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: The first original version of the song was heard in 1902, or 1903 according to the various versions. Then it was re-edited for the first time by the composer and music editor, Maksimilian Osiewicz Steinberg, but the original poet and composer were unknown and therefore the original song is considered a gypsy song. Since then, the song has been published again and again, also as a gypsy song, each time with different and changing words, such as the one that appeared in 1914 at the beginning of the First World War. This song, with appropriate and different words, was in the Russian Civil War, the unofficial anthem of the Imperial White Army, mainly in the units of General Anton Ivanovich Danikin and also of the Red Army, the Bolsheviks, who founded Communist Russia under the leadership of Lenin and Stalin. The content of the words is similar in both, when in the White Army, it is about going to war, for Holy Russia and in the Red Army, for Soviet Russia. At that time, many of Russia's citizens were exiled outside the borders of the country and they took the song with them, in its war words, to the lands of exile, as a nostalgic anthem for the homeland. The fragrant clusters of the white acacia tree were also the subject of a book and a theater performance, which relates to the years 1918-1919, in Kiev, Ukraine, which was, during the Soviet Civil War, in a state of chaos and the Turbin family, some of which supported the White armies, suffered severely under the Bolshevik rule, of the city. The enthusiasm and purity, at that time, are compared to the acacia tree, specifically the white acacia, and the sweet smell of its flowers and in the song, mourn their loss. Both the book, the drama and the poem, appeared, as mentioned and then closed, inspired by the Soviet regime and returned again, with the disappearance of the Soviet regime in the 1950s. More than 20 years, after Stalin's death [1953], in 1976, the song was re-titled to be the main theme in a TV movie called The Days of the Turbin Family and as mentioned touched on the events in Kiev [1918-1919]. The poet, Mikhail Labovich Matosovsky and the composer Basner, are the ones who in 1976, adapted the song again, for the second time, with new words related to the plot, but based on the original words from the beginning of the twentieth century, for the Russian television series Turbin Days, which was first shown in 1976 and in the same year, was even taken off the media In the same year, by order of the Soviet authorities and it was re-released, after the breakup of Soviet Russia, in 1991. There are still two songs called, the acacia [white] tree, one original from 1902 and the other from 1976. The singer associated with this song is Lyudmila Sanchina, who was A light pop singer, with a lyrical, soft and amazing soprano voice. Lyudmila Sanchina, died in January of this year [2018] in her 60s, after a long and painful struggle, with a malignant disease of the pancreas. This is a protest song, gentle and sensitive and moving. The author of the written texts in the television series was probably close to the Turbin family. In the seventies of the last century, probably 1976.
WHOLE NIGHT NIGHT NIGHTINGALE WE WHISTLED. Music by Benjamin, Basner Words by Mikhail Matusovsky. Romance from the telefilm of Vladimir Basov "Days of the Turbins", Created under the influence of the popular romance "White Acacia fragrant clusters",published in 1902.
The Days of the Turbins, is a 1976 Soviet three-part television drama film directed by Vladimir Basov, based on the eponymous play by Mikhail Bulgakov (the author's adaptation of his novel The White Guard for stage). Plot. The film tells about the intelligentsia and the revolution in Russia, about the life of the family of Turbin officers during the Russian Civil War. Kiev. Winter of 1918-1919. The power in the city passes from the hetman to the Directorate of Ukraine, then from Petliura to the Bolsheviks. Turbins and their acquaintances have to make their choice. Colonel Alexei Turbin and his brother Nicholas remain loyal to the White Movement and bravely defend it, without worrying about their lives. Elena's (née Turbin) husband, Vladimir Talberg flees shamefully from the city with the retreating German troops. In this troubled time, the family and close friends gather and celebrate the New Year. A strange and slightly ridiculous person comes to visit them, a distant relative of the Turbins-Larion Surzhansky (Lariosik).
The White Guard, is a Russian television series, based on the novel by Bulgakov, The White Guard. Plot. The film tells about the arduous years of the civil war in Russia, portraying the fate of the Turbin family who fell into a cycle of sad events of the 1918-1919 winter in Kiev. The basis for the film's plot is the novel by Mikhail Bulgakov: The White Guard. The historical background of the film is the fall of the Ukrainian power of Hetman Skoropadsky, the capture of Kiev by UNR troops and their subsequent flight under the blows of the Red Army. The protagonist Alexei Turbin is a military physician who has seen and experienced a lot during the three years of the world war. He is one of those tens of thousands of Russian officers who after the revolution found themselves in a situation of complete uncertainty in political and private life. Many of them went to the service of Hetman Skoropadsky and his moderate regime under the German protectorate, considering it a lesser evil than the red terror already noted in Kiev against officers and intelligentsia by the Bolsheviks. However, the German Empire was defeated on the fronts of the First World War, the Hetman fled with the Germans, and a few Russian officers and cadets remained the only force able to stand in the way of the followers of Symon Petliura coming to Kiev.
BIOGRAPHY OF LYUDMILA SENCHINA Lyudmila Senchina is a completely unique singer. Her voice, manner of performance, repertoire-all this clearly distinguished this original artist among other performers. It's a singer that's gone. How did she come to the stage? How did her creative style form? To learn about all this will help you biography dedicated to one of the brightest singers in the history of the USSR and Ukraine. The future star of the Soviet stage was born in a small village called Kudryavtsy, in the Nikolaev region of Ukraine. According to the singer herself, the real date of her birth is 1950, and not 1948, as indicated in the document, since her father asked to make some adjustments to the birth certificate when registering her daughter-he wanted her to retire earlier. The name of the girl was given at the age of 4, before that her parents called her simply "Dotsya". Luda, whose pedigree mixed Jewish and Moldovan roots, grew up in a family of ordinary Soviet workers. Mother, Sarah Alekseevna, is a school teacher, father, Pyotr Markovich Senchin, worked all his life in the local house of culture, where he was first a cult and then a director. After a working day, both worked in the collective farm field. It was with the filing of her father that the girl began to perform in front of the audience: first there was a stage with small roles in performances, then she began to perform songs at every more or less significant city event. When the baby was 10, her father received a tempting offer from Krivoy Rog. Having weighed all the pros and cons, the family left their native village and moved to a new place. Here, in one of the largest cities of the Dnipropetrovsk region, Lyudmila Senchina began to attend secondary school, as well as hone vocal talent in amateur circles. It was during this period that she finally became convinced of her abilities and decided to try her luck on the stage. In 1966, she graduated from school, left Ukraine and went to Leningrad to enter the Rimsky-Korsakov Music School. On the main round of exams in the vocal department, the actress did not have time. To get into the music school she was helped by chance: Faced with the chairman of the examination commission already in the corridor, Lyudmila begged him to listen to her songs. Her performance of Schubert's serenade touched the teacher, and the girl received permission to come to the exams on another day. Thus, in 1966, Lyudmila Senchina still became a student of the prestigious music school at the Leningrad Conservatory. Study was not easy, but the natural perseverance and sensitive mentoring of Roda Zaretskaya helped the actress to reveal her talent. Already in her student years, she was invited to sing at the Leningrad Operetta Theater. In 1970, after receiving a diploma, Lyudmila Senchina went to work at the Leningrad Theater of Musical Comedy. Over the next 5 years, she embodied many bright roles on this stage. In the same 1971 she performed in the BKZ "Oktyabrsky" with the song "Cinderella" by I. Tsvetkov and I. Reznik. Her image-a fragile blonde beauty with bottomless blue eyes-could not be better combined with a soulful manner of performance. This song later became her calling card, brought the international award "Golden Lyre" in 1974. Although Lyudmila herself at first took the song with hostility. She saw herself as the new Edita Pieha, dreamed of a dramatic repertoire...and then she slipped a "childish" song! But what was the reaction of the public worth...I came out, sang cleanly...And there just the ceiling collapsed! Everyone applauded like crazy, I was called for an encore several times. I came to the concert as a budding singer, and left as a star. In an instant, the girl turned from an asterisk into a bright star. She began to be invited to the cinema for the main roles ("Shelmenko-denshchik", "After the fair", "Armed and very dangerous"). In the early seventies, she hosted the musical program "Artloto" on the Central Television of the Soviet Union. n 1975, the actress was invited to the orchestra of Anatoly Badhen, who became her second family for the next 10 years. In the same year, Lyudmila became the winner of the Sopot Music Festival, as well as the winner of the prestigious television festival "Song of the Year". here are not many hits in her repertoire as her beautiful voice no doubt deserved. We note the compositions "On the stones" and "Birthday", a duet with Eduard Hil "Joke", of course, the romances "White Acacia bunches fragrant", "Song of happiness", "Love and separation". In 1986, the singer took part in the project "Child of the World"-as part of the "warming of relations" with American colleagues, Soviet artists went on tour to the States. In the 90s and 2000s, Lyudmila Senchina rarely toured and appeared on television. The return of the singer to the stage did not even contribute to the fact that in 2002 she became People's Artist of Russia. Only in 2008 Lyudmila Senchina again declared herself. The turning point for the aged singer was the project of the NTV channel "Superstar-2008. Dream Team": pop stars of the USSR and Russia were invited to the studio and divided into two rival teams. In 2013, she became a participant in another popular TV show-"Universal Artist", which went to the prime time of the First Channel. Lyudmila spent the last years of her life in her apartment in the center of St. Petersburg and in a country house in Georgia. On January 25, 2018, the media reported the death of Lyudmila Senchina at the age of 68. The information was confirmed by her husband. According to him, the woman suffered from a long illness, which still took over, despite the treatment.
White acacia fragrant clusters. Today, November 1, 2016, marks the 40th anniversary of the premiere of the wonderful feature film of a wonderful actor, as well as the director and screenwriter (of this film-"Days of the Turbins"-based on the play of the same name (the author's presentation for the scene of the first novel by M. A. Bulgakov-the autobiographical requiem novel "The White Guard", or rather the first part of the work: two more parts remained only the creative idea of the Master) by M. A. Bulgakov, the premiere (in the Moscow Art Theater) which this year also turned a round date-90 years (October 5)-and which, the only one of the entire literary heritage of Mikhail Afanasevich staged during his lifetime, despite the fact, and, often, precisely because it told about the life of the Russian intelligentsia on the example of the family of White Guard officers Turbins during the civil war in the beloved Master City, and was the only play in the Soviet theater, where the white camp was shown not caricature, but with deep sympathy (although at the very last moment before the premiere it was necessary to make a number of changes, especially in the finale, where the growing sounds of the "International" appeared, and Myshlaevsky was forced to say the "health" of the Red Army and express readiness to serve in it, as well as to shoot scenes related to petliura's freedwoman, which in its cruel elements was very reminiscent of the Red Army; Alexei Turbin himself from a doctor as a result of creative evolution "turned" into a colonel, whose tragic death blew up the intimacy of the Turbinsky house with cream curtains), was loved by everyone: the father of all peoples himself and the Leader I.V. Stalin, who watched the play at least 20 times, although he wrote: "Why are Bulgakov's plays so often staged on the stage? Because, it must be that their own plays, suitable for staging, are not enough. On fishless even "Days of turbins"-fish"; and people's commissar for military and naval affairs K.E. Voroshilov, who played a major role in the negotiations on the resolution of the play; and all segments of the population of Soviet Russia: when the theater was "Days of the Turbins" (which withstood 108 performances for the first season of 1926-1927 (more than any other performance of Moscow theaters) and almost a thousand during the author's lifetime) in Kamergersky Lane two ambulances were on duty at once: sincerely empathizing with events on stage, the audience so gave vent to emotions, cried and laughed, reflected, after Bulgakov, about the difficult fate of their country, so fervently empathized with what was happening on stage that doctors did not have to sit idle; and even the white émigré circles that met her, rewritten (while abroad they did not yet know anything not only about the novel "The White Guard", but also about the author himself) by hand by former white warriors, "with a bang"; and the ex-hetman of Ukraine Skoropadsky - one of the episodic heroes of the play, who lived at that time in the suburbs of Berlin Wannsee-almost challenged to a duel the head of the II department of the ROVS (Russian All-Military Union, the largest military organization of emigration), the head of the Russian colony in Berlin, Major General A.A. von Lampe, due to the fact that von Lampe, not only allowed the production of "Days...", but also acted as a military-historical consultant to "this disgrace", to which von Lampe wrote to Skoropadsky in November 1928: "Russian officers-ardent patriots-were brought out on the stage, historical types of Russian officers who gave fighters for Kiev, and martyrs of the Volunteer Army, and heroes of the Russian emigration. These are the officers who have not finished their service to their Motherland and who, through the hardships of work in the mines of Bulgaria and at the machine tools in France, only think of their mother, Russia..." By the way, it may very well be that "Turbines" saved the life of Bulgakov himself: if he had been arrested, the play would have had to be removed. It is also possible that only because of Stalin's favorite play, the author was not released abroad: if he had stayed with his brother in Paris, the play would also have been banned. Stalin could lose his favorite spectacle...However, today I want to tell not about the film, and not even about the play, but about the romance that sounded like a refrain throughout the film. The fate of this romance is no less interesting...Around the circumstances of the creation of this romance still do not subside disputes. Is Mikhail Matusovsky a plagiarist? Is the music written by Benjamin Basner or someone else? Acacia, sung in the romance-Kiev, Odessa, Moscow or someone else? On this account, there are many versions, sometimes curious, but not withstanding reasonable criticism. This happens always when some phenomenon, event in the life of at least a few people is remembered and later overgrown with all sorts of legends and myths. One thing is certain: anyway, and the film, where for the first time (and then not completely) sounded the romance, which will be discussed, knocked forty years...Needless to say, age obliges to clarify something...and variations...It's quite funny that there are two absolutely equal in beauty romances, singing the flowering acacia and the accompanying moods, arising from one another and having at the same time a couple of branches. The authorship of the first appearance of the romance is lost in musical history. There are several "source" versions with their own lyrics and music authors. According to some sources, the romance "White Acacia Bunches Fragrant" was first published in 1902. At the end of the XIX century in St. Petersburg, the German Julius-Franz-Heinrich-Martin Zimmermann opened a music store and a music publishing house, publishing works by Balakirev, Grechaninov, Taneev and other Russian musical classics. In particular, he also published the series "Gypsy Nights", in which they printed our romance without specifying the authors. Here are his words, written, most likely, by the poet A. A. Pugachev and set to music by the composer A. Zorin (real name-A. M. Tsymbal). Other sources call the starting point the summer of 1903, when in the series "Gypsy Songs of N. P. Lyutsenko", published in the same St. Petersburg (Nevsky Prospekt, 54) "Notes of V. Bessel and Co" by Vasily Vasilyevich Bessel, the clavier of the romance "with vocal parts for tenor and soprano" was published. The text has already undergone some changes. At least two of these sources are united by the "gypsy" origin of the romance, which, in general, for that time is not very surprising, as well as the lack of authors of music and words. The rest of the arrangers made matters even worse, so the original text of this gypsy romance is almost impossible to find. Romance became more and more popular. With the growing popularity of the romance and its spread on gramophone records in cities and towns, only the number of people who had a hand in it after the fact grew. His lyrics and notes were published with the subtitle "a famous gypsy romance edited by Vari Panina and musical arrangement by Zorin", but still remained unnamed. With the words "experimented" Varya Panina (1903), Volin-Volsky, A. Pugachev. Music in his own way arranged by A. Zorin (aka A. M. Tsymbal) (1903), M. Sharov, A. Lutsenko, M. K. Steinberg (1906)-each of them distinguished himself in writing or rewriting certain "gypsy romances". Many researchers believe that the words of the romance "White Acacia bunches fragrant" is a creatively revised poem by A. Pugachev, who wrote more than three dozen different salon romances, although documentary evidence of this has not yet been found. In other sources, the authorship of the romance was attributed to Volin-Volsky (his romance to the music of Sharov "My tear fogs" is known). The most popular romance "White acacia bunches fragrant" acquired in the performance of Yuri Morfessi (1882-1957) after he creatively and very significantly reworked it. The romance became known as "White Acacia". Although this option, some historians attribute to A. Volin-Volsky. Gramophone records with recordings of "White Acacia" performed by Panina, Vyaltseva, Sergeeva, Emskaya, Morphessy and the Sadovnikov brothers quickly spread it to all corners of the vast country and even went into exile with their owners. "White acacia flowers of emigration," Ostap Bender snidely said of Hippolyte Matveyevich Vorobyaninov and his ilk, of course, paraphrasing the first line of the work we quote. This indicates that the title of the romance has become a household name...Interesting and further, truly "revolutionary transformations" of this beloved by thousands of compatriots of the work, which from salon-gypsy transformed into something completely different. "White acacia flowers of emigration" Poor romance where only fate did not throw. By 1914, he was so performed and loved that he "left" as a volunteer in the First World War, where he acquired other words for the same motif (this tradition, as is known, was supported by many songs also during the Great Patriotic War). Now it was already a soldier's patriotic song "Heard, grandfathers, the war began", which began with these words. In 1917, the one that the Bolsheviks had been talking about for so long happened, after which the country plunged into the abyss of another war-the Civil War. Once again, our romance was on the front lines, moreover, from both sides of the conflict and with almost the same words of the chorus. Volunteers of the "white guard" of the tsarist general Anton Ivanovich Denikin, having redrawn and supplemented the verses of this song, made it the anthem of their Volunteer Army, which in 1919 was sung in Kiev captured by them. During these years, the singing of the song was formed completely, it was based on the same "White Acacia". In his book "The Last Cadets" Viktor Alexandrovich Larionov, an artilleryman-Markovets, cites the lyrics of the song of the Volunteer Army, which became a continuation of the previous and, so to speak, the "grandson" of the "White Acacia": Heard the brothers, the War has begun! The events of the First World War and the Civil War, which were later "ideologically verified" and covered with thick and insolubled crowsibility communist gloss, have sunk into history...With success (at least a thousand times!) the Mkhatov production of "Days of the Turbins" was held, where the same romance "White Acacia" sounded. The legendary performance, which Joseph Stalin personally loved, was eventually banned. By the way, in the USSR there was an attempt at repression and the song "Boldly we will go into battle", which in 1930-31 the Russian Association of Proletarian Musicians (RAPM) called for banning as "the refacing of old bourgeois song trash". Here also got "March of Budenny" (as a processing of the Jewish wedding melody), "We are blacksmiths" (the motif of the Viennese chansonette), "Young Guard" (echoes of the old national anthem) and a number of songs...In the 1950s, the romance was again remembered and included in their repertoire by recognized masters of this genre. And in the mid-1970s, the authorities graciously, although not immediately, allowed Vladimir Basov to film this "ideologically harmful" work. The director came to Kiev to decide where to shoot certain scenes of the famous Kiev play master. Without a doubt, Basov carefully read Bulgakov's novel "The White Guard", introduced into the script of the film heroes who are not in the play (for example, Karas). Obviously, Basov approached the choice of actors extremely selectively, although he never arranged the traditional "tests for the role"-Basov himself admitted that he always knows in advance what kind of actor should be in the frame. For example, the main role of Alexei Turbin could belong to only one person, and Basov understood this well at the time of writing the script. In the death of Turbin Basov saw "Karamazov's atonement for sin" and decided to portray it thanks to the allusion to the film "The Brothers Karamazov". "I needed the audience to see brother Alyosha on stage, which is why I invited actor Andrei Myagkov to this role" (previously Myagkov played Alexei Karamazov in Ivan Pyryev's film). "I always put only those works that are close to me, that I want to play. So it happened with Bulgakov: "The Days of the Turbins" is my long-standing passion, "the director will later write in his memoirs. The director was imbued with the mood of Bulgakov's work, the unique atmosphere of the City. Then Vladimir Basov turned to his favorite poet-songwriter Mikhail Matusovsky with a request to write the words of a "memorable" romance specifically for the film. Yes, even such that they emphasize the leitmotif of the mood of the heroes of the filmed play by Mikhail Bulgakov "Days of the Turbins" and in some places his own novel "The White Guard", so that the viewer immediately mentally transferred to the events of the civil war and to the long-suffering Kiev-city tormented by the endless change of authorities...Here is what the musicologist Evgeny Biryukov writes: "Starting to shoot "Days of the Turbins", Vladimir Pavlovich remembered that in those ancient times, when Bulgakov's play takes place, the romance "White Acacia clusters fragrant" was in fashion, the melody of which later changed almost beyond recognition, acquired a marching character and formed the basis of the famous revolutionary song "Boldly we will go into battle". The director wanted the themes of these two songs to sound in the film as a review, an echo, a distant memory of those years, and set such a task for Mikhail Matusovsky and composer Veniamin Basner. So there were two songs in the film. The marching song about the armored train "Proletarian" did not go beyond the film and did not find a wide sound, as they say, which can not be said about "Romance", as the poet and composer called the song-reminiscence about "White Acacia". In addition to what is very important for us, Vladimir Basov asked the poet that the romance be "Kiev, but without mentioning the word Kiev", like Mikhail Bulgakov, although every reader of the play "Days of the Turbins" and the novel "The White Guard" (and even more so - the Kievan) knows that Mikhail Afanasevich always calls Kiev the City. That's right, with a capital letter. According to another version, Mikhail Matusovsky (author of "Moscow Evenings"), remembering how in childhood in his native Lugansk his parents sang old, still pre-revolutionary romances, he himself offered Basov one of their most beloved and has long been held-"White Acacia bunches fragrant", which, born in the distant 1902, successfully survived several alterations of the text, lived to the October Revolution. At the same time, brilliantly coped with the task, because, you see, for rhyme it was quite possible to use "Kiev was silent...", but no, it was the City that was silent in his romance, that is, in fact-Kiev, which was required to prove. Now regarding the "registration" of white acacia. It is clear that it is in the revised romance-Kiev. The poet specially came to Kiev, heeding the advice of Viktor Platonovich Nekrasov, visited Andrew's Descent and the "House of Turbins", saw flowering acacia in Kiev gardens, "washed by spring showers", in a word, inspired. He conveyed his mood to his friend-composer Benjamin Basner. He, creatively reworking the melody of the old romance, "gave out on the mountain" a somewhat updated, but not worse melody. In the film, only one verse of romance was played. Either Vladimir Basov had such a plan, or the censorship tried...Nevertheless, the triumphal procession of the new-old romance began almost after the premiere of the TV movie. Almost after the premiere of the TV movie, Lyudmila Senchina came to the dacha of Veniamin Basner with a request to write melodies of several new songs for her. The composer offered her a full version of "White Acacia". Since then, the triumphal procession of the romance "White Acacia bunches fragrant", which survived the second birth, began throughout the country. In any corner of our then homeland, you could hear sad and heartfelt lines of romance about youth and love, about blossoming acacia and the great City. But the old version of the famous romance is not forgotten. This romance has already outlived all its creators and has become truly popular. The people, of course, could not stand aside and came up with their own versions of the words. In 2011, based on the novel "The White Guard", a television series of the same name (8 episodes) was filmed. The premiere took place on March 3, 2012 on the TV channel "Russia-1". The prime minister was prepared specifically for the presidential elections in Russia. "White Guard" wanted to use as the ballet "Swan Lake" in the August 1991 putsch. To the trouble of their political directors of this action, the film itself, it seems, did not have time to watch. We hoped for Mikhail Bulgakov. If Stalin once twenty times went to the Moscow Art Theater for the "Days of the Turbins", trying to understand the structure of Russian society, realizing the greatness of Russian culture, now the whole society is supposed not to break away from the TV. It is supposed to cry and worry about the fate of Elena the Beautiful, the Turbin brothers and the unfortunate Lariosik. The director of the modern series Snezhkin said that he had five or six people for each role and he conducted full-fledged tests to choose the most worthy of the worthy...Maybe "the audience hoped for the talent of the famous director Sergei Snezhkin, who staged the films "Bury Me Behind the Plinth" and "Calendula Flowers", who gathered the most "star team" of actors who almost daily demonstrate themselves in all gangster series-Konstantin Khabensky, Ksenia Rapoport, Sergei Garmash, Fyodor Bondarchuk, Mikhail Porechenkov...Maybe they would create an unforgettable gangster "White Guard"? Everything could be. Let not the Russian nobility perish before our eyes, but some other, Odessa or bandit. If the film turned out, and such a plan would find a new life. Play the same Japanese "Cherry Orchard", put "Idiot". The great Kurosawa makes the film "Dersu Uzala". But for some reason, many of the viewers, distraught from this boring and boring series, on the second day of viewing already passionately wanted: rather the reds would come. Even the Petliurists invented by the screenwriters looked somehow more alive than all this fake Turbin family paralyzed by the absence of any ideology, any pathos, any action. When the action returns to the Turbins' house, when the director proceeds to episodes from the classic plot, there comes a slow death to the film. Poor Mikhail Afanasyevich, he did not even know that instead of Shpolyansky and Latunsky there would be much more terrible enemies of his, killing all Russian classics…After the "White Guard" it became immediately clear which of the actors is worth what. They would still play in Shakespeare's tragedies so that the whole world would turn away from Russian actors. Everything is known in comparison. For example, as a detective Boris Akunin, maybe good, but when he released his "Hero of another time", written as if in continuation of Lermontov's brilliant novel, immediately came out all the emptiness. Scorched literature, scorched directing, scorched actors, scorched productions. Is time what is scorched? Meanwhile, the PR people of the film wrote: "In order for the White Guard to become a publicly available work, they made some changes to the original work of Mikhail Bulgakov. Expanded the love story of Turbin and Julia, made the image of Shpolyansky deeper...". It is necessary to think, without Snezhkin and Khabensky, Porechenkov and Bondarchuk, Bulgakov's prose was not "publicly available". Only the entire current television rot is publicly available to these actors and directors. Almost every day you see these faces on the screen. Especially well came Porechenkov, whose Ryazan face in the role of a nobleman of an ancient breed is so dazzling that you are speechless as soon as you realize in the first series that it is he who falls frozen into the house of the Turbins, which means that your eyes do not deceive you and you see what you see. The ubiquitous Mikhail as Myshlaevsky. From what fright in the director's head came this find, where were his eyes - this science is not known, but thick and crooked Porechenkov most of all looks in a white terry coat, and not in the form of a Russian officer. Meanwhile, after the premiere of the play at the Moscow Theater of Theatre, Bulgakov received a letter signed "Viktor Viktorovich Myshlaevsky". The fate of the unknown author in the civil war completely coincided with the fate of bulgakov's hero, and in subsequent years was as joyless as that of the creator of the "Days of the Turbins". At the end of this strange letter, a man who called himself Myshlaevsky wrote: "Lately, either under the influence of a passionate desire to fill the spiritual void, or, indeed, it is, but I sometimes hear slightly perceptible notes of some new life, real, truly beautiful, having nothing in common with either tsarist or Soviet Russia. I make a great request to you on my own behalf and on behalf of, I think, many others like me, empty souls. Tell me from the stage, whether from the pages of the magazine, directly or in Aesopian language, as you want, but just let me know if you hear these subtle notes and what they sound about? Or is all this self-deception and the present Soviet emptiness (material, moral and mental) is a permanent phenomenon. Caesar, morituri te salutant! [Lat. Caesar, doomed to death greet you]." As a factual response to "Myshlaevsky" can be considered the play "Crimson Island", where Bulgakov, turning a parody of Smenovekhovstvo into an "ideological" play within the play, showed that in modern Soviet life everything is determined by the omnipotence of officials strangling creative freedom and there can be no sprouts of a new one here. In the "Days of the Turbins" he still harbored hopes for some better future, so he introduced the Baptismal Christmas tree into the last action as a symbol of hope for spiritual revival...author: Chipendale Chipendale. Источник: https://chippfest.blogspot.com/2016/11/1_1.html Warning! Права на публикацию материалов сайта находятся под охраной © plus.google.com
WHITE ACACIUM FRAGRANCED BUNCHES...Music by an unknown author Words by A. Pugachev (?) Fragrant clusters of white acacia Again full of aroma, The song of the nightingale again spills In the quiet radiance of the wonderful moon! Do you remember the summer, under the white acacia Listened to the nightingale's song ? Years have long passed, passions have cooled, Youth of life has passed, The gentle smell of white acacia, Believe me, I will never forget ... <1902> First published in 1902 in the series "Gypsy Nights" without indicating the name of the author of words and music. Later it was published as a "famous gypsy romance" edited by Varia Panina and musically arranged by A.M. Zorin, but also nameless. Nevertheless, it is believed that the basis of the text is a reworking of Pugachev's poem. But in some sources, Volin-Volsky is called the author of the text (his romance to the music of M. Sharov "A tear clouds my eyes" is known), and the author of the music is M. Sharov or A. Lutsenko. The version about the authorship of Pugachev, who owns more than three dozen romances to the music of M.K., remains the most stable. Steinberg, J. de Bothari and other romance composers. Many of these romances entered the repertoire of the most famous pop singers as "gypsy" songs. . The most popular romance "White Acacia Fragrant Clusters" was performed by Yuri Morfessi. The chant is used in the revolutionary song "Let's Boldly Go to Battle". In the twentieth century, folklore versions were recorded.
Anthology of Russian romance. Silver Age / Compiled, foreword. and comment. V. Kalugina. M .: Eksmo, 2005. The melody of the romance formed the basis of the popular song of the First World War "Heard, grandfathers, the war has begun" (at the same time, a chorus in the rhythm of the mazurka was added to it) - during the Civil War, its White Guard and Red Army adaptations were created, including the well-known red song "We will boldly go into battle!" . Under the influence of "White Acacia", the poet Matusovsky wrote the text of the romance for the TV movie "Days of the Turbins" "The nightingale whistled for us all night..." .
HISTORY OF ONE SONG. WHITE ACACIUM. With the authorship of the romance "White Acacia Fragrant Clusters" ambiguities immediately arose. The text of the romance was first published in 1902 in the series "Gypsy Nights", without indicating the name of the author of words and music. In the summer of 1903, the St. Petersburg Musical Printing House of V. Bessel and Co., in the series "N.P. Lyutsenko's Gypsy Songs," published a romance clavier "with vocal parts for tenor and soprano." Subsequently, the romance was published as a "famous gypsy romance" edited by Varia Panina and musically arranged by A.M. Zorin (the real Cymbal), but also untitled. The version about the authorship of A.A. Pugachev, who owns more than three dozen romances to the music of M. Steinberg, D. Botari and other composers, remains the most stable. Music, most likely, belongs to Zorin. It is quite interesting to compare several versions of the text of the romance. 1902 Fragrant clusters of white acacia Again full of aroma, The song of the nightingale again spills In the quiet radiance of the wonderful moon! Do you remember the summer, under the white acacia, Did you listen to the song of the nightingale? The years have long passed, the passions have cooled, The youth of life has passed, The gentle smell of white acacia, Believe me, I will never forget ... 1903 Fragrant clusters of white acacia Again full of aroma, The song of the nightingale again spills In the quiet radiance, radiance of the moon! Do you remember the summer, under the white acacia, Did you listen to the song of the nightingale? Years have long passed, passions have cooled down, Youth of life has passed, The gentle smell of white acacia, I will never forget, never forget ... Yu. Morfessi's variant White acacia fragrant branches Breathe with the delight of spring, Quietly spreads the nightingale's song In a pale sparkle, sparkle of the moon. Do you remember at night among the white acacias of Trill the nightingale rushed, Gently clinging, you whispered to me, languid: "Believe, forever, forever I am yours"? Time has flown by, and merciless old age We have been sent years, But the aroma of fragrant acacias I will never forget, never forget. In some sources, Volin-Volsky is called the author of the poems (his romance to the music of M. Sharov "A tear clouds my eyes" is known), and the author of the music is M. Sharov or A. Lutsenko. It seems incredible, but the melody of the romance "White Acacia Fragrant Clusters" formed the basis of the popular song of the First World War "Heard, grandfathers, the war has begun" (at the same time, a refrain was added to it in the rhythm of a mazurka) - during the years of the Civil War, this song was supplemented and remade into the anthem of Denikin's Volunteer Army, which, in turn, was reborn into the Red Army march "Listen, worker ..." There were other folklore options. Anthem of the Volunteer Army Grandparents heard - the war has begun, Throw your business, get ready for a campaign. We will boldly go into battle for Holy Russia And as one we will shed young blood. Shells are bursting, machine guns are cracking, We will soon finish with the enemies of the calculations. We will boldly go into battle for Holy Russia And as one we will shed young blood. Red chains appeared, With them we will fight to the death. We will boldly go into battle for Holy Russia And as one we will shed young blood. Eternal memory to the fallen heroes, We will honor them with a military formation. We will boldly go into battle for Holy Russia And, as one, we will shed young blood. We will boldly go into battle for Holy Russia And as one we will shed young blood. The cadets and the Cadets defended the honor from an incalculable force through the hard times. We will boldly go into battle for Holy Russia And as one we will shed young blood. *** "We will boldly go into battle" Listen, worker, the war has begun: Throw your business, get ready for a campaign! Boldly we will go into battle for the power of the Soviets And as one we will die in the struggle for it. Shells burst, machine guns crackle, But the red companies are not afraid of them. Boldly we will go into battle for the power of the Soviets And as one we will die in the struggle for it. Here are the white chains We will fight them to the death. Boldly we will go into battle for the power of the Soviets And as one we will die in the struggle for it. Eternal memory to the fallen heroes, Eternal glory to those who live! Boldly we will go into battle for the power of the Soviets And as one we will die in the struggle for it. The years have flown by… The events of the First World War and the Civil War have sunk into history. With success (at least a thousand times!) The Moscow Art Theater production of "Days of the Turbins" was held, where the same romance "White Acacia" sounded. The legendary performance was eventually banned, despite the fact that Joseph Stalin personally loved it. The original romance began to be forgotten. “White acacia flowers of emigration,” Ostap Bender sarcastically, the name of the romance became a household name ... In the 1950s, the romance was again remembered and included in their repertoire by recognized masters of this genre: Alla Bayanova Georgy Vinogradov and Pyotr Medvedev Nadezhda Obukhova Boris Shtokolov Later: Valery Agafonov Lyudmila Zykina Galina Uletova. In 1975, the authorities allowed, although not immediately, Vladimir Basov to film the adaptation of Days of the Turbins. The director came to Kyiv to decide where to shoot certain scenes of the famous Kiev play by the Master. Basov carefully read another Bulgakov's novel - "The White Guard", introduced into the script of the film characters who are not in the play (for example, Karas). The director was imbued with the mood of Bulgakov's work, the unique atmosphere of the City and turned to his favorite songwriter Mikhail Matusovsky. Here is what the musicologist Yevgeny Biryukov writes: “Beginning the shooting of The Days of the Turbins, Vladimir Pavlovich remembered that in those ancient times, when the action of Bulgakov’s play takes place, the romance “The White Acacia Fragrant Clusters” was in fashion, the melody of which formed the basis of the famous revolutionary songs "
It is interesting that in the "Song of the Armored Train" the authors used the motives of the song "We will boldly go into battle." In addition, Basov asked the poet that the romance should be "Kiev, but without mentioning the word Kyiv", like Mikhail Bulgakov, although every reader of the play "Days of the Turbins" and the novel "The White Guard" knows that Mikhail Afanasyevich always has Kyiv. called the City. That's right, with a capital letter. Mikhail Matusovsky brilliantly coped with the task. He, remembering how in childhood in his native Lugansk his parents sang old, even pre-revolutionary romances, offered Basov fragrant clusters as the basis for "White Acacia". The poet specially came to Kyiv, visited Andreevsky Spusk and the Turbin House, saw a flowering acacia in Kiev gardens, "washed by spring showers"... For the size of the verse, one could also use "Kyiv was silent ...", but it was the City that was silent in the romance, that is, in fact - Kyiv. The poet conveyed his mood to the composer Veniamin Basner, who creatively reworked the melody of the old romance, composing a beautiful melody, original and, at the same time, reminiscent of the former one. In separate publications, I had to read that almost a single verse of the romance sounded in the film, as you can see, this is not so. The romance sounds completely, but with slightly different verses from those that have become familiar. Almost immediately after the premiere of the television movie, Lyudmila Senchina came to the dacha of Veniamin Basner with a request for new songs for her. The composer offered her a slightly revised version of "White Acacia". Here it is: All night the nightingale whistled to us, The city was silent and silent at home. Fragrant clusters of white acacia All night long drove us crazy. The whole garden was washed by spring showers, Water stood in dark ravines. God, how naive we were, How young we were then. Years have flown by, making us gray-haired, Where is the purity of these living branches? Only winter and this white blizzard Remind them today. At the hour when the wind rages furiously, I feel with new strength: Fragrant clusters of white acacia Are irretrievable, like my youth. Fragrant clusters of white acacia Unique as my youth. Fragrant clusters of white acacia Irrevocable, like my youth. Fragrant clusters of white acacia Unique as my youth. Fragrant clusters of white acacia Irrevocable, like my youth. Fragrant clusters of white acacia Unique as my youth. And the triumphal procession of the renewed romance began. At different times it was performed by: Valery Agafonov Lyubov Isaeva Gennady Kamenny Boris Kletinich Iosif Kobzon Mikhail Novohizhin Vyacheslav Olkhovsky Maria Pakhomenko Lyudmila Senchina Leonid Serebrennikov Eduard Khil Galina Khomchik Zhanna Cherkashenko Anna Shirochenko and Leonid Serebrennikov But the old version of the famous romance performed by such artists is not forgotten either, as Elena Buskina Oleg Dzyuba Margarita Korneeva Galina Polyakova and Larisa Lyutko Evgenia Smolyaninova Evgeny Shalya.
Romance "White Acacia": how surprising is the fate of the song? An absolutely fantastic story happened with one Russian romance. No one can reliably establish its authors, and these authors could be proud: their romance has been alive for more than 100 years, moreover, it, already “renewed”, lives on now. But what is even more surprising: during the years of the bloody Civil War, it was the anthem of the opposing sides at the same time. Fragrant bunches of white acacia Are full of aroma again, The song of the nightingale again spills In the quiet radiance of the wonderful moon! This is the very first version of the text of the romance - 1902. The romance, which was reprinted every year under the title "The Famous Gypsy Romance", was slightly modified in words, the music remained the same. The author of the words remained unknown, as did the author of the music. In the first editions, it was only indicated that the processing belongs to M. Steinberg. Maximilian Oseevich Steinberg (born July 4 (or June 22), 1883, Vilna, died December 6, 1946 in Leningrad) is a Russian composer, teacher, son-in-law of N.A. Rimsky-Korsakov. Despite the fact that M. Steinberg successfully worked in the USSR (Leningrad Conservatory), the question of the authors of the romance remained open. Possible authors of music and text are named, but a stable reliable version has not yet developed. The romance instantly became popular, it was sung by the most famous singers of that time: V. Panina, N. Seversky and others. The romance also spread across the country in gramophone records. For Holy Russia or For the power of the Soviets? The question is legitimate. Even those who have not yet remembered the melody of the romance will now remember it. The romance "White Acacia Fragrant Clusters" became both the anthem of the Volunteer Army of General Denikin and the song "We will boldly go into battle." The words only changed, the melody was still the same. The words of the "white" "White Acacia" - songs in Denikin's army: Grandfathers heard - the war has begun, Throw your business, get ready for a campaign. We will boldly go into battle for Holy Russia And, as one, we will shed young blood ... Russia was flooded with alien forces, Honor was disgraced, the temple was defiled. We will boldly go into battle for Holy Russia And as one we will shed young blood. The cadets and the Cadets defended the honor from an incalculable force through the hard times . We will boldly go into battle for Holy Russia And as one we will shed young blood. And here are some couplets of the “red” “White acacia” - “We will boldly go into battle”: Listen, worker, the war has begun: Throw your business, get ready for a campaign! Boldly we will go into battle for the power of the Soviets And as one we will die in the struggle for this... White chains appeared, With them we will fight to the death. Boldly we will go into battle for the power of the Soviets And as one we will die in the struggle for it. A split, a war, a bloody mess - but there is only one song . It could have gone on and on. And what do you say when the lyrical love romance became both the march of the White Army and the march of the Red Army? The song in those dashing years was generally covered in every way (only not in the literal, but in the figurative sense of the word). There were satirical alterations, there were options for the topic of the day. But the fact remains. Stunning in its symbolism, even with a bust. Such is the White Guard-Red Guard song: different words - one melody, different ideas - one soul. "White acacia flowers of emigration" The romance had a further fate. Tens of millions of Soviet citizens learned "We will boldly go into battle" without fail. Millions of those thrown into emigration took the song with them - both as an anthem of their defeat, and as an old sentimental romance. That is, a melody with different words continued to be sung all over the world. It is no coincidence that in the USSR "White Acacia" as a White Guard romance sounded in the play "Days of the Turbins" based on the novel by M. Bulgakov "The White Guard" (Moscow Art Theater). Despite the fact that I. Stalin himself somehow favored the play, having watched it a couple of dozen times, The Days of the Turbins was periodically banned until it was finally banned. But already in the 50s, the romance was remembered again. Alla Bayanova and Boris Shtokolov sang it, other performers joined them. And in 1976, director V. Basov shot the feature film "Days of the Turbins". It was impossible to do without the "White Acacia". But the "White Acacia" was already "cut" in two, divided by history itself. So two songs appeared in the film: a song about an armored train and a new romance. The music for the film was written by V. Basner, the lyrics to the songs were written by M. Matusovsky. The basis of that romance from the film, which many should remember, was that former, pre-revolutionary "White Acacia". The whole night the nightingale whistled to us, The city was silent and silent at home. Fragrant clusters of white acacia All night long drove us crazy ... Years have flown by, making us gray-haired, Where is the purity of these living branches? Only winter and this white blizzard Remind them today. At the hour when the wind rages furiously, I feel with new strength: Fragrant clusters of white acacia Are irretrievable, like my youth. Thus began the second life of the old romance. More precisely, now there are two romances: "White Acacia" of the early 20th century and the romance "White Acacia" from the film "Days of the Turbins". All are well-known. And two romances and peace are better than one romance and war, as has already happened. We've already fought enough. Enough already - And as one we will shed young blood or And as one we will die in the struggle for this . More than enough. In a word, more romances. And lyrical white acacias with fragrant clusters, just as strictly lyrically driving you crazy. Tags: songs , interesting fact , music , history , war , Russian romance.
https://kulturologia-ru.translate.goog/blogs/050217/33337/?_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///Romance "White Acacia": a song that simultaneously became the unofficial anthem of the "whites" and "reds"///Miscellaneous///Music///Subscribe Share on Facebook Tell VKontakte///White acacia clusters fragrant...///White acacia clusters fragrant...///The history of the famous Russian romance "White Acacia" can be called absolutely fantastic. Its authors could not be identified, and the romance has been living for more than 100 years. It seems incredible, but during the years of the Civil War, this romance was at the same time the unofficial anthem of the warring parties.///Fragrant bunches of white acacia Are full of aroma again, The song of the nightingale again spills In the quiet radiance of the wonderful moon!///This is the first version of the text of the romance, it has been known since 1902. The romance was republished annually under the heading "The Famous Gypsy Romance", and each time its words changed somewhat. Only the music remained unchanged. In the first editions, it was indicated that the processing of the romance belongs to M. Steinberg, but the author of the music and words remained unknown.///Maximilian Oseevich Steinberg - Russian composer, teacher, son-in-law of N.A. Rimsky-Korsakov - was born in Vilna on July 4, 1883. In Soviet times, he successfully worked at the Leningrad Conservatory, he was engaged in processing the famous romance. There were versions about the possible authors of music and poetry, but the question remained open.///From the moment the romance appeared, it immediately gained immense popularity, and it was performed by the most famous performers: N. Seversky, V. Panina and others. The romance instantly spread throughout the country on gramophone records.///"For the Power of the Soviets" or "For Holy Rus'"?///It may seem paradoxical, but the romance "White Acacia Fragrant Clusters" simultaneously became the anthem of the Volunteer Army of General Denikin and the proletarian song "We will boldly go into battle." The words have changed, but the melody remains the same. The words of the "white" "White Acacia", which was sung in Denikin's army, sounded like this:///Grandfathers heard - the war began, Quit your job, get ready for a campaign. We will boldly go into battle for Holy Russia And, as one, we will shed young blood Russia was flooded with alien forces, Honor was disgraced, the temple was defiled. We will boldly go into battle for Holy Russia And as one we will shed young blood. The cadets and the Cadets defended the honor from an incalculable force through the hard times .We will boldly go into battle for Holy Russia And as one we will shed young blood./// The "red" verses of "White Acacia" sounded somewhat different: Listen, worker, the war has begun: Quit your job, get ready for a hike! Boldly we will go into battle for the power of the Soviets And as one we will die in the struggle for this...White chains appeared, With them we will fight to the death. Boldly we will go into battle for the power of the Soviets And as one we will die in the struggle for it.///What can I say - war, split, bloody mess, and the song is one for all. The lyrical romance became at the same time the march of the Red and White armies. In those dashing years, they sang this song in every way: there were options for the topic of the day and other alterations. The idea is different - the soul of the people is one.///"White acacia flowers of emigration"///The romance had a further fate. While millions of Soviet citizens were obligatorily learning “We will boldly go into battle”, millions of those “thrown out” from the country took the song with them to emigration - both as a nostalgic romance and as an anthem of their defeat. This melody with different words began to be sung with the light hand of Russian emigrants around the world. And it is no coincidence that in the Soviet Union the romance "White Acacia" sounded in the play "Days of the Turbins" at the Moscow Art Theater. And although Stalin himself, as they said, watched this performance several dozen times, the production was periodically banned, and later they were forced to completely remove the tetra from the repertoire.///They remembered the romance in the USSR in the 1950s. Alla Bayanova and Boris Shtokolov brought the song back to life, and then it was replaced by songs and other well-known and not so famous performers. In 1976, V. Basov made a feature film "Days of the Turbins". It was impossible to do without "White Acacia", but the song had already been "cut" in two - it rightfully belonged to both the "whites" and the "reds". Two songs appeared in the film - about an armored train and a new romance. The music for the film was written by V. Basner, the lyrics to the songs were written by M. Matusovsky. The romance for the film was based on the pre-revolutionary "White Acacia".///The whole night the nightingale whistled to us, The city was silent and silent at home. Fragrant clusters of white acacia All night long drove us crazy ...The years have rushed by, making us gray-haired, Where is the purity of these living branches? Only winter and this white blizzard Remind them today. At the hour when the wind rages furiously, I feel with new strength: Fragrant clusters of white acacia Are irretrievable, like my youth.///So, the old romance got a second life. More precisely, today there are two romances: "White Acacia" from the beginning of the 20th century and the romance "White Acacia" from the film "Days of the Turbins". But two romances and peace are better than one and war.
https://zhiznteatr-mirtesen-ru.translate.goog/blog/43163661768/Istoriya-odnoy-pesni.-Beloy-akatsii-grozdya-dushistyie.?_x_tr_sl=ru&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc///The history of one song. White acacia clusters are fragrant.///The history of one song. White acacia clusters are fragrant. I would like to describe the fate of another Russian song-romance - "Fragrant bunches of white acacia" , which has its own interesting, in my opinion, ups and downs.///It's rather funny that there are two romances absolutely equal in beauty, glorifying a blooming acacia and accompanying moods, arising one from the other and having at the same time a couple more branches.///The authorship of the first time the appearance of the romance is lost in musical history. There are several "original" versions with their own authors of lyrics and music.///According to some sources, the romance "White Acacia Fragrant Clusters" was first published in 1902. At the end of the 19th century in St. Petersburg, the German Julius-Franz-Heinrich-Martin Zimmermann opened a music shop and a music publishing house, publishing works by Balakirev, Grechaninov, Taneyev and other Russian musical classics. Including, he also published the series "Gypsy Nights" , in which our romance was printed without indicating the authors.///Other sources refer to 1903 as the starting point, when in the series "Gypsy Songs of N. P. Lyutsenko" , published in the same St. Petersburg "Notoprinting of V. Bessel and Co" , the clavier of the romance "with vocal parts for tenor and soprano" was published.///At least these two sources are united by the "gypsy" origin of the romance, which, in general, is not very surprising for that time, as well as by the absence of authors of music and words.///With the growing popularity of the romance and its distribution on gramophone records in cities and towns, only the number of people who had a hand in it grew ex post facto. For example, with the words "experimented" Varya Panina (1903), Volin-Volsky , A. Pugachev . Music was arranged in their own way by A. Zorin (aka A. M. Tsimbal ) (1903), M. Sharov , M. K. Steinberg (1906) - each of them excelled in writing or rewriting one or another "gypsy romances". Many researchers believe that the words of the romance "White acacia fragrant clusters"is a creatively revised poem by the aforementioned A. Pugachev, although documentary evidence of this has not yet been found. But then the poor romance where only fate did not throw. By 1914, he was so performed and loved that he "went" as a volunteer in the First World War, where he acquired other words for the same motive (this tradition, as we already know, was supported by many songs during the Great Patriotic War as well) . Now it was already "Heard, grandfathers, the war has begun . "The history of one song. White acacia clusters are fragrant.In 1917, the one that the Bolsheviks had been talking about for so long happened, after which the country plunged into the abyss of another war - the Civil War. And again, our romance was at the forefront, moreover, from both conflicting sides and with almost the same words of the chorus. For the “White Guard” it was the song “We will boldly go into battle” with variants of the words “Here the red chains appeared / With them we will fight to the death” and the idea of to die “for holy Russia”,///to which the Red Army soldiers instantly replied “Here are the trenches / Machine guns are cracking / But they are not afraid of them / Red companies”, and then they completely accelerated the pace to a marching one, added elements of a hussar mazurka to the chorus melody and gave out the song “We will boldly go into battle " , dying already" for the power of the Soviets.///The years have flown by… The events of the First World War and the Civil War have sunk into history. With success (at least a thousand times!) The Moscow Art Theater production of "Days of the Turbins" was held, where the same romance "White Acacia" sounded. The legendary performance was eventually banned, despite the fact that Joseph Stalin personally loved it.///So, triune, the romance continued to live. Of course, hardly anyone performed the "volunteer" version, but the original romance "White acacia fragrant clusters", mentioned, by the way, in the book by Ilf and Petrov "12 chairs" by Ostap Bender in the context of "White acacia, flowers of emigration" , and, of course, “We will boldly go into battle” a happier fate awaited.///White acacia clusters are fragrant. In 1975, Vladimir Pavlovich Basov worked as a director on his new film based on the play by Mikhail Bulgakov "Days of the Turbins" , and quite subtly beat the moment that the same song once sounded on different sides of the barricades. Poet Mikhail Matusovsky and composer Veniamin Basner were invited as musical specialists ,The history of one song, and this is how Mikhail Lvovich himself recalled his work on the film: “Beginning the shooting of The Days of the Turbins, Vladimir Pavlovich remembered that in those ancient times, when the action of Bulgakov’s play takes place, the romance “The Fragrant Clusters of White Acacia” was in vogue, the melody of which later changed almost beyond recognition, acquired a marching character and fell into the basis of the famous revolutionary song "Let's Boldly Go to Battle". The director wanted the themes of these two songs to sound in the film as a response, an echo, a distant memory of those years, and he set such a task for me and the composer Veniamin Basner. So there were two songs in the film. At the same time, the song about the armored train "Proletary" later did not please any of the performers, becoming only an ordinary and one of many, but "Romance", as the poet and composer called the song-reminiscence to "White Acacia", found its second youth.///It is interesting that in the "Song of the Armored Train" the authors used the motives of the song "We will boldly go into battle."///In addition, Basov asked the poet that the romance should be "Kyiv, but without mentioning the word Kyiv", like Mikhail Bulgakov, although every reader of the play "Days of the Turbins" and the novel "The White Guard" knows that Mikhail Afanasyevich always has Kyiv called the City. That's right, with a capital letter.///Mikhail Matusovsky brilliantly coped with the task. He, remembering how in his childhood in his native Lugansk his parents sang old, even pre-revolutionary romances, offered Basov fragrant clusters as the basis for "White Acacia". The poet specially came to Kyiv, visited Andreevsky Spusk and the Turbin House, saw a flowering acacia in Kyiv gardens, "washed by spring showers" ... For the size of the verse, one could also use "Kyiv was silent ...", but it was silent in the romance City, that is, in fact - Kyiv. The poet conveyed his mood to the composer Veniamin Basner, who creatively reworked the melody of the old romance, composing a beautiful melody, original and, at the same time, reminiscent of the former one.///In separate publications, I had to read that almost a single verse of the romance sounded in the film, as you can see, this is not so. The romance sounds completely, but with slightly different verses from those that have become familiar.///Almost immediately after the premiere of the television movie , Lyudmila Senchina came to the dacha of Veniamin Basner with a request for new songs for her. The composer offered her a slightly revised version of "White Acacia". There she is: As a result, everyone remembered the original gypsy romance, which again became performed by famous singers along with the new creation of Matusovsky and Basner. Which, by the way, I am incredibly happy about, since both the one and the other option are very beautiful and sincere - each in its own way, and the romance itself "Fragrant bunches of white acacia", as we see, feels great already in four forms. And it also continued to be released on gram records. And even abroad.
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