muravyeva was alive, continued to study her voice, and after her death Platonov continued these classes, since she absolutely could not sing without a foreign "ear" (Elena Muravyeva died in February 1939, when Nikolai Platonov and Zoya Gaidai sang together at the Kiev Opera and had been husband and wife for several years). However, this is just a guess. Another thing is known: in the first half of the 20s, taking vocal lessons from Elena Muravyeva, Mykola Slutsky simultaneously participated in the concerts of the Ukrainian choral capella "Dumka", created in 1920. The very name of the chapel is an abbreviation: "Derzhavna ukrainska mandrivna kapela" in Ukrainian means "State Ukrainian Mobile Chapel". Mobile - this name itself suggests very frequent tours. Already in the first years of its existence, the Dumka Chapel gave many hundreds of concerts - both in Ukraine, and in Moscow, and in Petrograd, and in the Urals. Around 1925, a sharp turning point occurred in the life of Mikola Slutsky: the performances of the young singer of the Dumka Chapel were noticed by Konstantin Sergeyevich Stanislavsky, who invited him to Moscow, to his Opera Studio.///Moscow: Stanislavsky and Sobinov///The opera studio of K. S. Stanislavsky arose from the natural desire of the great theatrical reformer to educate on the principles of his "system" not only dramatic actors, but also "singing actors". In the beginning, it was just that the training studio, and the opera performance "Eugene Onegin" staged in 1922 by the forces of the studios was also largely educational, experimental. The opera studio was located in the same house on Leontievsky Lane, where Stanislavsky himself lived the last 17 years of his life (in 1948, the Stanislavsky Memorial House-Museum was opened there).///House-Museum of K. S. Stanislavsky in Moscow///House-Museum of K. S. Stanislavsky in Moscow: Leontievsky Lane, 6///It was in this house that Nikolai Platonov - then still Mikola Slutsky - settled after moving to Moscow. Here he lived all his "Moscow" years - in the same house with Stanislavsky himself (however, not in the same conditions at all - we will talk about this later). Probably, immediately after the arrival of Mikola, Slutsky was introduced to the role of Lensky in Eugene Onegin, and already in 1926, when under the leadership of Stanislavsky the studios began rehearsals for the Tsar's Bride, he received a role in this performance - however, in the third composition. In a letter to his brother (August 18, 1926), Stanislavski writes the following: В третьем составе я буду путаться, и ты меня проверяй по протоколу. В нём, как кажется, назначены — Грязной: Савченко, Воронов, Коренев; Малюта: может ли петь его Виноградов, что больше всего желательно. Кроме того, что такое из себя представляет Шехов, не может ли он петь для третьего состава Малюту? Лыков: Платонов, Белугин; Бомелий: Якушенко, Знаменский;[…]///Platonov, not Slutsky?.. Yeah, exactly. Stanislavsky's "Light Hand" By Mykol Slutsky now became Nikolai Platonov. Galina Zaitseva recalls: I know the fact that he got the pseudonym "Platonov". Before the premiere of the play "Eugene Onegin", where he sang the part of Lensky, going to the last rehearsal, he saw on the poster of the theater, against the surname Lensky, the new name of the performer - "Platonov". He was extremely surprised and upset that Stanislavsky had taken on a new tenor for this role. Having met Stanislavsky in the theater, I heard the answer: "Kolya! In Kiev, every second shoemaker is Slutsky. Therefore, from now on you will be Platonic." The reason for this decision was the most prosaic: domestic disorder and lack of any prospects. Stanislavsky's theater gave Platonov everything except money. Nikolai Platonov had already crossed his thirty-year mark, but he had neither his own housing (it is difficult to say on what rights he lived in the house on Leontievsky Lane), nor a family, nor money. Platonov told Galina Zaitseva how disastrous his existence in Moscow was: the salary he received in the theater was so meager that he sometimes had to borrow literally a penny from Stanislavsky - to buy candles...Probably, Nikolai Platonov felt a certain contradiction between his creative capabilities and his complete disorder in life. Probably, he felt that the years of his apprenticeship were too long - especially since the health of both Stanislavsky and Sobinov no longer allowed them, as it had been before, to give their strength to the Opera House. It is also possible that he was simply called to Kiev by his old acquaintances and friends...In short, Nikolai Platonov decided to leave the Stanislavsky Opera House and return to Kiev. Learning of this, an annoyed Stanislavsky writes to Sobinov (a letter dated September 1, 1934): "I know that the brilliant Platonov is going to leave, which I am very happy about." This letter was, by the way, one of the last received by L. V. Sobinov: just a month and a half later, the great singer was gone...In the two-volume edition of the 1970 edition dedicated to Leonid Sobinov, the following is said about N. P. Platonov: He was born in 1903. In 1925-33 he was an artist of the Opera Studio and the Stanislavsky Opera House. Since 1933 he has been a soloist of the Kiev Opera. Now we can clarify this information: Nikolai Platonov, born in 1902, left the Stanislavsky Opera House at the end of 1934. He was returning to Kiev, from where he once left, already a fully formed opera singer.///Kiev Opera: Zoya Gaidai///The last pre-war years were probably the best in the creative career of Nikolai Platonov. At the Kiev Opera House, he quickly became one of the leading artists. He was full of energy, was beautiful and talented, he was loved by the Kiev public, sang a lot in the theater, recorded on gramophone records and starred in films. In the musical film directed by Ivan Kavaleridze "Natalka Poltavka", the first Soviet film made in the genre of "film-opera" (1936), Nikolai Platonov sang the main tenor part, and his partners in that film were Maria Litvinenko-Volgemut, Ivan Patorzhinsky and Grigory Manko (Litvinenko-Wolgemut sang the part of Natalka behind the scenes, but platonov, Patorzhinsky and Manko we not only hear in this film, but we can see). I must say that at present there are not so many records of Platonov. The ones that I know – they can be counted on the fingers of one hand. So, in the collection of Oleg Besedin from Dnepropetrovsk there is a gramophone record of 1937, on one side of which Nikolai Platonov performs the romance "Hich yaka misyachna" (with this recording we began our story), and on the other side of the same disc in his performance the Ukrainian romance "Tell meni pravda" sounds. Further, at the disposal of Galina Zaitseva there is a gramophone record (judging by the matrix number, released in 1939), on which Platonov recorded two Ukrainian songs. Here's one of them, "Flowing Water in the Blue Sea." The recording quality is not very good…Finally, a gramophone record with the Ukrainian song "Divka in Sinyakh stood" has been preserved. This recording is notable for the fact that in 1939 they made it together: Nikolai Platonov and Zoya Gaidai...They married, apparently, shortly after Nikolai Platonov's return from Moscow to Kiev. Platonov's Moscow domestic troubles are a thing of the past. Now, in Kiev, he was in demand and loved, he had fame, comparable only to the fame of Sergei Lemeshev in Moscow, a beautiful wife - to the envy of many, material prosperity and, it seemed, a cloudless future. "They had a three-room apartment in the city center, a white piano, a huge library and his own car with a personal shaffer," writes Galina Zaitseva, recalling Platonov's stories about that happy time for him.///In Alexander Moskalets' article "Zoya Gaidai: Forty Years Later" published in 2005 in the newspaper "Zerkalo Nedeli", we read: ... Zoya Mikhailovna's favorite walking route was the way home from the theater. To overcome the distance from the first artistic entrance of the Kiev Opera to the house, it was enough to go down two blocks along Lenin Street. Often during these walks, the singer was accompanied by her husband, tenor Platonov, who also worked in the theater. Sometimes he came for her by car - tall, handsome, in a fashionable white suit, as always fit and impeccable...Apparently, Platonov and Gaidai were an impressive couple, truly "stellar". Probably, their names were perceived by the then Kiev opera lovers in this way – together. In the spring of 1938, they were on tour together in Georgia, and even an article published after their departure in the newspaper "Evening Tbilisi" (April 18) was also very revealing: "Z. Gaidai and N. Platonov in Denmark". And Nadezhda Umanets, the sister-mistress of the reception department of the Kiev Military Hospital, remembered the last peaceful evening as follows: "On Saturday, June 21, 1941, in the evening with friends I went to the opera house, where they gave "Kornevil Bells" with the participation of Zoya Gaidai and Platonov"... In 1941, Zoya Gaidai, among the very first, became a laureate of the Stalin Prize - together with Shostakovich, Kozlovsky, Lemeshev. Quickly slipping through the mandatory step of the Honored Artist of the Ukrainian SSR, she received the title of People's Artist of Ukraine, and in 1944 she became the People's Artist of the USSR. And her husband, Nikolai Platonov, received the title of Honored Artist of Ukraine, and so in this rank he remained ... Interesting details are mentioned in her letter by Galina Zaitseva: From the stories of Nikolai Platonovich it is known that Stalin was very fond of Zoya Gaidai as a singer, and they even had a direct telephone with his office at home. It is a well-known fact that the theater submitted documents for awarding the title of People's Artists of the Ukrainian SSR to both Gaidai and Platonov. But Stalin said: "In one family, there are many two people, one is enough!" And he gave the title to Zoe Gaidai...
Probably, the rapid career of his own wife caused Nikolai Platonov a feeling of a certain jealousy (traces of which slip into his stories about his life even after many years: for example, Platonov's remark about how, after the death of Elena Muravyeva, he himself had to study with Zoya Gaidai, "since she absolutely could not sing without an extraneous "ear" ). Probably, Nikolai Platonov felt somewhat underestimated, especially since the general atmosphere in the theater was, as we know, far from ideal: the division of the team into "us" and "them" was clearly felt, and each of the leading artists of the Kiev theater also had enough ill-wishers: here it will be enough to mention the difficult fate of Oksana Petrusenko or those fatal denunciations. that killed Mikhail Donets. And the above-mentioned music critic Alexander Moskalets in his article entitled "Baritone's Shot" gives several examples of "friendly intrigues" that surrounded Mikhail Grishko, one of the leading artists of the theater, in the pre-war Kiev Opera. By the way, one of the examples given in the article by Alexander Moskalets directly refers to Nikolai Platonov: ... Another episode that has not been clarified to the end happened at the play "Eugene Onegin". In the duel scene, Grishko shot Lensky, who was then sung by the tenor Platonov. A minute later, leaning over him, Grishko found real blood flowing from Platonov's lip and he whispered: "Misha, what did you do?!". Mikhail Stepanovich's eyesight was weak, and in this scene he always shot without aiming. After all, the gun was loaded with a fake puff. But that time it turned out that the gun was loaded with a blank cartridge. Then Hryshko jumped to the forefront and loudly asked the audience if there were any doctors here. Everything ended happily, but such a "surprise" could not have happened, because someone deliberately replaced the pyzh...Kiev, as you know, the German aviation began to bomb in the first hours of the war. Very quickly, the evacuation of a number of leading artists of the Kiev Opera to the deep rear was organized. In distant Ufa, the capital of Bashkiria, Nikolai Platonov and Zoya Gaidai also went together - the departure took place on July 2, 1941. In the article by Yuri Uzikov "Tour" of the theater in the military Ufa", published in the online newspaper "Bashvest", we read such interesting details: And here's the theater on the way. In unsuitable cars are well-known throughout the country artists Maria Litvinenko-Volgemut, Zoya Gaidai, Ivan Patorzhinsky, Konstantin Laptev, Nikolai Platonov, Andrei Ivanov. [...] On July 11, 1941, kievans arrived in the unfamiliar city of Ufa. [...] Warmly welcomed Ukrainian colleagues and the staff of the Bashkir Opera and Ballet Theater (BGTOiB). It was opened only in 1938. Therefore, creative activity with the masters of Ukraine contributed to the growth of Ufa artists. Friendly work began, theaters helped each other.[...] Already on July 19 and 20, the first concerts of Zoya Gaidai, Konstantin Laptev, Nikolai Platonov took place. And in August, joint performances of the Ukrainian and Bashkir theaters began to be held. The leading parts in the operas "Carmen", "La Traviata", "Rigoletto", "Eugene Onegin", "Rusalka" were sung more often by Kievans. [...] The production of Gulak-Artemovsky's Ukrainian opera Zaporozhets beyond the Danube, as well as Lysenko's Natalka Poltavka, was a great success...An earthly bow to you for resurrecting from oblivion the lives and voices of those great singers who make up our pride and are an example of that forgotten real vocal school, which is so lacking in modern Russian vocal art. All of us need it, because without our glorious and difficult history, without our rich culture, without our grateful memory, we are all nothing..."Hich yaka misyachna" performed by Nikolai Platonov (13.XII.1903—8.X.1966) The summer of 1937 recording is the first known gramophone record of everyone's favorite romance.///Valentin Antonov, April-May 2011.
https://pustunchik-ua.translate.goog/online-school/music/nich-iaka-misiachna-zvorushlyva-istoriia-pisni?_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///The touching story of the song "Nich Yaka Misyachna"///This romantic story struck me to the core. I hope it finds a response in your heart too.///How little we know about the circumstances of songwriting! What inspired the author, what tragic or good news touched his soul and became the impetus for the birth of poetic lines? Poetry "Challenge" by Mikhail Staritsky , better known for its first lines, is a vivid confirmation of this ... ///One day in the summer of 1860, Mikhail Staritsky, leaving his studies at Kiev University, decided to visit his native village of Kleshchintsy in the Poltava region. At evening parties arranged by rural youth, he, a 21-year-old boy, liked one girl. They called her Stepanida.///At first sight, Mikhail fell in love with that mysterious stranger, but the guy did not dare to come up and confess his feelings. Hoping to do it on the next evenings. However, the days passed, and the girl still did not appear. The young man in love had no choice but to go to her house.///Staritsky came to Stepanida's house, whitening on the edge of the Buta tract, when the sun, saying goodbye to the valley, affectionately embraced it with its gentle rays - an incredible glow! While he was waiting for his beloved, the dark blue sky slowly lit up with twinkling stars, as if up there, someone was playing with flashlights. At that moment, the young man, fascinated by the surrounding beauty, had poetic lines: Nothing, Lord, moon, dawn, It's clear, you want to pick your goals. Viydi, kohanaya, praceyu zmorena, Khvilinochka in gay!///His heart sank when he noticed how Stepanida was approaching him with a quiet gait. How beautiful she is in this twilight, under these stars ... even more beautiful than then, at the evening parties! Hello. The girl affectionately looked into Mikhail's eyes and spoke about the beauty of nature. When the guy dared to reveal the secret of his appearance, Stepanida admitted that she was already betrothed.///Struck by such a surprise, Staritsky fell ill with a fever. There was no one to take care of him, the guy's parents died long ago. Fortunately, his uncle, guardian, Vitaly Lysenko, found out about Mikhail's illness. He summoned a doctor from Poltava to Kleshchintsy, and then took his nephew to his estate in the village of Zhovnino. There the young man was treated for a long time and moved away from a spiritual wound.///Years passed, and the melodic poetry, inspired by love for Stepanida, remained without the attention of composers. Only in 1885, the poems set to music were performed in Nikolai Lysenko's opera The Drowned Woman in Odessa. The first performer of the song called "Levko's serenade" was Nikolai Sadovsky . In the same 1885, the song was published in the Odessa almanac Niva.///Serenade Levko sounded in Kyiv, Kharkov, heard it and the walls of the New York theater, but the song still remained unknown to the public. Everything was in it: both lyricism, and depth, and impeccable music, and dramaturgy - only a simple, easy-to-remember melody was missing.///Staritsky's song received worldwide recognition with a new melody. Its authors were Andrei Voloshchenko and Vasily Ovchinnikov . For the first time, such a version of the song “Nich Yaka, Lord, Misyachna, Zoryan” was published in 1914 in the third notebook “School for Bandura” , edited by Vasily Shevchenko.///Bandura Chapel led by Vasily Shevchenko, 1914.///A real explosion in the popularity of the song was caused by the appearance of the film by Leonid Bykov “Only Old Men Go to Battle”, where “Nothing like a moon” sounded from the lips of Senior Lieutenant Sergei Skvortsov. The song was performed by Ukrainian opera singer Mykola Kondratyuk .
https://song--story-ru.translate.goog/ua/nich-yaka-misyachna/?_x_tr_sl=uk&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///The story of the song "What a moonlit night"///December 24, 2018 Tags: Only old men go to battle , Mykola Lysenko , Mykola Starytskyi Comments: 0///Is there a person in the world who, having heard the Ukrainian song "Night like a moon, starry, clear" at least once, would not be enchanted by its amazing melodiousness, the sincere, timeless feelings expressed in it?///Ukrainian folk song... This is how it is perceived by millions of people in Ukraine and far beyond its borders, feeling its closeness to the best masterpieces of folk art. However, it is worth refuting such a statement, because this song has its own authors.///The story of the song "What a moonlit night"///Mykhailo Starytskyi is the author of the words of the poem "The Challenge", but it is better known for its first lines "What a night, Lord, moon, star". The music for it was written by a close friend of the poet, the famous Ukrainian composer Mykola Lysenko.///Read more about the song.///The history of creating a song in Russian./// https://songs-in-ua.translate.goog/nich-yaka-misyachna/?_x_tr_sl=uk&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///songs.in.ua - histories of Ukrainian songs///Stories of Ukrainian songs///Famous Ukrainian songs: creation stories, legends, texts, music videos, etc///The story of the song "What a moonlit night"///from Repetun Svitlana 07.11.2022///Is there a person in the world who, even once, having heard the Ukrainian song "What a night, Lord, moon, star", would not be enchanted by its amazing melodiousness, the sincere, timeless feelings expressed in it?///Ukrainian folk song... This is how it is perceived by millions of people in Ukraine and far beyond its borders, feeling its closeness to the best masterpieces of folk art. However, it is worth refuting such a statement, because this song has its own authors.///The history of the creation of the song "Night, what a moon"
Mykhailo Starytskyi is the author of the words of the poem "The Challenge", but it is better known for its first lines "What a night, Lord, lunar, starry". The music for it was written by a close friend of the poet, the famous Ukrainian composer Mykola Lysenko.///The song was included in the opera based on Mykola Gogol's story "The Drowned." It was first published in the Odessa almanac "Niva" in 1885 in the following form: What a night, Lord, moonlit, starry! It's clear, at least collect the needles, Go out, my love, tired of work, At least for a moment in the grove! Let's sit together here under the viburnum And I am the lord over the lords! Look, my little fish, the fog is spreading across the field like a silver wave. The grove is magical, as if it is strewn with rays, Whether it is dreaming or sleeping, It is trembling with thirst on the slender and tall aspen. The immeasurable sky is strewn with stars, - What a divine beauty! With clear pearls, he plays the dew drops under the poplars. Don't be afraid that you will dip your little feet in the silver dew: I will carry you, faithful one, all the way to the little hut in my arms. Don't be afraid that you will freeze, little swan: It is warm - no wind, no clouds...I will hug you sincerely to my heart, And it warms like heat. Don't be afraid that malice will overhear your silent conversation: The night has put everyone to sleep, sleep has enveloped them - Ani is rustling in the grove! Your enemies are sleeping, tired of work, - Laughter does not frighten us...Do we, robbed by our fate, And the wave of love - for a sin?///Some researchers believe that Mykhailo Starytsky only improved a certain version of this work that already existed among the people. The subsequent fate of this pearl of song creativity is similar to the folk song.///Versions of the song "Moonlit Night"///There are several versions of this song today. The most famous, modernized version of it belongs to kobzars Vasyl Ovchynnikov and Andriy Voloshchenko. This option is first mentioned in the printed edition of 1914 "School of playing for bandura. Vasyl Shevchenko", where the song "What a night, Lord, lunar, starry" is accompanied by the author's inscription: The melody was recorded by the kobzar A. Voloshenko. A little modified. ///In the Soviet years, the song underwent changes again. The memory of the Lord in the song was, according to the authorities, unacceptable, so the first line reached us in this form: "What a moonlit, starry, clear night."///All these transformations could not affect the special touching magic of this song. Today she has world fame.///For many years, "What a Moonlit Night" was in the repertoires of the most famous Ukrainian singers: Borys Hmyra, Anatoly Solovyanenko, Dmytro Hnatyuk.///Modern Ukrainian singers Oleg Vinnyk, Oleksandr Ponomaryov and many others love to sing it.///American singer of Ukrainian origin Kvitka Tsysyk performed this song according to the original text of Mykhailo Starytskyi.///This amazingly beautiful song is heard from the opera stage in Venice. The famous Dutch conductor and violinist Andre Rieu (known in the press as the "Waltz King") included this song in his concert program, where it was performed by the German singer of Ukrainian origin, Anna Reker.///This song has been playing on the screen for decades. The outstanding Ukrainian actor and director Leonid Bykov, while creating the film "Old men go to battle alone", insisted that this particular song should be heard in his work. And it was sung by the performer of the role of senior lieutenant Skvortsov himself ("the best soloist of the First Ukrainian, former Voronezh, future soloist of the Bolshoi... very big! theater") actor Volodymyr Talashko.///"What a moonlit, starry, clear night" is one of the most famous Ukrainian songs, which people of all ages and musical preferences listen to and sing with love. This song will live in the people as long as the people and love itself exist.///Lyrics of the song "What a moonlit night" What a moonlit, starry, clear night! You can see, at least collect needles. Come out, my love, tired of work, even for a moment in the grove. Let's sit together here under the viburnum - And I am the lord over the lords! Look, my little fish, the fog is spreading across the field like a silver wave. The grove is magical, as if it is strewn with rays, whether it is dreaming or sleeping: Gen on the slender and tall aspen leaves gently trembles. The immeasurable sky is strewn with stars, what a beauty of God! The dewdrops play with clear pearls under the poplars. Don't be afraid that you will soak the little feet of the boss in the cold dew: I will carry you, faithful one, all the way to the little hutin my arms. Don't be afraid that you will freeze, little swan, It is warm - neither wind nor clouds...I will hug you to my heart, And it is burning like heat.
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