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Мама моя-אמא שלי

שיר רוסי-מילים: גנאדי פאטרוביץ' גאורגייב-עברית: איזי הוד-יעוץ כולל: אורי יעקובוביץ’, צבי גלעד [גרימי]-לחן: ייבגני סטפאנוביץ' שצ'קאליוב-שירה: איזי הוד-עיבוד, נגינה, עריכה והקלטה: מאיר רז

אִמָּא שֶׁלִּי, רֹךְ עֲבוּרִי, סוֹף כְּאֵבִי אֵין סוֹפִי. הַטַּיְגָּה הַסְּבוּכָה, לַשַּׁעַר כְּבָר גָּלְשָׁה, שַׁלְוָה רוֹגַעַת עַל בֵּית-עֵץ הָאֹרֶן. אַךְ הֵד שְׁנוֹת-עֲבָרָהּ, נִשְׁמַר בְּתוֹךְ נַפְשָׁהּ וְגַם בְּתוֹךְ אַלְבּוֹם יְשָׁן-הַתֹּכֶן. אַךְ הֵד שְׁנוֹת-עֲבָרָהּ, נִשְׁמַר בְּתוֹךְ נַפְשָׁהּ וְגַם בְּתוֹךְ אַלְבּוֹם יְשָׁן-הַתֹּכֶן. נִינִים לָךְ מְחַיְּכִים, מִקַּן תְּמוּנוֹת נִרְאִים וְאַתְּ פּוֹרֶשֶׂת זְרוֹעוֹתַיִךְ לָנוּ. וְרִידַיִךְ בְּכָחֹל, אוֹמְרִים לָנוּ הַכֹּל, קוֹרוֹת חַיַּיִךְ, אֵיךְ גִּדַּלְתְּ אוֹתָנוּ. וְרִידַיִךְ בְּכָחֹל, אוֹמְרִים לָנו הַכֹּל, קוֹרוֹת חַיַּיִךְ, אֵיךְ גִּדַּלְתְּ אוֹתָנוּ. אִמָּא שֶׁלִּי, רֹךְ עֲבוּרִי, סוֹף כְּאֵבִי אֵין סוֹפִי. יוֹדְעִים אָנוּ שֶׁאַתְּ, הַמַּחְשָׁבוֹת נָתַתְּ וְגַם כָּעֵת אֲנַחְנוּ כְּחוֹל שָׁמַיִךְ, מִרְפֶּסֶת לֹא חָרְקָה, לֹא דֶּלֶת רָעֲמָה, כָּךְ, הַמּוֹלֶדֶת, גַּם כָּל אִימוֹתָּיִךְ. מִרְפֶּסֶת לֹא חָרְקָה, לֹא דֶּלֶת רָעֲמָה, כָּךְ, הַמּוֹלֶדֶת, גַּם כָּל אִימוֹתָּיִךְ. בְּפֶרֶץ חַלּוֹנֵךְ, נָהָר קָפוּא מוּלֵךְ, חֻרְשַׁת הָאַשּׁוּחִים קְפוּאָה נִשְׁקֶפֶת וּבְשֵׂיבַת רֹאשֵׁךְ, כְּשֶׁלֶג בִּשְׂעָרֵךְ, פְּתִיתֵי אוּרָל, אוּלַי תִּרְזָה לוֹטֶפֶת וּבְשֵׂיבַת רֹאשֵׁךְ, כְּשֶׁלֶג בִּשְׂעָרֵךְ, פְּתִיתֵי אוּרָל, אוּלַי תִּרְזָה לוֹטֶפֶת. אִמָּא שֶׁלִּי, רֹךְ עֲבוּרִי, סוֹף כְּאֵבִי אֵין סוֹפִי

Мама Моя-Музыка: Евгения Степанович Щекалёв-слова: Геннадия Петрович Георгиев. Мама моя- нежность моя, Боль бесконечная. Мама моя, В твоей душе и в стареньком альбоме. Внучата на тебя, смеясь, глядят со стен, А ты устало руки опустила, И можно прочитать по строкам синих вен, как ты жила, как ты детей ростила. Мама моя-нежность моя, Боль бесконечная. я знаю обо мне ты думаешь теперь, И слушаешь одна под небом синим: Не скрипнет ли крыльцо, не загремит ли дверь-Как сотни тысяч матерей России. В твоём резном окне застывшая река, И ельник отражается морозный, А в волосах твоих уральские снега, А  может быть уральские берёзы. Мама моя-нежность моя, Боль бесконечная...

הערות שכתב איזי הוד: טיגה [מהשפה המונגולית], יער ללא סוף, היא ביומה [נופה], האופיינית ביערות המחטים שלה, באסיה ובצפון אמריקה. הטיגה, נמצאת במיקום צפוני תת-ארקטי, בסביבה ביוגאוגראפית קרה מאוד ולחה, בה רוב הצמחים, הם מחטניים כמו אשוחית, ארזית, אורן ואשוח, המותאמים לאקלים הקר. ישנם בה, גם עצים רחבי עלים, כמו תרזה, צפצפה רעדנית וערבה. אדמת ביצה, על צמחייתה האופיינית, רווחת גם היא באזור והיא מכסה, שטחים פנימיים בקנדה ובצפון רוסיה. אזורי הטיגה, הם אחד ממקורות החמצן הגדולים של כדור הארץ. ברשימה של כמאה משיריה של הזמרת, וואלאנטינה טולקונובה, אפשר למצוא בקושי, שניים או שלושה שירים, ששמם מכיל את המילה אימא והשיר הזה, הוא אחד מהם והפחות ידוע, אך הוא מיוחד, כי אותו הקדישה הזמרת לאמה, במהלך הופעה רגילה. הזמרת של השיר הזה, וואלאנטינה טולקונובה, ביקרה בישראל בקביעות ונהגה לבקר את הכנסייה הרוסית, בהר הזיתים. בשנת 1994, נקלעה הזמרת, לאירוע החבלני ברחוב דיזינגוף בת"א, בו נרצחו עשרות, בעת שסיירה בדיזינגוף צנטר לשם קניות. ידידה הרופא, שליווה אותה, נפצע קשה, הזמרת יצאה ללא פגע, אך מנוצרייה מהשורה, נעשתה נוצרייה אורתודוכסית וביקוריה בכנסיה הרוסית, בהר הזיתים, רבו. מעטים מחבריה בישראל, ידעו על ביקוריה אלה. וואלאנטינה טולקונובה, חלתה בשנת 1990 ושרדה את מחלתה [גדול של השד] 16 שנים ונפטרה בגיל 63, כשהמחלה שבה וחזרה והיא העדיפה המשך הופעות, על המשך טיפולים ואכן מהופעתה האחרונה, נלקחה ישירות לבית חולים ולא התאוששה עוד. השיר נכתב על אישה בשם, זויה איבאנובה חראמצובה, שאיבדה את בעלה במלחמת העולם השנייה וגידלה בכוחות עצמה, כאם יחידה, שבעה ילדים, בכפר קטן בשם, קוזנאצובו, שם נפשו המשורר והמלחין באותה עת ושם פגשו בה והתרשמו. היה זה בשנת 1985

קישור לשיר בשפת המקור

Link to the song in the original language

Мама моя

Мама моя

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

References

Мама моя

Мама моя

Мама моя

Мама моя

Мама моя

התוכן והעיבוד הלשוני אינם סופיים

 התרגומים לאנגלית נעשו באמצעות המנוע "מתרגם גוגל" והתרגום הועתק לאתר בצורתו המקורית ללא עריכה נוספת

The English translations were done using the "Google Translate" engine and the translations were copied to the site in their original form without further editing.

My mother-Russian song-Lyrics: Gennady Patrovich Georgiev-Hebrew: Izzy Hod-Consulting: Uri Jakobovich, Zvi Gilad [Grimi]-Melody: Yevgeny Stefanovich Schekaliev-Singing: Izzy Hod-Arranging, playing, editing and recording: Meir Raz.

In the list of about a hundred of the songs of the singer, Valentina Tolkunova, one can hardly find, two or three songs, whose name contains the word, Mother and this song, is one of them and the least known, but it is special, because the singer dedicated it to her mother, during a live performance. The singer of this song, Valentina Tolkunova, visited Israel regularly and used to visit the, Russian Church, on the, Mount of Olives. In 1994, the singer stumbled upon a terrorist incident on, Dizengoff Street, in, Tel Aviv, in which dozens were killed, while shopping in, Dizengoff Center. Her friend the doctor, who accompanied her, was seriously injured, the singer came out unscathed, but from an ordinary, Christian, she became an, Orthodox Christian and visited the, Russian Church, on the, Mount of Olives, more intensively. Few of her friends in Israel knew about these visits. Valentina Tolkunova, became ill in 1990 and survived her disease, tumor of the breast, for 16 years and died at the age of 63, when the disease recurred and she preferred further performances, versus further treatments and indeed from her last performance, she was taken directly to a hospital and did not recovered. The song was written about a woman named, Zoya Ivanova Kharamtsova, who lost her husband in, World War II and raised on her own, as a single mother, seven children, in a small village called, Kuznetsovo, where the poet and composer spent there sometime and met, Zoya and her story. It was in 1985. The literal description of the words of the song is as follows, My mother, the tenderness in my life, the one that reduces my pain to the end. The thick forest near your house has already reached the fence gate and with it the soothing serenity of your pine hut. The echo of your past life has been quietly preserved in your mind and also in the old photo album. Your grandchildren smile from the photos and you spread your arms towards them. The blue veins on your hands tell us all about your resume and how you raised us. My mother, the tenderness in my life, the one that reduces my pain to the end. We know you always thought only of us. Even today we are your blue sky, like all, Russian mothers, you also never complained, you walked next to us on your fingertips and the floor did not creak and the door you closed gently so that you would not make noise. Your open window overlooks the frozen river and the frozen spruce grove and at your gray hairs the, Ural's mountain flakes are clinging, or, perhaps it is the flakes of the thyme tree. My mother, the tenderness in my life, the one that darkens my pain to the end.

Texts from the references

Valentina Vasilevna Tolkunova (July 12, 1946, Armavir, Krasnodar Region-March 22, 2010, Moscow).

During 44 years of creative activity Valentina Tolkunova performed more than 800 songs, mainly in the genre of love, family and military-patriotic lyrics-many of them have been awarded various awards and enjoyed success among listeners of all ages. Tolkunova had a rare voice timbre that matched the flute's timbre. Illness and death. In 1990, the singer was diagnosed with breast cancer. In 1992, she underwent surgery and underwent chemotherapy. In 2006 and 2009, repeated operations were performed to remove metastases, however, they continued to spread slowly, and over time the disease was generalized to the brain. Despite the severe ailment, Tolkunova continued to work actively: touring, recording new songs, preparing new concert programs and performances. These events prompted Tolkunov to think about God and the purpose of man on earth, to spiritual music and chants, she began to make regular pilgrimages to monasteries and to the holy places of Russia, to the Holy Land. In 1994, she was nearly killed in a terrorist attack in Tel Aviv, after which her religiosity was further increased. On February 16, 2010, during a concert in Mogiev, Tolkunova became ill and was admitted to the intensive care unit of the local hospital. From Mogilov, the artist was transferred to Moscow for examination in Botkin hospital. In the hospital ward on March 20, she was visited by a long-term partner on the stage Lev Leshchenko, then the patient called the priest, and the proto-priest Artemy Vladimirov made a cathedral right in the ward. On March 22, 2010, at 6 a.m., she fell into a coma and died two hours later at the age of  64. The final diagnosis is brain cancer. The farewell ceremony with the folk artist Valentina Tolkunova took place at the Variety Theatre on March 24, 2010, and the funeral service took place at the Ascension Temple on Great Nikita Street in central Moscow.  A Friend Said that Valentina Tolkunova Came to Faith after Surviving a Terrible Terrorist Attack in Tel Aviv.

Friday marks 40 days since the death of famous singer Valentina Tolkunova. According to an old friend, she became a believer after surviving a terrorist attack in Israel. In an interview published on Friday in the newspaper Komsomolskaya Pravda, songwriter Viktor Gin said that in 1994 Valentina was staying with him in Tel Aviv, and that all three of them went to the Dizengoff shopping mall. Whilst they were there, a terrorist attack that killed forty people. “God protected Valya. She was as far as you could be in the mall from the explosion. However, her friend, a doctor, was severely wounded and had to recuperate in hospital”, Mr Gin said. He went on to say that Valentina confessed to him before her departure, “My whole life is turned upside down! God protected me”. After this incident, she became a firm Orthodox believer. “[Valentina] really did a lot of soul-searching. For instance, she made regular pilgrimages to the Russian convent on the Mount of Olives. Every year, for many years, she came for a week or two. None of her Israeli friends knew that she was there. She went by herself and didn’t want to meet anybody”, Mr Gin recalled.

Evgeny Stepanovich Shchekalov was born in the village of Iset Sverdlovsk region, in a family that had no musical roots...There was no limit to the joy of an eleven-year-old boy when his parents finally bought him a bayan after much persuasion. But in the village at that time there was no music school, and Eugene decides to go to study in Sverdlovsk. Three years of schooling increased Shchekalov's passion for music, and in 1960 Eugene entered the Sverdlovsk School of Music by P.I. Tchaikovsky (the class of bayan V.V. Skoropeshev). Here for the first time there was an interest of the future composer to the orchestra. A huge merit in this, according to Shchekalov, belongs to V.V. Snamensky-the head of the school orchestra of folk instruments, a sensitive musician and teacher. Already in the walls of the school E. Shchekalov for the first time began to try a pen, creating songs and simple pieces for bayan. But he realized his true vocation as a composer much later, in the walls of the Ural Conservatory by M.P. Musorgsky, where since 1964 he studied at the Faculty of Folk Instruments at T.N. Zaporozhets. The active interest in composition and in-depth piano classes, which appeared in 1967, caused a strong disapproval of the teacher in the main specialty (bayan). Fate has placed its emphasis on this dispute. Now piano pieces, romances, songs, "Youth Suite" for bayan, suite for chamber ensemble based on the poem "Twelve" by A. Block, ten sketches for bayan-works bright and original-appear one after another. At the plenum of the Union of Composers in 1969, the works of the young author, a first-year student of the faculty of composer, were presented for the first time to a strict listening audience. The vocal cycle on Raskin's poems from the magazine "Crocodile" caused a unanimous cheerful reaction of the audience. The guest of that memorable for Eugene plenum was Sviridov, who praised this work. Inspired by the benevolent reaction of the master, Shchekalov continues to compose. HOW IS A SONG BORN? Many are scratching their heads over this phenomenon. Once, together with the poet Georgiev, fate threw Shchekaleva in the village of Kuznetsova Taborinsky district, where they met with zoya Ivanovna Khramtsova. This woman, having lost her husband in the war, brought up seven children. Impressions of acquaintance were reflected in the song "My Mother", which is memorable to many listeners performed by V. Tolkunova. In general, life often brought E. Shchekalov with people talented and able-bodied, as he is. The performers of Shchekalov's songs were such well-known singers as E.Shavrina, V.Belyanin, V. Toporkov, Y.Ohochinsky, G. Shatalov, as well as the group "Unboring Garden", "Flame", "Rovesnik" and others.

Taiga (/ˈtaɪɡə/; Russian: тайга́, IPA: [tɐjˈɡa]; relates to Mongolic and Turkic languages), generally referred to in North America as boreal forest or snow forest, is a biome characterized by coniferous forests consisting mostly of pines, spruces, and larches. The taiga or boreal forest has been called the world's largest land biome. In North America, it covers most of inland Canada, Alaska, and parts of the northern contiguous United States. In Eurasia, it covers most of Sweden, Finland, much of Russia from Karelia in the west to the Pacific Ocean (including much of Siberia), much of Norway and Estonia, some of the Scottish Highlands, some lowland/coastal areas of Iceland, and areas of northern Kazakhstan, northern Mongolia, and northern Japan (on the island of Hokkaidō). The main tree species, the length of the growing season and summer temperatures vary across the world. The taiga of North America is mostly pruce, Scandinavian and Finnish taiga consists of a mix of spruce, pines and birch, Russian taiga has spruces, pines and larches depending on the region, while the Eastern Siberian taiga is a vast larch forest. Taiga in its current form is a relatively recent phenomenon, having only existed for the last 12,000 years since the beginning of the Holocene epoch, covering land that had been mammoth steppe or under the Scandinavian Ice Sheet in Eurasia and under the Laurentide Ice Sheet in North America during the Late Pleistocene. Although at high elevations taiga grades into alpine tundra through Krummholz, it is not exclusively an alpine biome, and unlike subalpine forest, much of taiga is lowlands. The term "taiga" is not used consistently by all cultures. In the English language, "boreal forest" is used in the United States and Canada in referring to more southerly regions, while "taiga" is used to describe the more northern, barren areas approaching the tree line and the tundra. Hoffman (1958) discusses the origin of this differential use in North America and how this differentiation distorts established Russian usage. Climate change is a threat to taiga, and how the carbon dioxide absorbed should be treated by carbon accounting is controversial.

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